Tag Archives: perspectives

#MondayBlogs Writing Tips: Different Perspectives

8 Aug

I love writing from different perspectives. Both my YA series—The Timely Death Trilogy and Bad Bloods—are written in first POV but from two different speakers. I love using this technique for novel writing, because I enjoy first person, but I dislike how it restricts the storytelling to one character, especially when a scene would be better from a different perspective. So, I have two protagonists, and of course, there are complications that come along with this. What’s the most common question I am asked?

How do you make each voice unique?

I’ll provide a few aspects to keep in mind, but of course, this journey will be different for every writer and every novel. First, know that every character should have its own distinct voice. A reader should be able to open the novel and know who is speaking immediately. This is more difficult than it sounds, but it can get easier over time.

1. Perspective. 

The most obvious change between one voice to another is their unique perspective. What is their background? How do they feel? Where were they educated? Are they affecting the words, or are you? It’s important that characters have their own voice, and that voice will come out in combination with their personalities and backgrounds. For instance, your character who is a fashion designer would definitely use specific colors and fabrics to describe clothes, but your mechanic character might not.

2. Pay Attention to Diction and Syntax

Just like authors have their own “voice,” so do characters. Because of their backgrounds, characters will have different vocabularies. One character may use very flowery language, while another may have less of a need to elaborate. Consider their education, where they come from, and what they might know. The way they speak should differ, whether they are talking out loud or explaining the scene inwardly. Sometimes, syntax can be used to emphasize certain speech patterns, but be careful not to overuse syntax. Too many exclamations or repeated habits/phrases can become tedious and boring rather than unique and fun. Sometimes less is more. Little clues are normally enough.

3. Consider Rhythm

Honestly, I think rhythm is often overlooked, but paying attention to subtle changes in sound and length of sentences is important. One character’s thoughts may drag on, so their sentences are longer, while another might make short lists to contain their thoughts. Like everything making up your character, a person’s rhythm will depend on their personality, background, and goals. It could even change from scene to scene, but consistency is key.

All four of these women would tell a different story about this picture.

All four of these women would tell a different story about this picture.

One of my favorite exercises:

Write a chapter in which the two characters are talking. Write it from POV 1, and then, rewrite the exact same scene from POV 2. Check to make sure the dialogue and the physical actions are the exact same, but then, compare the thought process. How did the scene change? What does this change mean? Do they each bring a unique perspective? And out of those perspectives, which one is best to use?

As an example, two people can be talking and Person A could notice Person B is fidgeting. Person A may assume Person B is nervous, but when you tell it from Person B’s perspective, you learn that they are distracted, not nervous. These little bits can truly morph the way characters interact. I always encourage this exercise when starting out, even if the writer isn’t planning on telling from another’s perspective.

This exercise helps me understand the characters, and I feel more confident when I move onto a new scene. (Sometimes, it even helps me choose which scene to use…and worse case scenario, you have an extra scene to release as an extra for your readers.)

Have fun and good luck! 

Original posted March 31, 2013

~SAT

Bad Bloods: November Rain is FREE across all eBook platforms right now! (And I’m dutifully working on the next installment, too!) Happy reading. 😀

November Rain

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November Snow, 

AmazonBarnes & NobleiBooksKoboSmashwordsGoodreads

Bad Bloods Free Book

Bad Bloods Free Book

 

#WW Finding Your Style as a Writer

24 Jun

#WW Finding Your Style as a Writer

So, I just turned 24 yesterday. That means, I’m 113 in cat years (according to this calculator.) Since I’m 113, I thought I’d share some of my personal, cat lady wisdom, and by “personal” wisdom, I mean self-awareness in regards to my writing style. (Plus, a good portion of you have let me know you’d like to hear more about my writing and what goes on behind it, so I thought this was a good excuse to share some information about how I’ve gone about writing novels . . . a little extra insight, so to speak.) That’s why I’m going to splurge a little bit. While this looks like a long post, it’s really divided into two parts: Finding Your Style and Aspects of my Style that I Figured Out

Feel free to read one or both.

Finding Your Style

This July, my first novel—November Snow—was published eight years ago. Eight years. (49 years in cat years.) I’ve definitely learned a lot since then, but one of the things that took the most time was figuring out my “style.”

We hear that word a lot. STYLE. It is normally followed up with “finding your voice.” And all those years back, this entire conversation would’ve freaked me out. It made me feel inadequate—mainly because I could not pinpoint my “style” or “voice.” Now, that I’m a couple novels deep, I get it, and I’ll tell you a secret.

And we're writing...

And we’re writing…

It will happen naturally—so naturally, you won’t even realize it—so don’t worry yourself silly. (Us authors are good at that.)

But here’s the other side of that token: Not only is it different for everyone but also discovering it is different for everyone. It takes a level of self-analysis, but that’s just my little opinion. For me, it took a couple of novels and a large amount of readers to point out a few reoccurring themes for me to realize that there was a pattern to my writing. That pattern was my voice and style. Basically, pay attention to what beta readers and reviewers are saying. You might learn something about yourself. But it’s also important to decipher that pattern:

What is you (your voice and style) vs What is other (maybe the genre, for instance)?  

