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Independent Body Parts...This topic always reminds me of the comedy/horror film Idle Hands. The main character's right hand has a murderous mind of its own.
Are you allowing your characters' body parts to act independently?
Let's look at this issue from the POV character's perspective first.
When choosing a Point-of-View, we show the story/scene through that character's senses. We write what she sees, not that she saw it. Remember Showing vs. Telling? If she hears birds singing, we describe what she heard (Song sparrows warbled a lively tune outside her window.) rather than telling (She heard birds singing outside her window.).
The same is true of her actions. As the writer, you're the POV character. She reached for the letter opener. Not--Her fingers moved toward the letter opener. Her fingers become independent from the rest of her body by giving them the action.
For the non-POV characters, the rule applies differently.
If the POV character is watching someone else's action, you can use body parts. Her fingers closed around the letter opener. Your POV character is describing what he's seeing. Remember to avoid filter words like watched, saw, heard, etc. that tell instead of show. "He watched her fingers close around the letter opener" distances the reader from the characters.
A comparison--Think about which version draws you closer to the POV character and into the story.
Version #1
***Jane paced to the long table, careful not to look directly at her target. Feigning a polite smile, she tried for her friendliest tone. "Are you finished eating, Laird Callum?"
***"Aye, Lady Jane. 'Twas a hearty stew." His words were likely as close to a thank you as she'd get from her warden.
***The tiny key still rested on the bench next to him, the same place she'd spotted it when she'd delivered his supper. She only had to slip it into her skirt pocket as she gathered the remains of his evening meal.
***Lifting the bread board, she tipped it ever so slightly, sending the knife clattering to the floor beneath his seat. "Oh, dear! Forgive my clumsiness!"
***Intent on her plan, she set her load on the bench to retrieve not only the knife but her chance for escape. The key was scant inches from her possession. She reached for it.
***He grunted and turned toward her, his wide palm covering her target a moment before she could grab it. "Dunna take me for a fool, lass. A woman who sends a seductive smile to her captor is always up ta no good."
Version #2
***Jane's feet carried her to the long table as she carefully avoided looking at her target. Her lips curved upward and she tried for her friendliest tone. "Are you finished eating, Laird Callum?"
***"Aye, Lady Jane. 'Twas a hearty stew." His words were likely as close to a thank you as she'd get from her warden.
***The tiny key still rested on the bench next to him, the same place her eyes had spotted it when she'd delivered his supper. Her hand only had to slip it into her skirt pocket as she gathered the remains of his evening meal.
***Lifting the bread board, she tipped it ever so slightly, sending the knife clattering to the floor beneath his seat. "Oh, dear! Forgive my clumsiness!"
***Intent on her plan, she set her load on the bench to retrieve not only the knife but her chance for escape. The key was scant inches from her possession. Her fingers reached for it.
***He grunted and turned toward her, his wide palm covering her target a moment before she could grab it. "Dunna take me for a fool, lass. A woman who sends a seductive smile to her captor is always up ta no good."
Did you catch all five instances of independent body parts in the second version? By adding her feet, lips, eyes, hand, and fingers as being active by themselves, I changed from third-person to omniscient POV. I was no longer showing the story.
POV covers a lot of territory, doesn't it?
Next week, we'll look at Setting!
Mellanie Szereto
Romance...With A Kick!
Showing posts with label POV. Show all posts
Showing posts with label POV. Show all posts
Wednesday, June 19, 2013
Wednesday, April 10, 2013
Writing Tip Wednesday--Pacing
Yes, I picked another tough topic! Pacing--the movement of your plot from beginning to end. You can have great pacing, where the reader absolutely can't put the book down because she can't find a slow part for stopping. Or you can have mediocre pacing, with sluggish scenes that don't move the story forward fast enough to keep the reader's interest.
While an action-packed romantic suspense or thriller lends itself to faster pacing by definition, you have to take advantage of the twists and turns to make it work. Use fewer drawn-out descriptions and focus on the suspense.
