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.

The Back Story: A Character's Biography

Characters are the heartbeat of our stories but, for most of us, it takes some work for our heroes and heroines to become fully formed. The key is to create them with a past logical enough to make the story believable. The character interview is one way to become familiar with your characters and their back story (or their biography). The character interview is an old idea but an effective one. The purpose is to become the character in an attempt to figure him/her out.

The Interview

1. Make a list of possible questions to ask your character, leaving room for spontaneous questions as well.
2. Ask a friend to be your interviewer. If you have a friend who is a writer, ask that person because they are more sympathetic to what you are trying to do. There is a good chance that if your friend is a writer, they won't give you that look. You know that look I'm talking about. The one you get every time you talk to someone about your writing who is not a writer. Yeah, I get that look too often.
3. If possible, record the interview - this will leave you free to think about the character instead of taking notes. When you review the recording later, make your character notes then. Do not be afraid to collaborate with your interviewer later. They might have some insight that you missed.
4. Answer all of the questions in the first person.

Sample Questions

• Where and when were you born?
• Who are your parents? 
• Was your family rich, poor, or middle class? How did this affect you?
• Which parent were you closest to? What is your relationship today?
• Do you have any brothers or sisters? How many? Tell me about them. What is your relationship today?
• What is your educational background? 
• Did you like school? Why or why not?
• What skills and hobbies do you have?
• What is your religion? How does this effect your perception of the world around you?
• Did you have a pet? What kind of pet? What was their name(s)?
• Who were your lovers? What happened with them?
• Have you ever been married? What happened?
• What do you consider your best physical feature?
• What do you care about most?
• What are some key turning points in your life?
• What are your goals for the future?

Refer back to your notes and the answers as you create your story. You will find them helpful when keeping your character on track.

Making Believable Characters

Making believable characters will drive a story line. To make your characters more believable you should continuously observe your life and the lives of others. You have to be curious about people and how they think and use this information to make three-dimensional characters. Be honest, study reactions, and make notes of emotional and physical reactions. Keep a note pad with you (or use a note app on your phone) and jot down interesting characters you see in the mall, at the store, on your way to work, at work, airports, etc. Make a note of their characteristics (physical, mental, emotional, etc.) and make notes of the phrases they use and their mannerisms. 

Before you begin to write your story, make notes on your characters. Give them a back story or do a character interview and answer questions like: 

What do they say about themselves? 
What do others say about them? 
What do they look like (clothes, speech patterns, etc.)? 
What is their history? 
What was their childhood like? 
Who molded their character. 
What is the character’s present life? 

You want to give them a personality, abilities and disabilities, history, hang-ups, goals; relationships to career, house, city, weather, traffic, etc. You may also want to give them past and present relationships with friends, family, lovers, pets. The more you develop your character, the more real they will become.

As you write your story, be willing to take your characters to the extreme and bring them back again. If there is no conflict, there can be no development or growth in a character. Your main characters should be well developed. The minor characters can be flat and static. Your characters will bring your story alive and drive the plot so let them do the writing. Do not have your characters behave and react contrary to the personality and history you have given them unless they are suppose to grow. Everything that happens in your fiction should involve some aspect of your characters. Do not force your plot on to your characters. Let them come alive. Let them decide the turns the plot should make and make sure that every action comes directly from that character’s personality.

A book that I review when creating characters is called The Complete Writer's Guide to Heroes and Heroines: Sixteen Master Archetypes by Tami D. Cowden, Caro LaFever, and Sue Viders. This is perhaps the most useful book I have found about using archetypes when creating characters, and I highly recommend it. This book describes the common male and female archetypes found in literature. When creating your characters, you want to layer them and not just pick one archetype. If you layer your character, it gives you more options and the character more depth.

My current project is a time slip novel called Irresistible Forces. For my main characters, I filled out a "Character Analysis" worksheet. I describe as much of the character as in-depth as possible, including physical appearance, personality traits, and a back story. Since I am a visual person, I also find a picture that closely resembles the description. I find that this keeps me focused visually, which helps when I am describing the character in the story. Below is a link to a blank .pdf copy of the "Character Analysis" worksheet that can be downloaded. Feel free to print it off or save the paper and fill out the worksheet on your computer or device. I have also included three character analysis of the most interesting characters in Irresistible Forces as an example (and to wet your appetite for the finished novel). Keep in mind while you are reading the examples that they are notes, so do not expect perfect grammar but do expect occasional randomness.

