Writing a Novel: The Reminiscent Point of View

Changing the point of view of your story is typically frowned upon. There is one type of story, however, we're changing your point of view--or at least the expression of your point of view-- is necessary for the story. Though this point of view doesn't necessarily have an official designation, I like to call it the reminiscent point of view. I call it that because the story is framed as a reminiscence. In most cases, the reminiscence starts with the character firmly in adulthood until something happens to trigger a past memory. Because everyone changes as they get older, the point of view immediately changes to match the old self of the character. In some cases the difference will be negligible, but if you're dealing with an adult reliving a childhood memory the point of view and entire writing style will, of necessity, undergo a metamorphosis.

With this type of story, you might opt to use the same point of view for both present and past, altering only the voice of the character. This might mean using a third person narrative for both parts of the story. Or perhaps you'd like to use first person. Either can work effectively.

But there's a third option, one which makes a reminiscence stand apart from most other narratives. You have the option to work in both first person and third person for the same character in the same body of work. The present might be written as third person well the past is written as first person. And you could also opt to reverse this. Most other types of stories don't allow quite so much versatility.

But a reminiscence requires more than simply shifting your point of view. There should also be a shift in the writing as thoughts and actions are betrayed by the past self. Syntax, vocabulary, idioms, and styles of speech may all be different. Sometimes dramatically so if your past and present characters are separated by a great many years. A grandparent doesn't speak or think the way a child might, after all. This can be a difficult thing to accomplish and usually takes much practice. Playing around with the reminiscent point of view can enhance your writing skills and further your understanding of the nuances of writing a novel. This is especially true if you explore the many variations a reminiscence allows.

Personally, I don't often write a reminiscence, though I will sometimes insert a small scene detailing a memory a character is had. But since these tend to be recent memories, they aren't quite a reminiscence. If you like to play around with different styles of writing, a reminiscence might be a good way to do so.

Writing a Novel: The Relationship Between First Person and Third Person Point of View

Most fictional stories (though certainly not all) are told through the eyes of a single character. Sometimes two characters. When this is done, the author typically has a choice to make. Do I tell the story in first person, or do I open up a little bit and use third person? Both have their benefits, and both have their own unique drawbacks. But the really interesting thing about these two points of view is how close they can actually be.

Consider this first person sentence:

I stepped out my door, felt the wind brush across my skin, and knew it would be a beautiful day.

Then consider this third person sentence:

He stepped out his door, felt the wind brush across his skin, and knew it would be a beautiful day.

There really is very little difference, at least in this single example. But the connection here is not simply in the way the words are arranged. It is that in both examples, the action is perceived through the point of view of a single character. Changing the I to a he didn't really alter the story. He still stepped outside, felt the wind, and drew a conclusion about how the day would unfold. The same conclusion. Both examples also deny the reader access to certain things, most noticeably the inner thoughts of other possible characters.

So first person and third person have a lot in common. But there is a key difference, and this difference involves the reader's distance from the point of view (POV) character. In first person, you're right in the mind of the POV character. You get the joy (or the agony, depending on the book) of having access to all the POV character's innermost thoughts. Because of the nature of first person narration, you get all the thoughts of that one character. All of them. It can be fun. Or very annoying, depending on how the author handles it all.

Third person, on the other hand, gives the author a few options. It can be very much like first person. If you replace the pronounces (and alter your grammar here and there), first person becomes third person. You can still access the innermost thoughts of the POV character and get to enjoy the same privileges you had in first person. But this is only one way to handle third person.

You can take a totally different approach to third person and lock yourself entirely out of the inner thoughts of the POV character. You may have no idea what he's thinking or why he's doing the things he does. You're simply following the action. This can be fun and a bit exciting, but it can also be irritating. Sometimes you simply have to know what the POV character is thinking because he's acting like a little idiot and all you see are the actions. The thoughts are hidden. In the hands of a master, this point of view works well. With a novice...not so much, but that can be said with most points of view.

