Posts Tagged Life Form 3
1 If the focus is on the events, you’re better off with third person – most commonly this is historical fiction, family sagas, epic fantasy, crime, thrillers. If the story is more about the characters – and the events might seem insubstantial compared to the psychological journey, first person is generally best.
2 In first person, you see the world and all the other characters as the character does. It’s especially useful if the character may not be sympathetic or has dubious qualities – such as Humbert Humbert in Vladimir Nabokov’s Lolita, or Barbara Covett in Zoe Heller’s Notes on a Scandal. First person lets you add layers of irony and unreliability – all part of the fun.
3 If you’re going to use an unreliable narrator, be consistently unreliable from the start. Don’t turn them suddenly unreliable half-way through.
4 Whose POV do you show? With character-based novels, the same events told by a different person would make a different book. Eva in We Need to Talk About Kevin is a mother in a confused, conflicting relationship with her son. Kevin in the same novel is a child growing up with a mother he knows hates him. Which story do you want to tell?
5 First-person narrators might be aware they’re telling the story, like Eva in we Need to Talk About Kevin, or they might be experiencing the events in real time with no sense of explaining themselves – like Carol in My Memories of a Future Life. (And I chose first person because her experience is more important than the events.)
6 The narrator isn’t always the protagonist – Dr Watson narrates Sherlock Holmes, showing someone extraordinary through his more sane, relatable eyes – yet preserving the mystique of his more remarkable moments.
7 Usually the first-person narrator doesn’t know the thoughts or feelings of other characters, or what happens when they are not present. Writers of first-person narratives have to make use of letters, chance conversations, listening at a keyhole, online eavesdropping – without being cliched. However, Alice Sebold in The Lovely Bones writes a first-person narrator who spiritually snoops on the private moments of others. Ghosts do that.
8 You might have filter characters for some or all of the story, like Nelly Dean in Emily Bronte’s Wuthering Heights, who tells the story of Heathcliff and Cathy to first-person Mr Lockwood.
9 Sometimes there is a central character who is the story’s exclusive viewpoint, but the novel is written in third person. Henry James’s What Maisie Knew is a story of multiple adulteries seen through the eyes of a child. James chose third person because he wanted an innocent who notices far more than she has the vocabulary to describe. This is sometimes known as limited third-person.
10 Third person can show a godlike view of many characters, but it’s usually better for the novel to focus on the thoughts and feelings of just a few characters – subjective viewpoint. Decide whose heads you will get inside – and stick to that main cast. Less important characters can be shown from outside through their dialogue and actions. If you suddenly add the intimate POV of another character late on in the novel that’s very dislocating – although you might just get away with it if they’re a long-lost sister who we’ve been curious about.
11 Crime novels and thrillers, which are generally more about plot than character, get away with introducing new characters, in close up, anywhere in the story. They will often devote a chapter to a character who is about to meet a sticky or spectacular end, narrated so we share their thoughts and feelings. Or they introduce a new assassin half-way through. This works because the main hook is the events, not the characters.
12 Most scenes are better if written from one character’s POV. But what if you’re narrating in third person and you have put two key characters together? You can either narrate it all from a more distant perspective, trusting the reader to understand the tensions. Or you could shift point of view. Yes, honestly, you can if you…
13 Use POV shifts with care. The best way to do this is to start the scene from one character’s POV and after a while, make the switch. Do this with a break in the action so that we know we are tuning into a different person’s experience. And it’s a one-time thing. Don’t switch back again.
14 You can have alternating first-person chapters, first and third, so long as you establish the pattern early on and do it consistently. And you have a good reason.
15 You can mix omniscience and subjective view. In Lifeform Three, I have a hybrid of omniscient narrator and limited third person. The narrator is never a character (but is me the storyteller), is able to talk loftily about some parts of the world that the main character doesn’t know, but aside from that is glued to the main character. I made strict rules – the narrator knows about the world in general but does not know about the main character’s history or what happened to him before the story started. Some fairy tales are like this.
16 You can do what you like, really, so long as you make your boundaries clear. Write in second person if you must, or plural instead of singular – although you do risk wearing out the reader. Unless you’re writing about Siamese twins.
Do you have any guidelines to add about choosing point of view, or interesting examples? Share in the comments!
We’ve got a tonne of stuff to let readers know at the start of a novel. What’s going on, who wants what, why it matters. And then there’s the background to the characters’ lives – how they know the people they’re with, what they do day to day. All the inventory that isn’t action but gives context and depth.
