For any of you who can get to Long Island, New York, on Saturday, November 14th, I’ll be speaking and signing at 2:00 at the Longwood Public Library, 800 Middle Country Road in Middle Island. I’d love to meet you!
For those of you who: are eighteen or will be by next fall, are writing for children or young adults, and can get to New Jersey for a one-day conference, I want to mention the one at Rutgers University, where I mentor every year. You have to apply, I think by April. People who are accepted are paired with a mentor who is either an editor, agent, or published kids’ book writer. Most of the mentors are editors and agents. I’m one of the few writers. I met my agent at this conference many years ago. I encourage you to apply. The website is http://ruccl.org/about one-on-one plus.html, and information for next year will be posted soon. If you come, please be sure to introduce yourself to me.
On July 16, 2015, Mikayla wrote, I have a new idea that I want to work on, and I already know that two points of view are required for it. What I’m struggling with is knowing when to switch POVs (or, to begin, when to introduce the second character). How many chapters is a good average to have? And how many to establish the first character before switching?
There are exceptions to everything, and anything goes if it does go, but in general, it is best to start anything major early. For example, if we’re writing contemporary fantasy set in an ordinary place, say Trenton, New Jersey, but there’s going to be a dragon in our story, we should bring it in early or our reader may feel unprepared and may even refuse to accept our creature. In the case of a dragon I’d say the first page isn’t too soon and after the first chapter may be too late. The dragon doesn’t have to appear in person then, necessarily, but it should at least be hinted at.
In the case of a POV switch, I’d say Chapter One for the first POV and Chapter Two for the second. That’s what I did in Ever, and the two POV characters alternate chapters for the whole book although I don’t think we have to be as consistent as that. Once the reader knows that there will be more than one POV, we don’t need to stay regular, but we do have to make sure the reader knows whose head she’s in. In my mystery, Stolen Magic, which is written in limited third person, I shift POV among my three main characters, but the default character is the dragon detective’s assistant, Elodie. She has the POV whenever she’s around. The other characters take over only in her absence. The POV shifts aren’t regular, but I don’t think they shock the reader.
As for establishing an MC, I don’t think that happens quickly, so we don’t have to wait before introducing a second MC. They can even both be introduced at once. For example, in the Sherlock Holmes stories, Watson is the narrator. The reader gets to know Holmes through Watson and to know Watson, to a large degree, through how Holmes reacts to him and what he says about his assistant. The two happen simultaneously.
Harking back to our outliner/pantser discussion, you outliners may invent your characters as part of the preparation process. You may work through your outlines and create character descriptions before you start the actual writing. But for this pantser, I discover my characters as I go along.
But regardless of which method we use, the reader develops an understanding of the MCs as the story moves along. Sometimes, most of a story can be over before the reader has a full understanding of an MC. I’m remembering Little Women and my astonishment when Jo falls for Professor Baer. I had no idea she could love such a settled and, to my thinking, unromantic man. And Amy and Laurie! But their preferences were part of their personalities that were revealed late in the story. I don’t think Louisa May Alcott changed them suddenly to make her plot work.
In my historical novel, Dave at Night, I, pantser that I am, didn’t find out that Dave is a budding artist until Dave did, in an art class. And, when I found out, I had no idea how his talent would play out in my story.
Of course our characters have to be distinctive, and of course we establish them from the first moment our reader meets them. How does that happen?
Last weekend when I was mentoring. I saw only five pages of my mentee’s book, but she did a splendid job of beginning her characterization. In the first half of the first page I found out that the MC is very attached to her father, because she’s distressed that he failed to wake her up before leaving on a business trip, which told me as well that she has strong feelings. Just like me, our reader will be eager for clues to each character and will start assembling a complex personality.
In The Two Princesses of Bamarre, I begin with Addie’s fears. In Dave at Night, Dave begins by telling the reader what a trouble-maker he is. So if we start firmly in our MC’s head, he can introduce himself by narrating about what’s most important to him. Oh, the reader thinks, that’s what this character cares about.
That’s just one way. We can start with dialogue to give the reader a taste of our MC’s voice and his relationships. Or action, in which our MC reveals his response to a situation or demonstrates how he creates a situation.
For example, let’s take the fairy tale, “The Twelve Dancing Princesses.” We’re starting the story at night. A poor, drugged prince sleeps in an adjoining room, and the princesses are about to descend to the enchanted lake and their enchanted princes. Our MC is right in the middle, the fifth eldest princess. I’ll call her Maisie. How can we introduce her to the reader?
Through her thoughts. She can wonder if the prince next door is really out cold. The reader discovers that she’s careful, maybe a bit of a worrier.
Does she act on her worry? Maybe she does. The prince is asleep, but the casement window in his room is wide open. Worried again, she closes it, because April nights get cold. The reader understands that she’s kind. Or, she closes it because she doesn’t want an outside noise to wake him up. Not particularly kind, but very thorough.
Or, though she’s worried she doesn’t check on him because she knows delay will infuriate her oldest sister, and she’s scared of her sister’s rage. Failure to act is acting too. The reader learns something else, which is likely to be developed further.
So we have her think and act. We can have her say something too, to her sisters or to the sleeping prince, so the reader will discover how she expresses herself in dialogue.
The sisters descend the staircase. Maisie puts the prince-sleep worry out of her mind. Or, the sisters descend the staircase, and Maisie can’t get the prince out of her mind. Her enchanted prince will know something is troubling her. Whichever she does, the reader accumulates more data.
At this point, we probably haven’t written more than a page or two, but Maisie is taking shape. If our second POV character is her enchanted prince, we can certainly let him take over in the next chapter.
Here are three prompts:
∙ Write the scene I’ve described. Decide what Maisie does with the prince in the next room and reveal what she thinks and does.
∙ Write the next scene, narrated by Maisie’s enchanted prince or any other character you’d like to have take over.
∙ Aladdin, in his eponymous fairy tale, has always seemed a nonentity to me. Things are done to him and for him. If you know him just from Disney, reread the original fairy tale, and you will find that the only actions he takes involve telling a genie what to do. Write the beginning of the fairy tale and bring him to life as someone who wants something and acts to get it.
Have fun, and for those of you who are participating, good luck with NaNoWriMo. Save what you write!