Different use of POV

[brian]

POV - Point of View - is the real medium for the writer. The writing itself does not write the story - the POV tells the story. Ultimately, good use of POV can make or break a story. A story with an incoherent POV use is likely doomed to failure.

A story with a tight POV use isn't necessarily going to get published - but get the POV issue right and that's one less reason for your manuscript to be rejected.

Anyway, Orson Scott Card's "Characters and Viewpoint" has a good - if somewhat brief - set of pages at the end of that work. However, they nevertheless provide a strong guide to POV usage.

The actual POV terminology employed seems to vary from source to source - personally I like OSC's, simply because they were my original focus for study.

However, the following extract covers the issue from a slightly different - though perhaps more inclusive - aspect. This may or may not provide an interesting guide to certain POV usage. It may also offer inspiration, as it explores different ways that POV can be employed.

Although the following is aimed principly at Romance genre writers, there's a lot here that is still applicable across other writing markets:

http://www.lionhearted.com/tips.htm

1. Objective Viewpoint assumes the camera's eye. It is always an external viewpoint, outside of all characters, only observing what the characters actually say or do, never what the characters think, know, understand, wonder, believe, etc. Example of objective viewpoint:

Celeste slipped behind the shadow of the doorway and clasped Elizabeth's wrist, giving a quick tug to follow her. She wasted no time in dragging the woman across the room until they stood a good distance apart from the crowd.

"You're still hung up on Richard," Elizabeth complained, rolling her eyes.

Celeste fumbled with her purse, She popped the clasp and searched the contents for a cigarette. "You don't understand. You've been happily married to the same man for sixteen years." She tucked her purse beneath her elbow and struggled with her lighter, clicking her thumb across the metal catch. The sparks did not ignite. "This is my second divorce. I know Richard was a loser," she said, shaking the lighter and trying again. "But I hate starting over. I'm just no good at it."

Elizabeth placed her hand on Celeste's arm, stilling her frantic movement. "Don't look now, but I think Mark's headed this way."

Celeste lifted her gaze then gasped.

"Need a light?" Mark asked, extending a lit match.

Objective viewpoint is a good viewpoint to use when you need to reveal the actions and dialogue of a character such as a villain or minor character and your hero or heroine is not around to observe the scene. It allows the reader to see and hear necessary information without going into the heads of minor characters. No internal thoughts or motivations are revealed unless shown through action or dialogue. Objective viewpoint is frequently used successfully in romance novels when it can be skillfully blended with a much heavier dose of the more favorite Limited Omniscient Viewpoint (#5).

2. In Modified Objective Viewpoint the narrator does not know what the character is thinking, but makes guesses. Sometimes the guesses will prove to be wrong, but the narrator is observing honestly what is happening right along with the reader and drawing the same conclusions as the reader. If the narrator is unreliable and not telling the reader everything he should, it is not acceptable to most readers, and the narrator is considered an "unreliable narrator." Hopefully, the narrator can create some feeling of intimacy for the reader with the other characters even though the modified narrator viewpoint has limitations on accuracy of what is actually going on in other characters' minds. A difficult viewpoint to pull off and keep reader attention. Not suitable for romance! Example:

Celeste walked into the room pale and drawn. Perhaps she had Mark on her mind all day, or maybe he had been in her dreams all night. Or, she could just be anxious about her ex, Richard coming around again. Nobody could keep up with which way Celeste's heart was tumbling lately. Her friend Elizabeth said she got a strange look every time someone mentioned either man's name.

All the other viewpoints covered will now be from a subjective viewpoint.

3. In First-Person Subjective Viewpoint the narrator is the character in the story, not an objective outside observer as in the two prior examples. First-person is always written from a subjective viewpoint, it is the story from only one character's viewpoint, and that character is telling what's happening to him, what he sees, hears, feels, etc. He can be the protagonist, the antagonist, or any character, even a minor character in the story. Example:

With my track record, I figured that the simple fact that I found myself attracted to Mark was a strike against him. Especially after coming out of my relationship with Richard. I sure can pick 'em. No doubt about it. My reaction to Mark was a sure a thing as Monday follows Sunday that there was something major wrong with him.

A good first-person story contains comments, observations, and reminiscences that belong to the narrator. She tells the reader what she's like right off the bat. Also, first-person permits the character to address the reader up close and personally. This viewpoint is the easiest form for the beginner as the first-person voice doesn't allow the writer to waver between viewpoints and make beginner mistakes. It is a viewpoint commonly used in mystery or suspense writing where it can be well done and compelling for the reader to not know what other characters are thinking. But, it can also be rather limiting. Most editors don't like it and most readers don't enjoy it unless the writing ability of the author is high, not a beginner. It can also be limiting if the writer needs to comment on the character herself, or if the character won't be present during important events in the storyline. In other words, point of view problems can arise as the plot thickens.