Typically, other genres need a little boost. Contemporary romance won't have the same tension a well-written RS has, but keeping the characters active and the plot moving forward can help maintain good flow. Remember backstory and info dumps??? Those slow down the pacing and give the reader opportunities to stop reading or lose interest.
Ways to create good pacing:
1) Keep your characters as active as possible. Don't allow them to spend much time thinking about things that have already happened. Avoid the cursed beginning-of-the-chapter recap.
2) Don't fall victim to backstory and/or info dumps. Ease tidbits of information into the story as needed--exposition!
3) Don't define pacing by action alone. Sexual tension, good opening and chapter-end hooks, and emotional ups and downs can produce a story that moves along at a steady pace.
4) Use your genre to help decide what good pacing means. It won't necessarily be the same for paranormal and historical.
5) Remember to use POV to your advantage. Show instead of tell. Use active rather than passive sentence structure. Be the character!
6) Avoid unnecessary description, movements, and dialogue.
7) Use tight writing, with minimal adjectives/adverbs and crutch words. Use contractions wherever possible.
8) Internal dialogue can draw the reader in and reveal important details about the character while keeping the pacing strong.
9) Keep GMC a vital part of characterization and the plot.
10) Use POV choice to create tension. Who has the most to lose in each scene?
Are you noticing how almost every part of writing craft ties into pacing? Actually, each aspect of craft overlaps with others. As one area improves, another will follow. The most important point is never stop trying to improve your craft. You didn't think I'd get all philosophical, did you??? :D
Let's take a look at genre definitions next week. Do you know what makes a paranormal a paranormal and not a contemporary or a historical?
Mellanie Szereto
Romance...With A Kick!
While an action-packed romantic suspense or thriller lends itself to faster pacing by definition, you have to take advantage of the twists and turns to make it work. Use fewer drawn-out descriptions and focus on the suspense.
Typically, other genres need a little boost. Contemporary romance won't have the same tension a well-written RS has, but keeping the characters active and the plot moving forward can help maintain good flow. Remember backstory and info dumps??? Those slow down the pacing and give the reader opportunities to stop reading or lose interest.
Ways to create good pacing:
1) Keep your characters as active as possible. Don't allow them to spend much time thinking about things that have already happened. Avoid the cursed beginning-of-the-chapter recap.
2) Don't fall victim to backstory and/or info dumps. Ease tidbits of information into the story as needed--exposition!
3) Don't define pacing by action alone. Sexual tension, good opening and chapter-end hooks, and emotional ups and downs can produce a story that moves along at a steady pace.
4) Use your genre to help decide what good pacing means. It won't necessarily be the same for paranormal and historical.
5) Remember to use POV to your advantage. Show instead of tell. Use active rather than passive sentence structure. Be the character!
6) Avoid unnecessary description, movements, and dialogue.
7) Use tight writing, with minimal adjectives/adverbs and crutch words. Use contractions wherever possible.
8) Internal dialogue can draw the reader in and reveal important details about the character while keeping the pacing strong.
9) Keep GMC a vital part of characterization and the plot.
10) Use POV choice to create tension. Who has the most to lose in each scene?
Are you noticing how almost every part of writing craft ties into pacing? Actually, each aspect of craft overlaps with others. As one area improves, another will follow. The most important point is never stop trying to improve your craft. You didn't think I'd get all philosophical, did you??? :D
Let's take a look at genre definitions next week. Do you know what makes a paranormal a paranormal and not a contemporary or a historical?
Mellanie Szereto
Romance...With A Kick!
Wednesday, March 6, 2013
Writing Tip Wednesday--Backstory vs. Exposition
**Last day to enter for a chance to win an e-book! Leave a comment on any Writing Tip Wednesday post or drop me an e-mail at mellanieszereto(at)hotmail(dot)com by midnight on March 6th!**
In recent months, I've noticed a lot of agents and editors commenting on Twitter about submissions they've rejected because the author either opened with page after page of backstory and no action or had a great opening action scene followed by pages of backstory. Some of the contest entries I've judged have had similar issues.
