POV: Three's a Crowd!

Point of View is something that besets and often bedevils many writers. It took me ages to work out the nuts and bolts of this technique. However, I could not explain it to anyone in terms that they would understand. Luckily for writers out there, here's an excellent article by Randy Ingermanson, and all is revealed.

Is Headhopping A Sin?

 Every so often, the issue of "headhopping" comes up among writers, and the fur soon begins flying. It came up recently in a circle of novelists I belong to. Some writers insist that there is no sin more vile than headhopping, except possibly teaching the cat how to smoke. Other writers claim that headhopping is an acceptable practice in romance, where many readers like it and a few editors even insist on it.

Is headhopping a sin? If it's so horrible, then why does Joe Bigname Author hop heads like crazy? Is headhopping just another "gotcha" invented by writing teachers to put newbie writers in knots? Isn't headhopping just the same thing as the omniscient viewpoint?

First things first -- we need to define "headhopping."

To do that, let's review the main alternatives. The two most common points of view in fiction are first-person and third-person.



1st and 3rd person POV

• In first-person POV, the author writes as if she is one of the characters, using the pronouns "I" and "me" to refer to that character. When you write in first-person, you put your reader firmly inside the head of that one character and it would be unnatural to get out.
• In third-person POV (the most common POV these days), the author chooses one particular character in each scene to be the viewpoint character. The author uses the pronouns "he" and "him" or else "she" and "her" to refer to that character.

When you write in third-person correctly, you put your reader firmly inside the head of that one character. You show only what that character can see, hear, touch, taste, smell, or feel. Nothing more. So third-person is very much like first-person, except for the pronouns you use.

Either first-person or third-person puts your reader on intimate terms with the viewpoint character for the course of any given scene. This makes it easy to give your reader a Powerful Emotional Experience, which I believe is the main goal of writing fiction.

Now of course it's possible that a writer will do a bad job of writing either first-person or third-person, which means that the reader will have no Powerful Emotional Experience. But tens of thousands of professional novelists use these viewpoints effectively because they work.



Two or more POV

 Now we can define headhopping. Headhopping is like third-person, except that the author uses two or more viewpoint characters within a single scene. In headhopping, you put your reader firmly inside the head of one character for a while and then hop into another character's head for a while.

Let's look at those questions we raised at the beginning of this article:

Is headhopping OK?

My own opinion is that it's OK to do this IF you do it well. But it isn't easy to do it well, for two reasons.

• First, those pesky transitions from one head to another are hard to get right. If you confuse the reader, then that's a speed bump in the reading experience and that's bad.

• Second, even if you do the transitions well, doing them too often will make your reader feel jerked around.

 Why does Joe Bigname Author use headhopping in his novel?

Good question. Some authors actually don't know any better (and neither do some editors). Some authors know that headhopping is risky but do it anyway because they believe they can do it well and the rewards are worth the risks.

Is headhopping just an invention of selfish writing teachers who want to earn more money by putting up more roadblocks for new writers?



Three's a crowd!

Not that I can tell. Headhopping is hard to do well, and very often it just plain doesn't work. Headhopping by novice writers almost always doesn't work. Writing teachers spend most of their time working with novice writers, so they spend a lot of time telling them not to hop heads.

Is headhopping exactly the same thing as the omniscient viewpoint that was used so successfully by the great 19th century writers?

In my opinion, no. I believe that omniscient viewpoint means that the narrator is actually omniscient and can know things that NONE of the characters know. I am tempted to say that all right-thinking people must agree with me, but I know at least one writing teacher who believes that headhopping is the same thing as omniscient.

I'm afraid that rational discussion will never settle this argument. However, kicking, biting, scratching, and hair-pulling might, so I have hope that someday all writers will agree with me on this point.

Let's fight about it!

