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| Sometimes, we crave to know something from the eyes and experiences of a particular person. This vantage point immerses us in the essence of one person, taking our sense of curiosity to a whole new level. To me, this is why first person point of view entices many writers. I'll be tackling this intriguing yet sometimes thorny subject in this issue. |
| ASIN: 0910355479 |
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Amazon's Price: $ 13.99
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Greetings, and welcome to another issue of As the Point of View Turns! Last month, I discussed the various subtypes of third person point of view. The abundance of subtypes seemed to surprise readers, a trend I suspect will continue this month. Of the two, I prefer first person perspective and decided to wait to discuss it. Like third person perspective, first person is multilayered and demands careful rewriting to create the desired effect. Whether it is easier or more difficult than third person is part personal preference, part type of story being written and part character interaction. Let's take a look at first person and see what it has to offer.
First person point of view is commonly defined as the point of view which tells the story from a given character's perspective, using the pronouns "I" and "we". It's a simple definition for a point of view which has seven subtypes. Yes, seven. Like the subtypes for third person, the differences between the subtypes for first person can be very subtle. That is not always the case. Some types of first person perspective are easier to identify than others, as will be seen in the following explanations.
TYPES OF FIRST PERSON PERSPECTIVE
 STREAM OF CONSCIOUSNESS: This perspective type is essentially plucking a character's thoughts from his or her head on a given situation. These thoughts are written as the character is thinking them, without distance between the event and the character thinking about it. Such thoughts are explored through interior monologues, base sensory reactions or a combination of both. Action does occurr, but it does not carry as much weight in this particular point of view. While it sounds simple enough, it can be difficult to pull off. Likewise, it can make for a trickier read. Anyone who has read As I Lay Dying by William Faulkner knows what I mean.
DRAMATIC MONOLOGUE: The name of this perspective is straightforward. This involves a character addressing the audience. Now, contrary to the name of the perspective, this point of view isn't just for monologues. I have read some short stories online which utilize this technique. The biggest drawback is it opens the door to a lot of that dreaded telling we're warned against using. So, it will work for a short story, provided it's not too long.
DIARY NARRATION: Another perspective with a straightforward name, you can find this one in action at your favorite blog!  Like a blog, this perspective sheds light on a character's thought processes while depicting events that have shaped that person's ideas. Unlike stream of consciousness, there is some distance between the event and the thoughts. In all seriousness, this is a fun perspective from which to write, and a number of writers use it for side pieces that branch off from larger projects. If done correctly, this perspective can be used in longer works. It can also be sprinkled into scripts (although it tends to work better on stage rather than on screen).
LETTER NARRATION: Though similar to diary narration, letter narration involves less of the character's own thoughts. With letter narration, action is a larger fous, but the character still has room to voice his or her thoughts. I've seen this in plays (namely Indian Ink by Tom Stoppard), and it works well for setting the scene. It's a point of view suitable for mixing with other points of view. As a standalone point of view, it can get a little tiring for the reader, especially if it dominates a longer piece. My advice? Use it as an accent point of view.
SUBJECTIVE/UNRELIABLE NARRATION: In some respects, all first person points of view are subjective. With this perspective, though, there is a degree of suspicion when it comes to the character's account. In this case, more focus is on the action and dialogue. Likewise, an emphasis should be placed on what is not shown to the readers in any way. By emphasizing what is not seen, the writer leaves room for doubt regarding the reliability of the narrator. This is one of the three first person perspectives that can be used throughout a piece regardless of length. Beware, though. It's kind of difficult to execute, and in order to find the right things not to show, you will have to slog through a few drafts. I wonder how many drafts it took to make this point of view work in Rosemary's Baby....
MEMOIR: Of all the subtypes of first person perspective, this one is the one most writers try to emulate, consciously or not. This particular perspective is less susceptible to subjectivity, as action and dialogue are prominent. Even so, there is still room for the character to interject with his or her own thoughts. The one thing to remember about this type is that the narrator is at least semi-involved in the action. Like the unreliable narration, this perspective can and is used for longer pieces. It is also the easiest of the first person perspectives to use for a longer work because it has fewer telling pitfalls.
OBSERVER NARRATION: This perspective is similar to the memoir, except that the narrator is not involved in the action, at least directly. In some ways, observer narration is similar to third person objective. However, it differs from the aforementioned point of view because readers have access to the narrator's thoughts. Still, that narrator is not privy to the thoughts of the other characters involved. Thus, the narrator does a fair amount of speculation. While an interesting combination of first and third person in some respects, it's a point of view with a lot of opportunity to fall into patterns of telling. It can be used in longer pieces, but proceed with caution. To avoid falling into such traps, sprinkle in physical reactions from the narrator to various events in the storyline. In such cases, the narrator does not have to be specifically involved. For example, the narrator can be beome physically ill after witnessing a car crash. By bringing in more action, the writer can keep the story from becoming flat when using this point of view.