Between these two extremes, there are a dozen other options for third person point of view, and most fictional stories fall somewhere in the middle. Close enough to satisfy but not close enough to irritate, as one of my creative writing professors once said. But remember that as you get further from the character, third person had less in common with third person.

So which is best? Neither, really. It depends on your story. But it should be noted that one of the greatest benefits of first person or close third person is allowing you to understand a character who isn't all that verbal. So if your main character doesn't like to talk? Break out the first person (or the close third person, if you like). Your narrative will be all the more special for it because--let's face it--everyone thinks.

Practice Writing: Point of View

Point of view is something that you don't really understand, from a writer's perspective, until you've experimented with it a little. To do this you first need a story idea (or at least a single scene) and three different characters. Spend some time developing your characters before you continue with this exercise. Well-developed characters will enhance the exercise and better help you understand the nuances of point of view.

Once you have three characters and a scene for these three character to actually be in, it's time to write the scene. It doesn't have to be more than a page. Keep it short because you'll be rewriting it several times. Start by writing the scene from your point of view. This is a good thing to keep on hand as you move through the different points of view. It will act as your reference. Remember, the scene must be exactly the same each time. It is only the writing of it that will change.

Once you have your 'master scene', it's time to experiment with point of view. Rewrite the scene three separate times, each time using a different character as the point-of-view character. The same things will happen, but as you experience the scene through the lens of each individual character, you will notice subtle variations. Character #1 notices things that Character #2 takes no note of. Character #3 is so obsessed with how others perceive her that she barely notices anything at all. The thoughts and emotions of each character will have a clear impact on the overall narrative.

If your characters are fleshed out and alive (on the page, of course), each and every scene will be different. Oh, the sequence of events will be the same, but what each character focuses on, the things they care about, and their independent thoughts will greatly change the narrative. Play around with this a few times and you'll quickly see what I mean.

Searching for a Name

I hate naming characters. Probably because I'm so bad at it. I either make up names that have never existed or I end up with names like "Bob". Very creative. By the time I'm ready to publish, usually someone has suggested appropriate names, but I'm trying a whole new approach as I wander into the realm of science fiction. I'm trying to actually give people real names.

Starting with my main character. I spent a great deal of time on this guy, so I know everything but his name. I do know it begins with a 'W'. Why? It just does. So...a good 'W' name. Not William. Seriously not William. I eventually had to choose between 'Wyatt' and 'Wesley'. As much as I like Wyatt as a name, I eventually went with Wesley. I'd like to say that the name just came to me, but actually I was watching The Princess Bride. So Wesley it is.

I can't write a science fiction political thriller with just one character, so I need some others. After checking my plot-tree, I realize I need names for Wesley's parents. I drew a total blank, so I asked my son (who is eight years old right now). He likes the name Diane for the mother. Good. And Greg for the father. I don't really like the name Greg, so my son decided Gregor was okay. Fine. We have names.

But still not enough, especially since the parents aren't really in the story much.  Must have more names. I hate names. Maybe I should roll a dice. Or totally make them up. Nope, can't do that. Must have REAL names. I hate names.

I need a name for a little girl. Random little girl who ends up not being quite as random as Wesley thought she was. Since I really had no idea, I turned on the TV, flipped channels, and watched random TV shows until a name appealed to me. Leisha. There we go.

Leisha needs a father. Everybody Loves Raymond just came on. His name is officially Raymond. And Raymond's brother is Royce just because if I use Robert again I'm going to lose my mind. Raymond needs a wife. My father is currently yelling at his phone, so the wife's name is Siri. Raymond also needs a girlfriend (hey, it's crucial to the plot), and her name is...Melinda. Because my sister's friend Mel just called. Creative, no?

Melinda needs daughters (courtesy of Raymond, of course). Now I'm all stuck on the letter 'M' so I ended up with Mia, Mairy, and Maiya. And Melinda has another daughter (not courtesy of Raymond), but I was out of 'M' names. My son suggested Maige, and it sounded silly enough to suit the story (bear in mind, Melinda is a little nutty).

Okay, I now have enough characters to get started. Now to have everyone do something.