Chapter 1: One-Shot
WARNING! This article is NOT for the Faint of HeartâŚ!
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Pesky Point of View
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Pesky Point of View
What is: Point of View (POV)?
-- Itâs the thoughts and feelings of the person telling the story.
-- First Person: I am telling the story.
-- Second Person. I am telling the story to YOU.
-- Third Person: The story is about him.
-- Close Third Person: He had no clue how he got roped into telling this story, but he was telling it, and by god, they better listen up!
-- Omniscient POV: The cameraâs eye view. This is what happened. This uses no internal narration what so ever; you only know what the camera sees. This is the POV used for writing movie scripts.
-- Storytellerâs POV: Author Intrusion: Once upon a time, there was this sweet little boy who didnât mean any harm. Itâs called Author Intrusion because the author intrudes on the story with their opinions on what is happening. The Lemony Snicket books are written this way, as are Fairy Tales and many Japanese novels.
The preferred POV for book and magazine publication in America are First Person POV or Close Third POV.
POV = ATTITUDE + ACTION
Close Third POV = the main POV Characterâs Voice.
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When you are in Close Third POV, everything the main character sees and experiences should be flavored with that characterâs Attitude -- that characterâs voice.
If Oscar the Grouch is looking at a bed of roses, what is going through his head is not going to resemble what would be going through Big Birdâs head. If you are in Oscarâs POV, the way you would write the description of those roses would reflect how he saw them.
Attitude Alone (AKA - Internal Narration):
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Oscar could not believe that someone had the gall to drop his comfy garbage can in the middle of a disgustingly bright mound of flowers. At least they were roses. He could almost stand something that closely resembled a heaped snarl of barbed wire, if it werenât for those eye-searing explosions of hideous pink. To make matters worse their stench was overwhelmingly sweet. He just knew that it was going to take a whole week to get the smell out of his can. He seriously considered heaving, just to have something more comforting to smell.
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Whatâs wrong with this snippet?
-- Technically, nothing other than itâs BORING. NOTHING is happening -- and thatâs totally wrong for this character. Oscar would not sit there and contemplate the roses; he would make faces and say something snotty.
Attitude + ACTION:
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Oscar the Grouch popped out of his trash can. Serrated green leaves waved among slender and barbed branches around the mouth of his home. He gasped in horror. âWhat is this disgusting mess?â
He leaned out and looked around in disbelief. "Oh ugh, I'm surrounded. Somebody put my trash can in a revolting pile of... What are these? Roses?â He could almost stand something that closely resembled a heaped snarl of barbed wire, if it werenât for those eye-searing explosions of hideous color. He curled his lip. âPink, I hate pink.â
To make matters worse the stench was overwhelmingly sweet.
âOh, eww! The smell!" He slapped a fuzzy green hand over his fuzzy green nose. "Itâs gonna take me a week to get that stink outâta my can!â He felt his gorge rising. âI think Iâm going to be sick. At least itâll smell better.â
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Not quite so boring this time.
Pet Peeve of mine:
TOO MANY POVs!
TOO MANY POVs!
Your mileage may vary, but as far as Iâm concerned, there is only ONE legitimate reason to have more than one POV:
SUBPLOTS
When you have a large cast of characters, making more than one story thread going on, only then do you need POV switching to show the full scope of the story. Since another story is being told within the first, the main POV character may or may not ever be involved. This makes another POV character a necessity.
Jane Austin, Steven King, Robert Jordan and Terry Pratchet are authors that use multiple subplots â multiple stories within one bigger story, and even they stick to ONE POV per subplot. When they bring all the characters together in a storyâs final confrontation, they use the first POV Character (that is not killed by the villain,) that appears in the book.
9 times out of 10, the very first POV character is usually someone dealing with the Antagonist â the villain of the piece, and they usually end up dead. The next POV character is (normally,) the storyâs leading Protagonist.
âBut if you only use One POV at a time, how will the reader know whatâs going on in the other charactersâ heads?â
The exact same way YOU know whatâs going on in your friendsâ heads. You GUESS by reading into what they say and what they do. You read their Body Language. This means that if you want your reader to guess right -- or wrong -- you put in the speakerâs body language too -- what theyâre doing AS they speak.
When you have more than One POV character in a scene,
Whoâs POV?
Whoâs POV?
You pick ONE and stick to it. So, which one? Who has the most to LOSE? Who is going to be the most tied up in knots? Who is going to get the most frustrated? THATâS your POV character for that scene.
POV Problems & Cures
The Horrors of Head-hopping
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Head-hopping is when the point of view changes, and changes, and changes, and changes...sometimes every few paragraphs, sometimes every few sentences. The Horrors of Head-hopping
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Obsessive Head-hopping normally happens for these reasonsâŚ
The Author is still at the learning stage.
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The most common reason for obsessive head-hopping is that they donât even KNOW that they are head-hopping.
Dead Give-Aways:
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1) Every characterâs opinionated view is presented without any form of scene breaks, (often in the same paragraph.)
