ETJ Writes

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No Novel is Worth Your Hands

Hey, Friends!

Today’s article is something a bit different. It’s actually a (slighted edited) transcript of the accompanying youtube video. Feel free to watch that if you’d prefer to listen, or keep reading below:

Sharp stabbing pains, burning, tingling, or numbness in your hands during or after a writing session is not normal, and you should stop immediately to prevent serious damage.

Hey, guys, ETJ Writes here! I want to talk to you today about the health of your hands while writing.

I was actually inspired to make this video by a post I made on tumblr about two years ago talking about what to do if you start feeling burning, tingling, numbness, etc., in your hands while you’re writing.

Now, I always wear these braces while I’m writing—this did not occur because of writing, um, actually my hands are fine right now, so that’s good. But a couple years ago I did something to them. I tried a new activity, and I did it too intensely too quickly, and I started to have searing pain all down the backs of my hands—both hands.

img_3931It started out in the one, and then I was using the other hand more, and then it switched to that hand too, and it was just—it was not fun. It got to the point where I really felt like I couldn’t move my hands, and given that my bread and butter is being a musician, I was kind of freaking out over the prospect of not being able to play piano. So immediately I went out, and I got these braces, and I got some help from people who worked on the computer a lot, and I want to talk to you today about what you can do to avoid damage.

This is especially important as NaNoWriMo is coming up, and a lot of you take this time of year to be like, “Hey it’s time to finally start, finish, do whatever I need to do on my novel—whether I’m on the first draft, second draft, third draft, I’m gonna use this time to get it done.”

However if you’re not someone that writes every day and you go from zero writing or minimal writing to a tonne of writing all at once, you are going to overwork your hands, and you’re gonna stress them out.

Again like I said, I was inspired to make this video by a post I made on tumblr a couple years ago. I remember I put it out—I think it was in October? And I said NaNo was on the way, and I described some things that are not good to do; just kind of a general reminder to people and what happened was . . .


No noise.

The post was dead silent. Then all of a sudden in like the last week of November—this is like a month and change after I made the post—the notes start piling up and piling up and piling up, until in just a matter of weeks I had over 700 notes on this post, which to me told me that people jumped into NaNo, started writing, felt pretty good for most of it, and then in the last week or so their hands started bothering them so badly they started looking for things on the internet talking about similar experiences and how to fix it, and they stumbled across my post and started reblogging it.

And by then maybe it was too late. So hopefully this video comes in time for a lot of you to be able to set yourselves up for success and not failure when writing.

I want to split this video into two sections. First I want to talk about what I do personally, and then I want to share some experiences and tips on the notes of the tumblr post, and then of course feel free to put your own experiences and your own tips in the comment section down below.

So without further ado, like I said, once I started noticing the burning and tingling in my hands I went out and I got some braces. Actually I started with the one, and then I ended up with two, and these are actually my third set because after a while they wear out, and I wear these a lot.

I don’t currently have any pain in my hands, however once you’ve damaged something there’s always the possibility of damage occurring again, and I find that if I use the computer for more than 30 minutes—whether it’s just using the mouse or typing—I start to feel a little strain on my hands. Nothing that you couldn’t push through, but it’s not good to push through that type of thing and if you push through it every day you’re going to make it a little bit worse and a little bit worse and a little bit worse until you end up at the worst possible extreme which is needing surgery. We don’t want that.

So I wear these every day on my hands whenever I’m doing any type of work on the computer. I will also wear them when gardening; sometimes I will wear them when I am writing by hand. I will wear them when I am sewing; I will wear them when I’m doing a lot of small fiddly activities I need to do with my hands, because hopefully that will prevent it.

There was a point where I had to wear these constantly every day for a period of several months until my hands got better.

img_3974Now—I’ll take this off so you can see; you can get these at Target; they’re pretty nice—there is usually a little metal thing that goes inside of here. I’ve taken that out because it’s too rigid for my hands at this point, but if your hands are really paining you, the metal will be very useful to provide support to your hands—especially overnight—but I find at this point it’s too rigid, and I don’t need something that hard so I just take the metal out.

