I've read a number of romance novels lately that used alternating point of view. Chapters switch between the female love interest and the male love interest. On one hand, the reader knows from the beginning that these two people will eventually end up together. Otherwise, why bother telling us about both of them?
On the other hand, if done right, the alternating chapters allow us to see many near misses and misinterpretations. She thinks she's embarrassed herself beyond redemption by flipping over a juniper in his front yard; he thinks she's adorable with needles and berries in her hair but despairs when she runs away.
We, the readers, get to see all the internal conflict. We realize that if they knew each others' true feelings, it would all be peachy.
I'm currently writing a single POV novel, and I sometimes wish the reader really knew what the guy was thinking.
What do you think? Do alternating POV novels help you feel better connected to the characters? Do you care more about when and how they will get together?
In today's modern world, though, I'm more likely to have my smartphone with me than a pen. Thankfully, there's an app for that. You can turn your phone into a virtual napkin.
I personally have a google document set up to be my virtual notepad via a Google Drive app. This method allows me to draft while lying in bed unable to sleep, walking around my campus, waiting at my son's baseball practice, or sitting in a boring meeting. Lately, I've been able to put several thousand first-draft words on my phone at a time. I later transfer them to my laptop. This method works well for crafting new material. It's not going to help when I'm in editing mode, though, as a whole manuscript would be unwieldy on the phone.
I also have a google document called Story Ideas. It started out as a text file on my phone, but I uploaded it to Google Drive so I could access it from any computer. I use this document to store my shiny new ideas, sorted by date. I have dreams of sitting down with an agent someday and combing through the list for the best one to use in my next project.
Anyway, what do you use to take notes on the go? Pen and paper? The back of your hand? Or have you found a tech-savvy solution?
From the beginning, then, I wondered whether Charlie could be trusted as a narrator. What details were true, and what did he change to maintain his secret identity? I also kept trying to figure out who he chose to receive the letters, as this person's identity will reveal something about Charlie.
Anyway, I'm not done with the book yet, so I'll let you know if I like how it all turns out! I'm definitely intrigued, though.
This letter structure, though, reminded me of other books with narration devices that create suspense. Of course, Marcus Zusak, author of The Book Thief and I Am the Messenger, is masterful at shaking up POV. *SPOILERS* Death is the narrator of The Book Thief, which we don't really figure out until the end of the book. And I Am the Messenger has an interesting twist where the first-person narrator learns who is really sending him messages that are shaping the course of his life.
Rebecca Stead's When You Reach Me is written in first and second person ("I check the box under my bed, which is where I've kept your notes . . ."). Again, the "you" isn't revealed until the end, which ups the mystery throughout the book.
Have you seen any other interesting narration or point of view devices?
I almost felt like the authors had written the book for me when I read this paragraph on page 23 of the first edition: "the perfectionist procrastinator usually expects more of him- or herself than is realistic. . . . The first-time novelist wants the first draft of his writing to be of publishable quality. . . . As a result, the high standards that are intended to motivate these people toward accomplishment often become impossible standards which hinder their efforts."
That's me. I know I could spend more time writing than I do, but I'm often scared of my novel. I'm afraid of the big, bad, horrible words that might come out when I sit down to write. What if my chapter never is right? Or if nobody ever connects with my character? What if I do send out that novel I've worked on for five years and don't even get a "good" rejection?
Procrastination allows perfectionists like me to live in the blissful world of thinking we might be awesome writers. Putting our butts in the chair and actually writing might prove we're not. So we avoid the chair.
I suppose the antidote is to give ourselves permission to write "shitty first drafts" like Anne Lamott suggests. But that's harder said than done some days.
So, I have a high school reunion this summer. I won't divulge the number, but it's a pretty serious one. As our senior class president, I'm forever
I've recently had to spend a huge amount of time scouring Facebook to find classmates. With a class of over 300, I've got a sizable list of people to work with. The names of people I haven't seen in years are making memories flood back.
I remember walking home in several feet of snow wearing flats and nylons after an unexpected storm dropped several inches. I was with a guy who ordinarily wouldn't go my route but did that day for some reason. We goofed around, slipping and sliding until I couldn't feel my feet. I wondered how long it took for frostbite to kick in. It was one of those days where you burst through your side door with red cheeks and make puddles in the foyer.
This little incident gave me a story idea, and I've already regained several other lost memories by reading other long-forgotten names.
This made me realize that a senior yearbook can be a valuable tool for any YA writer. If you find yourself stuck, start browsing through those lovely posed and retouched portraits!
I spent this weekend at an awesome retreat. A large section of time dealt with our personalities and strengths. We took the Meyers-Briggs as well as StrengthsFinder, through Gallup. It shocked no one that I showed up with a personality and strengths that like people, information, and communication but not so much the “getting things done” aspects of life.*
The point of gathering this information at the conference was to see ourselves exactly how we are and value that. Also, to see others’ personalities as different but not particularly better or worse than our own.
So, what does this have to do with words on paper?
It amuses me that my strengths in life mirror my strengths on the page. And what does not come naturally in life, does not come naturally on the page. I like to joke with Nikki and Lisa that I’m taking my characters to the grocery store again. These people in my head come full of information and voice and personality. They can talk to people and have different taste in music, different opinions on politics, different approaches to change. They hang out all the time.
Oddly enough, those same characters frequently forget to DO anything! I have to spend a lot of energy to get an actual plot. Just like I have to spend a lot of energy to get an actual schedule in my real life. But, as I learned this weekend, that’s okay, because we all are good at some things and weak in others.
What I’m telling you is that we all have to forgive ourselves for not being perfect. And if you’re one of those lucky few that happen to be good at both, it’s probably safest if you keep it to yourself!
After you forgive yourself, save yourself! Go find partners that are not the same as you. The benefit of knowing your strengths is that you can find someone (or someones) that compliment them! You won’t be surprised to read that Nikki and Lisa both have very different personalities than mine. Thank God! I need them! And, hopefully, they need me.
*The graphic shows my MBTI personality. If you know yours, you can get a cool graphic, too. Just click here.