Maureen Ulrich's Blog - Posts Tagged "power-plays"
On Point of View
I have decided to start offering some writing tips in my blog. I'll try to do this on a weekly basis and will post this on my website as well. Also, if you have read any of the Jessie Mac books and would like to send me a picture of you (or maybe just your hockey equipment!) with one of the books, I will use these to promote the series on FB, Pinterest, and Goodreads. Sound like fun?
Okay, back to point of view. For the Jessie Mac series, I used one point of view exclusively - Jessie's. First person. This allowed me the freedom to explore Jessie's thoughts and really get "inside her head."
In the novel I am currently working on, I use a number of different viewpoints: Gabrielle, Damon, other important secondary characters, and occasionally a minor character. From feedback I have gotten from my writing groups, I know I tread on dangerous territory in doing this. It isn't easy to get to know my main characters if I stay "out of their heads" for too long. It also is more difficulty for readers to stay connected and care about my major players if I don't keep them front and centre. Consequently, I have gone back and inserted additional chapters from Gabrielle's and Damon's viewpoints.
I believe -- and you can disagree with me if you like -- a chapter or chapter section (set off by * * * or quadruple spacing or whatever) should be devoted entirely to one character's viewpoint. I have seen other more skilled writers (like Sharon Butala)incorporate several viewpoints in a single chapter, but I have not reached that point of proficiency in my own writing.
That's it for this week. Next week I will address physical description. See you then!
Okay, back to point of view. For the Jessie Mac series, I used one point of view exclusively - Jessie's. First person. This allowed me the freedom to explore Jessie's thoughts and really get "inside her head."
In the novel I am currently working on, I use a number of different viewpoints: Gabrielle, Damon, other important secondary characters, and occasionally a minor character. From feedback I have gotten from my writing groups, I know I tread on dangerous territory in doing this. It isn't easy to get to know my main characters if I stay "out of their heads" for too long. It also is more difficulty for readers to stay connected and care about my major players if I don't keep them front and centre. Consequently, I have gone back and inserted additional chapters from Gabrielle's and Damon's viewpoints.
I believe -- and you can disagree with me if you like -- a chapter or chapter section (set off by * * * or quadruple spacing or whatever) should be devoted entirely to one character's viewpoint. I have seen other more skilled writers (like Sharon Butala)incorporate several viewpoints in a single chapter, but I have not reached that point of proficiency in my own writing.
That's it for this week. Next week I will address physical description. See you then!
On Physical Description
As promised, I am returning to my blog to pen a little advice. I don't know if you're proud of me, but I am!
Okay, back to physical description.
I think this is a really, really important tool for helping your reader to have a visual of each character. Even minor characters are deserving of a physical detail. The detail can be as simple as this:
"You should get her tested for mono," the school secretary says.
"The kissing disease?" Mom asks.
"I've seen a lot of it around here." The secretary peers at me over her reading glasses. "Believe me, I know mono when I see it." (Breakaway, p. 266)
I am hoping the reference to the reading glasses will give the reader a visual. I have a visual of the secretary. I know exactly where she is and what she looks like. I haven't included all these details, but according to Ernest Hemingway's iceberg theory, I don't need to.
The more important the character, the more physical description is required: age, eye colour, hair colour, height (tall or short), skin tone, body type. You don't need to lump these all into one sentence. In fact, it's better if you spread them out into a few, well-constructed sentences. Here's an example from Power Plays (p. 21)
Tyler turns out to be short, scrawny, and at least seventeen. Staggering through the door with a near empty bottle of Crown Royal in his hand, he has a baseball cap jammed backwards on his shaven head and a scraggly goatee.
There should be enough detail in this passage to give the reader a notion of not only Tyler's appearance, but the sort of person he might be too.
To help me keep my characters straight, I often borrow one detail of a REAL person's physical appearance to help me "ground" the character.
Physical description needs to be given as soon as you introduce the character. Otherwise your reader will be creating his or her own visual for the character, or worse, no visual at all. Characters in white space (lack of setting) are bad enough, but formless, shapeless characters in white space make for a whole lot of NOTHING.
Seems like I'm touching on setting too, so maybe I should visit THAT subject next week.
See you then!
Okay, back to physical description.
I think this is a really, really important tool for helping your reader to have a visual of each character. Even minor characters are deserving of a physical detail. The detail can be as simple as this:
"You should get her tested for mono," the school secretary says.
"The kissing disease?" Mom asks.
"I've seen a lot of it around here." The secretary peers at me over her reading glasses. "Believe me, I know mono when I see it." (Breakaway, p. 266)
I am hoping the reference to the reading glasses will give the reader a visual. I have a visual of the secretary. I know exactly where she is and what she looks like. I haven't included all these details, but according to Ernest Hemingway's iceberg theory, I don't need to.
The more important the character, the more physical description is required: age, eye colour, hair colour, height (tall or short), skin tone, body type. You don't need to lump these all into one sentence. In fact, it's better if you spread them out into a few, well-constructed sentences. Here's an example from Power Plays (p. 21)
Tyler turns out to be short, scrawny, and at least seventeen. Staggering through the door with a near empty bottle of Crown Royal in his hand, he has a baseball cap jammed backwards on his shaven head and a scraggly goatee.
There should be enough detail in this passage to give the reader a notion of not only Tyler's appearance, but the sort of person he might be too.
To help me keep my characters straight, I often borrow one detail of a REAL person's physical appearance to help me "ground" the character.
Physical description needs to be given as soon as you introduce the character. Otherwise your reader will be creating his or her own visual for the character, or worse, no visual at all. Characters in white space (lack of setting) are bad enough, but formless, shapeless characters in white space make for a whole lot of NOTHING.
Seems like I'm touching on setting too, so maybe I should visit THAT subject next week.
See you then!