You can also wash these easily in the dryer, particularly if you take the metal out, and that makes it really nice. Just put it in the washer/dryer; just toss it in with the rest of your regular laundry, and you are good to go.

img_3973I wear these all the time; they are the Futuro brand and they just fit my hands really well. They make them in left and right sizes—you can get braces that are one size fits all, but I have found you get better results when they’re tailored specifically to right and left hand; they come in different sizes as well, and you can get small, medium, large—I think I have a medium for my hands—and of course they make men’s and ladies sizes.

The other thing you can do as far as braces goes—you can get those ones that go all the way down your arm. It’s always a good idea to consult with your doctor if you have serious pain about which brand to get, but these are great.

Now these are cures right? Or crutches/aids. What should we do to prevent the use of these? Now again I do use these as preventative to stop my hands from seizing up, but how do we get there in the first place?

Well one of the things you have to do is get your hands ready for an extended period of typing. Thankfully since I have been playing piano since I was about nine years old and flute since I was about twelve, I don’t actually have an issue with playing flute or piano. Even if my hands are hurting, I don’t have pain doing that because I correctly have all the technique that I need for that.

What I always tell people, my students, when they are starting piano for the first time is: just take it a couple minutes at a time, five minutes, ten minutes, twenty minutes; just slowly work up to that. You don’t want to jump into a whole half-hour straight away or else you can create damage, and we don’t want that.

Same thing with writing. Right now it is the middle of October. If you start now doing a little bit of writing every day—200 words, 500 words maybe—and slowly work up to a thousand by the end of October you will be ready to hit that 1,500 (1,667 to be specific) word goal every single day for NaNoWriMo. You don’t want to just dive in cold the first day.

Now another thing you can do is hand exercises, and you can do these before or after you have finished your writing session. I’ll take the brace off again so you can see.

One of the things you want to do is take your hand like this—make sure that you have your thumb involved—and you’re just going to take your other hand, keep your hand up like this, and you’re just going to gently press back as far as you can, and then just kind of hold that for about ten seconds-ish—maybe five seconds depending on your level of comfort. This should not hurt if there’s nothing wrong with your hands. If there is immediately a little bit of pain here then you have some lingering or potential damage about to happen, and doing these stretches every day can help with that.img_3975

If you feel like you don’t get a good enough stretch with your hand, you can then put it against the wall for a better stretch; and you want to do this in both hands like I said for about five to ten seconds on each side.

Of course you don’t just want to stretch the bottoms of your hands—and you’ll feel it on the top too, but you don’t just wanna stretch these bottom tendons down here—you wanna stretch the top [as well]. So then you’re gonna take your hand like this—and I’ll take this off.

You wanna take your hand and gently curl it under and just press, and again this should not hurt. If it hurts that means you either need to do these stretches more or consult your doctor or just be very careful about the amount of work that you’re doing because that means you’re very tight here.img_3976

Any time you feel any pain do not try to push through it. You’ve got to stop and then just do these—and these are good to do anyway just to relieve tension but these are preventative—and if you can do these every day before your writing session that’s going to really really help you to make your hands feel good. You can also do them afterward if your hands are feeling a little bit stiff.

So those are some things you can do:

You can wear these braces which are very comfortable especially once you take the metal out. They are easy to wash/keep clean, and I always use them when I’m on the computer and other things I know will strain my hands if I go more than 30 minutes doing them.

The other thing you can do is these stretches I’ve indicated (as well as soaking your hands in warm water with salts/oils of your choice) and then of course just trying to get enough sleep, enough nutrition; those things are all going to contribute to the health of your hands.

Second part of this video: I want to read over some experiences that people had and they put in the notes and just kind of comment on them here.

img_3941One of the first notes I had comes from user h-brooks-writes who wrote: Yikes, this happened to me last night after writing sprint.

(A writing sprint is a very short intense writing session. You try to get as many words as you can, focusing on quantity versus quality.)

My hand felt kind of floppy and a bit numb (I could still feel things but my hand didn’t really . . . focus on the textures? If that makes sense), and my elbow-to-wrist area was kind of sore. This all settled in about half an hour after I’d stopped writing for the night.

