Point of View

Lake Ouachita from the observation platform on Hickory Nut Mountain.

Point of view is the position from which we look at something and the consequences of looking at something from a particular position - the opinion, judgments, or attitudes that we form. Because of its fundamental nature, point of view affects everything a writer does. It is the key to the structure of the work and to the reader's response. The character "telling" the story is considered the viewpoint character (usually first or third person). This character's attitude will affect how the story is told and the details that are given to the audience. Put the scene in the viewpoint of the character with the most to lose. Here are a few notes I've collected over the years about viewpoint and how to use point of view to enhance your story:

Viewpoint and Emotional Intensity

First person: the story is told as if the narrator were the writer (uses "I").

Example: "I couldn't believe how hot the sun was." This is first person and gives the readers information; it also functions to show the reader how that information affects a character, but it is also the most limiting of viewpoints, because the reader only knows what one character sees, feels, hears, etc.

Third person: the story is told through the eyes of a third person who observes from inside the viewpoint character's mind.

Example: "She remembered the first time she saw the farm..." Third person frees the writer to choose a different viewpoint character for different parts of the book. Switch characters to show motivation. It is the most desired point of view in romances (uses "they," "he," "she," or "it").

"The sun felt like a warm caress on her shoulders." This point of view gives information to the reader, but it also functions to show the reader how that information affects a character.

Omnipotent: "God's" eyes, with the reader seeing into everyone's thought processes. It distances the reader from the characters.

Example: "The sun was shining." The sentence gives information to the reader, but we don't know who is speaking.

Author intrusion (or narrative point of view): sometimes the author slips personal comments into a scene: "What Amy did not know was that at that very moment Harry was sneaking into the Shady Motel with her sister, Joan." Author intrusion reminds the reader that he is reading a story. It jolts them out of the story. This should be avoided.

Example: "John couldn't know that the sun was going to shine next Tuesday." This sentence gives the reader information , but it is specifically information that the character does not know. It is the author stepping in to tell the reader what they are suppose to see, know, and think.

Guidelines for Viewpoint

1. Limit your viewpoint characters and shifts. At any point in your story, the character through whom the reader sees the story world is the viewpoint character. You want your reader to feel these emotions deeply. To achieve this, limit your viewpoint characters to those people who are most important to the story.
2. Limit your writing to what your viewpoint character can sense. Limit the information you give to what the character can see, hear, touch, taste, feel, and think.
3. Avoid head-hopping. If you frequently hop back and forth from one character's thoughts to another's, the reader may lose sense of involvement with your story.
4. Give clear signals when you change point of view. Be sure the reader know immediately when you have changed viewpoints. Give the reader a physical clue that you have changed, like chapter break, break in text, or ****. In the first sentence with the new viewpoint character give a clear clue by showing the reader something that can be seen only from the viewpoint and naming the viewpoint character.
5. Be careful of mirrors and physical inventories. It can be challenging to find a way to detail a person's physical appearance when in that person's viewpoint. If you use a mirror, use it to show something of the character's thoughts.
6. Through other eyes. When you show one character's observations of another, remember to be consistent with the character doing the observing.
7. Do not get between your characters and the reader. Sneak the background information in naturally.

Point of View Checklist

• Have I chosen the best character for this scene?Is the viewpoint absolutely clear to the reader at all times?
• Is the viewpoint logical? Is my character seeing and hearing things that are physically impossible?
• Is my viewpoint character a mind reader? Knows what another character is thinking or feeling.
• Is my viewpoint character a narcissist? Thinking about her own long, flowing blond hair, perky breasts, or slim figure?
• Does each character express him/herself in thought and dialogue in a way that is consistent with his/her frame of reference? (A cowboy, a doctor, and a movie star should view and describe the same experience in different terms).
• Did I change POV during this scene? How many times? Why?
• Do my descriptions and narrative section reflect my viewpoint character's personality and frame of reference?
• If I switch this scene from third person into first person does this character still sound like him/herself?