 

Character Analysis Worksheet

Examples from Irresistible Forces:

The Ruby and the Lovers's Tale

Rhiamon

Cane the Savage

For more information about my current projects, please visit my website.

Setting

A snowy day in Arkansas today.  

The setting of a story is the time and place in which the story is taking place. There should be a sense of a specific somewhere or a total environment - physical, cultural, historical, etc. The setting must be related to the plot because, through the setting, the plot is able to progress. When you are describing a setting, remember to use all of your five senses. You don't just see a setting. You experience one.

Examples of Setting

The following are three different examples of the same setting based on a particular theme:

Nostalgia

The wedding pictures hung on the wall surrounded by photos of a smiling family. The smell of fresh baked bread clung in the air. The fire that blazed and cracked in the hearth warmed my heart. I was finally home.

Torment

She was gone. The room spun around me. The smiling faces on the walls brought tears to my eyes. My heart ached at the faint smell of her perfume and the emptiness that once housed all of her treasures. My heart sank. My wife was gone.

Mystery

The shadows painted the walls shades of black and gray. All was quiet except for the thud-thud, thud-thud. I peered through the darkness and my eyes slowly adjusted to the darkness. I saw nothing. Again, thud-thud, thud-thud. My heart race violently as the shadows began to dance around me.

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.

Limericks!

Picture of a clover from publicdomainpictures.net

Limericks are fun poems that often contain figurative devices like puns, hyperbole, idioms, etc. They are meant to be funny and, sometimes, a little bawdy. They are also easy poems to write, especially for beginning poets and children (and those of us who love a fun rhyme).

The origin of Limericks is unknown but seems to be centuries old (some time between the 12th and 14th century) in Ireland. The first published Limericks were in 1765 in Mother Goose's Melodies, and then became a widespread poetic form adopted by many poets of the 1800s including Edward Lear, Lord Alfred Tennyson, Rudyard Kipling, and Robert Louis Stevenson.

Form of a Limerick

The Limerick has five lines with one of my favorite rhyming, meter, and syllable patterns:

The rhyming pattern: AABBA
The meter pattern: 33223
The syllable pattern: 88558

A good Limerick is clever and unexpected, not pointless or trite. It is funny and witty with amusing word play. The last line of a Limerick is the most important line. It is usually the funniest/bawdiest part of the poem and contains the main joke of the Limerick.

Limericks by Regina Horne Beard

The Limerick about Mollie is a true story. She had EIGHT sweet kittens -
seven survived to adulthood. You can find out more about them at
The Cat Farm blog.

There once was a cat named Mollie
Who never had such a folly
Until she doubled in size
And could not disguise
Eight kittens who came out squally.


There once was a girl so groovy
Who did nothing but watch movies.
Twenty hours went by
Without batting an eye,
Which made her a little loony.

Giving and Receiving Feedback

Giving and receiving feedback is a crucial part of writing. Before you can give feedback, you need to know how to read a poem. Always read a poem more than once. A good poem always needs two or more readings to understand the full meaning and to grasp the artistry of the poem. You should also keep a dictionary and/or thesaurus at hand. There are many free ones that can be downloaded to your device or computer. You can also find them on the Internet with a simple Google search.

When reading a poem, always pay attention to what the poem is saying. On my first reading, I always determine the subject and verb, grasping the overall meaning and message being said.

During my second reading of the poem, I read it as though I can hear each word in my mind. After all, poetry is written to be heard. There is much meaning in the sound of a poem, not just the words written on a page so read the poem slowly, annunciating each syllable.  

Practice reading poetry aloud. When you find a poem you really enjoy, read it to your friends and family. Do not just read the poem - read the poem with emotion. Express the poem the way it was meant to be read. Try to avoid reading it in a sing-song fashion and do not exaggerate the rhyme and meter. The more you practice reading a poem, the better you will become.

When you give feedback about someone’s writing, you want to give it the attention you would want with your own work. Read the poem more than once and look for specific aspects of the poem to comment on. For example, look at the idea, the language used, and the organization of the poem. If you see areas that need revision, then suggest where there is a need for a rewrite. Be specific and avoid giving vague comments like “this is good.” If it’s good, tell them why it is good and what you liked about it. Try to end with a positive comment and always structure your suggestions in a positive way. Above all, be courteous and respectful.

