Writing Better Part 13

USING WRITER’S BLOCK

Often, writer’s block is the mind’s way of telling you you’re doing something wrong with the story. Figuring out what is only the first step toward correcting it.

(The article - and my notes - goes on to suggest that a change of scenery (writing at the library rather than at home, for example) or learning a new skill will bring the change in perspective that will allow you to work through your block. I have also heard it suggested that re-writing - from memory - the last scene or chapter you wrote, or writing down everything you know about the character in the scene (ROMANCING YOUR CHARACTERS), will free you of writer’s block. That may or may not work for you. It doesn’t work for me.

I like to think of starting a story as being like putting your characters on a ¼ mile drag strip… there’s only one way out, and that’s to finish the story. In my personal experience, writer’s block is most often caused by the writer trying to get the story to leave the strip before it reaches the finish line. Anyone who has seen a drag race knows what happens to a car that tries to leave the course anywhere but through the end - it hits the wall, and usually explodes. My advice? Stop trying to make your characters go where you want and let them finish the race.)

 

POINT OF VIEW

CHOOSING A POINT OF VIEW

Six quick tips:

01) Use first person when the language is unique;

02) Use first person when the point of view character ruminates at length;

03) Use either 1st or close 3rd person when you want to maximize reader identification with the P.O.V. character;

04) Use either close or distant 3rd person when you describe both a character’s external action and internal thoughts;

05) Use distant 3rd person when the author’s opinions intersperse with the character’s;

06) Use distant 3rd person when you want to minimize reader identification with your P.O.V. character.

OMNISCIENT P.O.V.

Though the story goes into many characters’ minds, it should maintain consistent tone, it should be clear whose story is being told, and the prose must be as bold as the omniscience of the P.O.V..

CONFESSIONS OF A KNOW IT ALL

Omniscient P.O.V.:

01) Omniscient P.O.V. is when the author’s voice gives opinions and comments that do not come from any character;

02) Flexibility and richness are two assets of omniscient P.O.V.:

a) You can dip into anyone’s mind;

b) Contrast opinions and happenings; and

c) Introduce information the characters may not realize themselves.

3) If you use omniscient P.O.V., use it throughout. It should contribute to an overall tone or attitude toward your subject matter;

4) Don’t be too directive - leave the interpretation of the action to the reader.

ALTERNATING POINT OF VIEW

When changing between close and distant first person narration, make the transitions gradual, and use the effect sparingly. After all, in real life people rarely notice a feeling of transcendent joy until it’s past, and such moments occur only rarely. (And this effect is best used to describe such moments.)