If you've ever dabbled in magic tricks or have a friend who has, you might have heard about the simple magician's rule, "Only let them see what you want them to see." The truth is, that rule is not limited to magic tricks. Writers use that tool daily. To write a good book, the author must tell a specific story without revealing the secrets of the developing plot. In other words, they must pick the point of view and narration that best conveys the story they want told. The best method for telling the story depends on the genre of the story and the point the author is trying to make. You can have two identical copies of the same plot, characters, and setting, but the second you choose a different point of view or narrative style, a new story is born. So what is the deal with all these different methods, and how are they best utilized?
First Person
First person is probably the easiest point of view to write and is common with stories relying heavily on emotion. In this point of view, a character in the story becomes the narrator, and everything is seen through his/her eyes. The reader is shown the character's emotions, opinions, and life events, making the story rather subjective. As such, using this type of narration leaves the author open to purposely lead the reader astray. For this reason, first person narrators are not always trustworthy. This point of view is handy for writing intimate stories, such as mysteries or romance novels.
Second Person
A second person point of view is rarely used when writing modern fiction; however it is still used frequently in television. It is equivalent to what is called an "aside," a tool used primarily in earlier dramatic plays. Asides were short speeches, or soliloquies, in which the character addressed the audience directly with his/her thoughts. A second person point of view breaks the fourth wall so to speak, just as the asides in plays did, and gives the reader some extra insight into the story from time to time. However, in modern fiction books, most authors opt out of this style of writing. Many see it as less desirable since it breaks the reader's connection with the story, rendering it more objective. However, one type of literature that is still commonly written in second person is a personal diary. When stories of this type are recounted, fiction or non-fiction, the second person narration is the most viable point of view to use.
Third Person
Third person point of view is the most flexible, and is therefore the most frequently used of all viewpoints. In this point of view, the narrator is an unspecified entity following the main character(s) as the events of the story unfold. Third person singular is most common, whereby the narrator refers to the characters in the story as he or she, but a plural third person (they) is also an option. Third person can be subjective or objective, and it can also be limited or omniscient.
Objective
Objective narrators have no direct involvement in the story and tell a completely unbiased version. They never state more than can be inferred from observable events and dialogue. No thoughts, opinions, or emotions of any kind are given about any of the characters. The narrator remains completely detached. This type of writing is difficult to master, as it's a strictly show-all-and-never-tell style of narration, but it can be very powerful when done well. Books of the thriller genre are best suited for this type of narration.
Omniscient
Omniscient narrators are all-knowing about all the characters. They know what every person thinks and feels, and is aware of all their motives. This narrative style allows the author to jump between each of the characters' minds throughout the story. It is often coupled with the third person point of view and can be objective or subjective.
Limited Omniscient
Limited omniscient is similar to omniscient with the exception of the narrator only having insight to a limited number of characters' thoughts/feelings. It is also usually paired with the third person point of view but is usually subjective.
Tense/Diction
Tense deals with the time of events having occurred, and diction refers to the vocabulary and speaking style used by the author in a book. Both relate strongly to the type of story being told and the author's particular writing style. Present tense, which is more common in short stories, has sort of a flattened emotional narrative style and increases distance between the author and the reader, often making the reader less sympathetic of a character. The objective feel of this tense can be to an author's advantage depending on the story, particularly if the author doesn't want the reader to take the side of the main character. This is especially true if the main character is the antagonist rather than the protagonist. I've personally written a couple of stories this way, and I can tell you that it does work well in certain situations. It's not a great style choice for every story though.
The more commonly used tense is past. It gives the reader a more personal connection with the characters, and it flows naturally. It's less choppy and awkward than present tense, making it more pleasant to read and write.
Choice of diction depends on the genre of the story, setting of the story, and characters. The most diction differences are seen within dialogue, but the narration of a story can have an unusual diction to it as well. For instance, I've read some works of fiction that take place in the southern part of the U.S. where the author chose to write with a southern diction for the whole book. It wasn't my particular cup of tea, but it worked well for the story being told. Likewise, if you're writing a book about medieval times, it makes sense to use the language that they would have used when telling the story. The same is true for non-fiction, particularly with guides and how-to books. Certain technical and slang terms would be expected in these.
Whichever tense and diction you decide to use, make sure it matches the story being told. There is nothing more annoying than reading an excessively wordy book or one that uses incorrect terms/facts for that genre or era.
Avoiding Clichés
Clichés make everyone cringe. They hurt your writing, and they usually trigger an involuntarily eye roll or groan from readers. It's best just to avoid them altogether. But sometimes it's hard to determine whether or not something is clichéd. Colors are easy. If it's something you've heard quite often--fire engine red, pitch black, or sky blue for example--you know it's probably one of those descriptions with a cliché tag attached. But what about characters, opening scenes, and individual lines? Though clichés vary from genre to genre and there are many of them, there are a few key ones that spread across all genres that you'll want to watch out for. Mary Sue/Gary Stu If you've been writing for any length of time, you've probably heard of a Mary Sue (Gary Stu for the male counterpart). These characters are very predictable, stereotypical, and downright boring. They are neither very well-developed nor original. Though not always true, Mary Sues/Gary are often protagonists, and can even be a reflection of the author's personality. While sharing just one or two quirks, habits, or interests with the author isn't a big deal, the protagonist shouldn't be a portrayal of the author. In fact, each character needs to be his/her own person. No two people on this planet are exactly alike, and no two characters should be either.