How much backstory is too much? And what is exposition?
You've thought of a fantastic idea for a story, so you start getting to know your characters. If you're a Plotter, you might create a character bio, listing physical characteristics of your hero/heroine and finding the perfect celebrity to represent him/her. You know this person's history--he's the oldest of four siblings, he's overprotective of his baby sister, his dog died when he was 12, etc. Is all of this information vital to your story?
Probably not. Some of it helps define your character's GMC (goals, motivation, and conflicts), but the reader doesn't need to know much of what you know about the hero/heroine. If the hero recognizes a smell, he might be reminded of his grandmother's kitchen at Thanksgiving. It can have a positive or negative affect. Do we also need to know that when he was eight years old, his grandmother spent weeks in the hospital from gall bladder surgery complications? That's a backstory dump unless the heroine is about to undergo gall bladder surgery and he's worried she might die.
By adding small instances of past experiences here and there, we get the information we need at the right time rather than a giant info dump. That's exposition. You expose pieces of the character's history when they're influencing current actions, reactions, and behavior.
Remember that info/backstory dumps can be in narrative or dialogue. If your character has a scar, is she going to talk about the details of how it happened with someone who was there or already knows the story? Not likely. As with POV, be the character. Think about her relationship with other characters in the scene. How much would she tell a stranger? Is she self-conscious of the scar? All these things influence how much exposition you should use in dialogue, whether spoken or internal.
Backstory and exposition, like many other aspects of writing craft, are best when used in moderation. Sure, you have to take more time and care when creating your story, but your end product will be better for the effort--and your readers will love you for it!
In writing this blog, I'm wondering if backstory tends to be a bigger problem for Plotters... If you have thorough knowledge of your character's life history, are you more likely to have problems with backstory dumps??? And what about Pantsers? If you don't know your character, do you have more issues with contradictory or inconsistent behavior???
Hmm... Something to think about until next week's post on Characterization.
Thanks for stopping by!
Mellanie Szereto
Romance...With A Kick!
In recent months, I've noticed a lot of agents and editors commenting on Twitter about submissions they've rejected because the author either opened with page after page of backstory and no action or had a great opening action scene followed by pages of backstory. Some of the contest entries I've judged have had similar issues.
How much backstory is too much? And what is exposition?
You've thought of a fantastic idea for a story, so you start getting to know your characters. If you're a Plotter, you might create a character bio, listing physical characteristics of your hero/heroine and finding the perfect celebrity to represent him/her. You know this person's history--he's the oldest of four siblings, he's overprotective of his baby sister, his dog died when he was 12, etc. Is all of this information vital to your story?
Probably not. Some of it helps define your character's GMC (goals, motivation, and conflicts), but the reader doesn't need to know much of what you know about the hero/heroine. If the hero recognizes a smell, he might be reminded of his grandmother's kitchen at Thanksgiving. It can have a positive or negative affect. Do we also need to know that when he was eight years old, his grandmother spent weeks in the hospital from gall bladder surgery complications? That's a backstory dump unless the heroine is about to undergo gall bladder surgery and he's worried she might die.
By adding small instances of past experiences here and there, we get the information we need at the right time rather than a giant info dump. That's exposition. You expose pieces of the character's history when they're influencing current actions, reactions, and behavior.
Remember that info/backstory dumps can be in narrative or dialogue. If your character has a scar, is she going to talk about the details of how it happened with someone who was there or already knows the story? Not likely. As with POV, be the character. Think about her relationship with other characters in the scene. How much would she tell a stranger? Is she self-conscious of the scar? All these things influence how much exposition you should use in dialogue, whether spoken or internal.
Backstory and exposition, like many other aspects of writing craft, are best when used in moderation. Sure, you have to take more time and care when creating your story, but your end product will be better for the effort--and your readers will love you for it!
