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Part v. Alternating Multiple POV's

While the general trend is for novels (or other narrative works) to adopt a single POV throughout the novel's entirety, some authors have experimented with other POV's that, for example, alternate between different narrators who are all first-person, or alternate between a first- and a third-person narrative perspective.

Multiple Third-Person POV

Allowing multiple characters to narrate a novel—writing in third-person with the camera close over the shoulder of one character at a time—enables you to tell a story on a much broader canvas.

Different scenes can be narrated by different characters, and if one viewpoint character gets trapped in a cave, you simply switch to the viewpoint of another character. Multiple viewpoints give the author much more flexibility in telling the story.

Using multiple POV's can be liberating. You can dramatize virtually anything—just shift the POV to a character who's there.

The great advantage of multiple viewpoints is that it enables you to create considerable dramatic tension and suspense because the reader is privy to much more information than any individual character.

But don't underestimate the skill it takes to create even one strong, distinct voice, never mind several of them. Too often, inexperienced writers attempt to write in multiple POV's and the book ends up feeling disjointed and lacking a strong coherent story line or a strong protagonist for the reader to root for.

Choosing Multiple Perspectives or a Single POV

Mysteries often use the multiple perspective structure, allowing both the hero and the villain their say, and sometimes, the victims, too.

Some fiction change perspective chapter by chapter with minor characters having their voices dominate in fewer chapters than major characters, but no character presented more than the protagonist.

When changing from perspective to perspective, the story still needs to follow a chronological structure. This technique allows the reader to observe how various characters think, to witness cause and effect, and to feel the rippling tension of growing suspense as deadly events are set in motion.

Changing POV's is tempting since it provides readers with a multifaceted perspective and allows you to delve deeply into different characters' lives and attitudes.

Before you jump in, though, consider some of the ways this tactic can go wrong.

• Readers might lose interest in your story if they discover who the villain is before the protagonist figures it out.

• It's easy to reveal too much, too quickly, and doing so effectively negates suspense.

• Frequent switches in perspective can interrupt the narrative flow.

In addition, not all authors are able to write all kinds of characters believably. Some men have trouble writing from a female perspective, just as some women have trouble writing from a male perspective, for example. Some authors struggle with writing characters of certain ages (like children or the elderly), different cultures, or unfamiliar educational backgrounds.

Another way to gain the advantage of multiple POV's is to use the third-person omniscient voice, which allows shifts in perspective.

The omniscient voice comes with challenges, though. While it imbues the narrator with infinite, god-like knowledge, it also facilitates telling, not showing.

When writing from a specific perspective, say, a suburban housewife, a reader learns of her husband's anger when he tells her to shut up and storms out of the house. This is an example of a writer using an incident to reveal emotion—the nasty words and ferocious exit show what the man is feeling. Since an omniscient narrator can easily explain what the man is feeling, you risk robbing the reader of the chance to be there in the room, watching the couple's fight unfold.

If you choose an omniscient narrator, be vigilant to avoid the telling-not-showing trap and capitalize on the opportunity to deepen your characters.

While an omniscient narrator is a tempting choice because of its versatility and flexibility, often a single POV is the best way to go. A single POV is the most intimate of all the options. Your readers get to know your narrator well, and familiarity breeds friendship.

As with most writing decisions, while you may have dozens or even scores of options, the best choice is usually the one that is most in sync with your readers' expectations.

Anchoring the Sliding Viewpoint

A sliding viewpoint, slipping from one character's head into another and into another ("head hopping") within a single scene, is the mark of an inexperienced writer.

To keep the POV from sliding when you don't want it, keep asking yourself: Who is narrating this scene? Then, as you write, keep the storytelling anchored in that character's head, too.

Write each scene as the viewpoint character experiences it, revealing through his thoughts and feelings, what he can see and hear, his observations of other characters and his interpretation of what those characters might be thinking and feelings.

Whether you tell your story in the first- or third-person, or have only one POV character or several, it's best to anchor the narration in a single character's head within each scene. Insert a scene break, and you can shift to a new narrator.

POV differences can be subtle. In the brief example below, Fred is the third-person narrator.

Fred kept checking his watch. He was afraid that they wouldn't get there in time.

Suppose a different character, Myna, is the third-person narrator instead of Fred. You might write that same idea differently.

Myna noticed that Fred kept checking his watch, as if he were afraid they wouldn't get there in time.

The difference between these two examples is subtle. That's why you have to stay alert when you write so that you don't allow the viewpoint to slide.

Alternating multiple POV's is a skill, and just like any skill, it can be learned, improved upon, perfected. Just remember to be patient with yourself as you also stay alert when writing in multiple POV's.

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