The POV Problem

[Katherine Holt]

AAARGH!

This is the point I am currently at with my WiP. Throughout the planning and drafting, I've had a consistent problem with Points Of View. There are two schools of thought for me on third person POVs in fiction and in my mind they are thus:

The Julia Quinn Method:

Pro: As and when needs be, for effect and good story telling, points of view can switch between hero and heroine. Mainly the POV tends to be the heroine's, but the reader gets an interesting glimpse into the thoughts of the hero, which often heightens dramatic effect and provides a well-rounded story.

Con: The story can jump around a bit, and if not handled well, can be confusing. Very difficult to add suspense if you know what every body's thinking.


The Victoria Holt Method:

Pro: Entirely from the heroine's POV, the story unfolds to the reader as it does to her. This can heap on the feeling of drama and climax, and add a great sense of mystery.

Con: She figured that out how? Or alternatively, how stupid is she? If your protagonist has to have it spelled out for her you are in danger of talking down to your reader, but if you don't reveal enough, she's some kind of super sleuth.

Continue reading here...

[Sara-Jayne Slack]

This is something I've been reading about recently for my Creative Writing module of my Masters English Degree. There's a great article by Ursula Le Guin; 'Point of View' in her Steeling The Craft. She makes it very accessible.

 

Otherwise, there's also a book called 'The Art of Fiction' by a chap called David Lodge, which I'd also recommend.

 

As much 'talent' as is needed when writing a novel, it's always best to keep in mind that technical aspects of writing can still be learned and perfected. :)