Writing from one person’s perspective is hard enough. Writing from multiple perspectives can seem downright impossible. But it can be done.
I wrote my last novel from three different perspectives. It was difficult. Sometimes it was stagnating creatively. But sometimes it was fun and kept me engaged in my own book when I wanted to give up.
So if you’re ready for the challenge, here’s how to write a book from multiple perspectives.
You’ve worked long and hard on that book, and it’s finally finished! Now what?
It’s time to identify your book genre (if you haven’t already) so you can better place and market your story.
Understanding genre is one of the most important details you need to market and identify your book. Here are some key ideas needed to figure it out.
Both villains and monsters are considered antagonists, but there are differences between the two. You’ll want to choose which version of antagonist you’re using based on the purpose and tone of your story.
In life and in writing, romance is a difficult and yet extremely enticing subject. Even in books outside the highly popular romance genre, romantic subplots are immensely popular. But romance is not an easy thing to write, because readers want more than just a straight-up kiss-and-get-married.
A romance on a curved, nuanced road, where your characters have to fight to get to their happily ever after, makes for a much better story. The best way to achieve this is through romantic tension.
One of the foremost reasons people read is to experience a character’s arc of change, their transformation, in other words, and transformation stories are among the most powerful and popular in literature and film.
That’s because the human experience is all about change. Each of us is a work in progress—growing, changing our perceptions and how we think—shaping our character.
These stories involve the reader in the course of the character’s change, helping them explore their own potential and desire for transformation, along with the limitations, possibilities, and price attached.
Dialogue is an essential part of storytelling. We all know our characters speak to express themselves, and effective dialogue says a lot more than just the information conveyed—it also shows your character’s personality, range of knowledge, and their current state in the story.
But do you find that your characters sometimes drone on and on without getting to a point? Or that it seems to take a lot of words to get to the single idea you’re trying to get to? Or maybe you sometimes lose control of the exchange and find you don’t know which way to direct the conversation.
The problem is usually that your dialogue has too much “fluff.” Fluffy dialogue tends to slow down the story and bore the reader. But fear not; there are a few simple ways to remedy this.