So you can see it doesn’t really matter if you feel it right away or after a delayed time, you may have done some damage if you just rushed into [writing] without doing some warm-up exercises first or getting your hands acclimatized by writing on a more continuous daily basis, because writing every day—yes it does stretch our brain muscles and our ability to write, but it also physically helps our hands be ready whether we are doing it by hand or typing. Even if you’re doing dictation you need to warm up your throat and your voice—but we’re talking mostly about the hands so that’s where I will stay focused.

I have another note from michaelbyorkwrites who said: When my writing output rose for this blog a few months ago, I started to get a pretty bad burning pain in my hands, wrists, and forearms.

Again you do not want that, it is very very bad for you, so you have to stop immediately because otherwise it will just get worse.

Another user called heywriters said: OH. Okay. My hand and wrist go numb and feel “cold” lately when I hand write or keyboard type for long periods of time. I thought it was my posture and have been ignoring it.

Your posture actually can play a role when you’re typing. A lot of the times the keyboard’s like this and our hand is like that. When your hand is like that, it’s shortening the tendons in your hand.

If I relax they’re still there, but they’re not as pronounced versus here you can really see—I’ll come up close—here it’s more relaxed, here it’s really stretched, and if you are writing like this with your hand like that every time you type you’re writing on shortened tendons, and that is going to just increase the tension and make things worse. If you can get like a writing a pad that you can put [beneath your hands] and keep your hands more in this position, or try to keep your hands lifted and not at this angle, that will help as well.img_3944

if-all-I-have-are-words said: I absolutely MURDERED—in all caps— my wrist last night (I pinched it over at the base of my thumb by lying on my hand) and my carpal tunnel started acting up so y’all [don’t make my mistakes]

Yes, you can definitely injure your hands in other ways not related to writing, and that does bring on the dreaded carpal tunnel syndrome, which again you can mitigate by using a good pair of braces, hand stretches—even soaking your hands in some warm water nightly before or after you do your writing sessions.

ladyhacksaway said: hey guys, put some serious thought toward dictating your first drafts if you can. the current tech on google docs for speech-to-text (and other services) is actually really decent and your first draft is going to need editing anyway!!! try it out a few times. it’ll feel awkward and freewrite-y at first; that’s ok. we’re talking about first drafts.

And they’re absolutely right! If your hands pain you so much you can’t write or you want to know that you’re doing good preventative care for your hands, then try speech-to-text. You can use Siri on Apple iPhone or Google docs on any phone if you have it set up correctly, or even in your computer, and there are other softwares you can buy that will do an even better job.

Again with NaNoWriMo you might have to figure out how long will it take you to say the 1500 plus words you need every day to beat your quota, your daily quota, but once you get used to that that is definitely an option to get all those words out there without even having to use your hands. Again you would have to do some warm-up exercises so you’re not damaging your throat when you’re speaking, and maybe have a cup of warm tea that will keep your throat soothed, but that is definitely an option if either your hands already pain you or if you’re worried about the possibility of that happening.

You can even switch off day-to-day. Some days you could use your hands, some days you could use your voice.


babysimpala who was originally missjenniferb said: I lived in braces for EONS. . . Saw different specialists; got steroid injections first then gave in and got the carpal tunnel surgery. Left wrist first – six months of p.[hysical] t[herapy] then the same on my right wrist afterward. Eight months apart.

Of course that’s the worst case scenario if you have to end up getting surgery. It’s no fun, and there’s a long recovery time before you feel like your hands are truly yours again, so we’re trying to prevent that.

Now however babysimpala who is Jessica added a little follow-up where she said: For those with Fibromyalgia try MyPainAway . . . . It’s a lotion.

She has neuropathy (both arms and legs from being type 1 diabetic) and it is AMAZING.

So there are some lotions and things out there you can use. As always if you’re feeling pain and it’s really, really bad definitely talk to a doctor and talk to a physical therapist.

I would not recommend a chiropractor because there is a whole set of different licensing you have to go through, and I’ve heard some horror stories about chiropractors, but physical therapists—especially one who deals with hands/wrists, all this kind of area especially—will know how to help you.

You might have to see a couple to find one who works with you and your needs, but if you are experiencing a lot of pain and you do not want to go for the surgery route try physical therapy first, and then of course if surgery is absolutely necessary as a last resort, you can consult with your doctor and find the best option that will work for you.

All right I know that was a lot of info, but I really really want you guys to not have pain during or because of NaNoWriMo.

