Daryll Lynne and Molly discuss narration and how to find the best point of view for every distinct voice.
First person? Third person? Young Adult fiction? French Nihilism? These are the questions posed in this episode of Sentence to Paragraph where Molly and Daryll Lynne share what they do to write through different characters, places, and even publishing markets to piece together the best voice for the story they want to tell. Listen below, on Podomatic or iTunes:
Molly’s Editing Tip: “It’s very, very important to not switch a point of view in the middle of your scene.” Keep actions clear and assigned to specific characters without randomly changing from one point of view to the next. This is especially important in the third person where it is easy to get lost in pronouns and action oriented narration.
- Molly goes into how she experiments with multiple points of view in collaboration with her editor
- Techniques can be employed when working with the different points of view (first person, third person, etc) including scene breaks, cues, and organizing details that help to keep the narration smooth for the reader
- Daryll Lynne works through her characters to gain insight into the point of view of each character, including asking questions about how we see them and how they see themselves
- Choose characters that have the most to gain from the scene to keep the narration moving forward
- Train readers to understand the creative decisions for points of view through consistency of the narrative voice while also maintaining a balance with industry standards
- However, do not feel confined by reader’s (or publisher’s) expectations, especially when writing the first draft – as Molly says, if you don’t like what you’re doing you probably won’t finish it
- Daryll Lynne discusses how she plays around with different tenses to explore different perspectives using time as a tool to create more nuance within the character’s lives