Back to Basics-Point of View

There has been some discussion about Point of View around the writing world of late. 

It's a concept that seems so easy to grab a hold of, yet can sneak up behind you, right in the middle of a paragraph or a scene and mess up a story.

Let's tackle this one today. I am in the mood to conquer something.


FIRST: We need to know whose story we are in. What one person's life are all the pieces  impacting?

This does not mean the entire story is done in this one person's point of view. It can be, but it doesn't have to be. Feel confused? This is most likely the core of a point of view problem. Don't worry. We are going to take this concept apart.

To best communicate Point of View, I am going to use a familiar Bible story:

John the Baptist had an epic role in Christendom. His job was to announce and point the way to the Lamb of God. John had a feisty personality. He said what he knew and thought. He didn't apologize when someone became offended. From the announcement of his birth in the temple to his beheading, any part or all of his story is important to read.

To truly know John's story, we need to hear from others who impacted his story as well as John.

We could start from the beginning. Whether we use this in our written story we at least should research this information to have a better feel for the whys and whats that John did.

John's father was a priest. A high ranking priest who was chosen to go into the Holy of Holies one day. While his father was there, an angel appeared and told him he and his wife would have a baby. Zechariah didn't believe the angel's message. Zachariah and Elizabeth were much too old to have a baby. They probably didn't live long after John's Bar Mitzvah. They probably didn't have much of an inheritance to pass on to their son because they didn't think they would ever have one. Most likely they raised John in an environment of older adults, people who were their friends. 

Everything written in this story from Zechariah's point of view must only pertain to John the Baptist. Everything in Zechariah's point of view MUST be solely Zechariah's opinions, what he witnessed by sight, hearing, feeling, etc.

By including Zechariah's side of the story, we learn a lot about John the Baptist. We see why John lived in a desert, ate little more than locust and honey, and had a simple wardrobe consisting of clothes made of camel's hair. Why he had little money. Why he grew up with old parents and probably never learned to play with kids his age. John had to be a survivalist.

A portion of John's story needs to be from Herod's point of view. Politics played an important part in what John and others did. Herod, the governor, hated John, but was intrigued by him. This scruffy desert man made a fool out of Herod by accusing him of killing his brother then marrying his brother's wife. Imagine! Herod, a high ranking official serving the Roman government being accused by a desert rat. The story may have been true, but John obviously didn't know the power behind the man he accused. Still, the words John said intrigued Herod. He wanted to hear more but was embarrassed to admit it. This same spunk was a characteristic Herod had and appreciated. However, he was not afraid to put John in jail to still John's thunder.

Everything in Herod's point of view must only pertain to John the Baptist. Everything in Herod's point of view MUST be solely Herod's opinions, what he has witnessed by sight, hearing, feeling, etc. regarding John.

Sometimes there is a character that is difficult to write. The reason why can be anything, (ex, could I write talking trees like Lewis or Tolkien?). As the writer you have three choices: 

*You can choose to include something in a scene or more from this character's point of view.

*You can choose to leave this aspect of the story out.

*You can choose to represent this character from the Main Character's point of view.

In John the Baptist's story, telling Jesus's point of view would be the difficult one.  John had several interactions with Jesus. One while he was yet in Elizabeth's womb, one when Jesus was baptized, one when John sent his disciples to follow Jesus. 

The problem I would have with telling Jesus point of view is Jesus is God. I don't know and never will know what that is like. I can't begin to imagine how Jesus would have felt when he asked John to baptize him. What was inside of Jesus's mind when John said, "No, I should be baptized by you." I can suppose there was the compassion, the understanding, the need to make a point, all characteristics of our loving Father. But I don't really know. 

I can figure out how to portray a man's point of view because men and women are both creations of God. We are both human. But doing Jesus, God's beloved Son? Well, I would feel unsure about the words on the page.

For me, I'd include the portion about Jesus, BUT I would do it from John the Baptist's point of view. What John saw Jesus do, what he heard Jesus do, why he sent his disciples to follow Jesus, and etc. Nothing from Jesus point of view.  In the brief example about the C. S. Lewis' trees, I might have presented the trees from Lucy's point of view. What she heard and saw them do and how it related to that story.