4. Second-person narrative is almost never used in fiction writing for the simple reason that the viewpoint assumes the "You" format, an odd address that calls attention to itself and will alienate some readers. It also tends to be awkward over the long haul. Example:

You've been asked by the Estee Lauder Corporation to create a love potion perfume to lure the right man. Sure, you think. After all, you've had plenty of experience attracting Mr. Wrongs... like Richard. Besides, you have Grandma Edna's book of spells and potions passed down from generation to generation. Witchcraft is in your genes. All you need to do is mix a couple of Granny's special ingredients with all the stuff you've learned not to like about men and shake well. Whisper the magic chant inside out and upside down... Wait a minute. This could be dangerous. Or, it could get you Mark.

5. Limited Omniscient is the strongest and probably the best viewpoint for romance novels. It tells the story through the character's thoughts and attitudes but cannot know the thoughts of other characters in the story. In romance it is the most frequently used point of view and preferably limited to the hero and heroine. It is done from a third-person position using both "he" and "she". On rare occasions the viewpoint of a villain who is present throughout the work is included. Also on rare occasions toward the ending of a book a third viewpoint may be used to create the beginning of an emotional bond between the reader and a new character who will be the star of the author's next book.

It is important to understand that unless the character is looking in the mirror, she can't describe the expression on her own face, or see her eye color. She cannot say her cheeks are red because she cannot see her own cheeks turn red. She can however, tell us that her face feels warm or she knows she is blushing.

Third-person limited Omniscient requires considerable thought and skill on the part of the author to limit the viewpoint to only the two main characters. Example:

Celeste slipped behind the shadow of the doorway and clasped Elizabeth's cold wrist, giving a quick look and tug to follow her. She wasted no time in dragging her best friend across the room until they stood a good distance apart from the crowd. Celeste was not about to make her conversation public.

"I'll do no such thing, Elizabeth," Celeste whispered in a breathless rush showing her embarrassment. "I don't care if I am attracted to him. No way will I ask the man if he wants to see me again."

"You're still hung up on Richard," Elizabeth complained, rolling her eyes.

Celeste wouldn't acknowledge the falsehood of her friend's words and instead fumbled with her purse so she wouldn't have to look Elizabeth in the eye. She popped the clasp and searched the contents for a cigarette she didn't really want. "You don't understand. You've been happily married to the same man for sixteen years."

She tucked her purse beneath her elbow and struggled with her lighter, clicking her thumb across the metal catch. The sparks did not ignite. If only it was that easy to keep the sparks from showing in her eyes whenever Mark was near, an impossibility. "This is my second divorce. I know Richard was a loser," she said shaking the lighter and trying again unsuccessfully. "But I hate starting over. I'm just no good at it."

Elizabeth placed her hand on Celeste's arm, stilling her frantic movement. "Don't look now, but I think Mark's headed this way."

Celeste lifted her gaze then gasped as a pair of vivid blue eyes met hers. Oh Lord, did he know the sight of him turned her bones to jello.

"Need a light?" Mark asked, extending a lit match. He reached with his other hand and gently grabbed Celeste's shaking wrist as he led her cigarette to the flame. His breathe caught with pleasure as he felt her accelerated pulse and noticed the heat in her face. He prayed it had nothing to do with the open flame he held before her.

Celeste is telling the story until we hit Mark's dialogue. Every thought, every observation comes from her point of view until he speaks. Then it is Mark's turn and we begin to see his point of view. We may remain in his viewpoint for a page or more or even until the end of the scene or the chapter. Notice that while we are in Mark's point of view we don't have Elizabeth's viewpoint, only her words and actions.

6. Omniscient Viewpoint uses a narrative that is all knowing. God like. The narrator knows what everyone thinks, all their prior history and all their current and future motivations. Although it was popular in Victorian novels because it gave everyone society's view on every little thing, it is not always effective for today's long prose because it tends to be confusing as to who the reader should form an attachment to. In omniscient, every character will likely be given an opportunity to reveal at one time or another their thoughts, opinions and views.

Seen more in mainstream fiction than romance, it doesn't give modern romance readers the tightly woven, compelling, emotional story they have become accustomed to reading. In romance multiple viewpoints are a distraction and considered by many as lazy writing or a sign of a less experienced writer. Example:

The bar was crowded with hungry man-hunters. The way they leaned on the stools gave them away. One blonde licked her lips and thought the man entering the bar reminded her of her ex. A brunette leaned back thrusting her chest forward, hoping the newcomer wouldn't miss her invitation. A row of puckered mouths painted several shades too red pouted while hips swiveled in a way nature never intended. In a far corner beneath the dim light of a tiffany lamp stood Elizabeth and her friend, Celeste. A stab of apprehension at the sight of Mark went through Celeste. Elizabeth knew what doubts raced through her friend. They stole glances at Mark who hovered beside the bar. Mark questioned the wisdom of walking away from the row of long legs, stretched between short skirts and slutty shoes toward the dimly lit corner.

7. Author Intrusion may have been an alternative viewpoint in the 1700's and 1800's, but it is no longer an acceptable option today for the simple reason that it jars the reader from the story, making for a less compelling read. The exception of course, is if the author is the character in the story and is writing from the first-person viewpoint where "intrusion" is how the story is actually told.

