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 Short Stories: July 06, 2016 Issue [#7733] |
  Short Stories This week: A Question of Perspective Edited by: Kate - Writing & Reading   More Newsletters By This Editor   1. About this Newsletter 2. A Word from our Sponsor 3. Letter from the Editor 4. Editor's Picks 5. A Word from Writing.Com 6. Ask & Answer 7. Removal instructions 
 
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“He grabbed my purse off my arm and shuffled off, tried to blend into the crowd, but he tripped over my swinging cane and I stumbled on top of him and that’s what happened!” (point of view of the would-be victim)
"The old witch whacked me across the knees for no reason and I got tangled up in her handbag as I went down. I think I sprained my ankle.” (point of view of the would –be thief on the corner, lying prone, droopy drawers around his ankles)
"Roll over and hands where I can see them.” (point of view of the officer addressing the prone would-be purse-snatcher, as he retrieves the lady’s purse.) “Ma’am, are you okay? Did he hurt you in any way? Do you need any medical assistance?”
Three points of view? No, just one. Each of these is in the first person – as related by the character (I’ve left out more detailed descriptives here, but you can picture the scene, I think. What we’ve seen is one view, personal, from three individual perspectives ~ that of the would-be victim, the would-be perp, and an officer fortunately at the scene. None of the three acted as an impartial observer or as an outside observer. So, one point of view, three perspectives. 
In a short story, one perspective normally drives the story, that of the main character, whether it be in the first person or as related by the author in second or third person. In some longer short stories, two perspectives may appear, perhaps an antagonist playing off the protagonist to foreshadow action to take place, or near the end, to help solve a mystery or to resolve the plot that’s been unfolding along the way and bring the story to its satisfying conclusion.
In a short story, the focus of the story can change as the writer shows actions, perceptions, motivation of the protagonist or main character in one scene, then perhaps the next scene the antagonist, then summing up with the focus on the observer or ancillary character (the arresting officer above?). 
In a novel, chapter-by-chapter interplay can work, I think, but in a short story, the perspective of one character would drive the story, allowing the reader to identify with or empathize with that character. The author might change the focus or perspective for a scene or two in a short story for added scenic depth or to foreshadow (plant a clue or lead the reader) to a natural and satisfying resolution of the story itself. 
