Solving My Murderous POV!
By Laura Spinella
In the thick of storytelling, the nitty-gritty, nose-to-the-grindstone
act of putting words on a blank page, there are bound to be roadblocks. If
there aren’t, you’re not doing it right. That’s not to say there’s a magic
bullet or formula. It’s just that you can’t get from point A to point B without
hitting a few glitches and in some instances a landmine.
act of putting words on a blank page, there are bound to be roadblocks. If
there aren’t, you’re not doing it right. That’s not to say there’s a magic
bullet or formula. It’s just that you can’t get from point A to point B without
hitting a few glitches and in some instances a landmine.
I am in the midst of writing book seven. Lucky seven. If all goes well, it will
be the third book to make it onto store shelves. Of course, that doesn’t lessen
the learning curve of those trunk novels. Surely, I garnered more from the misfits than the books that had legs and, eventually, a spine. The premise for
my new book came fairly easy, so I came prepared for some other sort of problem.
Perhaps my pace would be off kilter and my love story tepid at best.
But no, that wasn’t it. I sailed into midpoint, anxious as a reader to find out
how it all works out for Aubrey and Levi. My research has gone well
too. My former editor-in-chief has graciously allowed me tap into his vast newspaper knowledge. That’s a great thing, helping me fine tune character and storyline details. In fact, the biggest challenge had been physical. The mind is willing. The
body not as able as it used to be. My arthritic neck and a nagging pinched
nerve (paints a lovely haggard witch picture, doesn’t it?) have decided that sitting
for hours is not in their best interest. But physical pain is not as compelling
as mental anguish, and I was having hard time accepting it as this book’s
issue. Frankly, I worried that the process was going too well.
be the third book to make it onto store shelves. Of course, that doesn’t lessen
the learning curve of those trunk novels. Surely, I garnered more from the misfits than the books that had legs and, eventually, a spine. The premise for
my new book came fairly easy, so I came prepared for some other sort of problem.
Perhaps my pace would be off kilter and my love story tepid at best.
But no, that wasn’t it. I sailed into midpoint, anxious as a reader to find out
how it all works out for Aubrey and Levi. My research has gone well
too. My former editor-in-chief has graciously allowed me tap into his vast newspaper knowledge. That’s a great thing, helping me fine tune character and storyline details. In fact, the biggest challenge had been physical. The mind is willing. The
body not as able as it used to be. My arthritic neck and a nagging pinched
nerve (paints a lovely haggard witch picture, doesn’t it?) have decided that sitting
for hours is not in their best interest. But physical pain is not as compelling
as mental anguish, and I was having hard time accepting it as this book’s
issue. Frankly, I worried that the process was going too well.
Then, last week, everything changed. I just didn’t step on my landmine, I fell face first into it. The problem came
into focus as I backed the truck up and decided to read my WIP. There it was, crystal clear: the POV in the past
portion of the story is a hellacious mess. It truly, absolutely, completely
sucks. Seriously sucks. For the most part, my writing relies on a
back-and-forth method of storytelling. They’re not flashbacks but an
intertwining of chapters moving between two distinct periods of time. I’ve been
asked if this is intentional. It is, but only as a means to an end. It’s the
way my mind or muse conveys a story. In BEAUTIFUL DISASTER and PERFECT TIMING,
the past storyline is mostly about the romance. In this book, it chronicles the events
leading up to a murder. It also includes a darker, somewhat twisted romance. Initially,
this is what intrigued me, writing a socially unacceptable love story and
seeing if I could get readers (not to mention my agent & editor) to buy
into it. For that part, we’ll see. Right now, my problem is a murderous POV.
into focus as I backed the truck up and decided to read my WIP. There it was, crystal clear: the POV in the past
portion of the story is a hellacious mess. It truly, absolutely, completely
sucks. Seriously sucks. For the most part, my writing relies on a
back-and-forth method of storytelling. They’re not flashbacks but an
intertwining of chapters moving between two distinct periods of time. I’ve been
asked if this is intentional. It is, but only as a means to an end. It’s the
way my mind or muse conveys a story. In BEAUTIFUL DISASTER and PERFECT TIMING,
the past storyline is mostly about the romance. In this book, it chronicles the events
leading up to a murder. It also includes a darker, somewhat twisted romance. Initially,
this is what intrigued me, writing a socially unacceptable love story and
seeing if I could get readers (not to mention my agent & editor) to buy
into it. For that part, we’ll see. Right now, my problem is a murderous POV.
I thought an omniscient telling would be the key to these in-the-past chapters. I like the distance that an omniscient POV provides.
There’s no need to get too chummy with the characters here. But an omniscient
POV doesn’t come naturally to me, a fact proven when I reviewed my WIP. An out
loud reading left me queasy and looking for a quick exit. The dogs, my captive audience, practically howled in protest. I didn’t recognize the writer, the voice tip-toeing
between characters and that removed but all-knowing presence. My go-to fix might be multiple POVs separated by scene. It
would keep things rolling along, although I don’t know if it would be admitting
defeat. I don’t like to lose. But I also like climbing into my characters’ heads, one at a time, rooting around for their side of things. This is what I’m good at. Those
voices come clearly, and it could be that I’m shooting myself in the foot by trying to prove I can do it. For now
I’ve abandoned the problem, pursuing forward motion with what is working. But
before long I will have to revisit Missy and Frank and the ensemble that awaits
me in Surrey, Mass, circa 1993. I will have to decide.
There’s no need to get too chummy with the characters here. But an omniscient
POV doesn’t come naturally to me, a fact proven when I reviewed my WIP. An out
loud reading left me queasy and looking for a quick exit. The dogs, my captive audience, practically howled in protest. I didn’t recognize the writer, the voice tip-toeing
between characters and that removed but all-knowing presence. My go-to fix might be multiple POVs separated by scene. It
would keep things rolling along, although I don’t know if it would be admitting
defeat. I don’t like to lose. But I also like climbing into my characters’ heads, one at a time, rooting around for their side of things. This is what I’m good at. Those
voices come clearly, and it could be that I’m shooting myself in the foot by trying to prove I can do it. For now
I’ve abandoned the problem, pursuing forward motion with what is working. But
before long I will have to revisit Missy and Frank and the ensemble that awaits
me in Surrey, Mass, circa 1993. I will have to decide.
So I’m wondering Stiletto Gang writers of mystery—or
anyone who has a thought on the subject—what POV works best for you. Do you
venture outside your comfort zone if the story dictates? Should I stick with my
omniscient effort? Am I doing what’s best for this story, or am I only being
stubborn about mastering a skill that doesn’t come naturally to my set? Like any good editorial, opinions are welcome!
anyone who has a thought on the subject—what POV works best for you. Do you
venture outside your comfort zone if the story dictates? Should I stick with my
omniscient effort? Am I doing what’s best for this story, or am I only being
stubborn about mastering a skill that doesn’t come naturally to my set? Like any good editorial, opinions are welcome!
Laura Spinella is the author of the award winning novel, BEAUTIFUL DISASTER and the upcoming novel, PERFECT TIMING. Visit her at www.lauraspinella.net.