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Every writer of fiction makes a choice at the inception of a story project. She chooses whether to write the piece in first person or third. As soon as voice is established, another choice comes into view—whether the story is happening in front of the reader’s eyes, or, if the main character is relaying a story about something that happened in the past.
There are specific reasons for each decision.
- Does the story line need to bring the reader into the immediate moment of the action?
- Does the main character need to get something from the past off her chest? (No wisecracks here, please.)
- Does the reader need to ride inside the head of main character to understand the motivations behind that character’s decisions and actions?
- Does the reader need to watch the action as a spectator in the stands, with an announcer behind a microphone, relaying all the action, many of which in off-field?
The main character drives these decisions. Some demand to tell their personal stories. Others seem to prefer letting someone else narrate the story, so that they can sit back with the audience for a broader view of the entire production.
Many writers who’ve been at the craft for several years say that when they listen to their protagonist, writing the story is easier, it flows more smoothly from beginning to end. The protagonist is more believable. Whether free formed from the ether, or carrying fragments of the writer’s life and personality, characters have preferences. And if the character is stuck in the wrong voice or tense, the writing is more difficult.
Both of these conditions are correctable. Going from first to third person and vice versa isn’t as simple as moving from “I” to “she,” however. Each sentence must be examined to guarantee that perspective remains constant to the new criteria and that dialogue and its tag lines flow naturally, in italics or quotes. Every observation made by the main character requires consistency with the action and the verb tense.
While this seems like a lot of work, it is, at times, the only thing that can remedy an awkward story reading. When voice and tense mate well, the story reveals itself in all its glory. Let’s face it; some characters don’t like having people inside their heads all the time. They need the sense of privacy fostered by third person.
Writing either short stories or novels takes time. By learning enough about her protagonist from the beginning, the writer will make better choices about voice and tense. The need to switch either aspect is reduced.
Characters color the writer’s dreams and play on paper. The best ones are the ones who know what time zones they inhabit and whether they hold the microphone or have handed it off to someone else. Whether in a comedy or drama, past or future, these imaginary people bring us entertainment.
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Image may be NSFW.
Clik here to view.
Image may be NSFW.Clik here to view.
