Multiple Points of View

The first book I read with multiple points of view was Cornelia Funk’s Inkheart. At that time, I was new to the whole read books if you want to become a writer philosophy, so I didn’t understand the reason I had a hard time enjoying this novel. I would come to understand that different perspectives meant different points of view from the minds of two or more characters.

In Inkheart, character points of view flip from Meggie, the protagonist child, to her father, then to the villain, etc.  I found the reading experience jarring because the perspectives switched suddenly, and often happened within the same chapter.

In Writing Young Adult Fiction for Dummies, author Deborah Halverson explains, “They [writers and editors] say it’s asking a lot to expect teens to emotionally connect with that many narrators. It’s also a lot of work for the writer. Mastering a single, distinct narrative voice is a full plate; creating three, four, or even five distinct voices for the same story is a tall order.”  

Emotionally connect.

Hmmm. For me, that’s it.

In a novel, if I don’t bond with a character I’ll set the book down and choose another. In one book I read with duel points of view, I found myself skipping ahead to find out what happened to the secondary character over the protagonist.

JK Rowling had a unique way of getting around the multiple points of view with Harry Potter. She was able to put Harry at the scene of every important event that might have,  just as easily, used a second or third point of view.

In Harry Potter and the Chamber of Secrets, Harry had Tom Riddle’s diary to transport him back in time to experience the events when Hagrid was expelled.  In Harry Potter and the Half-Blood Prince, Harry saw the world through Nagini’s eyes when Mr. Weesley was attacked at the Ministry of Magic.

Many times, Rowling used the pensive to enter other character’s memories. This technique let readers watch alongside Harry and decide for themselves what they thought of certain characters. For example, the reader saw Snape getting picked on by James and Sirius; the reader was pulled inside the courtroom trial of Barty Crouch, Jr.; and even tagged along with Dumbledore and Harry on their visit to see Tom Riddle at the orphanage.  And what about Harry’s scar? Harry’s scar was the reader’s connection into Voldemort’s mind.

Throughout the whole series, although not directly put inside the heads of these characters, I felt as if I knew them. Didn’t you?

I am an equal opportunity book reader, and just because a book offers several points of view doesn’t mean I’ll discard the novel. I loved both Newbery Medal books, The Underneath by Kathi Appelt and Splendors and Glooms by Laura Amy Schlitz. Each of these novels also had an adult narrator. So, what made those novels different, at least to me?

In Writing Young Adult Fiction for Dummies, Deborah sums up my feelings about multiple points of view in three suggestions:

1. Make clear breaks when switching from one POV to another.

2. Be diligent about making the voices distinct from each other.

3. Be sure that each character adds something that the other characters could not—information, important opinions, and so on.

I have no doubt choosing this writing style would be an enormous challenge, and I’m excited to find out if, as a writer, I can divide my narration into a horcrux without destroying my story’s soul.   

Happy Anniversary, Lorne!

Thank you for the last twenty-two years. I love you more with each passing year. It's been particularly nice to have couple time with Lucy in California. It's good to know that you and I will be fine when our nest is empty.

I love you and I'm looking forward to growing even older with you.

Deep Point of View

A member of a critique group I used to belong to became frustrated when, in my critiques of her work, I suggested that she write using deep point of view. She expressed that I was trying to change her writing style. 

For me, writing in deep point of view isn't part of my writing style, as she suggested. In my opinion the concept of deep pov is mechanics, and can be a learned writing technique, like learning where and when to use a comma. Deep point of view makes a story active and eliminates much of the dreaded "show don't tell" comments I would receive when I'd submit to first chapter for critique at a conference. 

I finally understood this concept after reading a writing craft novel by Jill Elizabeth Nelson titled Rivet Your Readers With Deep POV. This concept is often explained by guest agents and editors at conferences and on many professional blogs, but Jill's book broke it down for me. 

I advise every writer I met to read this book, yet I'm surprised how many writers don't bother. Maybe writers in general are a stubborn breed. After all, writers have to be thick skinned to handle the dreaded rejection letter. But, having thick skin is different than having a thick skull. 

In the introduction of Rivet Your Readers with Deep POV, Jill asks the reader: 

"Have you ever read a book that melded your mind with the main character's psyche? No vague sensation of an invisible narrator inserted itself between you and the point-of-view character. Line by line, scene by scene, you lived in that central character's head. Even if the story was not written in first person, the hero or heroine's every experience became yours, and your reading pleasure intensified."

Yes! Yes! Yes!  These are the books I love to read, and if, after the first few pages, I don't feel this way, I set down the book and pick up another to read.

If these are the books I want to read, how could I not want to write in this way? Isn't that my goal as a writer? To make my readers bond with the characters I create? 

The answer to my question is Yes! Yes! Yes!

A Booger Biography

To prove Booger Red was not a chunky nasal excrement here is his obituary:

Texas Nachos at Booger Red's

On our visit to Fort Worth last month we ate a a restaurant called the H3 Ranch, aka Booger Reds Saloon.

I had more fun looking at the scenery than I did eating my meal--the food was good, but the atmosphere was fantastic. This is where I drank Buffalo Butt Beer, although I didn't saddle up to the bar. 

In the far right there is patron who's back in the saddle again. 

No, really. I watched him return from the restroom. 

Anyway, we ordered nachos and here's what they looked like: 

In California we call these tostadas (sorry it's crooked, I couldn't figure how to rotate the photo)

Nothing like a little bedpan music in the upper right corner. 

Patchwork Road

Our street is off of a road that leads to a major Texas interstate. Semi-trucks are not supposed to use this road, but the local police do not enforce this rule. Thus, the heavy load the trucks haul leaves indentions where their tires trek up and down the roadway. This road had become so bad just driving on the street could throw out a car's alignment.

For the past year, the city promised to repave the street. Here's what my three mile drive to the interstate looks like now--bless their hearts.

 Pulling out onto Bear Creek

Approaching the interstate

These Boots Are Made For...

Plants?