Getting Informative

NOTE: In this series of articles we’re looking specifically at how I self-edit, this doesn’t mean you have to use my methods, these articles are examples of the way I work. They may help you, or at least give you some tips, or they may not. These articles compare Hysteria The First Draft and the version of … Continue reading Getting Informative

Figuring Out the Story

NOTE: In this series of articles we’re looking specifically at how I self-edit, this doesn’t mean you have to use my methods, these articles are examples of the way I work. They may help you, or at least give you some tips, or they may not. These articles compare Hysteria The First Draft and the version of … Continue reading Figuring Out the Story

Hysteria: The First Draft

WARNING: Rude metaphors ahead. This is the original introduction to the world of Victorian Mistress, completely unedited and not even checked for typos. I was asked about my self-editing method and the easiest way to explain it seemed to be to post an example of my unedited work to compare to an edited example. NOTE: … Continue reading Hysteria: The First Draft

The Fallible First-Person

The first-person/subjective narrator can be a tricky one. What makes it so tricky us that the narration has to match the voice of the character who's narrating and we can only see what the narrator sees. Original Article From Picking a Perspective: I Speak Therefore I'm Unreliable Centre Stage: The Sight Unseen Narrative Within Narrative … Continue reading The Fallible First-Person

Bringing it all Together

So we know what our narrator knows, we know what they think they know, we know what they need to find out at we’ve been dropping the hints, but how do we bring it all together? If there’s something the first-person narrator needs to know or motivations they need to figure out how are we … Continue reading Bringing it all Together

Whoa! Wait a Minute

We’ve discussed backstory (here and here) before but when we’re considering the backstory revealed by the first-person narrator we have to be very careful to consider how much of this backstory and motivations because there are things the narrator simply won’t know. As we discussed last week there’s things they know and things they think they … Continue reading Whoa! Wait a Minute

Dropping Hints

As we’re writing a first-person/subjective narrator we can hint at the narrator’s past relationship or great knowledge with asides rather than outright telling the reader what they know. A basic aside might be ‘I’d heard that before’, do they mean in a general sense or from that character in particular? We don’t have to tell … Continue reading Dropping Hints

Finding The Evidence

As we’ve discussed the first-person/subjective narrator is limited to their own perspective on events; what they observe, what they’re told and what they think. This can make it difficult to portray the other characters in the story because the face they present to the narrator isn’t necessarily their true face. If we can’t see into … Continue reading Finding The Evidence

Those Pesky Side Characters

This week we're looking at ways of revealing or suggesting the motives of characters around a first-person/subjective narrator. Monday - Finding the Evidence, What does the narrator observe about the characters? Tuesday - Gathering the Goods, Picking up hints from other characters. Wednesday - Dropping Hints, Using asides to imply backstory. Thursday - Whoa! Wait a … Continue reading Those Pesky Side Characters

What Do They Think They Know?

If we assume that what characters see and hear are facts, they may not always be but we’re keeping it simple, then how they interpret the ‘facts’ is what they think they know. When we’re writing a first-person/subjective narrative then we have to remember that the ‘truth’ and what the character thinks is the truth … Continue reading What Do They Think They Know?