Writing Tips For Authors

Keeping in viewpoint doesn't have to limit the writer. Rather, point of view is a tool that builds credibility in the story, a device to focus control on the main character.

Viewpoint goes beyond the basic elementary author decision of using the first person "I", second person "you", or third person "he". Let's explore further the different types of viewpoints used in literature. The first two viewpoints covered take place externally, outside any character's heads.

1. Objective Viewpoint assumes the camera's eye. It is always an external viewpoint, outside of all characters, only observing what the characters actually say or do, never what the characters think, know, understand, wonder, believe, etc. Example of objective viewpoint:

Celeste slipped behind the shadow of the doorway and clasped Elizabeth's wrist, giving a quick tug to follow her. She wasted no time in dragging the woman across the room until they stood a good distance apart from the crowd.

"You're still hung up on Richard," Elizabeth complained, rolling her eyes.

Celeste fumbled with her purse, She popped the clasp and searched the contents for a cigarette. "You don't understand. You've been happily married to the same man for sixteen years." She tucked her purse beneath her elbow and struggled with her lighter, clicking her thumb across the metal catch. The sparks did not ignite. "This is my second divorce. I know Richard was a loser," she said, shaking the lighter and trying again. "But I hate starting over. I'm just no good at it."

Elizabeth placed her hand on Celeste's arm, stilling her frantic movement. "Don't look now, but I think Mark's headed this way."

Celeste lifted her gaze then gasped.

"Need a light?" Mark asked, extending a lit match.

Objective viewpoint is a good viewpoint to use when you need to reveal the actions and dialogue of a character such as a villain or minor character and your hero or heroine is not around to observe the scene. It allows the reader to see and hear necessary information without going into the heads of minor characters. No internal thoughts or motivations are revealed unless shown through action or dialogue. Objective viewpoint is frequently used successfully in romance novels when it can be skillfully blended with a much heavier dose of the more favorite Limited Omniscient Viewpoint (#5).

2. In Modified Objective Viewpoint the narrator does not know what the character is thinking, but makes guesses. Sometimes the guesses will prove to be wrong, but the narrator is observing honestly what is happening right along with the reader and drawing the same conclusions as the reader. If the narrator is unreliable and not telling the reader everything he should, it is not acceptable to most readers, and the narrator is considered an "unreliable narrator." Hopefully, the narrator can create some feeling of intimacy for the reader with the other characters even though the modified narrator viewpoint has limitations on accuracy of what is actually going on in other characters' minds. A difficult viewpoint to pull off and keep reader attention. Not suitable for romance! Example:

Celeste walked into the room pale and drawn. Perhaps she had Mark on her mind all day, or maybe he had been in her dreams all night. Or, she could just be anxious about her ex, Richard coming around again. Nobody could keep up with which way Celeste's heart was tumbling lately. Her friend Elizabeth said she got a strange look every time someone mentioned either man's name.

All the other viewpoints covered will now be from a subjective viewpoint.

3. In First-Person Subjective Viewpoint the narrator is the character in the story, not an objective outside observer as in the two prior examples. First-person is always written from a subjective viewpoint, it is the story from only one character's viewpoint, and that character is telling what's happening to him, what he sees, hears, feels, etc. He can be the protagonist, the antagonist, or any character, even a minor character in the story. Example:

With my track record, I figured that the simple fact that I found myself attracted to Mark was a strike against him. Especially after coming out of my relationship with Richard. I sure can pick 'em. No doubt about it. My reaction to Mark was a sure a thing as Monday follows Sunday that there was something major wrong with him.

A good first-person story contains comments, observations, and reminiscences that belong to the narrator. She tells the reader what she's like right off the bat. Also, first-person permits the character to address the reader up close and personally. This viewpoint is the easiest form for the beginner as the first-person voice doesn't allow the writer to waver between viewpoints and make beginner mistakes. It is a viewpoint commonly used in mystery or suspense writing where it can be well done and compelling for the reader to not know what other characters are thinking. But, it can also be rather limiting. Most editors don't like it and most readers don't enjoy it unless the writing ability of the author is high, not a beginner. It can also be limiting if the writer needs to comment on the character herself, or if the character won't be present during important events in the storyline. In other words, point of view problems can arise as the plot thickens.

