So you’ve got a story to tell -- the great what if: "What if there were three brothers. Two were cheap and lazy, and they built their homes out of straw and sticks. The other, the eldest and more responsible, built his home out of brick and river rock. Let’s say a great wind-blowing demon came to town bent on eating the three brothers. How will the brothers combat this great demon and protect themselves?

Great story! Four great characters! (Okay, maybe not, but for the sake of this discussion, pretend.)

Now, who tells the story? Do you choose one character, perhaps the older brother? Okay. You choose him. Do you have him tell the story? A first-person narration?

Or do you use third person? If so, which? Do you use a third-person objective narrator who only reports on what the older brother does with no access to his thoughts or knowledge?

Or do you choose a third-person limited viewpoint so the reader can hear his thoughts?

Or do you choose a different brother? Perhaps it’s Calvin, who wants to be like his oldest brother, but is swayed by Doug’s desire to have fun? Maybe this is a story about making choices and it is Calvin who has to decide. Or, maybe you choose Doug, who learns that always taking the easy way out is not the best. Then you have to decide first person, third-person objective, or third-person limited to a single viewpoint. Or, maybe when the demon comes, you need to see each brother in action, for the narrator to be as a camera in a movie, like in the Aliens series. Or do you need to do more? Be in the heads of the characters? Be more knowing and omniscient? Choices: how does one decide?

Choosing the point of view of a story/novel is probably the most important decision an author has to make. Yes, plot and character are important, but choosing the wrong viewpoint, and subsequently the poor execution of viewpoint, can lessen the connection and relationship you want with the reader.

So how do you decide?

1. Ask yourself, whose story are you telling? This character is usually, but not always, the protagonist. This character is changed the most or learns the greatest lesson by what happens--the one who undertakes the journey. In third-person limited stories, this is the "I" or the character through whom the narrator usually operates.
2. Even if you don’t know the entire plot, lay out what you can. Look at the scope of the journey.
   Who is involved? For instance in my above examples, the plot is a basic thriller. I’ve decided that I want Doug’s obstinacy to cost him what he holds most dear, the life of Calvin. Also, Charlie must come to terms with his innate pride and how this pride has driven Doug to avoid taking responsibility. This occurs as the trio fight against a demon known as, "The Wolf." The wolf appears as a wind and steals the souls of its victims. The only way to kill the demon is to cut out its heart, which is located within the core of its essence.
   On its face this is a small story, only four major characters, maybe more if I add a couple of significant others. If I have trips to the hardware store, police officers who come out to investigate a prior feeding, there may be minor characters who might add texture or flavor.
3. Decide which character(s) would best be able to tell the story.
   The logical choice for the example would be one of the three brothers or maybe all three.
   At this point, there are no set rules. You must make the choice.
4. Once you have made that decision, you need to select the viewpoint: first person, third-person objective or limited central or limited shifting, or omniscient. And yes, depending on the technique or style you might be playing with, there can be some mixing. Ninety-nine percent of authors pick one and stick with it. Those who do this have a good mastery of the craft and have a plan. Shifts are seldom or never made mid scene. With that proviso said:
5. Write!
   

As you are writing, pay special attention to point of view. If the point of view you've chosen doesn't work, you can always go back and try another. Unless you must meet a deadline, writing is more often a long-term commitment and an endurance marathon, than a sprint. Don’t become frustrated. If necessary, experiment and work on a story from several viewpoints and figure out which works best. When writing, remember: play is good.

Why don’t you try your hand at playing with point of view?

1. Write a scene from your favorite fairy tale—Little Red Riding Hood, Snow White, or Cinderella— from different points of view. Don’t just change characters, try using the same character and switching from first person to third- person limited, to third-person shifting, to objective, to omniscient.
2. If you have written a short story, take that story and write it from another viewpoint.
3. For some additional exercises try this website: http://www.cacoethes-scribendi.com/povexercises.html

Besides writing, read. But don’t just read to read. Read as a writer and study the craft. (Caution: After you start to do this, it is a habit that becomes difficult to break.) What techniques work for the writer? What doesn’t work? Look at word choice, sentence and scene structure, and since we have been looking at point of view, look at point of view.

Next month I hope to look at some of the common mistakes bards make when working with point of view.

Until then may the Muses be with you!

Lifetrekker
www.lifetrekker.com


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