That’s back story.
Here are the two main problems with back story.
- Most writers fling it in too early.
- Most writers dump back story in one big chunk.
Both these problems mean the story grinds to a standstill. Which means the reader stops being engaged.
So how do you judge when is the right time?
First woo your reader
Imagine you have a new acquaintance. I’m talking about real life, by the way. Don’t even think of telling them about your life until they’re curious about you. Tell them the bare minimum until you’ve bonded with them in an experience that has drawn you closer together. Even then, give dribs and drabs; don’t whammy them with your entire biography. Give only what’s immediately relevant, what arises naturally from what you do together and what you already know.
In our hypothetical friendship, can you see how much is being held back? And how the full picture might not come out for a long time?
This is like your book’s relationship with the reader.
Your reader meets the book, is pulled into the world of the characters. You have to judge when they are genuinely curious for a dollop of back story. And it’s usually much later than you think.
So where do you put it?
I’m just thrashing through a final edit of My Memories of a Future Life, and with a title like that you can bet it’s got heaps of back story. Here’s what I did.
Cut it all out
I made a copy of the book up to the first turning point and cut out all the back story. It ran very smoothly without its weight of explanation, and offered me natural places to reintroduce a paragraph or two. Once I’d got the characters safely (or perilously) to their point of no return, the reader was warmed up enough to welcome the first chunk of back story.
Here’s how I’m dealing with the rest.
Make the back story part of the action
What you imagined as background may not have to stay as background. Could you make it part of the active story? In Life Form 3, which my agent sent out to publishers this week, I caught myself struggling with a lot of explanations. I realised I’d brought the reader in too late. So I started the story earlier and dramatised a lot of the explanations in real time.
Leave it as late as possible
As we said above, there are points in the story where the reader will welcome a few pages about the distant details of the character’s childhood, or how they first got a job at the circus. The later you leave it, the more delicious it might be.
Use back story as bonding material
As well as explaining back story directly through the narrator’s voice, you can also use it to deepen a bond between two characters in a story. If one character tells another how their relationship with their stepson went wrong, that’s miles better than leaving it in back story.
So much of what works in writing mirrors real life. If you think of your book as developing a relationship with the reader, it’s much easier to see you can’t pitch a chunk of back story in the first few chapters. So woo them a little. Intrigue them. Bond the reader to your characters and to you as a storyteller. There will come a point where your back story is very important to them.
Breaking news – historical and speculative author KM Weiland has obviously been wrestling with this topic recently too. She’s just posted a case study on back story in one of Hemingway’s classic shorts – check it out here.
There’s lots more about back story in my book Writing Plots With Drama, Depth and Heart: Nail Your Novel 3
Thanks, Binder.donedat for the pic How do you deal with back story? Do you find it a problem? Do share any examples of novels that have handled this well!
I love a good party. Anyone might collide and anything might start. Or finish. A party is fate’s way of throwing a die.
Which makes them perfect for a story.
For some reason, a dinner party scene doesn’t do it for me. Of course it can throw folks together, as randomly as you please. But a dinner party is more difficult to choreograph, as most of the action takes place around one table, and juggling a sixsome or eightsome is tricky on the page. Most of the time I find excuses to split them up, sending them out to the kitchen to flatten the soufflé, or outside to have a smoke.
A party, though, comes alive on the page more naturally. Its loose informality means you can drift through a succession of intimate groups or pull back for a long shot. You can use montage to clip a conversation of everything but the most startling line. Or show that somebody is a crashing bore without boring the reader. You can shuffle strangers around with very little contrivance.
What parties can do in a story
Parties might be a focal point for society, as in Jane Austen’s novels, when they are often the only times that characters might meet.
Jilly Cooper has rounded off a good number of novels with a rousing gathering, letting the characters bash out their differences under the special conditions a party allows.
A party can also kick off a novel rather well. Iain Banks used a party early in The Crow Road to give a sense of reunion among his characters – and ended the sequence on a poignant note as the MC saw the girl he loved with another guy. Writing as his M alter ego, he used a party early on in one of his Culture books to set up his world.
You might start with a celebration and have it end in tragedy or outrage – as in Sleeping Beauty. The contrast will make the tragedy all the stronger.
