Tag Archives: POV

12.9: Q&A on Viewpoint

Your Hosts: Brandon, Piper, Dan, and Howard

You had questions about viewpoint. Here they are!

  • Do you have tips and tricks for making 3rd-person omniscient compelling?
  • How do you make 3rd-person limited compelling?
  • Is it normal to need several drafts to nail down a character’s voice?
  • What’s the best way to portray an unreliable 3rd-person limited narrator?
  • What are your most effective methods for immersing yourself in character attributes so that you can get the voice right?
  • How do you choose between 1st and 3rd person?
  • How do you select the viewpoint character for a scene?
  • How do you smoothly transition between viewpoints?
  • How do you prevent character voices from blending into each other and becoming indistinguishable?

(Our answers are in the podcast.)

 

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Swap dialog between characters. How do different characters say the same thing? How do they react when something they would say is said to them?

12.7: Description Through the Third Person Lens

Your Hosts: Brandon, Mary, Mary Anne, and Wesley

The third-person POV lens can be used for simultaneously describing the world to the reader and describing the character. In this episode we’ll talk about where we deploy these tools, where the pitfalls are, and how to do it well.

Credits: This episode was recorded by Andrew Twiss, who heard the AC turn back on, and mastered by Alex Jackson, who was happy to not need to digitally filter the AC out of the mix.

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Homework assignment: read Ursula LeGuin’s Steering the Craftand dive into the exercises there.

Amberlough, by Lara Elena Donnelly

12.6: Variations on Third Person

Your Hosts: Brandon, Mary, Dan, and Howard

This episode focuses on the third person POV, and some variations on them, like omniscient and limited, and some sub-variants like cinematic and head-hopping.

Credits: This episode was recorded aboard Oasis of the Seas by Bert Grimm, and mastered by Alex Jackson.

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Write a passage, and then re-write it in limited, omniscient narrator, head-hopping, and cinematic POVs.

Sorcerer to the Crown, by Zen Cho, narrated by Jenny Sterlin

12.4: Hybrid Viewpoints

Your Hosts: Brandon, Piper, Dan, and Howard, with Sandra Tayler

Piper J. Drake joins the cast for our week-four episodes, of which this is the first. This week we’ll be drilling down into hybrid viewpoints—blending 1st and 3rd person, framing stories, stories-within-stories, and unreliable narration—and how to best serve our work with these techniques.

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Put a framing story around something you’ve already written.

Absolute Trust, by Piper J. Drake

11.06: The Element of Wonder

We’ve introduced the concept of Elemental Genre already. It’s time to start digging in to the elements themselves, beginning with the Element of Wonder. We started with this one because “sense of wonder” is a term that gets used to describe what makes some science fiction stories work.

In this episode we expand upon the word “wonder” a bit, making the shorthand of “elemental wonder” more useful, not to mention more descriptive. We then go on to detail some methods writers might use to evoke wonder, leveraging that element for the greatest effect in their work.

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Homework! Apply a sense of wonder to something small and ordinary. Describe it using those cool point-of-view tools that evoke wonder in the reader.

The Wright Brothers, written and narrated by David McCullough

Writing Excuses 10.19: Intrigue

What’s the difference between intrigue, suspense, and mystery? We answer this (it comes down to reader knowledge vs character knowledge), and then talk about what makes intrigue useful as a tool for any story, and how to use it without falling back on idiot character plots, or simply withholding information from the reader.

Intrigue is also its own genre, with spy stories and political intrigue stories fitting into this space. We talk a bit about how those stories work, and how they’re built.

Upcoming Homework: We’ll be doing a Project-In-Depth on Mary’s new book, Of Noble Family, in two weeks (episode 10.21, airing on May 24th.) To get the most out of that episode without having anything spoiled, pick up a copy now and start reading!

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Write dialog in which each of the speakers has a different subtext and motive. Without explicitly stating those, try and make them clear to the reader.

A Spy in the House: The Agency 1, by Y.S. Lee, narrated by Justine Eyre