{"id":2371255,"date":"2015-08-20T10:13:48","date_gmt":"2015-08-20T15:13:48","guid":{"rendered":"https:\/\/clearwaterpress.com\/oneyearnovel\/?p=2371255"},"modified":"2019-03-06T14:33:47","modified_gmt":"2019-03-06T20:33:47","slug":"writing-a-novel-with-multiple-narrators","status":"publish","type":"post","link":"https:\/\/clearwaterpress.com\/oneyearnovel\/blog\/writing-a-novel-with-multiple-narrators\/","title":{"rendered":"Writing a Novel with Multiple Narrators"},"content":{"rendered":"

Gabrielle Schwabauer, Staff Writer<\/strong><\/p>\n

In this blog post, I use \u201cnarrator\u201d to refer to any point-of-view character, whether written in first person or third person.<\/em><\/p>\n

…<\/p>\n

\"\"<\/a>For the last six months, I\u2019ve plotted and outlined a loose retelling of the story of Gladys Aylward. As it has continued to grow, I’ve wrestled with questions about scope<\/strong>. How can I demonstrate the variety of cultures and people groups in my story world without detracting from the main thread of the story?<\/p>\n

Surely one-off visits to unfamiliar cultures with one or two other characters (soon to be left behind) would quickly move from a novelty to a gimmick. But how could I create a real, fleshed-out world for my protagonist if were\u00a0unable to let her explore it?<\/strong> Reluctantly, I began to consider multiple perspectives, but the task seemed too daunting to be practical.<\/p>\n

The idea came to the forefront of my mind when I embarked on a journey through two thick science fiction novels, each with multiple perspectives. My newfound pleasure caused me to ask: Why do I enjoy these four narrators when multiple-perspective stories don\u2019t usually appeal to me?<\/strong><\/p>\n

The answers I found have unlocked my own project and helped me to plan how and when to give all my different characters space on the page<\/strong>. The following are my suggestions, based on what made a multiple perspective story work for me, as a reader, and the questions I ask myself as I outline my own work. Each of these tactics can add a layer of depth to your use of multiple point-of-view (POV) characters.<\/strong><\/p>\n

My foremost suggestion is an overarching story<\/strong>. You must be able to justify your use of multiple perspectives\u2014why do we need three perspective characters, after all? In my opinion, the best answer is this: Because all three perspective characters tell a different but essential part of one larger story<\/strong>. Now, that\u2019s not to say that they all must have the same goal or that they can\u2019t have mostly distinct stories. What it does mean is that they should all be providing information about something bigger\u2014<\/strong>some external danger, problem, or mystery that all POV characters encounter at some point.<\/p>\n

In the same vein, it\u2019s helpful to include events that affect more than one narrator<\/strong>. I don\u2019t mean that Will and Jan have to end up in the same restaurant, watching the same meteor strike the same road. I do mean that the meteor will be more interesting if it affects them both. This also has the benefit of giving your reader the sense that these characters are, in fact, inhabiting the same story world.<\/strong> Janina provides news coverage as the meteor falls. William is out of a job because he worked at the vet clinic the meteor demolished.<\/p>\n

If you do this enough, your reader will start doing it for you, asking questions like \u201cWait, if William doesn\u2019t get that new job, who will tell Janina about the spy at the weather station?\u201d These are the questions that you want your readers to ask\u2014they demonstrate that your reader is not forgetting about Janina even when William is the one \u201conscreen.\u201d<\/strong><\/p>\n

If you want to tie multiple POV characters even closer together, you can include intertwining storylines<\/strong>. These are stories that not only inhabit the same plane but cross over each other multiple times. You can do this with or without the knowledge of the characters\u2014<\/strong>William might give Agent Janina a knowing nod as he sets her poodle\u2019s leg, or he might just think \u201cWhy does this lady with sunglasses keep showing up at my job?\u201d Either way, it provides an opportunity to show how your narrators are \u201ccollaborating\u201d (even if they don\u2019t know it) to fill in details of each other\u2019s stories and of your overarching story<\/strong>.<\/p>\n

If two or more POV characters interact frequently, you\u2019re going to want to bring in conflict between perspectives<\/strong>. This can heighten reader engagement, especially if your reader likes both characters. Janina wants A. William wants B. The reader either wants both or can understand both sides, and now you\u2019ve created an internal conflict for the reader<\/strong> as well as one within the story world. It\u2019s also far more painful for the reader if William\u2019s world-saving is thwarted by Janina, who thinks she\u2019s doing the right thing, rather than by the Big Bad Villain.<\/p>\n

