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First Or Third Person, Part 2

February 21st 2009 19:40
First person or Third person

Yesterday, I discussed some of the advantages and disadvantages of writing in the first person ("I") as opposed to the third ("S/He"). Today, we'll look at the third person. In deference to a commenter's request, examples will follow in a third post!

Third-person perspective is advantageous when the scope of a story extends far beyond any single individual. If a group of people is involved and their separate activities must all be followed for the reader to understand (or if the author simply wishes to do things that way), the third person is more effective.

True, first person can also be chosen in the same situation, either switching characters each chapter - extremely difficult to handle and often leading to utter confusion for the reader: who am "I" on this page? - or by having the central character follow important events via the news, radio, interstellar net, magic mirror or some other means.

Of course, in any particular scene or chapter the third-person story is still generally told with more focus on one individual than the others, but this focus can shift between characters at appropriate times. Thus, an author can provide the reader with information of which the primary characters are unaware, advancing the plot in their absence, as it were. Focus can also be shared in some scenes: for example, a fencing duel or a debate can be quite successully recounted in equal parts for the participants, with neither retaining particular focus.

Since the reader views any activity in the story from an outside standpoint, third person writing generally puts less emphasis on characterisation and more on events. It's particularly useful when there's a very complicated story with multiple sub-plots, as these can be almost impossible to follow from behind a single person's eyes.

Suspense can also be managed quite nicely, though the emphasis is often different: in first person, the suspense comes from not knowing what's going on; in third person it tends to come from the main character not knowing what's going on - the reader is given insight and the consequent foreboding of horrors yet unknown to the hero!

The biggest disadvantage of third-person text is the lack of emphasis on characterisation. With events driving the narrative more than individuals, it's a little too easy to ignore the deeper development of personalities and motivations. It can also be tempting to jump between characters too often, which can cause continuity issues or confusion for a reader, especially mid-chapter.

Most authors have a noticeable preference for one style or the other. Though it is a good exercise to try to write in the less comfortable of the two, it's generally a good idea to stick to the one that's familiar until the necessary skills have developed in the other!

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First Or Third Person, Part 1

February 20th 2009 23:48
First person or Third person

After yesterday's post about humanising the hero of a story, I thought I'd talk about the two normal options for tale-telling: first or third person.

First-person text is written from the point of view of a single individual and uses the pronoun "I". As in "I pulled a face", "I told him to get lost" and so on. The reader knows what the individual is thinking, how they feel and what they do. Third person is the telling from an 'invisible observer' viewpoint, much like in most films, putting the reader in a position of seeing all the action as a spectator, no matter where it occurs. "He pulled a face" and "The bartender told him to get lost" are both third-person phrases. Both styles have advantages and disadvantages. Today, we'll look at first-person writing.

Recounting a tale from the first-person point of view makes it easier for a reader (and the author) to immerse themselves in the story: they can imagine that the "I" referred to really is them, that they are the hero(ine) thrust into whatever events are described. It also gives much wider scope for characterisation, since the reader remains with the same individual throughout the entire book, seeing things through their eyes and getting to know them as time progresses. Humour is often easier to write in this way, too, using the primary character's personality and views.

Unfortunately, writing in the first person can also be very limiting, especially when writing something that's plot-based rather than character-based. In other words, if the events are more important than the individual's development and feelings (for example epic fantasy as opposed to romance), deciding to write in the first person can really tie a writer's hands. This is because the story can only recount what the individual knows: it cannot skip away to see what three or four other people are doing, then return.

This, in turn, leads to one of two situations: either the author struggles to come up with ways to introduce essential plot information or they try to write interim chapters from another perspective (usually the villain's). The former often gives rise to all those horribly unrealistic parts of a book where the hero "just happens to overhear/see/read/be told" something really important or discover the plot device carelessly left in an open safe; the latter affects the flow of a story and can make reading the book feel piecemeal and jarring.