In writing this blog, I'm wondering if backstory tends to be a bigger problem for Plotters... If you have thorough knowledge of your character's life history, are you more likely to have problems with backstory dumps??? And what about Pantsers? If you don't know your character, do you have more issues with contradictory or inconsistent behavior???
Hmm... Something to think about until next week's post on Characterization.
Thanks for stopping by!
Mellanie Szereto
Romance...With A Kick!
Wednesday, December 19, 2012
Writing Tip Wednesday--POV Glitches
Yes, I'm STILL talking about point of view. This topic covers a lot of territory, and POV glitches are one area that's often overlooked.
What is a POV glitch???
Going back to last week's blog on Headhopping vs. Transitions, we saw that each character has his/her own section of a scene. The POV shouldn't bounce back and forth from one paragraph to the next. Instead, we shift point of view partway through the scene with a clear transition. We can show both character's actions--but not through both character's POVs. These actions must be seen and written through one POV. When this character shows things that can only be "known" by the other person, you have a POV glitch.
Here's an example of a POV glitch (with Callum and Jane):
***Callum scooped the last bite of stew, praying his unpredictable captive hadn't poisoned the whole damned lot. The handful of men who'd joined him didn't deserve to pay for his mistake--and stealing Lady Jane Eastwood out from under her escorts' noses had been a huge miscalculation.
***Plunking the pot on the table, she scowled at him. "More stew, Laird and Master Callum?"
***Her gaze drifted to the kitchen door, and he couldn't help but wonder again if she'd managed to sneak any of her "seasoning" into the remainder of his supper in order to aid an escape attempt.
Can you spot the POV glitch? Take a look at the last paragraph. Can Callum know for certain that Jane is looking at the entrance to the kitchen? No, he can't (unless he can see through her eyes).
Here's one way to correct the problem:
***Callum scooped the last bite of stew, praying his unpredictable captive hadn't poisoned the whole damned lot. The handful of men who'd joined him didn't deserve to pay for his mistake--and stealing Lady Jane Eastwood out from under her escort's noses had been a huge miscalculation.
***Plunking the pot on the table, she scowled at him. "More stew?"
***Her gaze drifted toward the kitchen door, and he couldn't help but wonder again if she'd managed to sneak any of her "seasoning" into the remainder of his supper in order to aid an escape attempt.
Note the change from "to" to "toward" in the last paragraph. Callum can see the general direction her gaze takes without knowing what she's actually looking at. Another possible solution is to add "seemed to" and change "drifted" to "drift" after "Her gaze" in the POV glitch version.
Remember that the POV character can't see/feel/taste what another character sees/feels/tastes or know what another character is thinking. He/she can only imagine or guess. Be your point of view character and STAY in his/her head until the end of that POV.
I'll delve into Showing vs. Telling next week!
Mellanie Szereto
Romance...With A Kick!
What is a POV glitch???
Going back to last week's blog on Headhopping vs. Transitions, we saw that each character has his/her own section of a scene. The POV shouldn't bounce back and forth from one paragraph to the next. Instead, we shift point of view partway through the scene with a clear transition. We can show both character's actions--but not through both character's POVs. These actions must be seen and written through one POV. When this character shows things that can only be "known" by the other person, you have a POV glitch.
Here's an example of a POV glitch (with Callum and Jane):
***Callum scooped the last bite of stew, praying his unpredictable captive hadn't poisoned the whole damned lot. The handful of men who'd joined him didn't deserve to pay for his mistake--and stealing Lady Jane Eastwood out from under her escorts' noses had been a huge miscalculation.
***Plunking the pot on the table, she scowled at him. "More stew, Laird and Master Callum?"
***Her gaze drifted to the kitchen door, and he couldn't help but wonder again if she'd managed to sneak any of her "seasoning" into the remainder of his supper in order to aid an escape attempt.
Can you spot the POV glitch? Take a look at the last paragraph. Can Callum know for certain that Jane is looking at the entrance to the kitchen? No, he can't (unless he can see through her eyes).
