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Grounded for Love: A Reunion Romance Novella

After being burned by her college boyfriend, Graham, book editor Serena Johnson believes the only dependable men are the ones found between the pages of a book. Her life in San Francisco is thrown...

Rebecca Talley

Writing Fiction: Beware of POV Shifts

Point of view, or POV, can be tricky. POV can be defined as the character(s) through whose eyes readers experience the story.

Usually, the POV character is the main character, but that’s not always the case. Once you decide which character will be telling the story, you’ll also need to decide if it will be in first person (I) , second person (you), or third person (he, him, she, her). Only you, as the writer, can determine how best to tell the story, and which character needs to tell it. If you decide that more than one character needs to tell the story (mysteries and romances often employ more than one character POV) you’ll be using multiple POV.

First, you need to decide which character needs to tell the story and then how to best tell that story. To help you determine this, you can ask yourself which character grows and changes the most. Usually, that’s the best character to tell the story. If you’re unsure, try writing the first few scenes from different character’s viewpoints and experiment between first, second, and third person. (Most writers shy away from second person because it presents such a difficult voice).

Once you know who is telling the story, and why that character is telling it, you can start writing your novel. However, you need to be very careful that you don’t slip into the wrong POV. Unless you’re using omniscient (all-knowing, all-seeing), your character can only relate what he/she sees, hears, feels, thinks, remembers. If you find yourself describing what another character feels, sees, thinks, hears, knows, or remembers, you’ve had a POV shift.

For example:

Jenny felt scared. She didn’t know where the noise was coming from and she feared it was the intruder. She looked over at her best friend, Angie, who was remembering when someone broke into her house. Warning: POV shift! If it’s in Jenny’s POV, she can’t know what Angie is remembering unless Angie communicates that to her somehow. If you’re in Jenny’s POV, you can only know what Jenny knows. Otherwise you’re head-hopping (or in omniscient).

It’s easy to slip out of POV when you first begin to write. Beware. As you write, ask yourself, “Can this character see, hear, know, remember, think, or feel this?” If not, you’ve slipped out of POV and need to rewrite it.

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