I provide freelance editing services to novelists who write in a lot of different genres, but two that I spend a lot of time in are historical fiction and women’s fiction, genres for which it has become a trope or tradition to have dual narratives or at least a frame narrative. Perhaps, for example, one character moves into an old house and discovers a long-lost painting in the attic. Perhaps another inherits their complicated mother’s personal letters. These inciting incidents centered on historical artefacts launch their corresponding novels into plot lines related to that relic or storyline in the past.
Because these are frequent tropes of these genres, I read and edit a decent amount of unpublished manuscripts that also have dual narratives or a frame narrative. This is fantastic if the author’s intention in using this narrative structure is either evident on the page or is something they’ve told me they’re working toward.
If the reason is just that it’s a trope of the genre and therefore they have to do it? Then, Houston, we may have a problem.
Ways a Dual-Narrative Structure Can Benefit Your Novel
Dual-Narrative Structure as a Mystery Novel
One of the best ways a dual-narrative structure can benefit your novel is if the unfolding of each character’s story arc unveils new, clarifying information or solves a mystery in the opposite timeline. For instance, if Mom’s private letters warn the character in the narrative present to avoid cosigning a loan with a family member they previously trusted just before they reach the closing table, this is a good use of dual narrative.
You might even show nuance in how characters are affected by things that happen to both of them by showing portions of the same or similar scenes from each character’s point of view. The impulse should be avoided, however, to repeat the entire same scene in both narrative frameworks. This can risk slowing the pace of the novel. For instance, if there is a character in the present day and in 1607, are we learning new information from both characters? If not, what is lost if we only read one of those character’s perspectives?
Ways to Deploy Dual-Narrative Structure
If you’ve decided a dual narrative or a frame narrative is necessary, keep in mind that it doesn’t have to happen every other chapter. You might, instead, flashback at important times. Do you need to have a one-to-one ratio of past and present chapters, or could one perspective chime in solely when it lends important nuance to plot, theme, or character development to the novel as a whole? Diaries and other written artefacts are fantastic for this device.
Why NOT Have a Dual-Narrative Structure Just to Cover Your Bases?
If your novel doesn’t need a dual-narrative structure but has one anyway, you risk slowing the pacing of your story. This is especially the case if plot points are repeated in the two timelines of the novel (e.g., an item is discovered in both time periods), in which case the narrative can become repetitive.
A lot of people use this structure because they see successful historical and women’s fiction novelists do it. There’s nothing wrong with this instinct. In fact, it’s fantastic in that it means you’re aware of market trends and trying to write in conversation with them. All I’m saying is to make sure it makes sense for your book; make sure it’s adding something to the conversation of your own novel.
Ultimately, remember that your aim is to emulate that feeling one gets when they stand in a place and are bowled over by the history that has happened within it. The feeling that one gets when they start to understand things from a new person’s perspective. Follow that; personalize it for your novel instead of just following trends; and you can’t go wrong.