I want you to write your novels, and I want them to be the best you can be without having to push through pain.

So lots of sleep, lots of water, make sure you take breaks, try maybe dictating some of the days, and get yourself up to the level that you need to be by starting to write a few weeks beforehand if you’re not in a habit of daily writing. And then of course you can always pop a brace or two on your hands if you feel you need a little extra support.

I personally won’t be participating in NaNo because I know that amount of daily writing for me is just too stressful, but for those of you who are I hope this will be helpful and that you are going to be extremely successful with what you’re doing.

Again like I said in the beginning, any questions/tips please feel free to leave them in the comments down below. Hopefully we will all get through this season without any pain in our hands, but if you do get some you will know how to manage it.

Until next time,

Happy writing!

UNSTICK Your Plot & SMASH Writer’s Block | How to Create a Story from Nothing – Part 1

Hello Friends!

Welcome to a three-part series designed to get your story started or moving again, even (especially) if you have crippling writer’s block.

Throughout this series we’ll be looking at divers groups of problems and issues centering around creating and continuing a story from nothing, and discussing how to solve them.

Essentially, crafting a plot that gets you through from start to finish is little more than having a beginning and an ending point and placing obstacles in between that your characters must overcome. The more obstacles you throw in front of your characters, the longer or more twisty the plot can be.

This series focuses on getting you through the first draft, which doesn’t have to be perfect, doesn’t have to be fully fleshed out – it doesn’t even have to be good! – it just has to get done. Story elements such as theme, metaphor, and characterization hopefully reveal themselves as they go along – if you haven’t already plotted their inclusion – but don’t worry if such elements remain elusive in the beginning stages. Upon revising and redrafting your writing, you’ll be able to expand and add to your story as necessary.

This series mainly focuses on novel writing, but the concepts within also apply to the broader storytelling medium (film, video games, and the like), and many of the examples used throughout will pull from various different sources.

Part 1 – No Thoughts Head Empty

Part one of this series tackles common specific problems that crop up when starting a story and how to resolve them. A lot of these issues feed off each other, so there’s going to be some overlapping content, as is common when working with any type of art. If there’s an issue this article doesn’t mention or that you’d like to know more about, please drop a comment below.

Problem: I Want to Write a Story – No Idea How or Where to Start

This problem is more common with very new writers, whether they’re 12, 21, or 92. You sat down one day and decided you were going to be a writer. Maybe you have one or more of the other elements that will be mentioned below in your mind, but you haven’t the faintest clue of how to make it all come together. More than that, perhaps you don’t even know how to start!

All you know is that you have an empty page, and, somehow, you have to fill it.


First, you should ask yourself, why do I want to write? Is it because a teacher or a friend suggested I should? Is it because I have an idea that needs to be shared with the world? Is it because I want to be rich and famous? Is the person who inspires me the most an author, and I want to follow in their footsteps? Is it because I have these characters knocking around in my head that won’t go away?

Once you’ve identified your initial motivation, if you have absolutely nothing, go and find something to inspire you. Read a lot of books, watch a lot of movies and plays, go for long walks in nature. You might even just put a list of subjects on a board and throw a dart at them. However you do it, pick a theme or an idea and start brainstorming.

For example, when looking outside I see the trees, which makes me think about leaves. So I could write a story about leaves or bark or roots. Once I’ve picked my subject, I’m going to keep it simple to start. I’ll write about the leaves falling in the autumn. By basing my story in reality, it’ll be easier to construct because I have something tangible from which to draw.

But just writing about leaves falling, with no twist to it, is simply writing my observations about nature – nice, but not a story. So I’ll focus on one leaf. I’m going to anthropomorphise this leaf, giving it a name and a personality. Now I have a character – let’s call him Rustle (the sound of the leaves when the wind blows through them, conveniently also a homophone of the name Russell) – and I’m going to give him some character. He’s afraid of autumn, because he’s already seen several other leaves fall, and he doesn’t want to leave his home in the tree.

I could have Rustle reminisce about how he got to this point, remembering all the things that could conceivably happen in a leaf’s life – a bird defecating on him, a caterpillar munching away, providing shelter during a rainstorm for a lady bug, feeling the sun on his face during a warm summer day, being an artist’s study, and so on. And then Rustle could speculate about what is coming next.

