POV

[ostarella]

Some time ago, there was a challenge on the list to take part of a story we'd written, and rewrite it from a different POV. It was a fun exercise, actually, but I think it made a good point (no pun intended). And it's something I've discovered several times over the span of writing Covenant.

I have had sections where I just could not get it to work. I wanted to put certain things in, and I wanted it seen from a particular character's POV - but it just wasn't working. And even if it did work - it didn't always do so satisfactorily. Those sections always seemed to end up going in the wrong direction. Too dark, too silly, too...boring.

More by accident or frustration than by design, I'd say, the hell with it, and switch to a different character. What would *he* do? Think? Say? But damn - all of sudden, the scene was flowing! I couldn't type fast enough. And even though it wasn't what I *thought* I'd wanted, it was what the story needed.

I just went through that with a section in chapter 45 (cannot believe the story is still going on, frankly). I worked hours last night writing, deleting, rewriting - trying to get it right, and it just wasn't doing what I wanted it to. Either too clinical, or too maudlin. I slept on it, gave it another go this morning, and finally said, okay, Hannibal is just not going to work. Let's try the other "active" character here - Murdock. Lo and behold, I know exactly what he's going to do and say and it's going to (hopefully) bring out the points I need to with the right "flavor" to it.

Sometimes switching POV makes the whole thing work. Sometimes, switching doesn't do the trick, but it allows you to see where you went wrong with the original, let's you see what you missed the first time. Walking in another's shoes for a while really does change your way of thinking.

Comments

[billy-shriner.livejournal.com]

Now I'd never really thought of that. Thanks for the tip :O)

So, when we gonna see chapter 45? I'm here waiting patiently ;O) (although I'm not actually sure if I'll get it read until tonight now.)

[ostarella.livejournal.com]

In the completion stages. I'm trying to decide whether or not to include Hannibal's angst scene (when it hits him about the reports etc) or to put that in the next one. There are a few things to include in this one first, so I'm thinking it probably will show up in 46. In fact, probably 46 will be an angst festival, kinda looking at each guy and what they're thinking/feeling. Leading up to the finish line...

[billy-shriner.livejournal.com]

I'm gonna feel so sad (but maybe relieved for Face) when this story ends... Boy, are you going to have the end of story blues :O(

[ostarella.livejournal.com]

I know. I'm already starting to feel the let down - which might be another reason it's taking so long to get "into" the chapter. :-(

[beckyblack]

I remember that exercise, I did a bit from Tightrope Walk for it, and "discovered" things that were going on that the original POV character didn't know anything about, which was interesting.

I think I've heard the advice that the best POV character for a scene is whoever's got the most at stake in that scene, the most to lose, or gain. That's usually the main, or one of the main characters. But then again, sometimes a character other than the main one is good to use to get an interesting new perspective on things.

Then there are mysterious characters, who have secrets the writer doesn't want to tell the reader, yet. So if I have one of those I stay out of their POV as much as possible, to keep the air of mystery. Like Stockwell I rarely use as the POV.

[ostarella.livejournal.com]

the advice that the best POV character for a scene is whoever's got the most at stake in that scene

I think I'd agree with that, with the caveat of 1 - your "mysterious character" and 2 - (which kind of goes along with that) what it is you want revealed about any/all of the characters at that point in time. Sometimes the character with the most at stake in a particular scene needs to be seen from a different POV, to make the scene really effective (as when what that character shows or portrays is later contrasted with what they were really thinking or feeling).

But I think the real value of switching POVs is, as you said, seeing things from a different perspective. And whether we go with the new POV or not, it aids in making a more effective story. ;-)

[billy-shriner.livejournal.com]

I love how you two have different angles on characters, writing, etc. I'm learning a lot... Damn shame I can't remember it when I come to write lol!