Tips for avoiding clichéd characters:
1. Give each character a distinct and different personality.
2. Avoid making them a Plain Jane or an outcast. This type of character is way overdone, especially for a protagonist. If you're going to make your main character typical in either of these ways, be sure to include something extraordinary about them, setting them apart from the rest.
3. Avoid using stereotypes for characters, such as nerd, jock, dumb blonde, etc.
4. Give characters a realistic body type. Having no physical flaws at all--or at least not having a body part the character is unhappy with--is impractical.
5. Be specific. The more details you provide about your character, the clearer and more unique he/she will be.
6. Make them well-rounded; give them more than one interest. Pick hobbies that fit the individual.
7. Give them several faults of any type. Everybody has them. Just as there are no perfect people, there should be no perfect characters.
Life Stories and Death Scenes One of the quickest ways to diminish any interest a potential agent or publisher might have in your book is by having a "My name is..." opening. This is a habit many inexperienced writers develop during their early years of writing. They use this type of opening in an effort to show the importance of the story itself. I've certainly been guilty of it before, and I have to force myself to dive right into the story sometimes. It's tempting to give an introduction to the main character; after all, they are usually the most important person in the story. However, if a book is well-written, introductions aren't necessary in the general sense. The author does not need to make the character address the reader in any way. If the plot and action are good in the beginning chapters, the reader/agent/publisher will be hooked regardless.
Another often used opening is a death scene. It's a great, dramatic entrance, and lets the reader know that something big happened. The idea is to make the reader want to read more about what happened, capturing their interest and preparing them for the rest of the book. But sometimes method has the opposite effect. When someone picks up a book to read, they expect a good story to be told. They expect there to be a plot with substance, one that builds up and leads to a climactic point. By starting with a huge death scene, the author has already given away a valuable asset in storytelling, the climax. My advice is this: If you're going to start with a death scene, make it make it odd. Make it small or meaningless. Make it a joyous event, or something else unexpected. Have it be a cause and effect event. In other words, make it completely unique to any other death scene you have ever read, or make it so ordinary that that reader flips through it without much thought. This will give you a personalized opening without giving away key moments in the story right off the bat.
Tips for avoiding clichéd opening scenes:
1. Avoid introduction speeches.
2. Avoid giving away a climactic moment.
3. Make the scene have at least one unique element to any other story.
4. Research clichéd opening scenes, and avoid them. These include dreams, storms (especially at sea), and daily morning routines. Here's a great source about clichés when writing scenes: http://kathytemean.wordpress.com/2010/05/06/8-common-cliche-mistakes/.
Dark and Stormy Nights Clichéd lines are just about as annoying as clichéd characters. These lines include those such as the infamous, "It was a dark and stormy night," "Houston, we have a problem," and "Is it just me, or is it hot in here?" Most of the time, these lines are part of dialogue, but not always. However, there is a way to overcome clichés: avoid them, or make fun of them. If you use them and it's obvious that you're poking fun at the line, go right ahead. Some of the most successful television series are ones that make fun of themselves from time to time. Just use this tactic sparingly.
Tips for avoiding clichéd lines:
1. Research. It's pretty easy to know what is a cliché and what isn't, especially if you've heard the line before, but here are examples of a few just to get you started: http://digitalderon.com/top-ten-lists/digitalderos-top-10-worst-cliche-lines-of-dialogue/.
2. If it's a line that doesn't just hint at what's coming but makes it blatantly obvious, skip it.
3. Pay attention to the weather. Yucky weather can certainly make a bad day worse, but that doesn't mean it always has to rain. If your character is heartbroken or depressed, making it dark and rainy outside just sets you up for one of those used-one-too-many-times lines.
Toying with Time
When you mention the genre fantasy, some people imagine dragons and faraway lands, some steer toward vampires, werewolves, and witches, and others--like myself--tend to be drawn toward the element of time. Time is a mysterious idea, even to modern-day scholars. It fascinates scientists and writers alike, spawning many theories and stories revolving around the variables of this fluid beast. We know that over time organic matter breaks down, and new matter can take its place. Time propels us forward, making progression possible. We use time to categorize and arrange past events. But little is known about time other than how it affects us. However, it is something that we religiously base our routines and everyday lives around. Acceptance of time means changes are inevitable; some things can be completely replaced over time, and others simply altered.
The sheer magnitude of the concept of time is one of the things that makes it so fascinating to us. There is almost an unspoken knowledge of its power. It's something that we have absolutely no control over, causing anxiety for some and a sense of relief for others. For writers, time is one of those magical toys that can be dreamt about contorted. It defines the lives and journeys of the character that we craft.
