The Place For My Writers Notes

Chapter 22: Multiple Points of View

We're coming up on the end of Make a Scene by Jordan Rosenfeld. Chapter 22 is the first chapter in part four, which looks at other scene considerations. Multiple points of view, the protagonist's emotional thread, secondary and minor characters, scene transitions, and scene assessment and revision are all we have left to meander through. So let's get started.

Point-of-view or POV is one of the defining characteristics of narrative. It's really very simple, who is the character or camera that is looking at the fictional action, characters, etc.? Selecting a point of view influences tone, mood, pace -- just about everything in a scene. Probably the key to point of view is integrity and consistency -- making sure that the reader is never confused about POV.

One of the critical points to understand about POV is that it only defines what you show the reader, it also helps determine the distance between the reader and the characters. The intimacy, if you will. The story and content can help you decide how-up-close-and-personal to make the POV.

First person is the most intimate. I stabbed him -- it's immediate, emotional involvement. Inside the first person head. The flipside is that sometimes readers need some distance. Suffering, pain, crises -- third person limited can help with objectivity and intensity. When combined with present tense -- which makes it very immediate -- it's tight and hot for the reader. Past tense gives a little bit more distance.

Second person? I'm going to skip this section, because I really don't think new writers are likely to need to use second person.

Third person. This is the "she's" and "he's" that we are pretty familiar with. There are at least two major forms, with some gradations. Rosenfeld talks about omniscient and limited. He also describes two flavors of omniscient.

Third person limited is probably the most widely used POV. Basically, each scene, and often entire books, are written from one character's point of view, with some insights into that one character's thoughts, and no one else's.

Omniscient jumps across characters thoughts, gleefully dipping into whichever head happens to be handy. This is where Rosenfeld differentiates between continuous -- which never stop hopping -- and instants which are omniscient bits scattered into a predominantly third person limited point of view.

A scene involves significant action with the protagonist charging towards some intention, running into some conflicts, concluding a climax and change. Point of view is how the events are shown to the reader. With a single protagonist and point of view, the world is simple. Decide how much intimacy you want, consider that third person limited is the most popular approach, and decide what you're going to do. However, with multiple protagonists or some other reason to switch points of view within a scene, you may need to change points of view. Omniscient point of view lets you tackle complex or comprehensive looks at big situations and issues. When you do this, make sure that the very beginning of the scene makes it clear to the reader what's happening.

Between scenes is a common place to change points of view. You still want to make sure at the beginning of each scene that the reader knows what the point of view is, but at least they're prepared for such changes.

One thing to consider is how much time each point of view gets. With multiple narrators, you need to be careful. Readers tend to think that narrators who get more time must be more important, or have something special to say.

Okay, that's enough from Rosenfeld. Basically, the question is what point of view is the scene and the story told from. Where are we perched as we watch the action? The most common choice is probably on the shoulder of the protagonist, third person limited. Mostly like a camera watching over the shoulder of the protagonist, with occasional dips into his or her thinking. Another approach is first person, not just on the shoulder of the protagonist, inside their head -- actually my head! But on occasion, you'll need to change points of view to sprinkle in some extra information or even keep the points of view moving in an omniscient overview. The question usually is what's the best way to get the reader involved and keep them involved.

Assignments? Well, as usual one good way to look at this is to pick up some of your favorite novels or stories and examine how point of view is used. Most of the time, most scenes are told from a single point of view -- first person or third limited. Sometimes the point of view changes between scenes or chapters, and look at how the story establishes what the new point of view is.

Another is to try taking a scene and changing the point of view. First person, third person limited, the protagonist's point of view, the antagonist's point of view, someone else -- see how the scene changes as you write it from different points of view. Or take something like the famous shower scene in Psycho -- imagine writing this in first person? Maybe that's a little too intimate, so you step back to third person limited. Orson Scott Card points out that even here, there are levels of distance that the writer needs to think about. A cinematic approach might only show things, without any of those little internal monologues that we all love so much. A somewhat closer approach might have some thoughts, but still mostly depend on showing external actions. And then there are third person limited write ups that are mostly inside the head of the protagonist, with a little bit of external vision. You might try adjusting your scene to have more or less of the protagonist's thoughts.