Most of the plot of Kingsley Amis’s Lucky Jim comes from a party the MC is forced to attend at his new boss’s house. The scrapes he gets into set the rest of the book in motion.
A party can have an internalising function too. I used a party scene in My Memories of a Future Life to show the character trying to keep up with her old world after a personal disaster, pretending everything was all right. We can see it isn’t. Later in the book, she goes to another party, held by the friends of a character she hopes to find out more about. The surreal atmosphere reflects her internal state as her life takes another swerve. (Two parties may seem heavy going for one book but I atoned in Life Form 3 where there were no parties at all.)
My rules for a good party
So we’ve established that parties can give you hours of story fun. But like the real thing, they take a bit of organisation. Here are my rules for making your party go with a swing:
1 A party sequence needs a point of view. It could be one POV character or an omniscient camera, but keep it consistent. Don’t start as one and end as another.
2 When lingering on groups of people, keep to small numbers. It’s extremely hard for the reader to keep track of more than three people foregrounded at a time, and some writers never have more than two. Although you may like that ensemble scene at the start of Quentin Tarantino’s Reservoir Dogs, where all the characters are nattering in a café, it does not translate well to the page.
3 Keep letting the camera look up to take in what others are doing and to demonstrate that there are more people there besides the ones you’re looking at.
4 If you have a tense exchange, don’t hurry away from it too fast because you need to get round to the other people too. Lock the characters in the bathroom together if necessary so that they can take their time.
Thank you, Oddsock, for the picture. And in other news, My Memories of a Future Life will be available on Kindle soon, so that will be an excuse for a party too…
How have you used parties in your fiction? What purpose did they serve in the story? Which writers give the best parties? Share your examples in the comments!
In my post below on starting a new novel, I briefly discussed using soundtracks while writing, and Sally, in one of her comments, asked what the soundtrack was for Life Form 3. As so many of you have said you use soundtracks, I thought it might be fun for us to share them!
Here goes. Soundtrack for Life Form 3
Fireflies by Owl City
Music has the Right to Children by Boards of Canada (whole album)
Martes by Murcof (whole album)
Passion by Peter Gabriel (album)
The Sensual World by Kate Bush (just that song)
The Lark Ascending by Ralph Vaughn Williams
Okay, guys – your turn on the decks.
Two weeks ago I dotted the last pixel on my novel Lifeform Three and now it’s got an agent who loves it. Phew.
A few months ago no one would have loved this book. Not even me. Although occasionally scenes and characters would flash a winning smile, there was so much that remained wrong with it. And I’d already been working on it for much of the year.
I have had to drill virtually to the Earth’s core to find out what the story in this idea was. Then I had to work out the very best way it should be told. I have pulled it and punched it until it has revealed its themes and I have sweated over how to explore all that without bludgeoning the reader, being saccharine or vastly obscure.
I have refined every metaphor, analysed every action and reaction, listened to every niggling symptom that something is not right. I have put that book on the psychiatrist’s couch and had endless discussions with it about what needs to change, whether characters are pulling their weight, whether we should let go of a scene I’d always cherished. I have been prodded back to the drawing board by every good film I’ve seen or great book I’ve read. Even the bad books seemed to be doing a better job than I was. The beginning has had more corrective surgery than Michael Jackson.
Finding the right voice was an ordeal all of its own. I’ve gritted my teeth at every respected blogger who said don’t use present tense, because for this book present tense always felt the most natural way to tell the story. I’ve gritted at every post that warned about intruding narrators. I’ve needed a narrator who could place a cosy humanity around bleak events and get away with jokes that the main character would never be able to make himself.
For more than a year it seemed as though Lifeform Three was born damaged and has had to be nurtured, massaged, corrected, restrained, disciplined, until it was fit to stand up on its own, walk into an agent’s inbox and say ‘read me’. Of course, there are still a few notes to come about niggles and clarifications, but it substantially does exactly what I wanted when the idea first grabbed me. And more.
And do you know what? This is what it takes to get a novel right. This is normal.
This is why writing is not just about the first draft. It’s why revising is not just correcting your spellings or twiddling with your literary expressions. This is why the hard work is the ruthless and endless rewriting, the questions we ask about what we are really writing about, the demands we make of ourselves to do better. This is why it takes so long.
And now, I start another. I write this post to help me through the storms ahead and for anyone else currently trapped by a difficult book. This is what it takes to do the job.
Where are you with your WIP? First draft, second, umpteenth?