THE KEY IS a point of view is given it's own scene, chapter, or chapters. Everything written in this portion of the story must solely be from that character's view. What that character sees, hears, feels, touches, tastes. If the character's back is turned, he cannot see what is happening behind him. He cannot KNOW what someone else is really thinking. He cannot HEAR what another person hears unless circumstances allows him to.

General rule for stories: the younger the audience/reader, the fewer points of view allowed. 

A story about the John the Baptist for children should only have ONE point of view (probably John's)

A story about the John the Baptist for young adult can have TWO points of view (probably John's and ... let's see...I'd probably add Herod's for spice)

A story about the John the Baptist for adults can have multiple points of view but don't go crazy. Too many can be confusing. (probably Zechariah's, John's, Herod's, and maybe Andrew's)

I hope this has cleared the waters for you. If there is still some muddy parts, ask! We are here to help.

I can't wait to read your comment(s)!

Help others--tweet or FB share this post

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Mary Vee -  Rock climbing, white-water rafting, zip lining, and hiking top Mary's list of great ways to enjoy a day. These activities require lots of traveling, which is also tops on her list. For some crazy reason, the characters in Mary’s young adult mystery/suspense fiction stories don’t always appreciate the dangerous and often scary side of her favorite activities. Unbelievable.

Mary studies marketing and writing skills, and pens missionary and retellings of Bible stories on her ministry blog, God Loves Kids. She has been a finalist in several writing contests.

Visit Mary at her website, blog, and her ministry blog to families: God Loves Kids. Or chat on Facebook or Twitter

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On Being Mentored-Point of View

The point of view (POV) we chose for our WIP/manuscript can make or break our story's success.

Master writers select a character to tell a compelling story. The chosen one has the most obstacles, the most to lose, the greatest need, and the reason to move forward.

Consider The Three Little Pigs. This short story, told from the pigs' POV, compels readers to side with the pigs and disapprove/fear the wolf. Many children and adults have enjoyed re-readings of this story.

But on March 1, 1996, Lane Smith authored The True Story of the Three Little Pigs from the Wolf's point of view.  This book has earned high reviews and possibly is as well known to children today as The Three Little Pigs. I must admit--I liked this book more.

As I sat down to write this post, I realized The True Story of the Three Little Pigs would not have grabbed my vote had The Three Little Pigs not been written first. So I asked myself, would I have enjoyed the Wolf's POV had I not known the Little Pig's POV?  Probably not.

Let's look at a few works by master writers to examine why he/she chose their character's POV:

Gone With the Wind by Margaret Mitchell - POV chosen:  Scarlett O'Hara - Civil War romance novel


Does Scarlet really prove to be the best choice for POV? 
Here is the test, (feel free to add your comments at the end of the post)




Reason to Move Forward: Survive affects of the war, find true love
Needs: Romance, wealth, attention, status, security
Losses: home, husbands, child, stability, wealth, 
Obstacles:  ego, Ashley married Melanie, Brett's true love, Civil War


Contenders for POV:
1. Ashley:  NO! His story would be boring, whimpy, whiney
2. Rhett:     No. Life came to easy for him. He had everything he wanted and few if any obstacles
3. Melanie: NO! Melanie's story would be too sweet, gushy, positive
4. Mammy: Perhaps, but her POV would write a different story. I think I'd like to read it.
5. Scarlett: Yes. Only Scarlett could tell this story.

The Husband Tree by Mary Connealy - POV: Belle Tanner
Western historical romance

Here is Belle's test:

Reason to move forward: Move surplus cattle to auction before winter, protect ranch, no more lazy-money grabbing husbands
Needs: true companion, honesty, trust, ranch hand
Losses: ranch, cattle, home, access to way home, daughter, ranch help
Obstacles: handsome lazy-money grabbing men, winter, too many cattle, needed major repairs for home


Contenders for POV:
1. Lindsey (Belle's daughter): No. She did not return home which would have changed the ending. While she had some of the needs, losses, reasons to move forward, she did not have the greatest.
2. Silas: Possible. Most humor material would be lost, his character would tell a gruffer story, may not lasso readers into the story.
3. Belle: Yes. Humor, rugged spirit, gooey heart, independent, in need of help more than she realized.