An example of author intrusion today would be when a particular fact fascinates the writer and she includes it in the manuscript. Or, the author feels so strongly about some moral, religious or political point that she inserts her own opinion, not the opinion of the character. Not a good practice. Example:

Celeste stood on her toes to accept the light. She drew a long breath from her cigarette. The Surgeon General warns that cigarette smoking is hazardous to your health. "I know I should quit," Celeste said.

Once viewpoint is established, it should be reinforced continuously. Don't use the heroine's viewpoint for the first six chapters then suddenly drop in the hero's point of view. That is not smooth writing.

In romance you want to use both the hero and heroine's point of view, and use them early so the reader is set up for two points of view. Perhaps use one point of view in chapter one and a second point of view in chapter two, or use one for scene one, chapter one, and another for scene two, chapter one. This eases the reader into your particular style. Proceed with caution. If you bounce back and forth between the two characters too frequently, it will appear that you are "head hoping." It is like a rapid game of ping pong, the reader gets whiplash and becomes distracted by the writing itself and removed from the story you are tying to weave. In love scenes transitions do tend to take place more frequently between the two points of view, but make these transitions flow smoothly.

When you switch point of view, do it at the right times. Have good reasons. Strike a balance between both hero and heroine. Decide before you write a scene who "owns" that scene and do the majority or all of it from that character's viewpoint. The one with the most at risk or the most to lose "owns" a scene.

Don't waffle into minor characters heads. Too many points of view creates omniscient viewpoint problems, a place you don't want to go as a romance author. For example, at a wedding, the reader doesn't need to know what the minister is thinking while he performs the ceremony nor that the maid of honors dress itches. They are unnecessary points of view and serve only as a distraction to the bond being developed between our hero and heroine and the reader.

When describing the viewpoint of your character, be creative. Looking in a mirror or a clear pond tends to be cliche. Instead show other people's reactions to the character, such as women staring when the hero crosses the room. Don't tell us he's tall, rather show us the way the heroine has to tip her head to look up at him. Find an emotional connection between the character and her looks. She wishes she had her mother's beautiful brown eyes instead of her childishly round blue ones. Reveal your characters five senses (touch, smell, taste, hearing and sight) along with their thoughts, emotions, motivations, goals and passions.

Delve inside your character and stay there. In romance it is a given that the best narrative is third-person and the best viewpoint is limited omniscient using both the hero and heroine.

Once you grasp the basic principles of point of view (POV), your story will be easier to follow and your readers will be able to bond with your characters.

[Foxbat]

Hmm. Lots to ponder here. thanks for the post Brian.

Personally, I tend to work in either Objective or 1st person. 1st being my preferred choice.
I do agree that choice of POV can make or break a story and, for that reason, I sometimes write a few paragraphs of the same piece from different perspectives. I find it helps to get things into 'perspective'....if you know what I mean.

[Michael]

Darn--my book still has viewpoint problems then. Recently, I decided to revise the entire story in Limited Omniscient. I probably should have kept in the original 3rd person. I'm pretty sure there are lots of places where my characters describe their own faces (just because).

Thanks, Brian. I'm going to start focusing on other projects and keep these points in mind. I still love my story, though, so I'll just edit out things like that this time (instead of rearranging the whole book again).

[I, Brian]

I think Limited Omniscience is actually a part of Third Person - usually called Third Person Limited by OSC, I think.

My personal preference is to write entirely Third Person Objective - that means no character thoughts, but instead actions and tone to decipher what someone is thinking. Unfortunately, though I can read that fine and empathically, it erally is frowned upon in SFF - literature in general - as a whole style to a novel. I think it was in a Sol Stein book that I read the only proper implementation of this POV was in the Maltese Falcon. In other words, not a good choice for a first time author.

My personal practice is actually to decide upon a POV, find a *good* book written in that POV, and then use that as your technical guide to your writing style. For example, my current work use Frank Herbert's "Dune" as it's model for Third Person Omniscient. More than that, there are some very important writing devices worth noting since - such as the fact he never uses an objective POV - everything is character based. And as was emphasised to myself, it is the character experience that is everything in the novel.

[Michael]

Oops! You're right--I meant like a general omniscience, when all the characters thoughts are revealed.

[Chefo]

Limited Omniscience all the way...

I don't think I actually had a choice though. I have several main characters with distinct views of the situation so to make sure I got their differences in motivation portrayed the right way, I had to go down that path.

Chefo

[I, Brian]

Don;t worry about the terminology, Michael - it's pretty darn confusing actually.

I like Orson Scott Card's nomenclature for it - use of person view as the delimiter - ie, third Person, First Person - and then the distant and variability of the narrative voice as appended to that. Makes things clearer to myself. After all, isn't a First Person also Limited?

[Michael]

Certainly--first person (unless it's God doing the talking) would have to be very limited. But yes, I at least thought at the time of revision that a Limited view was preferable, which was why I did it. I'm still working on tightening up perspective, however, so thanks again for the pointers!