Here's one way to correct the problem:
***Callum scooped the last bite of stew, praying his unpredictable captive hadn't poisoned the whole damned lot. The handful of men who'd joined him didn't deserve to pay for his mistake--and stealing Lady Jane Eastwood out from under her escort's noses had been a huge miscalculation.
***Plunking the pot on the table, she scowled at him. "More stew?"
***Her gaze drifted toward the kitchen door, and he couldn't help but wonder again if she'd managed to sneak any of her "seasoning" into the remainder of his supper in order to aid an escape attempt.
Note the change from "to" to "toward" in the last paragraph. Callum can see the general direction her gaze takes without knowing what she's actually looking at. Another possible solution is to add "seemed to" and change "drifted" to "drift" after "Her gaze" in the POV glitch version.
Remember that the POV character can't see/feel/taste what another character sees/feels/tastes or know what another character is thinking. He/she can only imagine or guess. Be your point of view character and STAY in his/her head until the end of that POV.
I'll delve into Showing vs. Telling next week!
Mellanie Szereto
Romance...With A Kick!
Wednesday, December 12, 2012
Writing Tip Wednesday--Headhopping vs. Transitions
You've chosen to write your manuscript in third-person POV, using your two main characters to show the story. Just as the book is divided into chapters and chapters are split into scenes, the scenes are divided by scene breaks.
What happens if you want to change point of view within a scene??? Should you simply jump from one character's head into the other's and back again?
This is one of the most common problems I see when judging contest entries. Jumping from one POV to another POV and back again over and over in a single scene is called headhopping. Not only does the reader get confused from trying to figure out which character is in charge of the scene, any good editor/critique partner/contest judge will insist on a rewrite to fix the problem.
Here's an example of headhopping (*** denotes new paragraph since Blogger won't let me indent):
***Jane sprinkled the crushed leaves into the bowl of stew, glancing toward the great hall to be sure she wasn't caught trying to poison her captor. She didn't intend to kill him, only send him to the privy for a few hours. Then she'd have a chance to escape.
***From his hiding place outside, Callum peered into the window, shaking his head at his prisoner's ingenuity. She was trying to kill him.
***Not one to beat bushes, he strode into the kitchen. "What didya put in meh stew, lass?"
***Jane's heart leapt to her throat at the sudden appearance of her victim. "Why...just a bit of...seasoning, my lord."
***Would he believe her lie?
***Callum snorted and pointed to the bowl. He didn't trust her any more than he did the bloody King of England. "Laird, not lord. And I dunna like too much seasonin'. Taste it."
***"Oh, dear. I'm feeling a bit ill." Pretending to loose her balance, Jane shoved the stew off the table and onto the floor.
The scene switches from Jane's POV in the first paragraph to Callum's in the second and third. In the fourth and fifth, we're back to Jane, and then to Callum in the sixth, and finally we end with Jane. Did I give you whiplash???
Here's the same scene--rewritten to include a POV transition instead of headhopping:
***Jane sprinkled the crushed leaves into the bowl of stew, glancing toward the great hall to be sure she wasn't caught trying to poison her captor. She didn't intend to kill him, only send him to the privy for a few hours. Then she'd have a chance to escape.
***Heavy footsteps came from behind her, and the sudden appearance of her victim sent her heart leaping to her throat.
***The tall, broad Scot narrowed his eyes at her. "What didya put in meh stew, lass?"
***"Why...just a bit of...seasoning, my lord."
***Would he believe her lie?
***Callum snorted and pointed to the bowl. He didn't trust his visitor any more than he did the bloody King of England. "Laird, not lord. And I dunna like too much seasonin'. Taste it."
***"Oh, dear. I'm feeling a bit ill." The color drained from Jane's flushed face. Reaching for the table, she conveniently shoved the stew onto the floor.
Each character has his/her own section of the scene. I've double-spaced to show the transition from her point of view to his, but this can be done without the extra spacing. Some publishers prefer a POV break (either extra space or *** like a scene break) to an uninterrupted continuation of the scene. In any case, the transition should be clear, with no doubt about who the POV character is.
