Which Point of View Should I Use? A Tour of First, Second, Third, and More

I often get this question in my classes:  what point of view is best for my book?  Who is best to tell this story?  What are the differences between first, second, third, and omniscient points of view?

There's an underlying confusion about "voice" and point of view in story, which I want to address first.   

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How to Build a Chapter--A Cool New Template to Try for Any Genre

This week I'm teaching on Madeline Island, a beautiful spot on Lake Superior off the shore of northern Wisconsin.  Yesterday my class of ten writers explored a new template I've been working with for building chapters.  As a review for them and a gift for you, I thought I'd share it.

Many of my book-writing students, as well as private clients, even those already published, struggle with how to build strong chapters.  Over the past year, I've been studying different templates for chapter building.  Asking myself some hard questions:

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How Powerful Is the "Container" of Your Story?

Book writers must create writing that pulls a reader in, that engages us so well, we can't stop reading. A favorite nonfiction writer, Malcolm Gladwell, spoke about this task--and its challenge to most writers--in the preface to his book What the Dog Saw and Other Adventures.

Gladwell's topics are potentially dry. I love his ability to present his material in an amazingly engaging way.

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Publishing Alternatives to the Big Five--What Is Best for Your Book?

Quite a few of my clients have released their books this past year, always a happy moment for me.  My bookshelves are crammed with gift copies, which they often send as thank-you's, and I love seeing the finished product.  And how far the book has come since we began working together, in class or privately.

Some have decided to go with agents, some on their own.  But many, agented or not, have explored beyond the Big Five NYC publishers and found alternative homes for their books. 

One author I spoke with recently said she's so happy with how her book came out, via a partner press, and she's grateful she was open to other options besides the Big Five.  Her agent even counseled her against them, and I've heard this from other authors this past year.   

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An Inventory of Bad Decisions in Your Book--And Why Bad Decisions Make the Best Stories

A student in my classes complained about her writer's block.   She'd started her book with a bang, writing four chapters that just flowed out.   Then, she hit chapter 5.  Stuck. Nothing happened--either on the page or with the pen.

Remembering a friend's motto, "bad decision make the best stories," I suggested this writer inventory the bad decisions in her chapters.

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How Do You Know When to Stop Expanding and Start Revising?

The relationship of writer to book-in-progress reminds me of a marriage.  As opposed to a date. 

Poems, articles, columns, and short stories are all creative commitments, sure.  But  even if they linger unfinished for a while, they are short relationships compared to 350 pages of manuscript. 

With a book, you regularly re-evaluate your progress, your purpose, and your plans.  You recommit again and again.  Not unlike the work it takes to make a marriage work.

Many of my students weary of this.  Is it ever done? they ask.  When is enough, enough? 

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Strictly Accurate Memoir? True-Life Novel? How Close to the Line Do You Ride?

Camilla, a writer in my New York classes many years ago, completed a memoir about her family in Italy during World War II.  I remember it as a rich and interesting tale, full of great descriptions and intriguing characters.  I also remember the dilemma she faced when she began sending it out into the world.

She wrote me, "I have been struggling with pinning down the genre, as memoirs are rarely taken if the person isn't famous.  Although calling it a novel seems untruthful.  In truth it is a bit of a hybrid, with scenes and dialogue created around facts, and my part of the story is 99 percent factual. I spoke with a published author who was very lovely and suggested I call it historical fiction.  Yet is it remote enough in time, being about World War II? 

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Ten Things I've Learned by Finishing My Novel

In August, I took a month away from work, phones, and other people's writing to focus on the final edits for my novel.  It's been a long, hard, exciting road. 

Looking back, I slightly astonished by how naive I was when I began.  It's been five years in the making, and I couldn't have done it in any less time.  Enthusiasm and determination carried me through the first two years.  I hit bottom then, and I was pulled out by taking writing classes and getting together a feedback group.  They lasted a year or so.  Then I hit bottom again, almost ditched the project. 

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Your Writing Voice--How to Develop It, Recognize It, Not Copy Someone Else's

One of my long-time students asked a great question this week:  how does a writer develop voice?  

Voice is the elusive uniqueness that comes out in writing over time, the signature of the individual wordsmith.  We would never mistake a passage by Flannery O'Connor with one by Gabriel Garcia Marquez. 

What makes them different, distinctive? Each delightful in its own way?  That's voice.

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Why Strong Dialogue Matters So Much--And Three Tips to Write It

Do you write dialogue?  Did you know that many acquisitions editors at publishing companies use dialogue as the "test" for whether a manuscript gets read?

In their book, Self-Editing for Fiction Writers, Renni Browne and Dave King tell the story of interviewing different editors in the publishing industry.  What do you look at first, when reviewing a manuscript? they wondered.  More than one revealed this:  Editors scan through the pages for a section of dialogue and read it.  If it's good, they read more.  If it's not good, the manuscript is automatically rejected.

Big pressure for writers!  Why do you think dialogue is such an indicator of a writer's skill?

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