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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!
~ETJ

 

Top 5 Must-Buys for Indie Authors

Hello Friends!

Today we’re talking about the top five things you as an indie author absolutely MUST invest in if you want your book to have the best shot at success during and after publication.

Of course, you can do everything yourself and not spend any money, but chances are your final product will be rather poor quality both inside and out and therefore off-putting to potential readers. Not to mention, you might wind up giving away the rights to your book if you’re not careful.

So without further ado, here are the top five Must-Buys I recommend serious indie authors put money towards.


1. Book Cover

Unless you’re insanely talented, it’s a really good idea to outsource this part of the publishing process to someone else. Your cover is the first thing a reader sees, whether on a bookshelf or online (especially given that our world is very visual these days, a move that is increasingly more driven by social media) and getting it right is KEY if you want your book to sell.

You’ll want your cover to fit within your book’s chosen genre – for example, many scifi books have planets or tech on them, letting you know instantly what kind of book it is – and also fit current trends without being too locked into whatever is popular, given that tastes change very quickly in the publishing world.

You can work closely with an artist/cover designer to execute your vision or you can purchase pre-made covers. Either way, expect to spend anywhere from $100-$500 (possibly more) depending on what on level of quality and customization you are looking for, and on how many revisions are needed.

Don’t forget to credit your cover artist on your copyright page!

2. Editing

There are lots of different types of editing – developmental, line, copy, and proofreading, for example – and each stage is critically important for your manuscript to be the best version of itself. A traditional publishing company will have all these editors in-house, sometimes in multiple departments, often in just one or two people. However, as an indie, you’ll have to pay for each stage of editing yourself, which can end up being quite costly. The most consistent advice I’ve seen is to stick to beta readers and critique partners for the first few stages, and hire out to professionals once you are closer to the end.

I personally like to invest my money in a really good copy edit, but you may choose to put your money toward a different stage, or several, or all of them.

Quick side note here – I see quite a few people in writing groups mention that they paid someone to edit and then threw their books on Amazon without looking at their manuscript, and readers ruthlessly criticized the books for being riddled with errors. When you pay to get your book edited, your editor should mark changes, and upon receipt of your edited copy, you should be the one to accept or reject them.

Always proofread whatever you get back from the editor! As an indie author, it’s ultimately your job to write your book, not the editor’s.

Keep in mind that this is where you will likely spend the majority of your budget on self-publishing. There are very good editors out there who offer incredible discounts for indie authors, and you can have your novel-length book edited for as little $400-500, but for the most part, expect to spend anywhere from $1000-$4000 or so (depending on word count) on a good clean edit of your book.

3. ISBNs

The third thing I highly, highly, encourage you to spend money on are ISBN’s. I can already hear so many of you asking, “But don’t companies like IngramSpark and Amazon allow you to publish with a free ISBN?”

The answer is yes, but also no.

Yes, there are free ISBNs you can obtain from these companies, but they will ONLY work with those companies, and you cannot publish your book – that version of it anyway – on any other platform. That means that the free ISBN you have lacks the full functionality of an ISBN purchased through Bowker’s website.

Additionally, by using a free ISBN, you voluntarily hand over your publishing rights to your book.

Yes, you read that correctly. Not the copyright, but the publishing rights. But only for whatever particular version of the book you are publishing. So if you publish a paperback at a certain trim size with a free ISBN, you CAN publish an audiobook, ebook, or hardcover copy (at a different trim size to be on the safe side) with an ISBN you previously purchased and still retain your rights to that version of your book, which can then be printed/plublished with any platform you desire.

Of course, many people (especially in the ebook space) have published their books with a free ISBN and been fine, but since indie publishing is all about you being the one in control at the end of the day, it’s nice to be able to say you own the publishing rights to your own book. For this reason, I highly recommend purchasing your own ISBNs.

You can buy a single ISBN for $125, but since each given format of a book requires a different ISBN, I recommend you go for a bulk purchase and buy a pack of 10 at $295, which is a 75% discount.

4. Bookmarks

Now onto number four; bookmarks! There are so many websites out there that will let you upload custom designs and print and order sets of 500 to 1000 bookmarks that it’s WELL worth your money to invest in this. Bookmarks are probably the best in-person marketing tool for an indie author, as they are small, light, unobtrusive, useful and very easy to give away.

You can expect to spend anywhere from $60-$200 depending on how many bookmarks you order, what quality you choose, and which service you go with. I recommend ordering a few first to see if you like them before making a larger purchase.

5. Marketing

Lastly, we have advertising! Most indie authors are on a shoestring budget to begin with (and if you paid for a good edit, you might broken the bank already), so you can definitely invest time and effort into social media sites such as Facebook, Instagram, Twitter, or other social media platform of your choice for free. However, it’s generally worth it to spend a little money on ads to get people outside of those platforms looking at your book.

I recommend AMS ads first and foremost. This is an ad option offered by Amazon if you are publishing through their KDP service. You can advertise both kindle and paperback versions with them, and the results can be highly effective, given that people using Amazon are already browsing the site with the intention of making a purchase and so are much more likely to be favourable to ads.

They can be tricky to get the hang of, but Author Dave Chesson has put together some courses and resources on how to effectively use and get the most out of AMS ads without spending bucket loads of money, which I highly recommend checking out.

Additionally, many indie authors find success with facebook ads, and to varying degrees of success, things like Bookbub deals. The 20Booksto50K Facebook group has a tonne more info on this.

I personally recommend doing a BIG push with ads right around your book launch, maybe a day or two ahead, definitely on the release date, and then for a couple months after – some people keep ads running indefinitely, and if this fits your budget, you can experiment with that as well, through perhaps at a much lower spend point.

If you do your research before jumping into buying ads, it can really help to minimize the amount of money you spend on them. I think it’s best if you keep it comparable to whatever you spend on your book’s cover, and you can probably expect to spend anywhere from $200-10,000 on ads depending on how much revenue they bring in. (I know that second number sounds scary, but there are indie authors making $10K or more a month on their books, and so can afford to turn around and reinvest that money into making sure new readers find them.)


So there you go! The top five things you should spend money on as an indie author.

Book Covers, Editing, ISBNs, Bookmarks, and Ads. I can’t give you a concrete number on all these things combined, because there is so much variance that goes into each element, but it’s worth noting that what you put into your work is what you will get out of it.

And that includes confidence! If you think you can put the best version of your book out there without spending any money, go for it! But readers expect quality – especially in such an oversaturated market – and it’s difficult to achieve that without spending at least a little money.

(There are other publishing/marketing things you can choose to invest in such as fanart, merch, book conventions, etc. They aren’t as necessary to sell your book in my opinion, but can be very fun and rewarding, and I do enjoy a good bookfair myself.)

Drop any questions you have in the comment section, and I wish you all the best on your publishing journeys.

Happy indie authoring!

~ETJ

Stock images sourced from unsplash or pexels

Plot Holes & Outlining Article

Hello Friends!

In yet more exciting news, an article I authored that gives some tips and techniques for tightening up outlines to help fix and prevent plot holes has gone live at arimeghlen.co.uk!

If you’re struggling with plotting, you might just find some advice that works for you; and do feel free to drop a line in the comments – I am replying to each and every one.

Happy reading!
ETJ


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