4. Second-person narrative is almost never used in fiction writing for the simple reason that the viewpoint assumes the "You" format, an odd address that calls attention to itself and will alienate some readers. It also tends to be awkward over the long haul. Example:

You've been asked by the Estee Lauder Corporation to create a love potion perfume to lure the right man. Sure, you think. After all, you've had plenty of experience attracting Mr. Wrongs... like Richard. Besides, you have Grandma Edna's book of spells and potions passed down from generation to generation. Witchcraft is in your genes. All you need to do is mix a couple of Granny's special ingredients with all the stuff you've learned not to like about men and shake well. Whisper the magic chant inside out and upside down... Wait a minute. This could be dangerous. Or, it could get you Mark.

5. Limited Omniscient is the strongest and probably the best viewpoint for romance novels. It tells the story through the character's thoughts and attitudes but cannot know the thoughts of other characters in the story. In romance it is the most frequently used point of view and preferably limited to the hero and heroine. It is done from a third-person position using both "he" and "she". On rare occasions the viewpoint of a villain who is present throughout the work is included. Also on rare occasions toward the ending of a book a third viewpoint may be used to create the beginning of an emotional bond between the reader and a new character who will be the star of the author's next book.

It is important to understand that unless the character is looking in the mirror, she can't describe the expression on her own face, or see her eye color. She cannot say her cheeks are red because she cannot see her own cheeks turn red. She can however, tell us that her face feels warm or she knows she is blushing.

Third-person limited Omniscient requires considerable thought and skill on the part of the author to limit the viewpoint to only the two main characters. Example:

Celeste slipped behind the shadow of the doorway and clasped Elizabeth's cold wrist, giving a quick look and tug to follow her. She wasted no time in dragging her best friend across the room until they stood a good distance apart from the crowd. Celeste was not about to make her conversation public.

"I'll do no such thing, Elizabeth," Celeste whispered in a breathless rush showing her embarrassment. "I don't care if I am attracted to him. No way will I ask the man if he wants to see me again."

"You're still hung up on Richard," Elizabeth complained, rolling her eyes.

Celeste wouldn't acknowledge the falsehood of her friend's words and instead fumbled with her purse so she wouldn't have to look Elizabeth in the eye. She popped the clasp and searched the contents for a cigarette she didn't really want. "You don't understand. You've been happily married to the same man for sixteen years."

She tucked her purse beneath her elbow and struggled with her lighter, clicking her thumb across the metal catch. The sparks did not ignite. If only it was that easy to keep the sparks from showing in her eyes whenever Mark was near, an impossibility. "This is my second divorce. I know Richard was a loser," she said shaking the lighter and trying again unsuccessfully. "But I hate starting over. I'm just no good at it."

Elizabeth placed her hand on Celeste's arm, stilling her frantic movement. "Don't look now, but I think Mark's headed this way."

Celeste lifted her gaze then gasped as a pair of vivid blue eyes met hers. Oh Lord, did he know the sight of him turned her bones to jello.

"Need a light?" Mark asked, extending a lit match. He reached with his other hand and gently grabbed Celeste's shaking wrist as he led her cigarette to the flame. His breathe caught with pleasure as he felt her accelerated pulse and noticed the heat in her face. He prayed it had nothing to do with the open flame he held before her.

Celeste is telling the story until we hit Mark's dialogue. Every thought, every observation comes from her point of view until he speaks. Then it is Mark's turn and we begin to see his point of view. We may remain in his viewpoint for a page or more or even until the end of the scene or the chapter. Notice that while we are in Mark's point of view we don't have Elizabeth's viewpoint, only her words and actions.

