I love narrating from a tight, character-based point of view, Darren Stehle. To build intrigue and suspense, a writer has to withhold information — either from the readers or from a character in the story.
In this case, the boy is lacking information, partly because his uncle isn’t telling him, but also because he doesn’t speak much English and can’t understand the conversations happening around him.
Keeping a tight narrative perspective helps me build suspense. At this point, I hope that readers feel more of a sense of dread than the boy does. He lacks the necessary life experience to connect the ominous dots, while savvy readers are probably not nearly so naive.
I keep a similar tight narrative focus in the main story, although in that story, David is not only the protagonist, he actually is the narrator. So, two different styles share a narrow character perspective.
In the interludes, the narrator only knows that the boy knows, while in the main story, David can only narrate what he knows.
But will what they both know soon become common knowledge? ;-)
That is the question! Things are about to get intense, as I mentioned to Kay Bolden the other day.