So should you hop heads? Will you suffer eternal torment if you indulge in the forbidden fruit of headhopping? My own opinion is that if you're a new writer, then it's best to avoid headhopping, for two reasons:

• Headhopping requires that you master third person viewpoint AND that you master transitions from one head to the next. It's easier to master one skill than two.
• Some editors will reject you outright for headhopping.

 Once you've learned to write third-person Xtremely well, then you'll have the skills to try hopping heads when you have a scene where you believe it makes sense.

At the very least, if you're going to hop heads, you should be aware that you're doing it, you should have a reason to do so, and you should make it work.

The goal in writing fiction is to give your reader a Powerful Emotional Experience. Do whatever it takes to do that.

Award-winning novelist Randy Ingermanson, "the Snowflake Guy," publishes the free monthly Advanced Fiction Writing E-zine, with more than 32,000 readers. If you want to learn the craft and marketing of fiction, AND make your writing more valuable to editors, AND have FUN doing it, visit http://www.AdvancedFictionWriting.com Download your free Special Report on Tiger Marketing and get a free 5-Day Course in How To Publish a Novel.

Randy Ingermanson Publisher, Advanced Fiction Writing E-zine http://www.AdvancedFictionWriting.com/ezine

5 Easy Steps to Better Writing

John Yeoman has a novel approach to writing—he suggests a lazy 5-step program to improving your writing. Lazy? LAZY???? Does the word even feature in any dedicated writer’s vocabulary? Aren’t writers supposed to slog all hours that God gives in order to squeeze out some creative scribblings that may or may not be the next Amazon bestseller? I must admit, I feel guilty if I miss a day of writing. I read the phrase “It’s like having permanent homework” somewhere and it’s true. However, John has some very good advice in his article, which I have reproduced here with his kind permission.


A Lazy 5 Step Program to Make Your Stories Glow
Yes, and a thousand writing mavens on the web will hustle to reveal it to you. Truth is, there’s only one formula that succeeds, time and again. And here it is... the 5-step program that most top authors use, although they’ll rarely spell it out for you.

#1. Don’t be afraid to write dross: We’ve all heard that we must write every day, and it’s true. But what shall we write? Perhaps we’re developing a story or novel. We know where it should be going, but we’re stuck for words. Solution? Write garbage. And write it fast.

Drop in the first phrases that come into your head. Your object is not to write great literature—just to get that wretched episode finished! There’s no point in playing word games. Not just yet. Probably you’ll junk that whole episode anyway at the final ‘cut’.

Amazingly, the garbage approach works. We have no problems going back to a page of rubbish and, with an amused sigh, editing it into something sensible. Writer’s block? Forget it. There’s no anxiety in this approach so our mind stays calm. We can hack out 1500+ words a day, without pain. Make it your goal to draft total nonsense for an hour. How can you fail? You can then have fun improving it later.

#2. Study television dramas: Now you have a great excuse for watching television. Study how the actors in sitcoms and soaps behave. Every five minutes, somebody will insult, distress or romance somebody else. Watch their faces, lips, and body movements. Also hear how their voices change. Jot it all down. True, the actors overact. But you could use that body language, toned down, in your stories.
Also take careful note of every ‘scene hanger’, the way an episode closes. Maybe it’s an unresolved question or note of alarm. That uncertainty will tease us into the next scene, even across a commercial interlude. Adapt those scene hangers and you’ll soon have a wealth of ways to link the episodes in your own stories, so the reader stays hooked.

#3. Act as a walking tape recorder: Christopher Isherwood inspired the phrase ‘I am a camera’. It described his work. He had reproduced, without judgement or interpretation, what he actually saw and heard in post-war Berlin. You can do that in conversations that you overhear. Take a discreet note of every colourful turn of phrase. Folk say the most amazing things that you would never be able to invent for yourself.

Okay, we know that ‘real’ people do not speak the way they do in books. But you may be amazed at how often people fail to complete a sentence, or reply to a question, or even speak coherently at all. Almost all communication is done ‘between the lines’. If you get that sub-text into your stories, your characters will seem ‘real’.