Next week, we'll take a look at POV glitches! Until then--Write, write, write!!!
Mellanie Szereto
Romance...With A Kick!
What happens if you want to change point of view within a scene??? Should you simply jump from one character's head into the other's and back again?
This is one of the most common problems I see when judging contest entries. Jumping from one POV to another POV and back again over and over in a single scene is called headhopping. Not only does the reader get confused from trying to figure out which character is in charge of the scene, any good editor/critique partner/contest judge will insist on a rewrite to fix the problem.
Here's an example of headhopping (*** denotes new paragraph since Blogger won't let me indent):
***Jane sprinkled the crushed leaves into the bowl of stew, glancing toward the great hall to be sure she wasn't caught trying to poison her captor. She didn't intend to kill him, only send him to the privy for a few hours. Then she'd have a chance to escape.
***From his hiding place outside, Callum peered into the window, shaking his head at his prisoner's ingenuity. She was trying to kill him.
***Not one to beat bushes, he strode into the kitchen. "What didya put in meh stew, lass?"
***Jane's heart leapt to her throat at the sudden appearance of her victim. "Why...just a bit of...seasoning, my lord."
***Would he believe her lie?
***Callum snorted and pointed to the bowl. He didn't trust her any more than he did the bloody King of England. "Laird, not lord. And I dunna like too much seasonin'. Taste it."
***"Oh, dear. I'm feeling a bit ill." Pretending to loose her balance, Jane shoved the stew off the table and onto the floor.
The scene switches from Jane's POV in the first paragraph to Callum's in the second and third. In the fourth and fifth, we're back to Jane, and then to Callum in the sixth, and finally we end with Jane. Did I give you whiplash???
Here's the same scene--rewritten to include a POV transition instead of headhopping:
***Jane sprinkled the crushed leaves into the bowl of stew, glancing toward the great hall to be sure she wasn't caught trying to poison her captor. She didn't intend to kill him, only send him to the privy for a few hours. Then she'd have a chance to escape.
***Heavy footsteps came from behind her, and the sudden appearance of her victim sent her heart leaping to her throat.
***The tall, broad Scot narrowed his eyes at her. "What didya put in meh stew, lass?"
***"Why...just a bit of...seasoning, my lord."
***Would he believe her lie?
***Callum snorted and pointed to the bowl. He didn't trust his visitor any more than he did the bloody King of England. "Laird, not lord. And I dunna like too much seasonin'. Taste it."
***"Oh, dear. I'm feeling a bit ill." The color drained from Jane's flushed face. Reaching for the table, she conveniently shoved the stew onto the floor.
Each character has his/her own section of the scene. I've double-spaced to show the transition from her point of view to his, but this can be done without the extra spacing. Some publishers prefer a POV break (either extra space or *** like a scene break) to an uninterrupted continuation of the scene. In any case, the transition should be clear, with no doubt about who the POV character is.
Next week, we'll take a look at POV glitches! Until then--Write, write, write!!!
Mellanie Szereto
Romance...With A Kick!
Wednesday, December 5, 2012
Writing Tip Wednesday--POV Choice
You know what first, third, and omniscient POV are from last week's post. Let's talk about how to decide which POV type to choose and who gets to show which scenes in third person.
How to choose between first and third--
You have an awesome idea for a story. Your character(s) is(are) starting to drive you crazy, yakking away in your head at all hours of the day and night.
Does the story focus on one person's journey? Will the plot develop fully in only that person's point of view? Does more than a single character need to show his/her perspective to keep the reader involved in the storyline and reveal important information?
If you choose first person, remember that you have to stay in the "I" point of view for the entire manuscript. You are the character. Other characters' reactions, emotions, and thoughts have to be revealed through dialogue exposition, a diary, letters, etc. "I" can't know what's going on in someone else's mind (unless I'm a mind reader/empath/clairvoyant). Will this work to effectively tell your story?