Ultimately, when he does fall (and perhaps this is a bit of a sad story) he could observe how, on the ground, he provides covering for the worms, or maybe he’s essential to the building of a leaf tipi, or is gathered up and made part of a leaf pile for young children to jump into. Perhaps, at the end, he is saved and framed on somebody’s wall, or made part of a lovely autumn wreath.

We could end with Rustle realising that perhaps fall isn’t so scary after all, and he’s experienced so much more than he would have if he’d stayed forever in his tree.

It’s a simple story, but it illustrates how you can pick literally anything to write about.

To recap, if you want to write, first identify your reason – it could be as simple as that you want to try it and see what happens – then pick a subject, inject some personality, and go from there.

Problem: Awesome Idea – No Clue How to Turn it Into a Story

Sometimes, you come up with an ABSOLUTELY BRILLIANT idea (this is often what is called “high concept” in fiction), something like Inception, that runs on the premise: “what if you could enter into someone’s dreamworld and influence their mind?” and more subtly: “what if you couldn’t get out?” but you have no characters, no plot, no worldbuilding, no nothing besides the idea.


I’m a character focused person, so I like to start there with my idea before adding other elements that will lead me to a coherent plot.

If you do start here, it’s often a good idea to consider whether your character will be mostly good, mostly bad, or somewhere in between. Then consider whether you want them to change or stay static over the course of the story (in which case, the world around them should change). You’re going to be asking a lot of “what if” questions during this process.

Look at The Terminator. It asks: “what if machines ruled the future? What if someone created a vibrant resistance to the machine overlords?” and then, the twist question, “what if one of those machines went back in time to preserve their own existence?” You can see how all these questions led James Cameron from his initial dream idea to the creation of an unfeeling, near-unstoppable, killing machine that we can’t help but watch in fascinated horror.

If starting with world-building, you’ll want to question how a particular idea would affect you, your friends, or the world you live in, if it were reality. You can really get into some exciting stuff with world-building as you re-imagine what society would look like if we never got away from the inventions of the industrial revolution (steampunk) or if science could give people superpowers (Marvel Comics) or if dragons lived at the same time as the vikings (Skyrim).

Once you have some answers to these questions, you can throw in a couple characters, give them a goal, and start placing obstacles in their way.

If starting with theme, try asking: what do I want my audience to come away thinking about? Often this method will lead you to start with the end of the story and build backward and is more often found in stories that tend to lend themselves to tragedy; think Romeo and Juliet or Jurassic Park. The first teaches us the dangers of never-ending feuds, the latter, the danger of playing God with science.

Once you have your world, your theme, and characters, however tightly or loosely you’ve crafted each element, you can now begin to build out your plot – if it hasn’t already started to come to you during these processes. Again, as stated at the beginning, what you want to do is pick a goal, whether internal (coming from the characters) or external (coming from what you want your readers to experience) and work toward that by creating challenges that your characters have to solve and overcome (or fail to overcome as the case may be.)

Problem: Awesome Characters . . . And Nothing Else

Sometimes, especially for the visual artist types (and often those going into writing comic books and video games and such), you come up with a great character or ten. These characters can be as simple as a face and general description, or they might spring into your mind fully formed, with a tonne of backstory. However, you might feel a little bit like a kid who’s just opened a pack full of Lego minifigures. You’ve got all these neat people inhabiting your fictional world – now what to do with them?

This is actually less of a problem than you might think. Amazing characters can make even the thinnest of plots work when written correctly. It’s why we enjoy programmes like Scooby-Doo or Brooklyn 99 or Supernatural, because while the plot can be fun and engaging (or sometimes, really, really silly), often in these types of shows, the story is less about the overarching narrative and more about how the characters relate to each other and the obstacles they face. Combining great characters with decent world-building and a solid narrative is what makes for a very memorable story. (Designing fully fleshed out characters can happen at any time during the writing process, so don’t worry too much if your characters feel somewhat flat or wooden in the first draft.)


Before we fully dive into the solution, it’s worth considering what storytelling medium you’d like to use, as playing with format and setting is going to give you a better idea of what direction to take your story in.