But playing with time is like playing with fire; it's a difficult to harness but is extremely dynamic. Most writers use this capability to their advantage, even in the most basic sense. They establish a chronological order of events but present them in a way that is the most effective for conveying the story. However, when time is presented as an object in a fantastical story, it becomes a living creature capable of wreaking havoc on the characters and story being told.
In order to best utilize this tool, there are three main areas a writer should focus on.
Idea or Object? Time is either going to be seen as an idea or an object in a story. If it is simply an idea, it will usually follow a linear path and affect the characters much like time in the real world as a unit of measure to signify when certain events occurred. If time as seen as an object, it is elevated and personified, and can be captured, manipulated, or even stopped. This view of time is most likely to occur in a story where there is sorcery. It will require the creation of extra rules which must be consistently maintained. Toying with time in this way alone can certainly hold a great amount of potential for plot development and unexpected twists.
Time Travel The next thing you'll want to establish is how flexible time will be: Will time manipulation and/or time travel be possible? Managing this view of time is tricky. There are whole shows based on this idea. Some are executed quite well, but ones that aren't are monstrosities. The best aid for writing this kind of a story is research. See what's out there, what works well, and what doesn't. Come up with your own rules and try them out. Just make sure that every action has a consequence. Based on context of the story, readers will know how devastating the consequence should be. When something as big as time travel is involved, readers will expect long-term effects to characters' actions. Even if an immediate consequence isn't appropriate, one should be queued for later.
Weave in History If there is any sort of manipulation of time in your story, a history of why and how time came to be that way is absolutely crucial to a well-developed plot. Without it, the actions of the characters toward the object of time are meaningless. Be careful to avoid long blocks of backstory though; doing so can simultaneously bore readers and give away too much of the plot. Use it instead as a detail to enhance the current point in the plot and peak interest in past events.
Learn the Rules Before Breaking Them
I know grammar is a touchy subject for a lot of people. No one likes to be corrected or reprimanded for using the wrong word in the wrong place. I know many people who simply say, "Isn't that what an editor is for?" They don't care if they get a few words wrong, because they know it can be fixed or that people will get the gist of what was meant anyway.
I also know people who treat grammar like it is the be-all and end-all. They shudder if they see a conjunction at the beginning of a sentence and a preposition at the end (Which, interestingly enough, is generally accepted as proper English now.) They're seen by many as old-school grammar junkies.
What neither of these groups realize is that it's a combination of these things that can create perfect harmony in a creative work of fiction. Upholding a high standard for correct grammar ensures a well-constructed narrative, and it makes for excellent readability. On the flip side, being a bit lax on grammatical structure can allow for a more creative flow of the prose, making it rather musical in nature. It also gives the author of the piece a distinct voice, and can really make a book come to life. But there's a catch to this balancing act; one first has to know andpractice good grammar before break it.
If you read my blog series on why good writing matters, you probably came across the post about grammar. From a professional editor's standpoint, good grammar is essential for giving the author credibility. It assures the reader that the author knows what they're doing, and the reader will not only buy into believability of the story more, but they will be more likely to read past the first few pages. An agent will also be much more receptive to a book with good grammar than one without. This makes the book more marketable.
Once you have a well-written manuscript, you can start using grammar and sentence structure to your advantage. Use variation of sentence structures to make the prose flow, leading one sentence into the next according the mood and pace of the scene. For example, using shorter, choppier sentences and paragraphs mixed in with standard text can set the pace for a suspenseful action scene. Sometimes, a bit of non-standard grammar or even slang is appropriate in order to enhance this effect, particularly when dialogue is involved.
Carol dropped the bloody corpse she had been holding but held the knife firmly. The door had been kicked in. Two dozen FBI personnel surrounded her within seconds.
"Hands where I can see them!" one of them barked.
Carol chanced a glance out of the corner of her eye at the men surrounding her. Each had a handgun, and a few were packing larger weapons. Much larger. With a small smirk, she loosened her grasp on the knife. It clattered to the ground.
"Now!"
This was her chance. She yanked the chain off and threw it on the ground. The glass vial broke and immediately released a thick cloud of white smoke.
Idiots.
She leaped out a nearby window as her pursuers coughed and sputtered at the toxic fumes.
Notice how the purposefully short paragraphs, dialogue, and sentence fragments were used. The variation of sentences mixed in with just a hint of non-standard grammar gave this scene the desired effect. If the sentences lengths and grammar were changed, one might expect a different outcome, such as surrender of the criminal. Apart from the cues of the woman's body language, the short and direct sentences give the reader additional insight to what's coming other than what is directly written on the page.
Knowing how to productively bend the rules of grammar can be a powerful tool in the right hands. It's how good writers achieve those suspenseful, steamy, and action-packed scenes. But there's a big difference between blatantly poor writing and incorrect grammar being used purposefully and methodically to enhance well-written text.