If you choose third person, you can show different perspectives on the same event, issue, etc. This doesn't mean every character should get to have a scene in his/her POV. Stick to the main characters, limiting the number of POVs to avoid confusing the reader. Each scene focuses on that person's showing of the story. Don't mix POVs. **More about headhopping and POV transitions next week.**
How to choose who gets the scene in third--
You've chosen to write in third-person point of view, with the two main characters showing the story. Whose POV should you use for each scene?
To engage the reader, decide which person is most at risk or has the most to lose in the scene. Does the character have to fall victim to the danger or actually lose? No. The point is to build tension and move the plot along at a good pace. Make the reader have a difficult time setting down the book or stopping at the end of the scene.
Sometimes, both characters are equally challenged. In this case, you have a decision to make. Is the story about one person more than the other? Do you have a good balance of one POV vs. the other? Can you add the non-POV character's emotions and thoughts through dialogue or in a later scene?
Most of the time, the choice will be clear. If you're completely baffled, try writing the scene from both POVs to see which is better at conveying the action/conflict. You might also ask "Is the scene necessary to the development of the characters/story?"
That's all for today! Next week, POV continues with Headhopping vs. Transitions.
Mellanie Szereto
Romance...With A Kick!
How to choose between first and third--
You have an awesome idea for a story. Your character(s) is(are) starting to drive you crazy, yakking away in your head at all hours of the day and night.
Does the story focus on one person's journey? Will the plot develop fully in only that person's point of view? Does more than a single character need to show his/her perspective to keep the reader involved in the storyline and reveal important information?
If you choose first person, remember that you have to stay in the "I" point of view for the entire manuscript. You are the character. Other characters' reactions, emotions, and thoughts have to be revealed through dialogue exposition, a diary, letters, etc. "I" can't know what's going on in someone else's mind (unless I'm a mind reader/empath/clairvoyant). Will this work to effectively tell your story?
If you choose third person, you can show different perspectives on the same event, issue, etc. This doesn't mean every character should get to have a scene in his/her POV. Stick to the main characters, limiting the number of POVs to avoid confusing the reader. Each scene focuses on that person's showing of the story. Don't mix POVs. **More about headhopping and POV transitions next week.**
How to choose who gets the scene in third--
You've chosen to write in third-person point of view, with the two main characters showing the story. Whose POV should you use for each scene?
To engage the reader, decide which person is most at risk or has the most to lose in the scene. Does the character have to fall victim to the danger or actually lose? No. The point is to build tension and move the plot along at a good pace. Make the reader have a difficult time setting down the book or stopping at the end of the scene.
Sometimes, both characters are equally challenged. In this case, you have a decision to make. Is the story about one person more than the other? Do you have a good balance of one POV vs. the other? Can you add the non-POV character's emotions and thoughts through dialogue or in a later scene?
Most of the time, the choice will be clear. If you're completely baffled, try writing the scene from both POVs to see which is better at conveying the action/conflict. You might also ask "Is the scene necessary to the development of the characters/story?"
That's all for today! Next week, POV continues with Headhopping vs. Transitions.
Mellanie Szereto
Romance...With A Kick!
Wednesday, November 28, 2012
Writing Tip Wednesday--POV
What is POV? P = Point. O = Of. V = View. Point of View is the perspective from which a story is told. Different genres allow for different perspectives. Romance should be written from either first or third person POV. This encourages a deeper connection to the reader. Mystery often incorporates omniscient POV.
What do I mean by "first person," "third person," and "omniscient?"
First Person POV--When a writer tells the story from first person, he/she uses the "I" perspective. All scenes are shown through this main character's senses and thoughts. No other characters should intrude. I can't know what another person is thinking or feeling unless that person tells me. First person POV can be written in past or present tense.
Example: I flattened myself against the wall, peeking around the corner to locate my target. My pulse thumped in my ears, and my stomach roiled at the stench of rotting garbage.
Then he stepped out of the crowd gathered near the fountain. His eyes seemed to latch onto mine, sending my heart to my knees.