Receiving feedback can sometimes be traumatic, but it does not have to be. Try to be open to suggestions. Listen and do not take suggestions personally. You will be surprised at the inspiration that can come when you are open to new ideas.

Getting Started: Writing Poetry

Perhaps the most difficult part of writing is getting the first sentence, sometimes the first words, committed to paper. You must keep in mind that anything that you write can be rewritten and edited. The important thing is to begin writing, so be creative and do not be afraid to write something terrible. Remember: you can change what you have written once the writing begins to flow.

When you are writing poetry, you want to keep the imagination open. Do not limit yourself and your writing. Before you begin writing, you should set the mood for writing. Do you have a place where you can go with limited interruptions? Are you more comfortable indoors or outdoors? Some writers have told me that they light fragrant candles and play music while they write. Do not be afraid to experiment. When I write, I sit in the quiet of my den with my laptop and a few cats. I always meditate on a project for a while before I do any actual writing. Sometimes I jot a few words or phrases down over several days and work with them while writing the poem – often changing the vocabulary after much thought about the selection of words chosen.

One of the best pieces of advice I’ve been giving about poetry is to keep a log of ideas for poems. This works for fiction and nonfiction ideas as well. There are times when I have a flood of ideas, but then there are those times that I am uninspired and inarticulate. I use to keep an index card holder of my ideas, but now I keep them in a file on my laptop and iPhone. There are several apps that can help keep your ideas organized. Two that I use often are Writer Lists and A Novel Idea. Writers List is a paid app and contains lists that can inspire ideas for writing, including ideas on characters, plot, and setting. It also includes information about animals, foods, colors, etc. A Novel Idea is a free app that organizes my writing ideas as well as details about current books I am working on and ideas for books I want to write. Some of the notes are brief while others are more detailed inspirations. When I need an idea, I often refer to this file.

Over the years, I have received great advice from many friends and colleagues about writing. Listed below are some of the most useful tips I’ve been given:

Tips on Writing Poetry

1. Write a paragraph about an idea for a poem. A paragraph usually contains four or more sentences of a collective idea. This step will help you to organize your thoughts. Take note of the key elements in your paragraph. What are some of the key words used? What is the tone? Then take some time and think about the poem and try to hold back from writing it. Take your idea and discuss it with others. There is great value in having a network of honest friends you can ask advice and receive encouragement. I am often surprised by the input and advice people share with me.

2. Poetry is not self-indulgent. Poetry is for the reader, not the writer. Poetry is about people, not abstracts. Use words that describe people and their experiences but avoid sentimentality. This helps the reader to empathize with the poem.

3. Use images. Remember Plutarch from my last blog entry? Poets paint with words. Poetry should stimulate the senses: sight, sound, smell, touch, taste, and motion.

4. Use metaphor and similes. According to the Oxford American Dictionary, a metaphor is “a figure of speech in which a word or phrase is applied to an object or action to which it is not literally applicable.”

Examples of metaphors: “a sea of troubles,” “life is a journey.”

A simile is “a figure of speech involving the comparison of one thing with another thing of a different kind, used to make a description more emphatic or vivid.”

Examples of similes: “cute as a kitten,”’ “strong as an ox.”

5. Avoid clichés. According to the American Oxford Dictionary, a cliché is “a phrase or opinion that is overused and betrays a lack of original thought.”

Examples of clichés are “live and learn,” “busy as a bee,” “avoid like the plague,” “what goes around comes around.”

You should always try to avoid clichés unless you are being ironic. I think that the best poetry is informed by ironic vision. When using irony, words can take on different meanings. The best poets use these different meanings to give further detail to the poem, so be aware of some of the contradictory possibilities.

6. Poetry is efficient. Words are not wasted. Adjectives are fun but watch over-using them. If a noun stands alone, then let it.

7. Poetry moves from specific to general. Poetry should begin with the particular and broaden.

8. There is a difference between truth and fact. Poetry is about truth, and truth is universal.

9. A poem lives partly in its silence. A poem is best when it leaves us with questions it has not asked. It makes the reader look for meaning.

10. A poem does not stop - it closes, it resolves. Other lines raise expectations of another, but the last line does not.

Here is a short video to help inspire creativity:

Video taken by Regina Horne Beard at Lake Greeson Wildlife Management Area in Arkansas (November 2013).