Redeeming Love by Francine Rivers - POV:  Angel (aka Sarah) A retelling of the Bible book, Hosea

Here is Angel's test:

Reason to Move forward: survival 
Needs:  escape from evil, a reason for hope, commitment, saving, home, security, true love, dependability
Losses: home, parents, respect, freedom, love, choice
Obstacles: money, captors, imprisonment, lack of life skills, anger


Contenders for POV:
1. Duke or Duchess: NO. Both caused serious problems and neither wanted to move away from their negative setting.
2. Michael: possible, but essential beginning story line would be lost, did not have greatest needs/obstacles, would be told from hero's POV
3. Angel: YES. Her story yanks every emotion into play.

Let's also consider a true reporting of this event: 

Consider your answers for David, or for your own POV

David and Goliath by God - POV: David
Historical battle

Here is David's test

Reason to move forward:
Needs:
Losses:
Obstacles:.


Contenders for POV:

What if you chose a different character for your WIP? 

Could this change bring spice, sassy, salt, suspense, page turning interest?

Self-Editing Checklist: Point of View

Do you ever have too many characters talking in your head at once? It's time to take charge and make them wait their turn.

This week we're looking at Point #7 in my self-editing checklist: Point of View. (For Points 1-6, click here.)

When analyzing Point of View in your scenes, consider the following items.

a) Have you chosen the best viewpoint character for each scene? Usually this is the person with the most to lose or the most at stake.

b) Do you stay in one POV throughout the scene? Do you see only what your POV character would see? Hear only what they would hear? Notice only what they would notice? Think only what they would think?

c) Is the language in the scene right for your viewpoint character? If your POV character is a 90-year-old grandma, she probably wouldn't think, "Dude, that is one sick iPad," unless she's the hippest granny in the universe. I'm not just talking about dialogue here...This encompasses the entire scene.

d) Look at descriptions. Can you tell how your viewpoint character feels about what you're describing? Do you have them interacting with the setting and fusing that with their thoughts and actions?

e) How deep do you go in the POV? Most books being published today put us right in the character's skin and emotions, eliminating distance words like "realized", "wondered", etc. This concept also ties in with showing versus telling. For instance, instead of saying, "She wondered when he would return," you could say, "Good gravy, he was taking forever to get back." By eliminating the word "wondered" and dumping us right in the character's head, we get a feel for her personality and feel as if we are that character.

Resources: Camy Tang has some uber-helpful articles on her Story Sensei blog. Some of my points above are summaries of her material. To get more in depth, check out these articles on basic point of view and deep point of view.

And of course, the primary foundation of my self-editing checklist is always Self-Editing for Fiction Writers by Renni Browne & Dave King.

Your homework for the next two weeks, should you choose to accept it: For each scene you've written, write down the POV character and analyze whether they are the best character for that scene. Comb over your scenes to make sure you're staying in the POV characters' skin and thoughts, and analyze word choices to ensure they keep the POV deep while also revealing who the character is.

Which POV do you typically write in? 1st person or 3rd person? With multiple viewpoints? What are your best POV tips for our readers?

* Text bubble photo by Renjith Krishnan / FreeDigitalPhotos.net
** Grandma photo by Ambro / FreeDigitalPhotos.net

Take A Walk In Their Shoes: Secondary Characters

There are times in our lives where we have to walk in someone else's shoes for a bit. Our eyes see life from their perspective for those moments, and we feel like we know them deeper, or we empathize with them more.

An example in the life of a stay-at-home mom:
Mama takes a much needed weekend, and Daddy gets the kids!

All three of the rug rats' energy levels are busting the shingles off the roof one by one.

Daddy gets to wipe noses, make breakfast, clean up messes, entertain, discipline, wipe more noses, and administer the daunting task of bedtime...all...by...himself!

What happens when refreshed Mama walks through the door on Sunday?

“Wow, I know why you needed that break, Mama. Can I have one?”

Daddy is exhausted!

It's always nice to have someone understand what your life is like, and appreciate your time. And the same thing goes for characters in your wips...if you walk in their shoes a bit, then you get to know them better.

