Notes on Voice

Two questions concerning the narrative voice in Rub-A-Dub-Dub.

The first comes from Reggie Chamberlain-King in an interview (yet to be published) we did together. He asks:

I was interested in the perspective of the narrator. It’s a close third person perspective – not omnipresent, more reporting from Mister Bob’s shoulder; judgmental, insulting, but ultimately sympathetic. What is the relationship between Mister Bob and the narrator?

Thank you for saying that. That’s literally how I envision the narrator: a glowing orb just above and behind his shoulder. This narrator has access to his thoughts and personality as well as what the character sees, so she/he/it can report both. I suppose that’s omnipresence really but some of Mister Bob’s personality is in the narrator too. They’re conjoined. I like that very much but I think it confuses some people, which isn’t something I wanted to do. Some said it was too close to him, especially when it sounded judgemental of him: “Mister Bob was fat. And he had gingivitis.” Lines like that are supposed to be second-hand thoughts originating with Mister Bob but reported by the narrator. I don’t think this idea for a narrative voice is iconoclastic; I’m certain I’ve read this sort of voice before. But it’s good that it’s catching people’s interest.

The second question comes by email from reader Scott:

I’m well into Rub-A-Dub-Dub. Just finished Part Three. I loved Mister Bob standing up to Mrs. Cuntapples! Tell me about your voice for this novel. I know you pretty well by now and this is not the Robert Wringham I thought I knew. Very short, repetitive sentences. For example you said “premium strength lager” many, many times and no doubt on purpose. Why not beer, brew, or even bottom-fermented grains? You must have had a reason. And “Mister Bob” is literally uncountable. Why not a pronoun or two? Please let me know as I’m thoroughly enjoying your first novel but trying to unlock the idiosyncratic writing style.

The Robert Wringham name is on the cover but the narrator is not Robert Wringham, so it’s a different voice to anything you’ve read of mine before. The repetition is indeed deliberate and for two main reasons.

The first is that the narrator mocks Mister Bob and his gritty predicaments with an almost sing-song or storybook tone: “Mister Bob fell in a hole. Oh dear,” etc. It’s supposed to offer a sort of juxtaposition or tortuous understatement that makes light of the post-Brexit, pre-pandemic UK hellscape in which he has found himself, a world where systems seem to be winding down and ceasing to work smoothly.

The second reason is an investigation into quiddity: certain things in a repetitive or cyclical life gain thingness as we go around and around. A fire hydrant we see every day becomes not a fire hydrant but the fire hydrant. I applied this theory to significant objects in Mister Bob’s world: the premium strength lager, the polyether railway company uniform, the buffet car, David McManaman’s “head in the shape of a triangle,” the word “reek,” certain placenames. There are others. The phrasing is always the same because his (and, increasingly, our) familiarity with those objects is at optimal thingness, no further familiarity could possibly be layered onto them.

This is the level of thought that has gone into my novel, people! It’s intended to look lightweight and silly but the engineering beneath the page is secretly significant.


Rub-A-Dub-Dub is my first novel. Here’s where you can get it in print or as a digital download.


  1. Thank you, Rob!

    This answers so many questions that were just absolutely gnawing away at me as I strode (yes, strode!) through your novel. Will reread again now knowing the perspective of the narrative voice and keeping a very keen eye out for any moments of quiddity and thingness that might now be more obvious as to their intent in the story. Actually, this makes it even more hilarious. But about that ending…

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