Wow. That's a lot to remember for the subtypes of first person perspective! As you can see, though, it is a little easier to differentiate between them. Hopefully this guide will help you hone (or maybe even try) writing in first person. It can be risky and more difficult to show the story, but it allows for interesting insights, detailed character development and a unique way to convey a story. Enjoy!
Until next time,
(sig by kiyasama, a gift from salliemoffitt) |
I come bearing items written in first person! A little of every type is sprinkled in this selection. 
| |  | Fitting In (ASR)
An over protective mother hires a private eye to investigate her daughter's fiancee.
#606237 by outlander  |
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#1210542 by Not Available. |
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#1137101 by Not Available. |
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#979774 by Not Available. |
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#125288 by Not Available. |
| | Mr Greely (13+)
A startling discovery and a revealing look into the heart of a silent community.
#412836 by jjsutton |
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#497299 by Not Available. |
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#1191544 by Not Available. |
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Well, third person inspired a few people to speak up. I wonder how many of you have anything to say about first person.
From Vivian  Elisa, great job of explaining point of view. I'm amazed at how many people do not understand it, including editors, agents, and publishers. Ish. ~~ Viv
Aye, thanks, Viv.  Now as for editors, agents and publishers not understanding point of view, I'm shocked. Really, I am. It will really be the day if I end being chosen to explain the various points of view to these people. 
From likenion: Awsome newsletter! This is even better than you last one! I never knew that the third person could be divided into so many subtypes. So far I have used the omniscient total point of view and the limited omniscient. The lines between all of these four are so fine that I had to reread the whole newsletter several times. The topic you use is fresh and always interesting among writers and I am happy that you have written so much about it. Now we all can understand it deeper. I can't wait for next month!
I just hope this issue didn't make your head spin. Yeah, point of view has many different subtypes, and yet few people seem to tackle the task of explaining them. And I agree; the lines between the different types of third person perspective are very fine. Perhaps one way to learn the subtleties between them is to write pieces with the objective of using one point of view. Just a thought.
From outlander : Hi Elisa,
I really enjoyed your May 10, 2007 newsletter and I am really looking forward to your exploration of the first person point of view. I am currently at the end of the first chapter of a story I am writing in the first person and I am having some difficulty with moving the story forward. I am stuck on trying to figure out how my narrator learns the information regarding the other characters. Hopefully I will resolve this issue before your next newsletter but if I don't I am sure I will learn something helpful.
Outlander
Hello, Outlander! Good to see you dropping off some comments. Hopefully my newsletter has provided some helpful hints for your current story. If not, I'd like to offer a few brief suggestions. First, since you're only in the first chapter, don't fret the detective work. In the process of writing the draft, you might find that very method you need make itself known in chapter four. Second, write a separate scene outside of the story itself, showing one possible way the information exchange could transpire. That scene could also provide clues to solve other potential problems in your story. Finally, you could do as I do. Sit on the john and brainstorm! In all seriousness, I'm glad you enjoyed my previous newsletter, and I hope this issue proves just as beneficial.
From Stiggles  : First of all, thank you for the terrific newletter!
This was very timely issue for me. In the past, I've always written exclusively in first person because that's what seems most natural for me. However, I've recently started experimenting with third, and this issue clarified a few points that I think might help solve some technique issue I've been having. Thank you so much!
Timing really is everything, isn't it? Oh wait. That was a previous newsletter.  Anyhow, I think we're in the same boat. First person feels more natural to me as well. However, at least in my case, I have this annoying little habit of developing elaborate backstories in my head for a given character. Thus, to communicate as muh of it as possible, I gravitate to the first persom perspective, whichever it may be. However, third person has its advantages, and it's good to see you trying something new. I'm working on a story from the third person perspective myself. We'll see how that goes.
July will bring the concluding issue in my point of view miniseries. I will say, though, that the topic might bake your noodle. What's the topic? Changing points of view in a story. It's not easy...but is it impossible? I'd love to hear your opinions, and if you know of any good stories which swap perspectives (especially switching between first and third person), I'd like to see them as well.
And if you happen to miss or misplace a newsletter, feel free to stop by "The Drama Box" [13+]. |
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Drama: June 06, 2007 Issue [#1758]
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