Usually, when I write a novel, what I do a lot of in the early chapters is work out, integrate, and assume a voice. It could be a character voice--Karen Memery, Jenny Casey--or it might be a genre/setting voice: The Stratford Man's Nature Identical Elizabethan Flavoring, for example, or the high fantasy tone of the Eternal Sky.
This book is just me. Basically, the same narrative voice I use in my blog. Just, you know, a couple hundred years from now.
It's interesting, actually, because it gives me access to the full range of the narrative tricks. And in Haimey, I'm writing a character who is closer to me in what she cares about and how she thinks than anybody since Matthew Szczgielniak.
Weird to kind of take the puppets off and do the story with bare hands.
And now, a little bit of administrivia, and then back for another thousand words.