BUILDING A BELIEVABLE CHAIN OF EVENTS( CONT’ D)
Then, a few sentences later, write: I kept trying to picture what it must have been like for Martin in those last few moments of his life— fighting for control, even as he knew it was hopeless. Every time I tried, though, the scene was a little different. Only one thing remained constant. His terror.
Treating it this way clearly establishes that this is a first person narrative, but until it’ s revealed that the first example was nothing more than imagination, it had the latitude of writing in third person.
DECIDE IF IT WORKS TO USE SECONDARY CHARACTERS IN THIRD PERSON
If you intend to use another character to introduce information through dialogue or narration in third person, it’ s easy to commit the no-no of bouncing from head to head. The two should never be combined in the same chapter without a scene break between characters.
I prefer the option of giving these secondary characters their own chapters wherever possible. However, depending upon the manuscript, a scene break is also effective.
And, be vigilant. Even with twelve books under my belt, and two scheduled for release in 2015, my editor caught POV violations. It is easy to let down your guard, so always be aware of which character owns a chapter or scene.
MORE THINGS TO CONSIDER WHEN DETERMINING THE BEST OPTIONS
Dreams, delays, imagination, secondary characters— they are all very effective options. However, it’ s up to you to choose how many of these devices work for your book. Play with it. Try to open up your thinking by experimenting.
Remember, if you decide to use first person POV, it literally forces the author to become the character in a much more intimate way. Be prepared. I don’ t know about you, but for me, when writing in first person, I experience a sensation that isn’ t present when writing in third person— that of intense emotion and attachment. Instead of observing the action, the author experiences everything the character( s) does, as though it’ s real. If you find yourself thinking as the writer, you haven’ t made the full transition.
Allow yourself to feel what your character feels. If they hurt, you hurt. If they’ re elated, so are you. Become that person in your mind. Dream their dreams and use your wit to figure out delays.
By choosing the right options, your manuscript is on the path to becoming the story you envisioned when the idea first took hold.
Give yourself permission to recognize those frustrating times when you thought you made the right choice, only to find out you didn’ t. Don’ t try to force it to work. Learn from the experience and do whatever rewrites are necessary. I often say experience is the“ School of Hard Knocks.
WRITERS’ TRICKS OF THE TRADE
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WINTER 2017