I’m coming to a point in writing Angel of Mortality (about the sixty percent mark) where the action speeds up and the characters voice may be the only clue as to what they are feeling. As I write, I get to know the characters better. Damir, who is Raisa’s paramour and a professional arms dealer, fluent in seven languages, doesn’t express himself in the same way as Shyamal, who is an Indian biochemist. Sonya, Raisa’s companion and secretary, who has only a basic education in Kyrgyzstan, isn’t going to talk in the same way as Raisa, who has a doctorate in biochemistry and has lived in four different countries. Kassar, who is the basest sort of criminal and oversees activities throughout Asia, Europe, and Africa has his own voice.
As many of you know, the 67% point in a novel is the second pinch point, when the antagonist, Kassar delivers a body blow to the protagonist, Raisa, reminding her that this is not about winning battles to save lives, but is about winning and world domination. She must show compassion for the dying but determination to defeat Kassar. Her voice must be firm, but feminine and sympathetic. Kassar must be demanding and somewhat desperate. To make this believable, I’m going to review the novel as written up to now and make sure the characters have a consistent voice appropriate to their roles.