6. Omniscient Viewpoint uses a narrative that is all knowing. God like. The narrator knows what everyone thinks, all their prior history and all their current and future motivations. Although it was popular in Victorian novels because it gave everyone society's view on every little thing, it is not always effective for today's long prose because it tends to be confusing as to who the reader should form an attachment to. In omniscient, every character will likely be given an opportunity to reveal at one time or another their thoughts, opinions and views.

Seen more in mainstream fiction than romance, it doesn't give modern romance readers the tightly woven, compelling, emotional story they have become accustomed to reading. In romance multiple viewpoints are a distraction and considered by many as lazy writing or a sign of a less experienced writer. Example:

The bar was crowded with hungry man-hunters. The way they leaned on the stools gave them away. One blonde licked her lips and thought the man entering the bar reminded her of her ex. A brunette leaned back thrusting her chest forward, hoping the newcomer wouldn't miss her invitation. A row of puckered mouths painted several shades too red pouted while hips swiveled in a way nature never intended. In a far corner beneath the dim light of a tiffany lamp stood Elizabeth and her friend, Celeste. A stab of apprehension at the sight of Mark went through Celeste. Elizabeth knew what doubts raced through her friend. They stole glances at Mark who hovered beside the bar. Mark questioned the wisdom of walking away from the row of long legs, stretched between short skirts and slutty shoes toward the dimly lit corner.

7. Author Intrusion may have been an alternative viewpoint in the 1700's and 1800's, but it is no longer an acceptable option today for the simple reason that it jars the reader from the story, making for a less compelling read. The exception of course, is if the author is the character in the story and is writing from the first-person viewpoint where "intrusion" is how the story is actually told.

An example of author intrusion today would be when a particular fact fascinates the writer and she includes it in the manuscript. Or, the author feels so strongly about some moral, religious or political point that she inserts her own opinion, not the opinion of the character. Not a good practice. Example:

Celeste stood on her toes to accept the light. She drew a long breath from her cigarette. The Surgeon General warns that cigarette smoking is hazardous to your health. "I know I should quit," Celeste said.

Once viewpoint is established, it should be reinforced continuously. Don't use the heroine's viewpoint for the first six chapters then suddenly drop in the hero's point of view. That is not smooth writing.

In romance you want to use both the hero and heroine's point of view, and use them early so the reader is set up for two points of view. Perhaps use one point of view in chapter one and a second point of view in chapter two, or use one for scene one, chapter one, and another for scene two, chapter one. This eases the reader into your particular style. Proceed with caution. If you bounce back and forth between the two characters too frequently, it will appear that you are "head hoping." It is like a rapid game of ping pong, the reader gets whiplash and becomes distracted by the writing itself and removed from the story you are tying to weave. In love scenes transitions do tend to take place more frequently between the two points of view, but make these transitions flow smoothly.

When you switch point of view, do it at the right times. Have good reasons. Strike a balance between both hero and heroine. Decide before you write a scene who "owns" that scene and do the majority or all of it from that character's viewpoint. The one with the most at risk or the most to lose "owns" a scene.

Don't waffle into minor characters heads. Too many points of view creates omniscient viewpoint problems, a place you don't want to go as a romance author. For example, at a wedding, the reader doesn't need to know what the minister is thinking while he performs the ceremony nor that the maid of honors dress itches. They are unnecessary points of view and serve only as a distraction to the bond being developed between our hero and heroine and the reader.

When describing the viewpoint of your character, be creative. Looking in a mirror or a clear pond tends to be cliche. Instead show other people's reactions to the character, such as women staring when the hero crosses the room. Don't tell us he's tall, rather show us the way the heroine has to tip her head to look up at him. Find an emotional connection between the character and her looks. She wishes she had her mother's beautiful brown eyes instead of her childishly round blue ones. Reveal your characters five senses (touch, smell, taste, hearing and sight) along with their thoughts, emotions, motivations, goals and passions.

