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bear by san

March 2017

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writing steles burning

free ourselves from all that hate.

I'm just waiting for the toast to kick in so I can have the blood sugar to go back to beating my head against Range of Ghosts. Current thing bugging me about The Book: I can't decide where to switch POVs. Do I want to jump back and forth between these two a couple of times before they meet, or do I want to do the thing where I follow one for a hundred pages and then the other for a hundred pages? (Once they meet, it will be POV of convenience, which also makes me lean towards the shorter jumps.)

I tend to hate that latter technique, because I get invested in somebody and then I have to wait ages to get the next bit about them. But as we all know, I am a Bear of very short attention span, and I like scenes that get in, get dirty, and get out--and I know some people prefer to wallow a bit in a narrative, as in a nice warm bath.

This book has Very Long Chapters, too. So far, Chapter One is a truepennyesque 12,000 words. Which means I need ten chapters to write the whole book, if I go up to my max wordcount.

Oh well, I guess I'll write it how it comes out and see which way it works better once I have more stuff. This is, after all, what I have an editor for.

Now: 1200 words or bust.

Comments

"Waiting for the toast to kick in" Possible title of a chapter in your autobiography?
I'd have to be able to remember shit to write an autobiography....
You could make it up. More fun that way.
Then the whole world will know about my wild fling with X____ Y____....
RPS with yourself as a self referential Mary Sue? BEST SELLER!
If there are going to be multiple POV characters, my personal preference is for shorter chunks of each. That way the reader doesn't forget what's happening to character A while reading about character B.
Range of Ghosts is a glorious title.
Thank you.
My own preference is for shorter hops, because it clues me in that I have a dual-POV book in my hands, rather than being all 'who the hell is this new guy'?

(There are exceptions. The one that comes to mind is Feed by Mira Grant, where most of the book is told in a single POV, with occasional excerpts from various blogs and journals written by the cast. The after *BIG GIANT SPOILER THING*, the POV shifts to a different character. It worked for me. The other exception comes in from Podkayne of Mars by Robert Heinlein where the protagonist's journal narrative is occasionally broken into by her little brother, who clarifies things and is a general pest to his older sister. He ends up narrating the last chapter.

(But both of those shifts have the characters on-stage together, and the POV clarifications at the end are for about the same reason.)
Shorter jumps, please. I tend to interpret things chronologically as I read, so having long POV stretches from two characters who exist in the same time frame, but not the same narrative confuses me. (This makes reading The Two Towers and The Return of the King something of a chore, no matter how delightful Tolkien is.)

(Anonymous)

Not a very helpful comment here, but I'll be very interested in any further thoughts you feel like adding on this topic. I've been thinking a lot about POV switches lately as a reader. I've found quite a lot of books have managed to irritate me royally over the POV switch question in the last year or so, resulting in me formulating a lot of opinions along the lines of 'I hate it when a writer does X', only to remember those other times when a writer did X and I really enjoyed it. I've been irritated by both short switches and long switches, and conversely enjoyed both. I guess it 'all depends', though on what, I cannot say.

(Anonymous)

Sorry, I forgot to sign the above anonymous comment.

Gillian A