Would your characters be well suited to a full length epic novel? Would they work better in a novella? Should you choose a slice-of-life comic book instead of a 90 minute screenplay? There is also genre to consider, as a character thrust into a sweet romance is going to act and react quite differently than the lead detective in a thriller novel. Explore multiple different options, and see what fits best.

Once you have that, it’s time to formulate your plot. Take what you know about your characters and give them a goal.

Depending on your world building, you may have to create a Disruption Event of some kind.

For instance, say you have a humdrum character living in a boring little town. Nothing bad has ever happened to them, and they’re enjoying their life. Then a sudden summer freeze kills off the town’s crops. People fall on hard times. Your main character (or someone close to them) loses their job. Now their main ambition is to return things to the status quo – or simply to survive. That’s their goal. How they accomplish or fail to achieve that goal is your story.

If we take a more complex character – say they’re existing in a world where they’ve lost a lot already, and they’re just trying to survive – they have friends (or have lost them and are living with the memories), and are constantly dealing with pressure from all sides. They make a decision to help a lost child and find themselves drawn into a brewing civil war. How your already well fleshed-out character reacts to these events, and how they change (or don’t, but how the world around them changes as a result of their actions) is your story.

Not every story needs a Disruption Event if your character has a clear goal – revenge, money, love, fame, success – (although adding one – or several! – can certainly spice things up, especially if the Disruption Event is actively preventing your character from accomplishing their dreams) and characters are often more interesting in these types of stories, proactively pursing their ambitions instead of reacting to the story around them.

Once you have your character’s goal pinned down (and this can certainly change throughout the story as they grow and become a different person), it’s imperative to place obstacles in the way of them achieving this goal. These can be internal or external.

For example: a young woman who wants to find love but is stymied by her crippling shyness, a mouse who wants to become a warrior but has never even left the nest, or a young man who wants to become a starfighter pilot, but is stopped by having his home destroyed and is forced to go on the run after receiving a message that holds the key to undermining a totalitarian government. (Yes, this is the plot of Star Wars.)

As mentioned before, how your character reacts to these obstacles and eventually reaches – or fails to reach – their goals is your story. Either type of ending can be a tragedy or a happily ever after, based on what happens along the way.

Problem: Awesome World-Building – No Characters or Plot

This section is related to the high concept idea, but focuses more on everything both tangible and intangible that our heroes might come into contact with. To use Star Wars as an example again, from blasters to ewoks, to ‘freshers and spice, all the details that make a fictional universe feel lived-in and believable form the world-building aspect of your story. You might find that you are absolutely brilliant at creating the nitty gritty details that make up your fantasy world, but you have no clue how to populate your world with people or take your aesthetic and turn it into a coherent narrative.


Similarly to the Awesome Characters solution, it’s very helpful to consider what genre you want your story to inhabit. Sometimes the world-building on its own lends itself to the genre, but just because a world is, say, set in space, doesn’t mean it can’t also be a western (The Mandalorian) or a romance (Sirantha Jax series). Perhaps you’ve been playing with a high fantasy setting, but the narrative revolves around a series of murder mysteries, making it a detective story or a thriller. What kinds of characters would inhabit these subgenres? What would their stories look like?

Plumber by Punchyninja

Pick underutilised professions to highlight. What does a plumber or other type of handy man look like in this fantasy world? What problems would they encounter? What about doctors, nurses, and other medical professionals? How is information disseminated, and what types of characters are at the centre of that?

Challenge your world-building to extend beyond aesthetics to structures of religion or government. Look to real life to derive inspiration for the types of conflicts that arise from these structures, and keep drilling down until you reach the characters making the decisions that will drive the machine of your story.

Once you’ve applied your world-building to characters, ideas, or themes, sprinkle in some Disruption Events that shake up your carefully constructed world. Consider how the world-building can both solve and create problems. One good example of this is the Warriors series, which seriously examines the concept of cats having nine lives. On the one hand, our heroes have multiple chances to cheat death. On the other hand, this knowledge both makes them a target of enemy clans and gives them a false sense of confidence, leading them to act more recklessly than they might otherwise.

You can also use world-building to explore what happens when well meaning ideas are taken to an extreme, as is the case with The Giver, which presents a beautiful utopia on its surface but hides a dark truth, or Farenheit 451, which contemplates a reality where ideas running against the norm are literally destroyed.