Conflict is just one of many ways to establish distinct voices and personalities. If your reader doesn\u2019t care just as much about William\u2019s job hunt as he does about Janina\u2019s spy mission, you\u2019re sunk. This is easier to do if your narrators are distinct from one another in obvious ways (think race, gender, age, appearance) as well as deeper ones like personality traits, beliefs, and goals<\/strong>. Not only do Will and Jan have to be fascinating, they have to be very different. Why would we need two Williams narrating the apocalypse?<\/p>\n

These conflicts and distinctions help to keep your reader engaged in each storyline. Ideally, that moment of disappointment at the cliffhanger-end of Jan\u2019s chapter should transition as quickly as possible into excitement<\/strong> as the reader remembers what a terrible scrape William is in and how excited they are to watch his great escape. A reader bored by any one perspective is the kiss of death for a multiple POV story.<\/strong> As soon as your reader starts thinking \u201cOh, darn. It\u2019s William again. Can\u2019t we just get back to Janina and the robots?\u201d\u2014well, that\u2019s when you have to think about reworking William\u2019s perspective entirely if you don\u2019t want to slice him out of the book.<\/p>\n

Lastly, make sure the reader meets your narrators as soon as possible<\/strong>. If this is going to be a multiple-perspectives story starring three people, we want to know that right away instead of stumbling upon the third narrator on page 267. I\u2019m certainly not insisting that it\u2019s never been done well before. However, I would<\/em> argue that it\u2019s far more challenging to pull off, especially if she is going to be a recurring character.<\/p>\n

When you introduce us to both William and Janina near the start of the novel, you can devote a similar amount of time to both of them<\/strong>, and the reader will consider them equally important, as long as you write both stories equally well. When you bring William in 2\/3 of the way through the story, Janina\u2019s got such a head start with the reader that it will be almost impossible for him to catch up. The reader will think \u201cWhy should I care? I don\u2019t want to hear from this new guy. I want to see how the robot interrogation is going.\u201d If you do bring in a new narrator late in the story, understand that they will have to do something or reveal something truly surprising in order to win the reader\u2019s attention, especially if they\u2019re distracting from some moment of high danger.<\/strong><\/p>\n

These tactics have been invaluable in helping me unearth my own story\u2019s problems and outline more effectively. If you think of any tactics I\u2019ve missed, comment below!<\/strong><\/p>\n

…<\/p>\n

\"Gabrielle-biophoto-web-350px\"About Gabrielle<\/strong><\/p>\n

Gabrielle Schwabauer has loved stories for as long as she can remember. (The Lord of the Rings<\/em> holds the top spot, as it has for twelve years running.) She likes reading books, playing video games, eating stromboli, looking at pictures of sloths, and having already written today.<\/p>\n","protected":false},"excerpt":{"rendered":"

Gabrielle Schwabauer, Staff Writer<\/strong>
\nHow can I demonstrate the variety of cultures and people groups in my story world without detracting from the main thread of the story? Surely one-off visits to unfamiliar cultures with one or two other characters (soon to be left behind) would quickly move from a novelty to a gimmick. Reluctantly, I began to consider multiple perspectives.<\/p>\n","protected":false},"author":11881,"featured_media":2371273,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"footnotes":""},"categories":[19,57,223,40],"tags":[15965,15963,15964,15961,15962,219],"post_series":[],"class_list":["post-2371255","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blogging-the-culture-war","category-help-with-characters","category-world-building-2","category-writing-tips-and-tools","tag-advantages-and-disadvantages-of-multiple-pov-characters","tag-help-with-characters","tag-making-characters-distinct","tag-multiple-narrators","tag-multiple-pov-characters","tag-world-building","entry","has-media"],"yoast_head":"\nWriting a Novel with Multiple Narrators -<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/clearwaterpress.com\/oneyearnovel\/blog\/writing-a-novel-with-multiple-narrators\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Writing a Novel with Multiple Narrators\" \/>\n<meta property=\"og:description\" content=\"Gabrielle Schwabauer, Staff Writer How can I demonstrate the variety of cultures and people groups in my story world without detracting from the main thread of the story? 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