Third Person POV--When a writer uses the "he" and/or "she" perspective, multiple characters' POVs can be shown. While one character can tell the entire story from third person POV, you must use this approach if you want each main character to have an opportunity to show a scene from his/her point of view.
Example (Starting in her POV and then transitioning to his POV): Lyra flattened herself against the wall, peeking around the corner to locate her target. Her pulse thumped in her ears, and her stomach roiled at the stench of rotting garbage.
Then he stepped out of the crowd gathered near the fountain. His eyes seemed to latch onto hers, sending her heart to her knees.
A slow scan of the square yielded nothing, but Kem strode out of the throng, intent on finding his stalker. He'd yet to catch sight of the follower, the tingle between his shoulder blades the only hint that he was being watched. His instincts had never failed him.
Omniscient POV--When the reader is aware of all characters thoughts/feelings and information the characters may not know, the writer has used omniscient POV. The perspective comes from a non-participating observer, much like a movie. Omniscient point of view is acceptable in some genres, but it's a no-no in romance because it distances the reader from the story.
Example: Lyra flattened herself against the wall, peeking around the corner to locate her target. She could hear her pulse thump in her ears, and her stomach roiled at the stench of rotting garbage.
Then he stepped out of the crowd gathered near the fountain. His eyes seemed to latch onto hers, but he only suspected he was being followed. The tingle between his shoulders blades had never failed to warn him that he was being watched.
He continued to scan the square as he strode out of the throng.
Note the subtle differences between the examples. They all contain the same action, but each gives the reader a unique perspective.
Next week, I'll continue on this immense subject, posting about how to choose the right POV for your story and why one character should show a scene rather than another.
Happy Writing!
Mellanie Szereto
Romance...With A Kick!
What do I mean by "first person," "third person," and "omniscient?"
First Person POV--When a writer tells the story from first person, he/she uses the "I" perspective. All scenes are shown through this main character's senses and thoughts. No other characters should intrude. I can't know what another person is thinking or feeling unless that person tells me. First person POV can be written in past or present tense.
Example: I flattened myself against the wall, peeking around the corner to locate my target. My pulse thumped in my ears, and my stomach roiled at the stench of rotting garbage.
Then he stepped out of the crowd gathered near the fountain. His eyes seemed to latch onto mine, sending my heart to my knees.
Third Person POV--When a writer uses the "he" and/or "she" perspective, multiple characters' POVs can be shown. While one character can tell the entire story from third person POV, you must use this approach if you want each main character to have an opportunity to show a scene from his/her point of view.
Example (Starting in her POV and then transitioning to his POV): Lyra flattened herself against the wall, peeking around the corner to locate her target. Her pulse thumped in her ears, and her stomach roiled at the stench of rotting garbage.
Then he stepped out of the crowd gathered near the fountain. His eyes seemed to latch onto hers, sending her heart to her knees.
A slow scan of the square yielded nothing, but Kem strode out of the throng, intent on finding his stalker. He'd yet to catch sight of the follower, the tingle between his shoulder blades the only hint that he was being watched. His instincts had never failed him.
Omniscient POV--When the reader is aware of all characters thoughts/feelings and information the characters may not know, the writer has used omniscient POV. The perspective comes from a non-participating observer, much like a movie. Omniscient point of view is acceptable in some genres, but it's a no-no in romance because it distances the reader from the story.
Example: Lyra flattened herself against the wall, peeking around the corner to locate her target. She could hear her pulse thump in her ears, and her stomach roiled at the stench of rotting garbage.
Then he stepped out of the crowd gathered near the fountain. His eyes seemed to latch onto hers, but he only suspected he was being followed. The tingle between his shoulders blades had never failed to warn him that he was being watched.
He continued to scan the square as he strode out of the throng.
Note the subtle differences between the examples. They all contain the same action, but each gives the reader a unique perspective.
Next week, I'll continue on this immense subject, posting about how to choose the right POV for your story and why one character should show a scene rather than another.
Happy Writing!
Mellanie Szereto
Romance...With A Kick!
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