[identity profile] mbarker.livejournal.com posting in [community profile] writercises
Original posting 22 April 2009

Viewpoint Intruders

Writer's Digest, April 2006, pages 48 and 73, have an article by Kristen Johnson Ingram with the title, "The Intruder." The problem here is that we often remind the reader of the point-of-view character -- breaking the reader's flow. Whenever a character sees something, notices something, steps back and reminds the reader that they are observing -- that's a viewpoint intrusion. And it reminds the reader that someone is writing, and that this is an artificial construct. Not good.

Let's start with an example from the article:
"Sally sits at a table in the restaurant, hoping her boyfriend, Jeremy, won't be late again. She notices the waiter looks tired. She turns to see a pair of Japanese men talking quietly in a booth near the corner. She watches as a baby in a high chair flings a spoonful of rice onto the carpet and sees the waiter sigh."
Sally keeps getting in between the reader and what's going on. So how do you avoid viewpoint intrusions?

First, watch for "notice." Or noticed, the past tense. In first or third person, don't notice things -- they just are. Don't look at something, see it. Remove that layer of perception. So instead of, "I looked over at Ginny propped up on the bed." Try, "Ginny was propped up on the bed."

Second, sensory impressions are great, but imply the viewpoint character instead of telling us about him. "He could smell fried chicken" can turn into "The aroma of fried chicken..."

Third, watch out for flashbacks. Adverbial phrases, I remember, and other reminders that the viewpoint character is experiencing or remembering things can be rewritten.

Fourth, keep your eye out for them. First person writing all too often includes plenty of viewpoint intrusions. Certainly, when I write in first person, I experience things. But I don't have to keep telling myself that I'm doing it. Once you start watching something, let it do things on its own. You don't have to keep looking at it.

Okay? It's kind of a subtle point. It's balancing the viewpoint character with showing and experiencing things directly. Let the reader see/hear/feel without reminding them that there's a camera in the middle.

Exercise? Take that work in progress and look closely at a scene. Do you have viewpoint intrusions? Can you reduce them? This is revision work.

You might also try revising that first example. Go ahead. How would you apply the lessons here?

Here's how Kristen rewrote that first example:
"Sally sits at a table in the restaurant, hoping her boyfriend, Jeremy, won't be late again. The waiter looks tired. A pair of Japanese men talk quietly in a booth near the corner. A baby in a high chair flings a spoonful of rice onto the carpet, and the waiter sighs."
Some other examples for rewriting include:
"The others were laughing and talking as they sat down at the table. As Kirk reached across the table for the bread, he noticed his hands. His fingers were long and brown, and he noticed how the light gleamed on his wedding ring."
"I looked over at Ginny propped up on the hospital bed. I could see her bright smile, but I knew she was in pain."
"Rob opened the door. He could smell fried chicken and onions, and he heard the butter crackling in the skillet. His mouth watered from hunger."
"I remember that when I was five, I used to hide from my father in the linen closet. I crawled under an old lavender quilt on the floor, and I could hear his angry footsteps."
"As I stopped in front of the old house, my mind reeled back to how hard it rained the day Jim shot me."
"I took a break at a retreat in northern Idaho. I walked outside and sat on a log, where I watched a fat honeybee roving around a big blue pasque flower. I could see her tasting its petals, and I heard her buzzing around the opening. As I watched, she drew back and literally hurled herself at the flower's center."
Feel free to rewrite those. (Fair warning -- I'll post the suggested rewrites later)
Or rewrite some of your own work?

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