Author's Voice

Tips for developing your author's voice:

1. Read books by authors you like. Study their style, voice, etc.
2. Avoid authors who's style is no where close to your own while developing your voice.
3. Develop opinions about what is good writing.
4. Write regularly and often.
5. Read your work out loud.
6. Care about your story and characters. Be involved with them.

Conflict

Stories are ultimately the telling of a hero's journey. Whether your story is about gaining a love interest, solving a mystery, or finding a priceless talisman in the ruins of an ancient city, the story contains many of the same elements and characteristics, including the need for conflict. The journey is never easy and filled with obstacles that must be overcome. It is these obstacles, or conflicts, that carry the story onward and gives the character the opportunity for growth. Conflict is the dramatic struggle between two forces in a story. Without conflict, there can be no plot.

There are four types of conflict: human versus human, human versus nature, human versus society, and human versus the self. Human versus human is the most common type of conflict found in stories. In these stories the protagonist is another human being. Examples of this type of conflict can be found in stories such as Pride and Prejudice (Lizzie Bennett versus Caroline Bingley) by Jane Austen, Hamlet (Hamlet versus King Claudius) by William Shakespeare, and Snow White (Snow White versus the Evil Queen) by the Brothers Grimm. The conflict between human and nature usually include survival stories of adventure and exploration, as well as stories where animals or monsters are the protagonists. They include stories like Beowulf (Beowulf versus Grendel), the Great Flood of Noah (Noah versus the Flood) found in the Old Testament, and the Odyssey (Odysseus versus Poseidon) by Homer. Stories where the conflict is between human and society include the Hunger Games (Katniss versus Panem) by Suzanne Collins and The Scarlet Letter (Hester Prynne versus the Puritans) by Nathaniel Hawthorne. The final conflict, human versus self are stories where the conflict lays within the character. These stories are psychological and inward-centric. Examples of this kind of conflict can be found in To Kill a Mockingbird by Harper Lee, Romeo and Juliet by William Shakespeare, and Of Mice and Men by John Steinbeck.

Regina Horne Beard with a cardboard cutout of
Han Solo (taken at Galaxy Connection, 2014).

Perhaps the best example of a story where all four types of conflicts can be found is in Star Wars:

Human versus human: Luke Skywalker versus Darth Vader (Empire Strikes Back and Return of the Jedi)
Human versus nature: Luke Skywalker versus the ice monster on the planet of Hoth (Empire Strikes Back).
Human versus society: Luke Skywalker versus the Death Star (A New Hope).
Human versus self: Luke Skywalker versus Luke Skywalker in the cave on the planet of Dagobah (Empire Strikes Back).

Star Wars is an epic story of good versus evil and is the epitome of classic storytelling. Not only does Star Wars contain conflict between the rebellion and the Empire, but is also a collection of minor conflicts, including the gangster Jabba the Hut's bounty on Han Solo, Luke's restless anger and impatience with his protective uncle, and many others. Each of the conflicts within Star Wars eventually leads the characters to the major battle between the rebellion against the Empire. Without conflict, the story would be stagnate. There would be no adventure, no excitement - and isn't that what a story is all about?

Recently, I took my grandchildren to Galaxy Connection, a Star Wars museum located in Hot Springs, Arkansas. As we explored the museum, I noticed the many examples of a conflict-driven plot. Star Wars has all the characteristics of a timeless story: a dynamic plot, well-developed characters, and intriguing conflict. With these characteristics in place and George Lucas's genius at storytelling through cinema, Star Wars is a perfect example of a modern classic story that will influence storytellers for generations.

Plot Development

I have to confess that I am one of those crazy people who must have structure and organization in her life. I think it is a control issue because so often I feel as if I do not have control over much of what happens in my life. Writing is an escape, but it is also an incredibly structured process that seems to soothe that part of me that urges me to be controlling. When I work on the plot of a story, I find it to be one of the most enjoyable parts of creating a story because of the structure. I use a basic formula and refer to it while writing the story. I think this is necessary if you want your story to make more sense than real life and to make it more credible. If you map out the plot of your story, you are better able to see plot holes and other mistakes.

