We’ve curated our best editorial secrets and industry insights into a series of articles. They range from getting started through staying on track and grasping the publishing business. Put those fuzzy slippers on your feet, pull up a cushy armchair, and enjoy.
POVs Should Cost Good Money
Writers switch point-of-view (POV) a lot.
“See, I need to describe what happens in a scene where Character A isn’t there but Character B is, so — we’ll just tell it from Character B’s POV….”
“I want the reader to know what Character B is thinking so I’m going to slip into his/her POV real quick in the middle of a scene told from Character A’s POV…”
“My narrator is omniscient so, even though 95% of it is told from the Character A’s POV, that’s my justification for having 5% from the POV of Character B…”
POVs should cost good money. Something that will act as a deterrent so that you really almost practically never switch POVs. Because, here’s the thing: each time we switch into another POV, we not only need another character to support that perspective — we need another world to imbue it. And that is no easy task.