Delve inside your character and stay there. In romance it is a given that the best narrative is third-person and the best viewpoint is limited omniscient using both the hero and heroine.

Once you grasp the basic principles of point of view (POV), your story will be easier to follow and your readers will be able to bond with your characters.

The development of conflict is perhaps the single most difficult task of the writer. It is also the most important.

Action in a story is defined by characters talking or moving, much like actors on a stage, but in order to feel written words come to life, a reader needs more. In a time when mass telecommunications have brought information to our fingertips with the flick of a switch, a reader expects excitement and entertainment in everything she reads. The conflict of the story is the avenue by which a writer can hook the reader and keep her turning pages.

A scene should always portray a struggle. It is used to reveal something interesting, important, or exciting that is happening, something which advances the plot of the story, usually by adding to the character's problems. It follows that the conflict of each scene is shown, not told, to the reader in a moment by moment sequence that imitates real life. (No summary allowed.)

The answer to writing conflict begins with the invention of characters. A good rule of thumb to follow is the old adage, opposites attract. When hero and heroine come from separate ends of the spectrum, struggle results from their differences.

The progression of each scene into conflict can be categorized into three steps.

1. Identify the character's goal: Just as a book should start by stating a character's goal, so should each scene begin by showing what the character wants to accomplish and why. There are several ways to do this. Direct dialogue is an excellent approach to introduce character, while at the same time showing his motivation and intent. Well written dialogue makes writing flow and brings a realism that simulates life's experiences. Another way to reveal goal is through character internalization. Using a single point of view, delve into the character's thoughts and show how he sees his world. The nature of the character enlightens the reader. This includes revealing prejudices, ignorance, and fears, and most importantly the character's purpose. The third and last way to reveal goal is to paraphrase in the opening line of the story. This brings the character's intent into the reader's mind immediately. Whichever method you choose, be sure that the goal is stated as soon as possible in a clear and concise form.
2. Present conflict: After the reader knows what the character wants to accomplish, drop the brick with the all important struggle. Provide conflict by placing an obstacle in the character's path. He can't reach his goal. So, creates the problem. And voila`, a scene is born. A word of caution here. Conflict is not to be confused with sexual tension. Rather, the struggle is intrinsic to the goal of the character, not just a hero trying to sleep with the heroine. Real conflict is further categorized into two kinds. Internal conflict is described as the inner struggle and usually deals with the character's emotions. It must be serious and deep. Examples include a heroine pining for the husband who never came home from the war, a heroine hiding the fact that the son she had born out of wedlock belongs to her brother's best friend. External conflict, on the other hand, is visible. It is defined as the influence from an outside force which threatens the character's life. Examples: a fire that destroys the heroine's home and subsequent threats on her life, a villain trying to kill the hero or heroine, a ghost held captive in an inn. Both types of conflict work together. A word of advice, however. Beware of trivial or unconvincing misunderstandings. Conflict must be believable and strong.
3. Culminate the action with a catastrophe: Once you have developed the struggle and brought the character into the depth of the conflict, pull out all the stops and impact the confrontation with a disaster. In other words, make things worse. The story moves forward by shoving the main character farther and farther away from his purpose. Like the black moment at the climax of a novel, each scene should present a major crisis, and that crisis must be directly related to the character's struggle within the scene. Equally important, remember that all conflict in a novel is tied in a progression to the character's ultimate goal. There's a reason for everything. How does the novel end? The poor hero gets a break and finally meets his goal. The conflict is resolved.

In any well-written novel, the struggle is what makes the writing exceptional. Tension brews while the character tries in vain to achieve his goal. And as tension builds, the pacing flows. The reader identifies with the character and feels sorry for her. Emotion is tapped, drawing the reader into the scene until the conclusion, keeping the book in her hand until the very last word.

Writing is anything but easy. An author puts her blood and sweat into her work, her time, her very soul. Perhaps, she might compare the well constructed conflict in a scene to her life as a writer. Good writing is the intent, getting there is the struggle, and there are always disasters along the road. But in the end, the writer who concentrates on creating conflict, studies the craft of writing, and works with diligence and without relent will meet her final goal.

