Breaking Apart the Perspective

When writing limited omniscient narration there are two main methods of separating the perspectives. One is to give each perspective their own chapter, such as in the Game of Thrones/Song of Fire and Ice books by George R. R Martin. Martin gives each character a chapter with their name as the heading, this isn’t mandatory … Continue reading Breaking Apart the Perspective

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Plotting Perspective

When we begin a story we don’t have to have to have all the perspectives plotted out, we don’t even have to know who all the perspective characters are, we can work this out as we go. However, when we’re editing we do have to work out which way all these perspectives need to go … Continue reading Plotting Perspective

Can’t or Cannot?

As with subjective/first-person narrators when we write a limited third-person narrator it can help readers to identify different perspectives if we individualise the voice. We can do this the same way as we might with first-person narration, tailoring the words to match the character’s speech or carrying on the narrative as if it was their … Continue reading Can’t or Cannot?

First or Third?

The most obvious difference between first-person/subjective and limited-omniscient/limited-third narration is that the first is I and the third is he/she/they which creates immediate distance from the characters. We had another ‘character’ the narrator/authorial voice relaying the characters’ thoughts. As I’ve mentioned before this separate entity is used as a reason to refer to an omniscient … Continue reading First or Third?

Writing at a Distance

There are two main types of third-person narration, omniscient and limited omniscient. In omniscient narration the narrator is an authorial voice separate from the characters and able to jump between them almost at will, think of Dickens. Whereas limited omniscient narration is closer to the character, while we still use he/she/they we limit ourselves to … Continue reading Writing at a Distance

A Word on Word Lists

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 Hysteria published … Continue reading A Word on Word Lists

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

Jesse’s Studio Gets Internal

Whether writing first-person (subjective narration) or third-person (omniscient narration) your characters are going to have some thoughts. What are those thoughts? How do we get them thinking? And how do we avoid telling too much? This is the first collection of 2016 - 17 articles watch out for more collections coming soon. Getting Internal: What's … Continue reading Jesse’s Studio Gets Internal