(As an aside, if you are struggling to come up with characters to begin with, there are all sorts of character-building exercises you can find on the web, and if that fails, it’s a tried, tested, and true method of authors to base characters on people they know in real life.)

That concludes Part 1, and hopefully you now have a grasp on how to start your storytelling journey. Next up, we move from looking at beginning the story into how to develop and finish it. Make sure to subscribe so you don’t miss Part 2!

Happy Writing,

9 Tips for Nailing Multi POV

Hello, Friends!

An author must choose through which lens – and how many – a story will be told. Each has its benefits and its pitfalls. Some naturally lend themselves more to a certain type of story or genre, and while a story can be solely told from one character’s perspective, there are various aspects better explored through multiple lenses. (Plus, it’s really fun!)

Using dual or multi POV is an excellent way to create and build tension, as one character might reveal something to the readers that another character has no way of knowing, something that might lead to their downfall if they’re unable to read the warning signs in time.

Multi POV also allows readers (and the author, while writing) to take breaks from being stuck inside one character’s head the entire time. Some of my favourite parts of books or television episodes are the ones where we get to look at the main characters from an outside perspective, which in turn reveals even more about the characters, the world they live in, and the overall story than we knew before.

In books, in particular, authors can create cliffhangers that pull the reader along by ending a chapter with one character in peril, and then jumping to a different character for a little bit, heightening our desire to find out what has happened.

But dual or multi POV can also go wrong and end up becoming jarring and off-putting to readers when done incorrectly. With that in mind, here are 9 tips I’ve picked up both as a reader and a writer to help you write multi POV with confidence to create an irresistible reading experience.

  1. Limit POV Characters

My first tip – especially for newbie writers – is to limit the amount of characters telling the story.

Instead of giving everyone and their grandmother a chance to narrate the story, limit the perspectives to the protagonist, antagonist, and possibly a side character or two. Keeping track of a huge cast of named characters is difficult enough in single POV, but when you’re adding multiple voices into the mix, reducing the perspective to 2-5 main characters makes the story much easier for readers to follow and helps to reduce plot holes.

  1. Keep POVs Centered Around the Main Characters/Plot

As a reader, multiple perspectives lose me entirely when the POVs veer into side-quest territory. I do enjoy side quests when undertaken by the main character, but if secondary character no. 3 is off having their own adventures with secondary character no. 4, and nothing of their plot lines effect, or even in any way relate to the main character or overarching story being told, I greatly struggle to maintain interest in the book. I didn’t sign up to read about these random characters, and so I feel a bit cheated and like I’ve wasted my time on a plot line that went nowhere.

To combat this, make sure other perspectives connect to the protagonists, antagonists, or narrative at large.

For example, my scifi novel, Thorunn , is told mostly from Laine, Kenton, and Bo’s perspectives. However, when I do dip into the minds of other characters (there are at least six other POVs we get to experience) it’s always to reveal something about the two main characters, Kenton and Laine. Yes, we get to learn about these minor characters in a way that we couldn’t have from outside their perspective, but their narratives in the story are specifically related to the main plot and characters.

  1. Don’t Give Equal Weight to Everyone

Related to the previous idea, when using multiple that expands beyond the main characters, not everybody needs to tell the story for the same amount of time. Spending too much time with minor characters can lead to the problem mentioned above, where readers feel like their time is wasted by meaningless filler.

Now, some authors can get away with this. A notable example would be Kishimoto Masashi. Especially in the latter half the Naruto manga, whenever a new character is introduced, Kishimoto dives extensively into their backstory. But because these characters’ histories are so interesting, and are tied into the world-building so well, the fact that Kishimoto was essentially using these POVs as a way to stretch out the manga as long as possible can be forgiven, overlooked even, because they are so compelling.

This however, is the exception, not the norm. George R.R. Martin spent a lot of time on POVs that fundamentally went nowhere in his A Song of Ice and Fire series, and even though his books are critically acclaimed, many readers were left frustrated at the amount of unnecessary plot. Martin himself has admitted that he wrote himself into a corner with the almost excessive storylines that resulted from so many different perspectives. Unless you’re interested in spending years untangling story threads, it’s best to keep outside POVs simple, focused, and short.

