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