Craft Corner
Point of View. Or, who’s telling the story.
One of the first decisions a writer has to make about a story is how they’re going to tell it—or, more specifically, who is going to tell it. Welcome to Narrative Point of View, or POV.
First person? Second person? Third-person limited? Third-person omniscient? Sometimes, it’s a deliberation. What if there’s more than one main character? What if the story has a dual timeline? What if the main character isn’t the narrator at all? We all have our preferences, both as writers and as readers. And sometimes, the POV that seems like the obvious choice turns out not to be the right one for the story.
First person is popular for a reason. It helps to heighten mystery because it limits the information available to both the narrator and the reader. We experience the world through that character’s knowledge, assumptions, and perceptions. We only know what they know—or, at least, what they’re willing to tell us.
Then came the unreliable narrator. There was a time when readers could generally assume that a first-person narrator was telling us the truth. Now, readers may have to question not only what is happening but also whether the person telling the story understands it themselves. What’s real? What’s being misunderstood? What’s being deliberately hidden? That uncertainty can be a powerful tool for suspense.
But there are advantages to third person as well. It can create a little more distance between the reader and the action, allowing them to observe a character and their circumstances without necessarily being told exactly what to think or believe. Third person can also be particularly useful in stories with extensive world-building, because the writer can establish rules, history, or circumstances that the main character may not yet understand.
I’ve tried writing in third person, but I always find myself going back to first. I find it easier to connect with my characters. They tell me their story rather than me forcing the story onto them. I want to know what they notice, what they’re hiding, and what they’re afraid to admit—even to themselves. My current manuscript is written in first person, but whether it stays that way remains to be seen!
You see, the question a writer must make when choosing their POV is not simply, “Who is telling the story?” But, “What is the purpose of the story in the first place?” And, “What do I want my reader to get out of this experience?”
During the final revision of my current novel, I'm going to have to make a decision. I hope it's the right one.
Think of your favorite book? How would the story change if the POV were switched? The plot might stay the same, but your experience as a reader might be completely different.
NFCR News
Sharing important updates from the National Foundation for Cancer Research.
Did you know breast cancer isn’t only a woman’s disease? For both men and women, early detection remains the most powerful tool we have.
In women, breast cancer is the most commonly diagnosed cancer in women in the U.S. Risk increases with age, family history, BRCA1/BRCA2 mutations, dense breast tissue, alcohol use, and inactivity.
In men, breast cancer accounts for roughly 1% of cases and, due to low awareness, is often missed and diagnosed later. Risk factors include aging, elevated estrogen, obesity, BRCA mutations, family history, and liver disease. Men with a family history of breast cancer should discuss their risk with their provider. Unusual breast changes should be evaluated promptly, and those with BRCA mutations or significant family history should discuss proactive monitoring with their provider.
Visit National Foundation for Cancer Research (NFCR) for more cancer detection guidelines.
Journal Prompt
What is one special place from your childhood you'd love to revisit as an adult and why does it hold such power over your memories?
My Library
What's on my August reading list?
The Lost Book of Elizabeth Barton by Jennifer N. Brown (Not only is it my historical fiction book club's August pick, but it's a story of murder, lost manuscripts, and the cutthroat world of academia).
Lady Tremaine by Rachel Hochhauser (I started reading this reimagining of Cinderella last week and already know it will be one of my favorite books of the year).
The Lacemaker's Fortune by Andrea Catalano (Since I missed going to Aspen this year, I'm excited to delve into a love triangle set in a Colorado mining town).
Based on a True Story by Sarah Vaughan (This suspense novel about a children's author is going to keep me company on my flight to Dublin next week).
The Oleander Message
Against the tumultuous backdrop of Regency England, where whispers of rebellion mingle with the opulence of aristocratic estates and industrial greed, Augusta James finds herself entangled in a web of family secrets spanning decades.
