GET PUBLISHED (Writing Tips Articles)

Managng the Point-of-View

A WRITER'S BOX OF TRICKS can contains many useful devices to aid him in his creation of that unputdownable best-selling novel. In a pervious article we examined how pace propels the plot and, therefore, the reader, always onward, turning page after page in his quest to find out what happens next. We have discussed how frequent paragraphing and dialogue are the power-houses of pace. These devices do not work in isolation of each other, however. Like the various musical instruments in an orchestra, they combine to make the whole.

Let us have a further glance at pace and dialogue. It is not practical for pace to advance at the same steady speed throughout the book. This would be monotonous for the reader and exhausting too. Some scenes will be less hectic such as a tender love scene, while perhaps a fight scene or a murder scene will move at a much faster pace, creating excitement and tension. But although pace will be slower in a quieter scene it must never stop entirely. This is death to the novel. The writer's skills in plotting and making the most of the devices should prevent this happening.

Pace can be killed also by dialogue that is not pertinent to the plot. Humdrum dialogue has no place in a novel. Remember dialogue's functions of passing information to the reader, of creating tension and suspense and of driving the plot forward. Characters should not talk for the sake of talking. If this happens the writer must consider whether these characters really have proper roles to play in this particular novel.

Now let us look at another device, namely point-of-view. New writers often have difficulty in grasping the importance of keeping intact the integrity of point-of-view. What does 'integrity of point-of-view' mean? It means simply that the device of point-of-view should be used in the proper way. There are no rules in writing but there are conventions that publishers will expect authors to adhere to, and new writers had better show that they understand these conventions by meeting their requirements.

The convention of point-of-view is simply this. In any given scene in the novel there should be only one point-of-view narrator throughout that scene i.e. one character from whose viewpoint the action is seen. Of course there will be other characters in the scene, but their individual points-of-view must not be shown. The only means by which these other characters can convey their feelings and thoughts to other characters and to the reader are by what they say and do, i.e. their tone of speech and actions, (body-language, facial expressions etc.) The only introspection in that scene (a character's inner thoughts) to be allowed is that of the narrating character.

As been discussed in previous articles the reader needs to feel empathy for and attach himself to the key character very early in the novel. If in the opening scene of the book (where the reader meets the key character for the first time) he is faced with two or more characters all with points-of-view he will have difficulty in knowing who he should empathise with. If he cannot empathise with one character immediately he will probably lose interest.

Let us look at one such scene:

The cafe seemed full to the rafters.

'There's a table!' Betty pointed to the back of the room. She felt relieved.

Doris would be sure to blame her for being two minutes late.

'Grab it quick,' Doris said. She rushed forward. She felt everyone was

staring at them. This embarrassment was all Betty's fault.

Finally seated, they ordered a pot of tea for two and some sticky buns.

'What did you want to talk to me about?' Betty asked. She could guess. Doris

was having problems with her latest boy-friend. She had heard talk.

Doris fiddled with her napkin, wondering how much Betty already knew about

Paul and that blonde girl from the co-op.

'It's Paul,' she said finally. 'He's deceiving me.' She could tell from the

way Betty's lips twitched that it was not news.

'Really? Betty tried to keep her face composed. Doris was touchy at the best

of times. She did not want to upset her more.

In this mix of points-of-view it is unclear who the key character is. Both characters have been given equal weight as regards point-of-view. So, whose story is it? Who shall the reader empathise with?

Assuming that this novel is being told in third person narrative, the key character will not be the narrator in every scene in the book, of course. There will be scenes where he/she does not appear, but nevertheless there must be only one character in these scenes with a point-of-view. At the same time there will be scenes where the key character is present but is not the narrator.

Let us suppose that there is a scene from the viewpoint of the 'villain' where he is in conflict with the key character. The villain is in charge of the scene so that his point-of-view is the only one allowed and we will be able to hear his thoughts (his introspection). The key-character will have only tone of speech (dialogue) and action (body language and facial expressions) by which to convey his thoughts and feelings to the reader.

Getting the point-of-view right does not come easily to many new writers. Some experienced writers also have trouble with the concept. Sometimes in the middle of a character's point-of-view the author's voice interjects to impart informationto the reader.

Suppose for a moment that we make up a scene where we are in the viewpoint of a little girl (a child's viewpoint is a dangerous strategy in itself) who is anxious to impress her mother with her ability to do grown-up things. While her mother is having a nap Katy sets the table for tea using her mother's best table linen, best china tea set and flowers in a vase as a centrepiece.

Katy stepped back, admiring her handy-work. Mum will be ever so surprised. It was perfect, she thought with rising excitement, and she had done it all herself. She was seven years old.

In this supposed scene the last sentence is author's voice butting in. Katy would not think in terms of - 'She was seven years old.' herself at this point. This kind of slip in point-of-view can easily be avoided by remaining faithfully in Katy's head, thus:

It was perfect, she thought with rising excitement, and she had done it all herself. She felt so proud. After all, she was only seven years old.

It could be construed that this fussiness with regard to the integrity of point-of-view is nit-picking. The average reader would not notice, perhaps. Do not underestimate your readers in any way. Lazy writing and cutting corners will not do it. The writer who is worth his metal will want to ensure that his work is the best that he can produce, because publishing today is very competitive. Only the best will get through. Be the best.

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