“Point of view problems” are one of those things that a lot of editors and beta readers cite, expecting the writer to know what the phrase means. If you take it apart, though, it assumes a fair bit of theoretical knowledge, as well as the practical skill
Read more →First, an announcement of sorts: my webmaster has gotten the handout I use on viewpoint put up on my web page. It’s accessible through the “links” page, or directly from here. That handout covers some (not all) of the types of viewpoint – first person, epistolary, stream-of-consciousness,
Read more →It’s been a while since I’ve talked about viewpoint, so I think I’ll devote this post to it, and maybe a few more if people seem interested. Viewpoint is one of those areas of writing where there seems to be a tremendous amount of confusion. A lot
Read more →One of the really interesting things about older how-to-write books is their take on viewpoint. Several don’t mention it at all; others give it barely a passing glance. When they do talk about it, it’s from a completely different angle from that taken by modern how-to-write authors.
Read more →It’s been a while since I’ve talked about viewpoint, and first-person has been on my mind lately. First person seems to be a love-it-or-hate-it viewpoint. I’ve heard folks say that it’s the easiest viewpoint for a beginner to use, that no one should ever use it, that
Read more →There’s a problem I’ve noticed cropping up more and more often lately, in the way some authors first develop and then over-develop their plots and subplots, allowing both them and their characters to proliferate beyond the ability of mere mortals to keep track of them all, until
Read more →Back in the late 1960s or early 1970s, Algis Budrys wrote an excellent series of columns for LOCUS magazine on what he called “cinematic prose,” using his Hugo-nominated novel Rogue Moon as an example. Alas, my copies have long since vanished into wherever things go when one
Read more →I wrote my first novel, Shadow Magic, in what I now call “sloppy omniscient viewpoint.” Most of the time, a given scene would have a “viewpoint character,” but whenever I thought someone else’s thoughts or feelings were more interesting, I just jumped into that character’s head for
Read more →As I’ve said before, the terms “viewpoint” and “point of view” can mean two different things: either the viewpoint character or the type of viewpoint (first, second, or third-person). I’m using it in the second sense today. Third person viewpoint, taken as a whole, is probably the
Read more →From the mailbag:: I know some people who feel quite strongly about keeping to the main character’s POV except when it’s absolutely necessary to go to someone else, but I’ve also seen that rule (like so many others!)broken successfully. It can be so useful to show someone
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