Third-Person

rsz_alternate_pov_showcaseI write in third person. It just comes natural to me. I like the ability to get into each of my charater’s heads at some point. Not all at once, mind you. That’s called head-hopping. Something I have been guilty of in the past. I use Shifting Limited? I never heard that phrase before. I just called it Limited, since I was in one head at a time.

Third-Person is an excellent choice to build suspense and create tension. Remember, If the POV character doesn’t know what’s around the corner, you don’t either. If the POV character trusts a person, that you have determined to be dishonest, the tension will build.

What are the different types of third-person narrative? Here’s a refresher for those who have been around the block a few times, and an enlightenment for the newbies.

Omniscient – This narrative is all-knowing, allowing the author to enter the minds of anyone they want. It is the preferred narrative in classic literature.  The works of Charles Dickens would be good examples.

Cinematic – The author describes events as impartially as possible. Consider yourself a fly on the wall. You see everything going on around you, but you can’t hear the character’s thoughts. Ernest Hemingway used this narrative.

Moments of high drama and physical violence, or the necessity to compress time are better served from this more distant perspective.

Limited – The narrative is limited to a single person’s perspective. If the character doesn’t know something, then the reader won’t either. This is the most prevalent approach to writing literature.

Third-Person Limited is much like First-Person with one crucial distinction. You aren’t trapped within the character’s perspective. You can look into the character’s head and know their thoughts and then back away when you would like to mute them.

Shifting Limited Or Multiple Limited – The point of view changes throughout the novel.  To avoid head-hopping, the point of view character should be limited to one per chapter,  scene, or some other easily definable chunk.

Something to think about.

-Jan R

 

Third-Person

I Thought I Knew A Lot, Until I Learned A Little.

Enough already! At least that’s how I feel sometimes. I’ve been through my book more times than I can count. In my own defense, no one taught me how to write. I had a great story idea and decided to give it a whirl.

I thought it was ready, and then real life happened.  My wonderful work was rejected by the five agents I sent it to. One of the them must of seen something promising, she took it upon herself to provide me feedback about what I was doing wrong (there was a long list), and what I needed to do to improve my work.

I was totally humiliated. Grammatical and Structural errors are kindergarten stuff and completely unacceptable. Even I should have gotten those right. I could understand  my issues with head hopping and on-the-nose-writing. Those terms were totally foreign to me.  I wasn’t a professional novelist. I thought all you had to do was put words on paper and create a wonderful story that everyone wanted to read. How was I to know there were rules?

And what was the deal with dragging dialogue? My people were talking. How was I suppose to know dialogue moved the story forward, or had to have some significance?  I couldn’t believe I sent an agent such inferior work!

When you’re a newby, you don’t know how bad your work is, because you lack the knowledge and skills necessary to produce publishable work. While there may be a few prodigies out there, chances are, you aren’t one of them. Sorry!
Like myself and many others, you’re going to have to pay your dues and learn the craft. Then you will be ready to write that New York Times best seller.

One of my favorite saying is, you don’t know what you don’t know. I’m not sure were I picked that up from, but it’s true. I wasn’t intentionally sending out bad work. I just didn’t know.

I Thought I Knew A Lot, Until I Learned A Little.

Do Your Homework!

imagesDoes your manuscript have to be perfect?  If you’ve already written a best seller, your agent and editor may cut you some slack. If not, yes, that book better be pretty darn near  perfect, or nobody is going to look at it.  Agents receive hundreds of queries a week. They don’t have time to read everyone.  If your work is full of grammatical and structural errors, that’s all the excuse they need to toss it to the side and move on to the next one.

I sent my first manuscript out to five different agents.  I was very excited and a little anxious to hear what they had to say.  I expected some rejections but not all.  I had put  over a year into that novel.  It was my baby.

Well, two didn’t respond at all, one said no thanks, and another said it wasn’t what they were looking for. The fifth one responded with a rejection, but also included a why. There were numerous grammatical and structural errors, I was head hopping, and the dialogue dragged.

While I was disappointed, I did take her advice to heart and began the process of editing and correcting structural and grammatical errors.  I was one of those people that fell for the myth that it didn’t have to be perfect, they have editors to clean that up for you.

I also took on-line courses on writing dialogue that moves your story forward. I had never really thought about dialogue moving a story forward, but I see it now, and have a pretty good understanding of what the on-line instructors were trying to get across.

As far as the POV goes, I never heard  of ‘head hopping’.  I went to google and typed it in. It’s not a hard concept to grasp, but it can be tricky at times and sneak in when you least expect it 🙂

Truth be known, I was ashamed of myself for sending such poor work to an agent.  I never realized how bad it was until I began the arduous process of editing and revising. I definitely didn’t make a good first impression.

