Thought for the Day

Those who believe that they are exclusively in the right are generally those who achieve something.

Aldous Huxley

Where Am I?

Setting.

Helen Haukeness in her article Setting Your Novel Straight, defines setting simply as "a backdrop against which your characters perform."

But, in reality, setting is a little more complicated than that. Mostly it's because of the problems that you may encounter with setting. We'll discuss those and with the help of some experts, the solutions.

According to Noah Lukeman in the First Five Pages, "setting itself becomes a character, interacting with the other characters."

As writers, we must understand that setting is a living entity of its own within our story. It changes, plies us with senses, and evokes mood. But, for an agent or editor looking at your manuscript, there are mistakes you can make with setting that will cause them to reject your story.

You must have setting in your story. If you don't that's your first problem. Some writers start their story with no hint of place or time leaving the reader in the dark as to where or when the story is set.

Then the opposite is also true. Some writers spend so much time opening their first scene with a description of setting that they've bored the reader and slowed the pace so much that the reader has given up on ever getting through your story. According to Noah Lukeman, "If you have a tendency to describe the setting all at once, try stretching it out over the course of several pages -- readers can't take in all that information at once anyway, and a setting will become more real if it unfolds slowly..."

According to Janet Evanovich, in How I Write, her opinion is to "Provide the setting and atmosphere information as close to the beginning of the book. This gives your reader a sense of where the characters live and work."

Judiciously, writers. Judiciously.

Helen Haukeness describes some frequently encountered problems with setting and identifies the solutions. I'll highlight the most obvious ones.

First of all, she indicates that writers fail to understand the depth of a setting. Ms Haukeness states that "A story's setting comprises more than buildings and roads and flora and mountains in the background. Setting involves an entire environment: furniture, weather, people, tools, toys, clutter, lighting, odors. In a word, details."

This is the biggest misconception I encounter with writers; involving all the senses and surroundings in setting their story. It's the easiest one to overlook because all the focus is on the characters. That is why in most beginner writers' stories, we see the "talking heads". This is where dialogue is composed of just two characters talking with no action, setting, emotion, or senses.

Second, Ms Haukeness discusses how writers fail to change settings. Changing settings is just like changing emotions within a character and adding and subtracting conflict within your story. Noah Lukeman tells us it's a great mistake to limit settings "because limiting settings often ends up adversely affecting stories and characters, hindering them from branching out, doing what they would if they had the space."

What all three of our experts can agree on, is this. Our characters must interact with the story's setting. It can be something as simple as the teacher writing on the chalkboard. The executive sitting at his/her desk fiddling with the computer mouse. Or the stableboy rubbing saddlesoap into his mistress' favorite saddle. Whatever. Get your characters involved.

Don't wait for your readers to ask, "Where am I?"

Thought for the Day

People become really quite remarkable when they start thinking that they can do things. When they believe in themselves they have the first secret of success.

Norman Vincent Peale

Who is going to tell your story?

Point of View: The combination of collective opinions, prejudices, tastes and attitudes of your story's character(s). (According to James N. Frey in How to Write a Damn Good Novel.)

How important is Point of View (POV)? It's so important that it will affect almost everything in your story. According to Joel Rosenberg, Choosing Your Storyteller, "Your point of view choice is also important in that point of view affects how much the readers can believe in the story being told. A proper choice can lead to the willing suspension of disbelief."

We all know how important POV is. The questions I get from my writers are What POV should I use? and What's the difference between the POVs?

Let's see if we can answer those questions.

What's the difference between the POVs?

Joel Rosenberg tells us that we have three basic choices: first (me), second (you) or third (him/her). He quickly dispenses with second POV as a poor choice because it puts the writer/reader in the story as a character, which the reader would probably never believe and would probababy leave your abilities as a writer in jeopardy.

First Person POV is where one of the characters tells his/her story. A beginning writer usually finds this the easiest way to write. However, it takes quite a bit of skill to manipulate first person POV. According to Mr. Frey, "You cannot go places the narrator couldn't have been and show things to the reader the narrator couldn't have seen. Not without a lot of burdensome explaining."

One of the best examples of first person narrative done right is J.D. Salinger's The Catcher in the Rye.

Third Person POV can come in various forms: omniscient, camera eye, single point of view, and sigma character.

Omniscient is the God-like POV. It's where the narrator of the story knows everything about every character and reveals all of their thoughts to the reader.

Camera Eye is the exact opposite of Omniscient. Instead of the reading knowing all, the reader only knows what is going on in front of them, not getting the thoughts of feelings of the characters. Just like watching movie.
Single POV is exactly what it says. The POV for the reader comes from one character only throughout the entire story.

Sigma Character is also known as multiple POV. According to Janet Evonovich in How I Write, she points out that "With multiple points of view, the action moves from person to person." It's important to understand; however, that with the changing of character POV, you should do so in a practical manner. Do not change POV in the middle of scenes in the middle of paragraphs. Make sure you use proper scene breaks or chapter breaks to indicate the changes of POV.

Ms. Evonovich says it best, "When you change a narrator's point of view, always use a transition such as a scene break or a new chapter. This tells the reader that he is now inside the head of a new character. It's best to limit the POV to a few characters because the more you use, the more confusing it is to the reader."
So, what point of view should you use?

According to Mr. Frey, the question isn't "what point of view?" but "Who can tell this story best?" Remember, to make your story the best it can be, you want to tell it from the character's POV that can best reflect your image of your story.

Again, according to Mr. Frey, "the selection of the narrative voice is based upon a consideration of genre." In his opinion, "for most genres, you are probably well-advised to use author-invisible, third-person, limited omniscient viewpoint. That's the standard; it's what readers expect and what editors want. You should deviate from the norm only for powerful and persuasive reasons."

In my opinion? I think all the experts have differing opinions. What's most popular? Depends on what book you're reading at the moment, actually.

Point of view is something that needs to be worked on individually with each writer with each story. What I hope I've done here, is helped you understand POV a little better.

Thought for the Day

Always bear in mind that your own resolution to succeed is more important than any other one thing.

Abraham Lincoln