#4. Find something boring to observe: Boring? Yes. Here’s a wonderful way to make a walk productive. Stop at random, wherever nobody can see you. And just look. Are you staring at a shop window? A poster? A car-filled motorway or a placid park? And is the scene boring? That’s wonderful! Why? Imagine what a child would make of that scene, if they had never seen it before but possessed an uncanny gift with words. A bare brick wall becomes a magic landscape. A mundane street is an adventure to be explored...

Write a description of that scene, using all the five senses—as if you had never seen anything like it before. And pack all that sensual detail into one sentence. Now is not the time to be lazy. Use words that precisely convey the uniqueness of that moment. In effect, write a haiku.

True, this is a tough exercise. How can we describe, say, a graffiti-covered wall in words that make it fascinating? But it’s the key skill of a great writer. Master it and you’ll be able to ‘switch on’ this habit of perception instinctively.

I once had lunch with a popular UK author. ‘Look over there,’ she said. ‘Who?’ ‘The man with a face like a pork pie.’ She was describing her publisher, who had just entered the restaurant. I wager that phrase found its way into her next novel (if not her conversation with him). Point is, she couldn’t stop herself using colourful phrases, even in casual observations!

#5. Acknowledge that your story will never be perfect: Can you write a perfect story? Of course, not. Nobody can. Even Shakespeare’s plays have lines that make no sense at all, even to scholars. (Perhaps he was drunk...) Point is, you have to re-write a story at least a dozen times before it’s fit to present to anybody, let alone a publisher.

One painless way to do this is: get your story as good as it’s ever going to get (you think). Then drop it into a closet for a month. Drag it out and try not to laugh at how bad it has become, all by itself. That wonderful paragraph you spent hours on? Dross. And why do your characters drone on, and on...

The ideal time to re-write a story is when it has spent a year in limbo. Of course, you can’t afford to leave a story on the shelf if you write for a living. Professional authors have to make do with getting their work 80% perfect and letting their agent and copy editor tidy up the rest. Still, everything they submit will have gone through the ‘closet’ process a good many times.

Yes, there is a sure-fire formula for writing stories that succeed. It’s the one above and it has been around since stories began. Of course, no formula will work unless you have some writing talent. If you have, it’s just a matter of developing good habits, like those above. It's how every pro author started...

John's free book How to Win Story Contests for Profit and free 14-part course in story writing for the commercial market can be found at:

http://www.writers-village.org/writing-ideas.php

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Free Kindle E-book: Behind the Scenes of The King’s Ransom

I first became interested in Cheryl Carpinello’s work when I began research on my own Arthurian-themed adventure novel for middle graders, The Search for the Stone of Excalibur. At the time, I read and reviewed the delightful Guinevere: On the Eve of a Legend. Read my review here. Cheryl’s book was a Finalist Pre-Teen Literature: Dan Poynter's 2011 Global Ebook Awards.

Cheryl says this about her fascination with all things Arthurian: “Although a retired teacher, I still have a passion for working with kids. I regularly conduct Medieval Writing Workshops for local elementary/middle schools and the Colorado Girl Scouts. It seems I'm not the only one who loves Medieval Times and the King Arthur Legend. The kids thoroughly enjoy writing their own medieval stories complete with dragons, wizards, unicorns, and knights!”

Next came The King’s Ransom (Book I of The Young Knights of the Round Table), a tween adventure novella. At Pembroke Castle in medieval Wales,11-year-old Prince Gavin, 13-year-old orphan Philip, and 15-year-old blacksmith's apprentice Bryan, brought together in friendship by the one they call The Wild Man, embark upon a quest to save The Wild Man’s life when he is accused of murder and robbery. If they have any hope of succeeding, the three will have to confront their fears and insecurities, and one of them will have to disclose the biggest secret of all. But it is the arrival of King Arthur and what he reveals that surprises characters and readers.

