Darren Groth - Author Interview: Narrative Style

Which narrative point of view (first person, second person or third person) do you use most in your fiction, or do you often use different points of view for different stories, and why?

I use different POVs. The story tends to let me know who should have a narrative voice. Sometimes the characters are pretty insistent, too.

Do you use present tense or past tense most in your fiction, or do you often switch tense for different stories, and why?

Tense is also dependent upon the story and the sort of emotional experiences you want to deliver to the reader.

Pick one of your published stories. What combination of point of view and tense did you use for this story, and why?

My 2010 novel 'Kindling' was told in the present tense, using the POV of father and son. Due to the nature of the tale - a runaway child with parent in pursuit and the spectre of a bushfire - present tense was the best choice. It lent the narrative immediacy and emphasised every moment for the reader. The dual POV permitted the reader to meaningfully connect with the two protagonists and assisted in creating narrative tension.

To what extent is the vocabulary and manner of speech of the narration in this story different from your own everyday expression, and what does this contribute to the story?

Vocab and speech for any story needs to be believable; if it isn't, you may lose the reader and fall short of the emotional pitch desired. In 'Kindling' the boy, Kieran, is autistic. It was essential his voice be authentic to my own experiences as an autism parent and to the vast readership with some similar measure of personal insight. At a narrative level, Kieran's walk and talk was in sharp contrast to his father, thus generating sympathy for the characters and contributing to the 'razor edge' demanded by the plot.

Did you tell this story with one narrator or multiple narrators, and why?

Father and son alternately narrated 'Kindling'. Both had tremendous responsibility in delivering the story's emotional quotient to the reader.

Did you make the narrator of this story a character involved in the main action of the story, or did you make the narrator one which is not a charcater in your fictional storyworld, and why?

The narrators were absolutely front and centre to, and of, the story. Their journeys needed to be told by them and as it happened.

What is one of your favourite fictional stories, in which you think is narration is written well, and how would you describe what makes the narration work so well for you as a reader?

'The Book Thief' by Markus Zusak is a great example of creative and accomplished narration. Entrusting the voice of the story to Death was a monumental challenge, but its success engineered a detachment and melancholy that was masterful. It also spawned a most unlikely emotional response in the reader: sympathy for the Reaper.

Do you usually provide direct access to the thoughts of characters in your stories? If so, do you usually provide access to the thoughts of one character or multiple characters in a single story or point of view, and why?

Again, it is dependent on the story. I am yet to write a novel in which only one character's inner terrain is laid out for the reader. But I wouldn't ever rule it out.

To what extent does the narrative style of novels you read have an impact on why you read them, and why?

Good writing is good writing, good story is good story. Narrative style doesn't influence why I start reading a novel. It has a huge impact on whether I finish reading it, though.

Author website: www.darrengroth.com



Darren Groth - Author Interview: Story

Pick one of your favourites among your published fiction stories or a story which is an interesting example of published fiction. What makes this story one of your favourites or an interesting example from your fiction?

'Kindling'. It's my most accomplished work to date. It was also a very personal piece. The premise of an autistic boy running away to a suburban fire and his widower father attempting to chase him down was one I was thrilled to explore. And I was proud the writing managed to do justice to the idea.

What genre(s) do you consider this story primarily to be, or how would you describe this story?

It was described by Australian Publisher & Bookseller as "a book you could put in the hands of anyone fifteen and over". I like that description.

What is a published fiction story by another author you would compare this story to and why are they similar?

Niccolo Ammaniti's 'I'm Not Scared'. They're similar in their reliance on a child's narrative, ascending tempo and theme of innocence unravelled.

To what extent did you use any pre-existing story formula, template, paradigm, plot design, archetype, or theory or principle of story/plot structure in planning, writing, editing or rewriting this story?

'Kindling' is a two-voice story. The plot drivers of accidental revelation, flight and pursuit really demanded there be a dual perspective. Additionally, I felt both protagonists had enough compelling and intersecting substance – in their past, present and unformed future – for the reader to meaningfully connect with each character.
Additionally, the trope of a journey in which obstacles are to be overcome structures the narrative in the book.

How would you describe the first chapter, scene or section of this story in one paragraph?

Readings review describes it thus: "Some novels – even some truly great novels – can take a while to seduce you. This is not the case with 'Kindling', which opens on a panicked man searching his house for his son even as reason dictates that the boy isn’t there; a mere two pages in and already you know that Darren Groth is not a writer who wastes time..."

What makes this chapter, scene or section an effective opening for this story?

It gives the story immediacy and gravity. It creates an instant emotional response in the reader; one which overlays the plot arc building to this pivotal moment and the commencement of the chase at the beginning of the book's second 'act'.

What major stages, twists or turns does the story conflict take in this story before the conflict is resolved (or not resolved)?

The story is reasonably linear. There are two major flash-points: The revelation of tragedy leading to a boy's decision to run away; and father and son coming together at the fire following journeys undertaken. There are surprising turns and near misses in the plot arc after the protagonists are separated, but ultimately as stated in the narrative by father Nate: "It had to be this way. This night could only reveal its truths at the blaze. The mistakes made, the failures fashioned – their brand could only be forged at three hundred and fifty degrees..."

How would you summarise the major sub-plot or sub-plots in this story? If this story has no sub-plots, how would youe describe the main sub-plot or sub-plots from one of your favourite published fiction stories by another author?

The major sub-plot of the novel is the tragic circumstances of wife Felicity's death in a house fire five years previous and its implications for the 'front' story.

What does the story gain from the sub-plot or sub-plots?

It is the key driver of the front story. Felicity's passing and the revelation of its cause provide shape to the protagonists' every action, thought and feeling. It is the source of their pain and healing, their fear and courage, their despair and triumph.

To what extent would you describe your story discussed here as typical or atypical of your fiction stories?

At face value, 'Kindling' reflects much of my work to this point. It is a small, simple story, chronicling small, good people contending with big, bad life challenges. Beneath that, there are certainly some deeper layers I wanted to dig into. The idea of heroism. Of making amends for past wrongs, perceived or otherwise.

Author website: www.darrengroth.com