Do your homework. When you’re writing your first novel, there is so much you don’t know. You’ll figure that out along the way. It’s a lot more complicated than just putting pen to paper. And you probably thought anybody could do it. 

I hope my blogs help you to avoid some of the mistakes that I have made.

-Jan R

Do Your Homework!

Head Hopping Again? (Revised)

headhoppingI had a segment of my book critiqued today and got dinged on the POV. I couldn’t believe it. The reviewer was correct. I was jumping into the head of several of my main characters throughout the segment.

I know that for whatever reason, this writing 101 concept does not come easy for me. I also know, that if you want a book published, you had better get the POV under control.

I sent my novel to an agent, prematurely I might add, and she was kind enough to reject it with reasons why. I was head hopping. To be honest, I had never heard that term before. Being a novice, untrained in the art of creative writing, I’ve had to learn my way around this world. There’s a lot more to it than being able to string a group of sentences together.

The secret to making your POV work is limiting it to one perspective per scene, chapter, or book. When you start jumping around from one POV character to another in the same scene/paragraph/sentence you have committed a cardinal sin. HEAD HOPPING.

If you are writing in Third Person, which I do,  and Lauren is your POV character, you can’t write–Lauren said she would meet Janie at the mall, but Janie didn’t believe her. I was just in Lauren’s head and Janie’s head. How am I suppose to know what Janie is thinking, if I’m limited to Lauren’s POV? What you could write is –Lauren said she would meet Janie at the mall, but she could tell from her friend’s response, that she didn’t believe her.

Hope this helped somebody.

-Jan R

Head Hopping Again? (Revised)

Head Hopping Again?

images-6I had another segment of my book critiqued today and got dinged on the POV. I couldn’t believe it. The reviewer was correct. I was jumping into the head of several of my main characters throughout the segment.

I know that for whatever reason, this writing 101 concept does not come easy for me. I also know, that if you want a book published, you had better get the POV under control.

I sent my novel to an agent, prematurely I might add, and she was kind enough to reject it with reasons why. I was head hopping. To be honest, I had never heard that term before. Being a novice, untrained in the art of creative writing, I’ve had to learn my way around this world. There’s a lot more to it than being able to string a group of sentences together.

The secret to making your POV work is limiting it to one perspective per scene, chapter, or book. When you start jumping around from one POV character to another in the same scene/paragraph/sentence you have committed a cardinal sin. HEAD HOPPING.

If you are writing in Third Person and Lauren is your POV character, you can’t write–Lauren said she would meet Janie at the mall, but Janie didn’t believe her. I was just in Lauren’s head and Janie’s head. How am I suppose to know what Janie is thinking, If I’m limited to Lauren’s POV? What you could write is –Lauren said she would meet Janie at the mall, but she could tell from her friend’s response, that she didn’t believe her.

Hope this helped somebody. There is a lot of information on the internet about POV. I obviously still haven’t grasped it. 🙂

I would like to ask you to consider following me on this journey, and would love to hear your thoughts.

Head Hopping Again?

Head Hopping/Inconsistent Point Of View

So I just had a section of the first chapter of the novel I’ve written critiqued by members of Scribofile. Everyone came back and said I had problems with my POV. I was head hopping. I couldn’t believe it. I thought I had figured that one out. I know there’s first person, second person, and third person.

What I was doing was writing like my story was third person omniscient when in actuality it is third person limited. Which means I can’t be in everybody’s head whenever I want to be, I have to choose certain POV characters and stay out of the heads of the rest of my cast, and I have to limit POV switches.

If you switch POV characters to quickly or dive into the heads of too many characters at once, it can Jar the reader and break the intimacy with the scenes main character. In other words, going back and forth between POV characters, can give a reader whiplash.

So how do I fix this? One suggestion I’ve gotten is to actually assign POV Characters( the main characters in your story). Write at least a full chapter from ones POV before switching to the next one.

Another suggestion that breaks it down even further is to read the passage in question, go back and highlight all of the POV words in that section, and change them to match the primary POV that has already been established. For example- If I’m writing in third person, my pronouns should be she/he or her/his not I,me,my or you, yours.

I’m heading back to the drawing board so to speak and attempting to get this POV in order. I would love to hear any other suggestions on POV that may help me in this endeavor.

Please consider joining me on this journey. I blog twice a week with an occasional reedit. You will receive emails notifying you whenever I make a new or revised entry. It is my endeavor to provide useful information and hopefully help you to avoid the same mistakes I have made.

-Jan R

 

Head Hopping/Inconsistent Point Of View