But wait, there’s more!

Hot on the heels of the book came a fascinating behind-the-scenes in Behind the Scenes of The King’s Ransom.

Have you ever wondered what writers do in addition to writing their books?

Behind the Scenes of The King’s Ransom lets readers meet the characters in The King’s Ransom (Young Knights of the Round Table), go on a virtual tour of the actual Welsh settings and sample Welsh food and drink, discover the secrets of the author, and other goodies. Read excerpts from The King's Ransom and Guinevere: On the Eve of Legend.

Sounds fascinating!

GET YOUR FREE COPY ON 20 AND 21 September!

(Originally priced at $3.50)

Take a look at Chery and her work here!

Transformational Fiction with Lisa Hilleren

Today’s book review post features author Lisa Hilleren and her hilarious transformational novel Reconstructing Eve. Lisa is generously giving away a 30% discount on e-book and paperback purchases. Scroll to the bottom of this interview for details.


Author Lisa Hilleren



Does life imitate art or vice-versa? Either way, the apple didn’t fall far from the tree. Like her fictional character Eve, Lisa Hilleren lives in the Garden State and drives a red convertible. Her personal journey of self-discovery began 15 years ago, when she learned the power of emotional intelligence, which she has since taught to countless others in her role as a professional trainer.

Let’s talk about Reconstructing Eve.

When Aidan Wharton asks Eve Merritt on a date, one might wonder why she refuses to go. After all, Aidan, a handsome, rich, well connected, 31 y/o, is most women’s dream date. That is, if you’re a supermodel look-alike, not a 44 y/o divorcée, with a grown-up daughter, and (even worse) jiggly thighs. To make matters more complicated, Eve used to babysit Aidan when he was little, and their parents know each other. However, temptation is hard to resist. Eve, who has been a good daughter, wife, and mother all her life, suddenly decides to kick over the traces and just take a bite of the apple. What she doesn’t expect is Aidan’s total adoration and commitment; her ex-husband’s bid to renew their relationship; a stalker from Aidan’s past creating trouble; and finally a crazed killer who seems to out to get both of them. Could things be any more complicated? Yes, when Eve finds herself falling hard for Aidan and tries to talk herself out of something that (of course!) can never work long term, especially not the happy-ever-after future complete with big wedding that Aidan has in mind. Has Eve got the courage to overcome the decades of old conditioning and for once put her own happiness and well-being first?

Q: In your own words, what is ‘transformational fiction?’ I’ve heard of inspirational fiction, but this is a new concept.
A: Thank you so much for asking this question! One of the reasons I chose to self-publish is that my novels don’t fit in any one of the established commercial fiction genres. Although there are strong romantic, comedy, and suspense elements in Reconstructing Eve, at its heart, it’s the story of a woman’s journey of self-discovery.


Princess Fiona rules!

 And that’s what transformational fiction is. Avatar, Shrek, and The Mask of Zorro are great examples of male protagonists transforming into their authentic selves. My novels center on women learning how to cast off the gender and generational conditioning that have inhibited them from leading truly fulfilled lives. Conflict abounds from both internal and external resistance to the heroine’s personal development, but at no point in any of my books does the heroine abandon her responsibilities in order to go find herself. Instead, as part of her transformation, she redefines the concept of what constitutes being a good wife, mom, and daughter, and by doing so, she ultimately comes to the realization that she can have it all. Hence the tag line, “Have your apple and your Eden, too!”

Q: What prompted you to take an inner journey, which you describe on your website, and turn it into something so hilarious and real that the reader can’t help laughing, nodding in acknowledgement, and saying, “Yep. I know exactly what she’s talking about!” (You could have written a serious non-fiction book with lots of reader exercises at the back – the kind we tend to buy and never read…).
A: Like countless other women, I grew up believing (thanks to fairy tales and television ads) that I should dedicate my life to taking care of everyone else’s needs. It’s not that anyone ever said as much, but when you are constantly barraged by images of women behaving in that manner--especially from a very young, impressionable age--you associate those actions (and through that association, form the belief) that that’s the ‘right and natural order of things.’

