Today’s Question: “How does one figure out which POVs to use and when? … How can I balance it out so that each character has their share of the novel without revealing too much or ruining the suspense?”
Kim wants to know if there’s an optimal number of characters to include in a novel. That’s a great question because we want to hit the balance between the claustrophobia of too few characters and the confusion of too many characters.
In the real world, the cause of something happens before the effect. But in writing, we can put words into any order we want, which might leave the reader confused. If they have to reverse events in their head, they’re probably no longer immersed in our story. Not good.
The ability to manipulate our readers’ emotions is a good thing (as screwed up as that sounds). Storytelling and keeping readers’ interest often comes down to creating emotions in our readers. So let’s take a closer look at how we create emotions in our readers and how we find the right balance.
Many stories “strike out” with readers in the first chapter. So our opening pages are just as critical to sales as our book cover, title, back-cover blurb, etc. Let’s take a closer look at cliches to avoid and tips to make those pages work for us.
After we complete a first draft, we might want to dig into revising right away because we’re still excited and passionate about the premise. But many writers say it’s better to do something to gain “distance” from our story first. Distance helps us see our story objectively so we can revise ruthlessly, not clinging to our intentions but seeing our story’s potential.
If we’ve ever let beta readers or critique groups give feedback on our stories, we’ve probably run into the issue of receiving conflicting advice. In fact, if we’ve ever let more than one person read our work, we’ve probably received conflicting advice. *smile* One reader may love a character someone else hates. One person may think a subplot […]
Many articles and infographics have tried to answer the question of what makes readers stop reading. They usually include a list of offenses like typos, too boring, confusing, etc. And those are all true. But a recent post took a more analytical approach to measuring problem areas. Jefferson Smith started a reading program called “Immerse […]
Recently, an interesting article discussed research on the brains of writers. One important finding seemed to match research in other areas, namely that experienced people think differently from those just learning the ropes. Being an expert isn’t just about knowing more.
Many of us find beta readers by offering to exchange our work with other writers in a “I’ll give you feedback if you give me feedback” arrangement. That structure means we have to do a good job with our feedback if we want to continue the beta buddy exchange program.