GETTING THE SKINNY ON POV

by AMBER LEIGH WILLIAMS
Issued in May 2008 Silken Sands Newsletter

Bring up POV (writer’s lingo for “point of view”) and the same discussion always crops up: single POV or

multiple POV? “POV is one of the first issues us writers deal with, I think, when we start learning our

craft,” says Donna Marie Rogers whose first print book, Welcome To Redemption, earned a four-and-a-half

 star review from Romantic Times. Jordanne Ford, winner of the 2007 First Kiss Contest and finalist in

Karin Tabke's 2006 First Line Contest, adds, “POV is such a great topic… One of the biggest problems

 I’ve faced.” Should a writer stay in one person’s head or switch from one character to another within a 

scene? There are some who believe firmly that single POV is the way to go and others more naturally 

inclined to multiple POV. There are many who are on the fence, undecided. “Reading and writing are both

 horribly subjective,” in the words of Amy Atwell, a multi-contest finalist who runs a writing goals group 

for PROs and up at http://groups.yahoo.com/group/WritingGIAMx2/. “Everyone has their own style, their

 own opinion, their own likes and dislikes.” 

For someone who grew up reading Nora Roberts (who writes very smooth multiple POV), it was natural

 for me to switch from one head to another when necessary while writing a scene in which more than one 

character played a part. As a reader, it’s important to know what everyone is thinking and feeling. Amy 

Atwell goes on to say, “I enjoy books that allow the author to narrate—we are, after all, storytellers. I like 

getting into multiple POVs. I enjoy writing that way, and I enjoy books that are well-written that way.” 

Admittedly, multiple POV is not for everyone. Author of Dragonfly Dreams, If Tombstones Could Talk, and co-author of Welcome to Redemption, Stacey Joy Netzel (www.staceyjoynetzel.com) admits, “I used to be a major head-hopper. From one paragraph to the other… I was even in the horse's POV. I've seen it done like this—namely Nora—and it's okay. But I've also seen it done and it's so hard to read I won't finish the book.” Transitions from say a hero’s thoughts to a heroine’s must be seamless. Jordanne Ford explains: “[For horse riders], I always thought a seamless POV switch was like a flying lead change. It can be abrupt and disjointed, or it can be smooth, seamless and a beautiful thing.”  

How often should you switch within one scene? In other words, how much is too much? Is there a limit to how many characters’ heads you can jump into in one scene? Not a written one, no. But it should only be done when it’s absolutely necessary. Sandy Marshall just went to contract with Forbidden Publications for her novel Addiction and recently signed another for The Catalyst. She says, “I can't stand to read a story that every few lines change POV. I always go 'huh?' and have to go back to re-read it, which draws me totally out of the story.” Chiron O’Keefe is a writer and performer of sketch comedies who has published multiple non-fiction articles and hosts the challenge forum in the RWAOnline chapter. She also provides inspiration for writers with a weekly motivational essay on her blog, The Write Soul (www.chironokeefe.blogspot.com). In her words, “One thing that drives me bananas is when the POV jumps too much. Head-hopping, I think it's called. I do get confused and like Sandy, back up and try to figure out who's thinking what. Once I read a popular book by a NY Times Best Seller where the POV jumped six times in one paragraph. Talk about mind-boggling. While I didn't give in to temptation and slam the book against the wall, I did make a note to myself to avoid buying another book by the same author.”

For the most part, sticking to the hero and heroine seems to be the common practice. If one of them is absent and the other is conversing with a secondary character, the author might jump in for a quick insight from their standpoint. It’s also important to note that switching should not occur in every paragraph or even on every page. For Wendi Darlin, an erotic romance author published through Siren Publishing and BookStrand (www.wendidarlin.com), “It's important to stay in one POV for a decent length of time before switching.” The only exception to this might be extremely emotional scenes like love scenes. Jill James is a writer of paranormal romantic suspense (www.thescribersmuse.blogspot.com). She agrees that love scenes are an acceptable place to switch. “For me, I think this is one place to safely head-hop and show what each h/h is feeling at this special moment.” Wendi Darlin uses a similar method: “I don't think love scenes need to be in one POV. I think they're usually better in both viewpoints. Again, though, I don't switch back and forth too quickly. I'll give a good chunk of the scene in one POV and then let the other take over.  From what I've picked up in my reading, this seems to be the usual way of doing things.”  