Be careful, however, not to make your POVs too short. If pages which are spent following one character are randomly intercut with single paragraphs featuring another character’s perspective, or if you have constantly have short section after short section jumping between POVs, it’s liable to give the reader whiplash. (Long-running soap operas are particular offenders in this area.)

  1. Build Up to and Away From Multiple Characters

If the story absolutely demands to be told through a large cast, it can be extremely helpful to ease your way into it. Start with just a few characters and slowly add more perspectives as the story or series progresses. That way, readers have time to get to know and become attached to these characters (being introduced to them through already established POVs first), making them far more invested in following their individual stories.

Conversely, when the plot is on the edge of getting too bloated, it’s helpful to begin narrowing the story down, bringing characters back together – or killing them off – and thereby reducing the amount of POVs needed to tell the story, as happens in The Lord of the Rings.

  1. Give Your POV a Purpose

As I mentioned in the intro, dual or multi POVs are fantastic tools to offer insight beyond what the main character thinks and experiences. But additional POVs shouldn’t be there simply to reach a wordcount or extend a screenplay to the desired running time.

Rather, each perspective should offer a unique view of the story that helps to expand and enrich it. If you can skip certain POVs and not miss anything, it either shouldn’t be in the story, or it should be reworked to be more meaningful to the plot.

  1. Don’t Just Switch the Characters’ Names

This is a particularly irritating type of POV unfortunately common among romance stories. A story that features dual POV but the only difference between the perspectives is that the names have been switched is extremely boring. It’s also rather lazy writing. I’m not interested in reading the exact same story twice. Even if there are more substantial changes to the actual text, if the dialogue is carbon copy the same, as a reader, I’ll quickly lose interest.

The best stories I’ve read that retread the same ground in dual POV vary enough from each other that while it’s obviously an identical set of events from the other character’s perspective, the differences have me going back over the previous bits over and over again, comparing where they line up, and digging into the internal thoughts, feelings, and experiences of the characters. Done well, this can be some of the most fascinating storytelling. My favourite example of this in television is the Rashamon trope, where multiple characters, all starting from the same point, recount their version of a shared experience, with each character’s version wildly diverging from the others’.

  1. Avoid 1st Person

Tip no. 6 is to avoid first person when writing dual or multi POV. Some writers can make multi POV work fantastically in first person, but unless the characters have extremely distinct or strong inner voices, reading first person multi POV can often feel as if you’re experiencing the story through the same character, which completely defeats the purpose of including more than one perspective.

It’s not good if readers can’t tell the characters apart and have to constantly flip back to the chapter headings to remember who is speaking – especially if it’s a romance novel. Men and women think differently, so their POVs should read differently as well.

By writing in third person instead, the constant use of the characters’ names will easily remind the reader from whose perspective each section or chapter is being told.

  1. Give Each POV a Unique Voice

Related to number six, if your story demands to be written in first person, while labeling the chapters or sections does help, your characters must be distinct enough that readers can tell who is speaking regardless. Thorunn CoverPerhaps one character stutters a lot or is very snarky. One character could be extremely steam-of-consciousness, while another is guarded and spare with their thoughts.

This applies when writing third-person deep or limited as well. Again, this is something I utilised in ⚡Thorunn⚡ . Laine, Kenton, and Bo are all different people, with different life experiences. The prose I employed for Kenton is not the same as the words and sentence structures I used for Laine. During revisions I was constantly having to change sentences to better express how each character would articulate their thoughts.

  1. Experiment with Format

Last but not least, play around with how you incorporate dual or multi POV. There’s the tried and true method of devoting chapters to differing perspectives (which is nice for labeling purposes), but POV can certainly switch within chapters as well.

Try using different mediums to communicate an outside perspective. Diary entries, newspaper clippings and broadcasts, emails and letters, and historical writings are all great ways to include information that the main character might not have access to. Some novels (such as Bram Stoker’s Dracula) are written entirely in this epistolary manner – similar to the “found footage” horror films that have become popular in recent years.

Stylistically, many novels include this information in the form of an epigraph at the beginning or ending of each chapter.

There you have it, my 9 tips on nailing dual or multi POV from a reading writer. Feel free to share your favourite POV tips in the comments!

Happy Writing!


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