Basically, a work of fiction can be divided into four sections:

The First Quarter of the Book

The Opening Scene
This is where the character introduction and setting is established. This is a good time to start with some excitement and maybe open with a small disaster.

The Inciting Incident

This is the event (usually around chapter one) that sets the story in motion. It is your character’s call to adventure.

The First Turning Point

Usually around chapter three. It is the hook at the end of your proposal that you hope will entice your targeted editor or agent to ask to see the rest of the manuscript. Until now, your character has been trying to refuse the call to adventure or has been trying to keep it at arm’s length by giving it a half-hearted commitment. He/she becomes sucked, personally and irreversibly, into the adventure.

The Second Quarter of the Book 

This section is filled with tests, confrontations, and obstacles for the main characters to over come. Launch it with a series of dramatic events - something big.

The Third Quarter of the Book  

This is the time for romance. I know that not all stories have romance, but if there is any in your story, right now is the time for the couple to get together, BUT the rosy afterglow does not last long because now things quickly turn sour.

The Final Quarter of the Book  

This is where the dark moment occurs. This is when it looks as though all is lost. A final desperate act occurs - heroic actions, grand sacrifices, the conflict is resolved, and the hero/heroine wins the day.

Development of Fiction

Writing is an art that takes years to develop. There are some writers who are naturally able to understand the correct uses of grammar but, for the rest of us, it takes time, patience, and practice. I can't make you a great writer, but I can tell you my philosophy and approach to the writing profession. In order to write good fiction, you not only have to have a story to tell, but you will need to understand the different components to writing good fiction. All good fiction must have a theme, an appropriate setting, a clear plot, and believable characters. You want to be logical about your story or it will not be taken seriously. There must also be an appropriate tone and style to the writing with an appointed time frame within the story - and these vary depending on what genre you are writing, so do some background research on the genre you plan to write your story. You want to use language and vocabulary that compliment the story. You should use good descriptions and interesting dialogue between characters. Dialogue should always have a purpose and should get to the point. Readers will lose interest in a story if the dialogue is unrealistic or bores them. Above all, you must have good writing. 

When you are writing, remember that you are writing for your reader. They are both fascinated and threatened by significant change. They want the story to start with a change. The reader wants to have a story question to worry about, and they want the story question answered in the story ending. Readers will quickly lose patience with everything but material relating to the story.

A Game Plan: Starting and Ending

• Look for and identify, in terms of days, weeks, or months, that briefer period of time when the story happens.
• Think hard about your major character(s) and what makes them tick. Define his/her outlook on the world, themselves, and other characters. Create a biography of your character (more about characterization in a later blog). Remember, the character has to struggle or they will not make good lead characters.
• Create a dramatic situation or event, which will present your character with a moment of change.
• Plan your plot so that your story will open with this event.
• What is the story question? Decide what the goal for your most significant character will be in order to fix or answer the story question.
• Devise a plan for your character as they make their journey through the story. Before you write, you should have a good idea of where the story is going and how the story will end.
• Figure out the where and how the story question will finally be answered.
• Plan to make the start and end as close together in time as you can.

Writing Fiction: An Introduction

Picture from publicdomainreview.org 

Fiction is any literary work that is invented using the imagination instead of factual events. It includes novels, short stories, plays, and literature. Some fiction, like historical fiction, has some background in fact, but the overall story is imaginary.

Elements of Fiction

Plot: the interaction within a story.

Setting: where the story takes place (time, location).

Character: the people, animals, or things in a story, including the protagonist (hero), the antagonist (villain), and supporting characters.

Conflict: the struggle between two opposing forces.

Point of View: the perspective in which the story is being told.

Theme: the main idea of a story.

Symbolism: the representation of an idea or a concept.

Cause and Effect: the logical pattern of action in a story.

Show versus tell: describing the story instead of telling a sequence of events.