I recently read and reviewed A Calculated Life by Anne Charnock, and I liked it so much that I contacted Anne and asked her if she’d write a guest post telling us a bit more about her book. What struck me most about the novel was that it was a character study of Jayna, a human being designed to function as a machine, who tries to broaden her understanding of the world. I asked Anne to describe her experience of writing from the POV of this kind of character.
Welcome to Violin in a Void Anne!
Writing from the point of view of a hyper-intelligent human presented me with a significant challenge! From the outset I decided that my protagonist, Jayna, would be ‘an innocent abroad’. I set her out on a journey and along the way I wanted to reveal a gradual change in her worldview. Through the opening chapters of the novel, her natural curiosity shifts towards something more questioning; she becomes more critical. Ultimately I wanted Jayna to shed her innocence. I suppose it’s comparable to a coming-of-age story in which a young person becomes aware of their place in a larger, less-than-benevolent, world.
To be a bit techy first: I felt a first-person narrative would be doomed to failure. How could I possibly emulate her intelligence? A more experienced writer might attempt that challenge. But, instead, I adopted a ‘third-person limited’ POV. In other words, the reader follows only one character, Jayna, rather seeing the world from several characters’ POV. In fact, this limited third-person narration is fairly close to a first person POV compared to third-person omniscient narration. (Saul Bellow’s Seize The Day is a good example of a third-person limited POV and I used his novel as my guide when I redrafted my manuscript).
My strategy was to reveal Jayna’s worldview through her interactions with other people. Dialogue played an important role. The reader recognizes her misinterpretations and misunderstandings. A major strategy was to create situations that were tricky for her to handle. So In the first chapter she unwittingly upsets a colleague and in the fourth chapter she leaps to a wildly incorrect conclusion. She is aware that in her dealings with other people she’s ‘getting it wrong’ and she strives for improvement.
In your review of A Calculated Life, Lauren, you noted that Jayna has a fascination with children. I created an early turning point, in terms of her developing psyche, when a colleague brings her young son to the office. Soon after this event, Jayna asks herself what would happen if she acted like a child, lived in the moment, with no care for the consequences. Her resulting action is dramatic within the overall tone of the novel.
It was important that I revealed Jayna’s changing mindset through her actions, that is, by showing rather than telling the reader! I particularly enjoyed this—allowing the reader to draw their own conclusions. Having said that, I did reveal Jayna’s thoughts from time to time, sometimes as stream-of-consciousness.
You are perfectly correct in your review that this novel is a character study and that it is toned down and introspective compared to many other dystopian novels. Looking back I can recall many years ago watching Ridley Scott’s Blade Runner starring Harrison Ford and Sean Young. This is one of my all-time favourite films. But even though I loved the all-action nature of the film with its male protagonist, Deckard, I was fascinated and haunted by Rachel, the replicant. I remember thinking at the time that Rachel’s story, rather than Deckard’s, seemed the more interesting, and certainly the most heart-breaking even though her story was less ‘dramatic’. Maybe an early seed for A Calculated Life was sown then.
My writing career began in journalism and my reports appeared in New Scientist, The Guardian, Financial Times, International Herald Tribune and Geographical, among others. I was educated at the University of East Anglia, where I studied environmental sciences, and at The Manchester School of Art.
Despite the many column inches of factual reporting, I didn’t consider writing fiction until my career turned to visual art. In my fine art practice I tried to answer the questions: What is it to be human? What is it to be a machine? I wrote A Calculated Life as a new route to finding answers.
Check out the book trailer for A Calculated Life