2) Poor grammar skills.
My advice to Beginners:
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Write in FIRST PERSON, until you know how to STAY in that one personâs head, then attempt Close Third person. Once you know how to STAY in one personâs head, POV switching will be much easier to master.
Donât rush. Handling one POV is tough enough. Seriously, I know a lot of published authors who have a rough time with POV. Taking one step at a time will save you a LOT of grief in the long run.
Emotional DETACHMENT from the Official Lead Character
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A lot of obsessive head-hopping is caused by the authorâs emotional connection to a character that is NOT the protagonist â the official lead in the story. When the author becomes fascinated by a character that is not the official lead, they will often pop in and out of their âfavoriteâ. They simply cannot bear not being in that personâs head.
Dead Give-Aways:
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1) No real subplots, no secondary stories about different but related sets of characters.
2) The POV characters are narrowed to only 2 or three people â and they are all involved in ONE plotline.
3) The official lead character does not affect the plot in any major way.
4) The second (and preferred,) POV character defeats the Villain â not the official lead character. This makes the second (and preferred,) POV character the Protagonist, the Official Lead.
The Author thinks they are enriching the story.
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The author is convinced that both leading characters are interesting. They are attempting to provide the reader with a ringside seat to BOTH sides of the story. This shows up in Erotic Fiction of every stripe.
This problem normally takes a very firm publication editor to fix â because the author will often refuse to fix it for any other reason. They did it on purpose and donât see anything wrong with it.
Dead Give-Aways:
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1) Only the two main characters have a POV.
2) The POV switch happens without breaks, one successive paragraph after the next â from one end of the story to the other. (Him â Her â Him â HerâŚ)
3) Events are often repeated; displayed in one POV and then the other.
4) Its deliberate. The author did it on purpose.
The Author thinks theyâre making SUSPENSE.
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The author is convinced that the entire cast MUST be revealed to the reader. The reader spends the rest of the story popping from head to head viewing the Unfolding story. Unfortunately, by POV hopping, peeking into each of the characterâs heads, it does not take much effort for the reader to guess how the story will end.
Dead Give-Aways:
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1) No real subplots.
2) The entire plot and every charactersâ motivation, including the villainâs, is revealed by the third chapter.
3) Its deliberate. The author did it on purpose.
Think peopleâŚ!
-- Why should the reader bother continuing to read a story they already know the ending to? (I wonât, thatâs for damned sure.)
I can hear it alreadyâŚ
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âBut they donât know HOW it all falls apart!â
So? Once the reader knows itâs going to fall apart, the reader is Distanced from the character. They are no longer a Participant inside that characterâs skin; theyâre an Observer that already knows a surprise is coming -- which of course, RUINS the surprise.
Look at it this wayâŚ
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Someone leans close to you and says: âWatch this, Iâm gonna yell Boo in that kidâs ear!â They yell, the kid jumps.
And you do â what? You smile, maybe you laugh.
Someone else leans over and grabs a different kid, yelling: âTICKLE!â
And you� You jump out of your skin, maybe even shout because it was totally unexpected.
See the difference?
Quick & Dirty Head-hop Proofing
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Try writing it in First Person POV then do a Search / Replace. ~~~~~~~~~~~~~~~
Replace âIâ with the Characterâs Name at the BEGINNING of a paragraph.
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You only need to use a characterâs name once per paragraph -- unless they are directly interacting with another character of the same gender. If so, then youâll need to use both names to keep the reader from getting confused as to who is doing what to whom. Use 'He / She' everywhere else in the paragraph.
(Need a gender-neutral word? I use THEM or ONE. âHe didnât know what to tell them.â âOne needs to be sure before one acts.â)
Replace âMyâ with 'her / his'
Replace âMineâ with 'Their'
Once youâve done your search/replace, reread your story line by line correcting and adjusting as you go until the story reads properly.
In ConclusionâŚ
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Using weird POVs and head-hopping is not that big of a deal when youâre only posting on your LJ or on free sites. Those readers donât expect perfection, but donât think they donât notice. (I most certainly do.)
However, if your dream is to get published you might want to at least be familiar with what is acceptable to an Editor, and what is Not.
Head-hopping and POVs other than First or Third are Not Acceptable.
I am well aware that certain name-brand authors head-hop all the time, Nora Roberts, Anne Rice⌠How do they get away with it? MONEY. Their editors are not about to challenge their Cash-Cows. They know good and well that their devoted fans will buy their books anyway -- mistakes and all.
Unfortunately, until you become that famous yourself, any professional editor that gets a manuscript rife with head-hopping or in a weird POV will either toss it into the Reject pile, or send it back with so much red ink itâll look like itâs bleeding.
Guess how I found out?
Enjoy!
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DISCLAIMER: As a multi-published author, I have been taught some fairly rigid rules on what is publishable and what is not. If my rather straight-laced (and occasionally snotty,) advice does not suit your creative style, by all means, IGNORE IT.
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Ookami Kasumi
http://ookami-kasumi.livejournal.com/
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