The carrot, as I saw it, for being sweet and selfless like Cinderella, was that I’d get to live happily-ever-after. So at 20, I married a prince of a guy, and by my 25th birthday I was mom to two beautiful children. Having been very poor growing up, I was determined give my children the material things I’d always longed for, and so, by my 30s, I was pulling down a handsome salary as a call center manager for a global insurance company. By society’s standards, I had it all: marriage, children, a career, a nice house, nice cars, etc. When I stepped back from my life and viewed it as a photograph, it screamed success!

But I didn’t feel successful. I felt restless. I felt that something was missing, and how could that be? I’d done everything right. I should have felt so fulfilled, should have been living--and reveling in--my richly deserved happily-ever-after. But no, the happiness I expected would be handed over to me (you know, in a ceremony rivaling that of the queen’s coronation) never happened. Leading me to the very unhappy realization that being self-sacrificing didn’t guarantee my own happiness as I’d falsely believed.

 

Bite that apple of life!

I was livid. I felt like I’d been suckered into the world’s biggest bait and switch. I demanded answers, which is what led to me to my inner journey and the discovery that happiness is a state of being, not a reward. Acknowledging that I was wrong in my thinking (and--gasp!--that I wasn’t perfect!) was so challenging for me. How I coped with it and kept myself moving forward was by focusing on the humor in my circumstances. That said, I initially wrote Reconstructing Eve for myself. Although Eve’s journey differs from mine, her emotions mirror mine and as difficult as it was to write about them, it was also tremendously cathartic. Too, being a storyteller, I still love fairy tales, and I wanted to honor that by writing one where the heroine is victorious because she has the courage to be herself, not because she’s being sweet and self-sacrificing.

Q: Do you think readers will better absorb the message in a wickedly funny and realistic package than if they pick up a book that outlines what they didn’t do/should be doing with their lives?
A: It’s been well-documented that our choices are emotionally-driven. That said, non-fiction can evoke certain emotions. For example, we can be inspired by the author’s journey, or conversely, intimidated by her credentials. We can be uplifted by the possibilities presented in a self-help book, or, as typically happens with adults, get stymied by our fear of failure. What’s different about novels is that the audience gets to "safely" experience the full range of emotions that the protagonist experiences in her journey of self-discovery: her hopes, her fears, her joys, her sorrows. The reader might fear for the heroine’s well-being, but on a subconscious level, she’s aware that her own well-being is not in jeopardy. Fiction creates an environment where the reader is comfortable lowering her emotional guard, and in doing so, vicariously lives the protagonist’s journey.

If what the heroine says or does strikes a deep emotional chord, chances are that the reader will respond with receptivity to the message as well as take into consideration the options presented to her for potentially leading a more fulfilled life.

Q: You’ve written other, still unpublished works (historical, paranormal and contemp. romance). What made you take the plunge and see Reconstructing Eve published?
A: I wrote the other books before and during my self-discovery journey. Although well-crafted, they didn’t sell, partly because like Reconstructing Eve, they didn’t neatly fit into a traditional genre. I believe the bigger reason, though, was that I was writing from my ego, not from my heart. The best advice I ever received as a writer was, “Write to express, not to impress.”

After years of receiving countless “good” rejections, I stopped writing and focused on my personal development. Reconstructing Eve is the result of me writing from my heart and from believing so passionately in Eve’s story that I chose to self-publish when once again, the “good” rejections poured in. As Aidan tells Eve, “You’ve got to put yourself out there.” (LOL, I’m laughing here because yes, I often take advice from my own fictional characters.)