What about single POV? What are its pros and cons? It allows the writer to get deeper into their character—to gain a better understanding of who he/she is and subsequently strengthen that person’s storyline. But it also limits the writer’s emotional range with other characters within the scene. The only way a single POV user can explain how another character is thinking/feeling is to use imagery—gestures, expressions, and tone for dialogue. “You can show so much in the other person other than thoughts,” Sandy Marshall explains. “The reader doesn't need to be told everything.” Kris Kennedy, who writes historical romance and is represented by the Irene Goodman Agency, adds, “For me, I find actions and particularly the sub-text of dialogue to be really helpful in communicating the depth of a character when I’m not in his or her POV.” 

Why does all this matter? POV choice is an element of style. When readers open a Nora Roberts novel, they expect multiple POV because it’s a part of Nora’s style. When readers open a J.R. Ward novel, they expect single POV because it’s a part of J.R.’s style. Both use their POV choice with ease and to their plot’s advantage. In the words of Kris Kennedy, “I used to hop all over. I think the 'rule' of one POV/scene really helped improve my writing, and so now I feel I've 'earned' the right to sometimes flip about, although hopefully very smoothly.” When readers open your novel, they expect something. It’s what makes them come back for more: your individual voice and style. The best way to choose between single and multiple POV is to practice writing both. Pick the one that makes your writing stronger and more natural.  

On a personal note, I was very comfortable with multiple POV until I began working with my editor for Denied Origin. During edits for Fox & Hound, the editor didn’t mention a thing about the numerous POV shifts. When I got the edits for Denied Origin, it was a whole different story. Though we agreed that I could include shifts without a break in the page, I had to limit myself to one shift per scene. I approached the revision with dread and doubt. Switching to single POV was like trying to walk in oversized shoes. Then I picked up the rhythm and technique and it began to flow. When the revision was finished, I realized the story was stronger and tighter. If a writer stands on one side of the POV argument and refuses to cross over and explore the other, they risk missing out on an essential growth opportunity.

The choice between multiple POV and single POV is a vital one. It may not be something the reader thinks about, but for a writer it’s a fundamental choice. Try both out. Pick the one that suits you. Always be on the look-out for ways to grow with it. The decision isn’t everything. Like all else in life, there’s always room for growth with POV. Once you decide on your POV path, stay consistent for your readers. In the end, it’s your audience that matters most!

MY SPACE

by Amber Leigh Williams 

Issued in June 2007 Silken Sands Newsletter

   I have a problem with sharing. Everyone I have ever known can vouch for this. When I was thirteen, I had to share a bed with my nine-year-old sister when we were living in a rental house in Florida. We both agree it was the most challenging phase of our sisterhood. I have found it to be much easier to share a bed with my husband…and our three full-grown labs (thank you good, sweet Lord for the creation of the king-size mattress). We unfortunately have to share a bathroom, however. I say this is unfortunate because we are both mirror-hogs. We have given up trying to shower together to save time: for me, the water temperature must be at least scalding hot; for the freak I fell in love with, it must be ice cold. Early in our relationship, he bought a two-seater kayak and we drove each other crazy for hours negotiating—or, more accurately, arguing—over who should be in charge of steering.

   Fortunately, the freak—I call him Jacob or honey, depending on what I want—soon discovered after I moved in with him that I would have to have my own space to work. He immediately went to work carving out a section of our humble abode (where, alas, space is limited) just for me. This space has just enough room for my filing cabinet, a small desk, a cushy, rolling chair, and a large bookcase my forever-helpful honey built.

   I share my space with a stackable washer/dryer. There is no door to separate it from the rest of the house so there is no way to shut out noise when we have visitors. And visitors are many when you live right next door to your in-laws and your spouse is the second youngest of six—my God, the nieces and nephews are endless! Thankfully, all I have to do to tune out the noise is fire up the washer/dryer and pretend to ignore everyone. As an added bonus, I get the laundry done while I’m at it! It just never gets folded and put away where it belongs.