This happened to me on accident. The other night, I began to write from my hero's perspective...thinking I might actually use it in my wip. I had written a whole 165 pages in my heroine's perspective...first person, and then had a not-so-great idea to switch pov's... Even though I didn't stick with it, I realized it would seriously hurt my story, it did give me a chance to step into the shoes of my hero. I learned more about him, and even found a way to step up the tension in my novel, after learning about his own fears.

Even though writing time is precious and, sometimes rare for some of us, step into your secondary characters shoes every once in a while...it will open your eyes to a whole new perspective.

What are your favorite “oops” moments in writing, that have enlightened your writing journey? Several of the Alley Cats have mentioned techniques to develop your characters like interviews, journal entries...do you have a sure way to develop your characters?

In My POV

Hmmm. These look sooo good, so settle in with a few (no calories, I checked) and enjoy the chance to learn about POV from.... well my POV!

P.O.V. Point of view. It is the head of whoever you are in while reading (or writing). POV needs to be consistent without a jump from one head to another while in one scene. Otherwise referred to as head hopping. A change of POV needs to be defined by a series of *** or ### or just a couple enter jabs on the keyboard. Whatever way, it needs to stay consistent the entire book through.

I really like POV. I didn't used to. It would bother me as I was reading and I would enter another scene where the opposite character would see the other person (upon whose head I was just in) completely different they were just protrayed to me.

Until I started writing my own work. Now I love POV and let me tell you why.

POV gives you the chance to show the reader (notice I said show here not tell) what the other person is really like. When you are in the head of one character you are going to get their personal bias and opinions. Unless you are a self incriminating person, you are not readily going to see some of your faults or what some people are going to consider faults.

But when you enter the head of the character opposite the other character, you get an entirely different view point. You see the other character's bias, and in that opportunity you as the author have the chance to show the reader your hero or heroine's main problems that they need to work out. Let me give you an example.

Mabelle crossed her arms and quirked a brow. The gum between her teeth snapped and popped and she chomped down hard on the defenseless minty rubber. "What do you care anyway? It's my problem." She showed Brad her back and marched away. He just had to poke his nose in her life. Make her feel inferior and good for nothing. She didn't need his help.

*****

Brad groaned and ran a hand through his hair. Why did she always have to do that? Walk away when he was only trying to help. To show her that he truly cared for her. There was no way she could move all of her office supplies, filing cabinet and computer junk all the way across the building on ten inch heels. Brad slapped his hand against his thigh. So be it. If she wanted to be stubborn... well two could play at this game too.

Do you see the difference? In Mabelle's scene you see her opinion of Brad. Nosy, obtrusive, busybody. She wants nothing to do with him. But flip the other side of the coin and you see that Brad really does care. He wants to help and can't understand why she just won't let him. He finds her stubborn and uncaring.

For every coin there are two sides. And for every story there (unless you are writing first person) will be at least two points of view. You as the author have an amazing tool in POV if you just use it correctly.

You can:

~Have a character view another's actions and be completely wrong, which plays into tension later.

~Show a character's true actions for what they really are.

~View the same scene, but with a completely different take away value.

~Play with emotions that another character will not see.

~Pit actions, views, or emotions against characters.

There are so many fun (and challenging) things you can do with POV. And one of my favorite things about POV is used in the example above. You can take each character's actions and pit them against each other. Because no two people are going to see the same scene in the exact same way. Just like a fingerprint, it will always be different.

POV does not have to be just about two different characters working for or against each other. When in a certain POV, you are going to see that world in an intimate way through that character's eyes. Depending on your character's mood, you are going to see the world in that manner. If your character's mood is dark and brooding, no matter the scene, be it bright and sunny, the POV character is only going to see the worst. And the exact opposite is true too for the other way around.

When you write a scene, you need to consider the character and their mood at the moment. Think about when you are depressed or when you are happy. No matter what, nothing is going to get you down. If you are peace, secure in your world and the Father's love for you, you are not going to necessarily notice the wicked and dark. (depending on what you are writing here)

There are many fun things you can do with POV. The options are endless and given the deft hand and skilled writer that I am sure you are, you can expand on this and use your imagination to push your character's POV deeper and wider until you have tapped into an amazing reserve of knowledge about your character's emotions. And that is really what it is really what it is all about. Getting to know your character until you understand their actions on an intimate level.

So, do you have anything to add about POV? I am still learning too, we will never stop, so be sure and share!