Q: Eve is the original temptress, and she did go off the path a bit long long ago. In the book, are you giving readers a hint that it’s possible to, well, not turn back the clock, but start the path all over again? (and get it right)
A: My hope is that women continue to band together in rejecting the notion that by pursuing our own happiness we are somehow straying off the “straight and narrow path." Self-fulfillment is not selfish. Similarly, enjoying a healthy sex life does not make us immoral. Reconstructing Eve is about recognizing and addressing the dysfunctional aspects of conforming to the status quo. I deliberately had Eve give in to temptation as a way of showing how--once we stop letting the social norms dictate whether we are “bad” or “good” (and ergo, worthy and deserving of happiness)--we create the opportunity to truly have it all.

Q: Many women shy away at the idea of taking on a younger partner, who could easily have a young gorgeous woman in his life (sans jiggly thighs). What do you think is the reason so many younger men DO, in fact, gravitate to an older woman, and can this relationship work? (You can hear I am as much a Doubting Thomas as Eve is!)
A: LOL, I was too! Until I researched why younger men are attracted to older women. The top responses were:
1) Maturity

2) Their life experiences creates the opportunity for great conversation and camaraderie

3) They’re upfront about what they want

4) They aren’t looking to be endlessly entertained or forever on the go

5) They are interested in having a relationship, not just looking for a baby-daddy

6) They don't thrive on unnecessary drama; Instead, they tend to approach life's hiccups with a sense of humor, and for the most part, choose to overcome their challenges rather than incessantly dwell on them

In the articles I read, many of the May-December relationships outlasted those where the partners were of a similar age. And for those that didn’t, the men stated how much they valued the experience and continued to hold their former partner in the highest respect and regard.

Q: You do not have to answer this one (ha ha question) - is Aidan Wharton your husband in disguise?
A: He definitely challenges me the way Aidan challenges Eve! He’s more “alpha” than Aidan, though. I'd say he’s one-part Aidan and two-parts Will Merritt - which makes for a very lucky me!!!

Q: The secret question that no one has ever asked...do you have a garden like Eve’s?
A: Don’t I wish! My mother had a magnificent garden, though, and my vivid memories of it are what I visualized when I wrote the book. Me, I’m a brown thumb through and through! It’s only because my husband looks after my four rose bushes and two lilac plants that they have somehow managed to thrive.

My review:

This is more than just a fun, chick-lit read. Lisa Helleren taps straight into most women’s anxieties and insecurities when faced with a new relationship after the end of a long marriage. In many cases, women struggle to reinvent themselves after their former role of dutiful wife and mother has ended and it appears that they failed in their task. The dialogue is real and snappy, and the author takes readers right into Eve’s head. There is an underlying message that gives women hope, and the author herself says, “Supporting women on their journeys of self-discovery is my passion; it's the driving force behind my writing.” Eve learns her life lessons, and finally cultivates self-belief through love, regardless of jiggly thighs. The characters interact in a most credible way, making them believable and ultimately appealing. The author has a deft touch when it comes to characterization and there are no one-dimensional actors in this theater of life. Readers will laugh, and empathize. There’s passion, humor, tenderness, sadness, and ultimately self-discovery and redemption. There are a few adult love scenes but they flow seamlessly into this excellent story. Highly recommended.

Please visit Lisa’s excellent site, where her mission is to empower women through self discovery and celebrate the right values for them. In Lisa’s own words: “As I was writing Reconstructing Eve, I was privileged to have the most amazing conversations with other women about our journeys of self-discovery. This sharing of knowledge and insights inspired me to create an on-line community for women to connect and support one another.”

Be it through training or fiction writing, Lisa is passionate about sharing the knowledge and tools that help women to discover and embrace their authentic selves. Lisa has some excellent articles on her site. Read them. You’re in there somewhere.

Get your 30% discount off a Smashwords purchase using this code VL52H.

Get your 30% discount off a paperback purchase on CreateSpace by adding the book to your cart and on the checkout page, enter discount code BRQHNBWF.