One of the fun parts here is that as writers, we can borrow terminology from the moviemakers. Establishing shots, wide-angle, close up -- we've got that whole bag of tricks that they use, plus the freedom to bring out the thoughts, emotions, beliefs and so forth inside the heads of our characters. Don't overdo it -- stories that are little more than an internal rant aren't too likely to be interesting to readers -- but we do have that spice of insight to help separate written from cinematic visions.

So, write! I write, you write, he writes, she writes, we all write! Conjugations in a writing mood?

"However beautiful the strategy, you should occasionally look at the results." Sir Winston Churchill
Which I guess means that it ain't enough to dance pretty, you need to bake some cookies, too.
(Don't you just love torturing metaphors?)

Chapter 15: Contemplative Scenes

Walking through Make a Scene by Jordan Rosenfeld, in Part Three about scene types, suspense scenes, and dramatic scenes, we now turn our attention to contemplative scenes.

"Contemplation -- the act of careful consideration or examination of thoughts and feelings and smaller details -- is the antithesis of action." Rosenfeld suggests that good contemplative scenes:

• have more interior monologue than action or dialogue
• are slow-paced, letting the reader get a deep intimate look at the protagonist's inner life
• focus on the protagonist interacting with self and setting more than other characters
• give the protagonist time to digest what is happened and decide what to do next
• let the character reflect and the reader catch their breath before or after an intense scene

These are good for thoughtful consideration and reflection, but they're also slow. So you need to balance the pace.

Interior monologue is the mark of contemplative scenes. The protagonist is thinking, and the reader learns things about the plot and character from those thoughts. The old convention of italics for interior monologue is usually now simple, elegant exposition. Remember that interior monologue is very intimate, with the reader inside the mind of the character.

Contemplative scenes often open with interior monologue, setting description, or transitional action. You need to let the reader know quickly that we're going to slow down.

If you start to contemplative scene with interior monologue, make sure that the thoughts are related to the scene that just ended. Don't make readers guess what the protagonist is reflecting about.

Setting description, on the other hand, gives the reader a little bit of physical reality, then dives into the thoughts. Use the setting details to kick off the character of thinking and feeling. This little bit of interaction with the setting can provide an alternative to action for contemplative scenes.

Sometimes, of course, you can do a little bit of transitional action, usually finishing up the action of the last scene. Then slow down and contemplate.

Character and plot -- a contemplative scene is really there to give in-depth understanding of the character, and how they are reacting to whatever's going on. You want a contemplative scene to focus on the protagonist:

• having realistic and appropriate responses to an event
• struggling with something that has happened recently or is about to happen
• making a plan, thinking about options, or coming to a decision

One of the difficulties of a contemplative scene is keeping dramatic tension high. Mostly, you do that by including internal conflict, including unspecified dangers, or creating an eerie or tense atmosphere. Danger or mystery on the horizon, or settings that make the reader nervous, are likely to keep the tension high.

Setting is often used to provide mood and ambience for contemplation scenes. Setting details can provide balance for the thoughts and feelings. You can keep the contemplation in touch with reality with occasional detail of the setting.

Contemplative scenes usually end with a little return of energy and action. You might end with a sudden action cliffhanger, or with a moment of decision. You can end with a surprise, or a bit of foreshadowing pointing to what's coming next. You need to set up the next scene, and get the reader ready to go again.

Rosenfeld's checkpoints for contemplative scenes:

1. Does the contemplative scene balance or slow down action?
2. Does the contemplative scene signal that it is a contemplative scene as quickly as possible?
3. Does the contemplative scene focus on the inner life of the protagonist?
4. Does the protagonist grapple with a conflict, dilemma, or decision?
5. Are setting details used to create dramatic tension and establish a mood?
6. Does the end of the scene return the reader to action?

Next we will be taking a look at dialogue scenes, but for right now, let's reflect on those contemplative scenes.

Assignments? Probably the first question is whether you want to use a contemplative scene or not? While Rosenfeld suggests that traditional literary fiction uses them, he also admits that most genre and other writing uses them very sparingly if at all. I think in most of these you're more likely to see the contemplative paragraph.

In any case, you might try looking at a book that you enjoy and identifying a contemplative scene. Or take a piece of your writing and consider how you might use a contemplative scene in it. How would you introduce it, and how would you spend time letting the protagonist think out loud without boring the reader? How do you mark the ending of a contemplative scene, and return to the car chases?

'saright? Something to think about, eh?
and write!

When we write, we introduce unknown friends to each other.