Why do we read fiction novels? Hmm. A complex question. But when you think about possible answers, one reason stands above the rest. We read to get to know someone. Really know her. To touch, to see, to feel her. To experience her life. To be so swept away by the character that for the duration of the book, we become her.

For that reason, it is important for a writer to ask herself another question. Which comes first, the characters or the plot? The answer is easy. A writer's job is to create the characters and then write about them. In truth, you can't even begin to tell the story until you know your hero and heroine inside and out. Even when the writer has a good idea where the story is going, it is the characters who react, who take over the given situation. They can't perform until they are thoroughly fleshed out. Character before plot.

"Wait a minute," you say. "I've got this great idea for a plot, see? This girl finds a body on a boat, and this body just happens to be her twin. But she's never seen the look-alike before. The hero comes in when the cops investigate, see?"

No, we don't see. We don't care. The events of the story are still in a vacuum.

Let me explain it a different way. Suppose the newscaster announces that a 36 year old woman dies in a car crash. She has no face, just a name. For all intents and purposes she is a stranger to you, a stranger who died too young. You might shrug your shoulders, shake your head, and mutter, "A shame." Now compare that to your reaction when you heard about Diana's fatal demise.

Why? Simple. Because you know Princess Diana. Okay, so you've never actually had her over to dinner. It doesn't matter. You identify with her. You feel for her. You experience an emotional reaction based upon your familiarity with the character, Diana.

So, how do you create characters that the reader will care about? One method of developing character is to devise a chart that describes physical traits, personality, relationships, background, and roles. Daydream as you create. What does your heroine care about? Why? What are her flaws? She should have good qualities, as well as faults. Give her a conscience. In order to breathe life into her, she must reveal emotion. Feeling good or bad about something that is important to her will give the heroine direction. The fact that she cares about something will make the reader care as well. Along those lines, give your character goals. Force her to choose between two things that are vitally important to her. This provides the heroine with climax potential.

All characters need to be credible. They may be exaggerated in that they are bigger and better than life, but they must be believable. The success of a romance relies upon the reader's infatuation with the hero as well as the heroine. The reader doesn't want to hear about a guy who's thinning on top and developing a spare tire in the middle. The hero must be intensely physical, appealing to the point of being too sexy to resist. Provide the reader with the means to step back from the real world, to dream a little, to conquer and tame the hero right along with the heroine, and to ultimately capture his heart.

Add a past and a present in order to give the hero a life beyond the confines of the story. His background will dictate his actions and make him credible. Also important, make him unique and memorable. (No stereotypes allowed.) Even a hero must be imperfect to be likeable. Give him a bad habit to humanize him. Shape him to fit the job he has to do. The hero will be much more interesting if there are anticipated aspects of his personality. Don't let the reader take his behavior and reactions for granted. Always keep his actions logical.

Reveal the character through description of appearance, action, and dialogue, as well as internalization of thoughts and feelings. The key is to not just advance the story, but to also develop the reader's understanding of the character as the story progresses. Give the hero a motive. His purpose gives the story direction. Play him off the heroine to develop tension, plot, and conflict. Without conflict, you won't have a story.

A fully realized character will not act in situations the writer has devised for him, but instead will cause events and set things into motion. Each character needs to do something. Decide how he or she will reach their goal. The series of conflicts along the way becomes the plot. The more opposite your hero and heroine, the more conflicts that will arise between and around them. By the end of the book, both hero and heroine should show growth of character. Love is a powerful force, after all. Ultimately, the heroine's love will change him, and his love will change her.

If you begin by choosing your characters, not your story, the plot will take care of itself. Get to know the people you write about and build from there. The hero and heroine you create will tell you their story if you let them. More importantly, they will tell the reader through you, will make her care enough to keep right on reading as you bring their story to life.