Tag Info

Hot answers tagged

7

You have to identify them somehow. Use adjectives. The tall man vs. the short man The older man vs. the younger man The long-haired man vs. the man with the thistle-down hair The carpenter vs. the electrician The French man vs. the German man It may get repetitive to say "her hands rested on the carpenter's shoulders, just they way they rested on the ...


7

Serve the plot. I actually don't mind having a 10:1 ratio if the one scene packs a real punch. I wouldn't arbitrarily make half your scenes the other POV if it doesn't do anything to advance or improve your story. Don't fix what ain't broken.


7

Everything is about him. The other characters talk about him, plot about him, worry about him, try to contact him. Everything is about what he's doing or where he's going and with whom. Scenes where he isn't there detail the effect his actions or words had on the other characters. If it's his story, then tell his story. The TV show Person of Interest is ...


5

I agree with Lauren's answer; there's no sense in "balancing" things for the sake of one scene. There are a few ways I can see to handle this: You can encapsulate narrators to keep a single viewpoint, sorta. I have an example from a friend named Joe, although I wasn't around when Phil told me about it. Phil says: "In response to my question, Joe looked up ...


4

I also have multiple POVs in the story I'm currently working on, each mini-chapter switching between main characters and supporting ones, and the way I try to convey who the protagonist is is by making her related to all the conflicts that take place, whether her role in each conflict is central or minor. Of course the main story-line is hers, but when I ...


3

You are allowed to have the prologue narrated by a different character as long as it is absolutely clear who the narrator is. You do not have to change the whole book. In fact, every chapter can be a different viewpoint narrator; George R.R. Martin does this throughout his Song of Ice and Fire books. You can also have the prologue written in third person ...


3

Here is a problem I run into regularly as a short story writer. Sometimes I don't ever plan to give someone a name. Particularly if they are going to be disposed of in some fashion not warranting the effort of naming them. Name them by what they are wearing, i.e. a mugger in a red jacket becomes Red Jacket for the sake of the internal dialog of my main ...


2

A classic method of uniting multiple POVs is to have characters tell what happened to them (in first person) for a whole chapter. Usually they are telling their story to the main character. Example: Canterbury Tales, Frankenstein, Arabian Nights. However, a complex story can have more than one protagonist, and might not have one MAIN protagonist. (Or if ...


1

If you need the character's thoughts but want only action in the first part, there is no reason not to use 3rd person limited. It allows both pure action without thought and then action accompanied by thought. 3rd person limited does not limit you to only thought or only action; it can do both. Example: John picked up the book. He read it. He turned ...



Only top voted, non community-wiki answers of a minimum length are eligible