Lesson #9 - POV con't

by Bonnie Calhoun

Today we are continuing editing lessons from the book Self-Editing for Fiction Writers by Renni Browne and Dave King.

These lessons will be shortened overviews of the chapters and by no means should be a substitute for buying the book. I'm rereading but not posting a lot of good stuff!

Let's continue with Point Of View.

Okay, so what happens when you have to shift your point of view for the sake of the plot? If say, your writing from the cop's point of view and you need to add in the burglar? How do you change the POV without jerking your readers around?

It's quite simple: end the current scene, insert a linespace, and start a new scene from the POV you need. Linespaces prepare readers for a shift( in time, place, or POV), so the change in the POV won't catch them by surprise.

Once you've mastered your control of narrative distance, you can use it for some stunning effects. Of all the means available to you for crafting your story, POV is one of the most fundamental. It is how you show who your characters are. It allows you to convey emotions that often can't be put across in any other way.

POV is a powerful tool! Master it!

CHECKLIST:

Which POV are you using and why? If you want continuing intimacy, are you using the first person? If you want distance, are you using third person, or omniscient?

Do you move from head to head? If so, why? Would your story gain power if you stuck with a single POV character or broke your scenes up at appropraite places with linespaces to make this possible?

Take a look at your language. Is it right for your POV character? If not, should it be?

Look at your descriptions. Can you tell how your POV character feels about what you're describing?

Next we'll start on Proportion...

Lesson #8 - POV con't

by Bonnie Calhoun

Today we are continuing editing lessons from the book Self-Editing for Fiction Writers by Renni Browne and Dave King.

These lessons will be shortened overviews of the chapters and by no means should be a substitute for buying the book. I'm rereading but not posting a lot of good stuff!

Let's continue with Point Of View.

The day before yesterday, we were talking about first-person POV, now we're moving to the other end of the spectrum to the omniscient POV. Instead of being written from inside the head of one of your characters, a scene in the omniscient point of view is not written from inside anyone's head.

So you can see the whole scene from the sidelines. Note that with the omniscient voice what you gain in perspective you lose in intimacy.

then there is third person. If a first person invites intimacy and the omniscient narrator allows for perspective, the thirsd person strikes a balance between the two! Actually it can strike any number of balances...it's the attempt to define precisely these various degrees of intimacy versus perspective that leads to describing twenty-six different flavors of POV.

It's much less complicated to simply treat the third-person POV as a continuum, running from narrative intimacy to narrative distance.

Okay...so what the devil does that mean...I ask myself?

It means that when you describe your settings and actions using only words from your POV characters vocabulary, you're not only telling the readers the facts, but but you're running those facts through your POV character's history and sensibility.

On the other hand, when the voice of your descriptions is more sophisticated, more verbose, perhaps more acutely observant that your POV character can manage, you've put distance between the two!

It is worth noting that, because the emotional connection between your reader and your POV character builds slowly, it's usually a good idea to establish the POV as quickly as possible...in the first sentence of the scene if you can manage it.

When you make the POV clear at the beginning of a scene, you get your readers involved right away and let them get used to inhabiting your viewpoint character's head.

Lesson #7 - POV

by Bonnie Calhoun

Today we are continuing editing lessons from the book Self-Editing for Fiction Writers by Renni Browne and Dave King.

These lessons will be shortened overviews of the chapters and by no means should be a substitute for buying the book. I'm rereading but not posting a lot of good stuff!

Let's continue with Point Of View.

Some writing books distinguish as many as twenty-six different flavors of POV, but there are really only three basic approaches: first person, third person, and omniscient.

The first person is the "I" voice, where all the narration is written as if the narrator were speaking directly to the readers. ("I knew as soon as I entered...")
Note that in first person the narrator is one of the characters, not the writer.

The first-person POV has a number of advantages, the main one being that it gives your reader a great deal of intimacy with your viewpoint character. When you are writing in the "I" voice, your main character effortlessly invites your reader into his or her head and shows them the world through his or her eyes.

Of course, in order to succeed in first person POV, you have to create a character strong enough and interesting enough to keep your readers going for an entire novel, yet not so eccentric or bizarre that your readers feel trapped inside his or her head.

But realize, what you gain in intimacy with the first person...You lose in perspective! You can't write about anything your main character couldn't know, which means you have to have your main character in the spot whenever you want to write an immediate scene...This can limit your plot development possibilities!

Also in one POV, your readers get to know only one character directly. Everyone else is filtered through your viewpoint character. One way around this is to write in the first person but from several different viewpoints...With different scenes done from inside the heads of different characters.

This technique can be highly effective in the hands of an experienced writer. For example, over the course of Sol Stein's The Best Revenge, first-person sections are written from the POV's of six different characters. And Mary Gordon devotes the last section in the Company of Women to first-person accounts by all the major characters in turn.