Of course, a special situation exists for stories based around secret plots, such as spy novels, detective stories and so on. In this case, the fact that the main character does not know what's going on can be a real advantage and the bad guy's Master Plan can be revealed piece by piece as the hero discovers it through hard work and clever deduction.

The first person can also be a problem for writers who are weak in their characterisation. Writing from a single person's perspective when that person is not well-defined can cause the author's shortcomings to stick out like a sore thumb (excuse the cliché) and make the telling of their tale very bland and uninteresting.

One final note for authors choosing the first person is to remind them not to forget their descriptive text or to abandon their supporting characters. It can be very easy to charge through the story at an accelerated pace, only concerned with one individual. Remembering to include appropriate descriptive paragraphs and to follow what happens to those poor, underpaid secondary people (and how they feel about it) is still essential to the reader's immersion..

Tomorrow, we'll have a look at the pros and cons of the third person.

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Humanising Heroes

February 19th 2009 20:28
Roger Zelazny
The God Of Writing

Relating to the hero or heroine of a novel is vital for readers. This is one of the basic rules of successful storytelling: after all, if the main character is too distant from the reader in terms of motivation or psychological make-up, it becomes almost impossible to understand or sympathise with their actions. If there's no empathy, the hero's journey through the tale becomes uninteresting and unimportant.

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Mentally Disturbed Writers

February 15th 2009 20:36
TED logo
TED says...

Just a short entry today since I have an important anniversary this evening. One of the posters over at MyLot (that's a paid-to-participate forum place) mentioned a rather interesting little talk by Elizabeth Gilbert. She wrote a very successful book called "Eat, Pray, Love" and here discusses some of the implications of trying to continue writing when, quite possibly, she's been as successful as she ever will.

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Attention Writers!

February 12th 2009 17:25
Technorati logo
Das Uber Blog Catalog

News today on three items that could be useful for budding writers. First off, the Helium Marketplace has picked up nicely after a slow start to the year: there's quite a batch of titles available at the moment for the journalists among us. They still have their $1 bonus running if you're the first person to write to a title, too.

[ Click here to read more ]
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A Question Of Style

February 11th 2009 20:25
Ben Elton and J.R.R.Tolkien
Comedy and satire or serious writing?

Some people are very lucky: they can write successfully in a variety of styles. Others stick to one tone. The hard thing is knowing which you're good at - and in certain cases, that can be a very difficult assessment to make.

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Colloquialisms

February 10th 2009 21:19
Dick Van Dyke
Great smile, fun acting, crap accent

Over the past few days I've been considering a difficult question. Since my connection's been yo-yoing, I've had time to take another look at one of the novel ideas I had a while back and try to get a bit more written. The place I got stuck is with colloquialisms.

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Yo' Gramma's Punctuation

February 8th 2009 00:24
Not smarter than your average politician
Ah, the quotes!

In writing, there are few subjects which will cause as much emotional debate as punctuation and grammar. It's a never-ending discourse, frequently based on the same opposing arguments: on the one hand, the "old-school" writers who believe we should punctuate properly and structure sentences according to strict rules; on the other, the folks who believe language is an ever-changing mish-mash of current conventions and should adapt and change as life dictates.

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Bad Blog! Bad!

February 1st 2009 02:07
Bad blog layout
Modern art or bad blog?

There's been a flurry of activity this week over at Bloggercises here on Orble. It all started when I posted a whine about AdSense revenue - or rather, a badly enunciated remark about the tiny revenue we small-time bloggers see from it! Since then, Mr Bloggercise (that'd be Chris) has responded and continued to look into the idea of blogging for a living. The posts make for excellent reading, whether you're a serious online writer or just keeping a little journal.

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GAF Update

January 29th 2009 16:09
Get A Freelancer

Some time ago, I mentioned the site 'Get A Freelancer'. I'd heard some good things about this place, so I registered. Since then, I've been absolutely flooded with emails of new projects on which to bid.

[ Click here to read more ]
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