   In my space, I have created my own little personal world. My collection of Nora Roberts and Nicholas Sparks books is close by if I need a distraction. In my space, John Mayer is always there in my Windows Media Player when I need him to serenade me. In my space, there is a window that overlooks a flowerbed where my four rose bushes grow—in spring and summer months, my honey brings me blooms so the fragrance is always there for me to enjoy. In my space, motivational quotes and pictures of loved ones surround me. In my space, there is most often a sweet, trusty dog—or two…or three—sleeping at my feet and keeping them warm.

   In my space, there is a printer that has become the bane of my existence. In my space, a feud breaks out between me and technology whenever this particular piece of machinery decides to have an attitude. In my space, I spend hours spilling my imagination into the pages of Microsoft Word documents. In my space, I worship the small area of my desk where my laptop computer hums productively every day, rain or shine, ready to work.

   I feel I must tell you about this personal, miniscule corner of the world because, if not for my honey’s reverential foresight in making it for me, I think I would have mentally cracked by now. I have nothing against the man I call my husband or the family members that continuously march in and out of our home as they please. But I must cite the great Ms. Roberts to help me explain: “Writers, at least this writer, can be moody, self-absorbed, absentminded, and inexplicably cranky.” There are times I must be separated from the people I love not just for the sake of my own sanity but for their personal safety as well. Without this tiny space for me to go to be these ugly things—and, yes, sometimes it does get ugly—I would have become the fanatical lunatic I fear everyone already thinks I am.

   Thus, I—and, for all the doubtful spouses out there, my husband—highly recommend a personal space—even a wee one—for every writer to go for those times we feel we must simply get away.

   My space is the greatest gift the man I love has ever given me.

From The Mobile Register 8/2007 (Mobile, Ala.)

ROMANCE ON THE COAST
Tuesday, August 21, 2007
By ROBERT McCLENDON
Staff Reporter

Fabio is on the dust jacket, puffy shirt ripped open to reveal rippling pecs. Sometimes a buxom heroine is draped over him, but she's optional. Usually they are posed standing in front of a castle.

That's the image many folks conjure up when asked to picture a romance novel, but that stereotype is out of date. Romantic fiction is now a booming business with myriad subgenres -- many of which have nothing to do with pirates, highwaymen or rogues of any kind.

The largest genre in fiction, annual sales for romance novels totaled about $1.4 billion in 2005.

And there are lots of romance writers, too. Many of them right here on the Gulf Coast, which boasts its own chapter of the national organization Romance Writers of America.

The work of Cynthia Eden, a young writer from Mobile, is an example of the romance genre's diversity. Instead of brash pirates and temporarily chaste maidens, her novels are populated by lusty vampires and shape-shifting private detectives. Her latest work, "Hotter After Midnight," features a psychologist who must track down a serial killer with supernatural powers. It's due for release in 2008 by New York -based Kensington Publishing Corp.

As a writer of paranormal romance and erotic romance, Eden's work has no shortage of saucy bits -- detailed love scenes -- but there are plenty of writers in the romance world who keep it PG.

In fact, there are really only two rules in romance writing, at least as far as RWA is concerned: There must by a love connection between two main characters and they've got to get together in the end, no maudlin it-wasn't-meant-to-be endings allowed. After that, anything goes.

Sheri Cobb South, who has had a number of books distributed by various publishing houses, is one of those whose writing isn't meant to steam your windows but does aim to get your pulse racing. She writes mystery romance now, but she used to write Regency novels, books set in the England of Jane Austen in the early 1800s.

Cobb South, of Chunchula, swapped genres because every business has its trends, and romance is no different. Regency writing is about as out of style today as the high-waisted, lace-trimmed dresses that typified the period.

Said Cobb South, quoting another artist's advice to her: "Write what you love, but love a lot of things."

Another chapter member, Don McNair, of Foley and the group's only male writer, has apparently taken that motto to heart. While he does write romance, he recently published his first novel, "The Long Hunter," a book based in colonial America about a young man searching for his sister.

Though the Gulf Coast Chapter of RWA counts several published authors among its ranks, many of the writers in the group are working on their first novel and have yet to find a home for their work. For information, you can visit their Web site at www.gccrwa.com. The group meets on the first Saturday of each month.

The group also hosts a conference each year and invites agents and editors from major publishing houses speak on panels and meet new writers.