In order to explain what I mean, I want to share what I learned personally over the last eight years. Since a lot of what I learned came from beta readers, many of the works I’ll reference aren’t published yet. While I will refer to my published works as November Snow, Minutes Before Sunset, Seconds Before Sunrise, Death Before Daylight (The Timely Death Trilogy), and Take Me Tomorrow (The Tomo Trilogy), my unpublished works will still go by their abbreviations. If you’re a beta reader, you’ll recognize the titles: HBBL, TGO, D, TMG, S.

What is other?

These are themes that happen because they simply work for whatever reason. For instance, there are dances in both Minutes Before Sunset and Take Me Tomorrow, which caused a few readers to think I have a thing for dances. I do and I don’t. I mean, who doesn’t love a good dance scene? (Insert my love for a cheesy trope.) But while it’s cheesy in Minutes Before Sunset, it’s rather chaotic and uncomfortable in Take Me Tomorrow. There isn’t a single dance in November Snow either. (Sorry.) But there is one in HBBL and in TMG…but not one in TGO or D or S. And all of the dances happen under very different circumstances. That being said, there’s a larger factor to consider here. The characters’ ages. Most of my characters are young adults. They are in high school or some form of high school, and high schools—more often than not—have dances. So, it’s not just about me liking them. They happen naturally. They work with the story and with the lives of the characters. This isn’t technically my voice. This is the genre or the setting. It happens, not because of me, but because of the circumstances.

What is you?

These are themes that happen because of me being me (or you being you). These are your life experiences, your character, seeping through your words. For instance, in many of my novels, you’ll probably always see a character who struggles with memories. Mainly because I struggle with memory loss, although I’m not quite to the point in my life where I’m very open about that. In fact, I’m pretty sure this is the first time I’ve publically stated I struggle with memory loss. But it is a part of my identity as a person, so it will more than likely be seen in my novels one way or another. For instance, the second book of The Timely Death Trilogy, Seconds Before Sunrise, has A LOT of memory loss. It’s practically the central theme. The Tomo Trilogy is that way to some extent as well, but you don’t see the effects of it until the second novel, Take Me Yesterday. That being said, memory loss doesn’t appear in anything else. Not HBBL, not TGO, not D, not TMG, not even S…okay, wait. No. S has a stupid amount of memory loss. But you get my point. Even when some themes come from my personal struggles, they don’t always show up in my work. But here’s the difference: memory loss affects the voice of the character. It affects the vocabulary used and the emotions involved. It develops everything else and with everything else. The difference with “other”—in my opinion—is “other” just happens. (The dance discussed above, for instance, was an event in the novel that pushed the novel forward, but the dance itself did not affect the character’s overall personality.) The “you” is your style because it is your unique voice, your vocabulary, your way of explaining.

The “you” is the way you write about the dance; the “other” is the dance happening. 

Aspects of My Style I Figured Out:

Now that that has been said and done, I thought it would be fun to show three other ones that I’ve realized about my style. This is really just for my readers who might want to get a larger grasp on who I am as a writer and what future novels might entail, as well as why current novels are the way they are:

Perspectives:

While I generally write my novels in dual first POV—like Eric and Jessica telling The Timely Death Trilogy or Daniel and Serena telling November Snow—I do have exceptions. For instance, the only POV in The Tomo Trilogy is Sophia Gray (although I have admitted changing that in a possible future rewrite, but I probably won’t.) This happens because I love writing in first POV and I love writing from both a male’s perspective and a female’s perspective. Fun fact: I actually prefer writing from a male’s perspective.

Family structure: I grew up in an unusual household. At first, it was the “normal” household: two parents, two kids, one dog. All-American, you know? But then my mom died. And then I had a stepmother and three stepsiblings. And then my father divorced. And then it was just my brother, my father, and I. So, you’re going to see a lot of different types of families in books, but I can also admit that you’ll probably rarely see a mother-daughter relationship. Not that I can’t do it. I can. But I would rather explore other relationships in fiction. In fact, I remember as a reader after my mother died, I wished there were more novels where daughters were close to their fathers or brothers. So, you’ll see more of that in my work. But there are exceptions. On a side note, I also write about orphans a lot, mainly because my mom died and my dad traveled, so I was often alone as a kid. I find a lot of comfort in writing about characters would had to be independent.

Violence vs Romance: I’m a violent writer. The Timely Death Trilogy is actually my least violent work, and if you get a chance to read the first few chapters of Death Before Daylight, keep that in mind. It’s still lighter. November Snow is often seen as my most violent. Why? I used to wonder about this myself, and I think I just realized why recently, but that’s probably for another post in the future. (Hello, July.) In contrast, I find romance difficult to write about. I dread writing kissing scenes. I think I get weirded out because I feel like I’m being a Peeping Tom on another couple . . . and I’m being a Peeping Tom who is writing about it. It gives me the heeby jeebies. That being said, every single one of my novels have a romantic factor in them. HBBL is probably my only romance-romance, and I doubt that I’ll write another novel that is just romanced based again. I like dystopian. I like sci-fi and fantasy. I like the plot to be character-oriented and action-orientated and in a new world. Love just falls into the slots.

I know this post has been longer than usual, but I’m trying to listen to what you all have expressed wanting to see! I hope you enjoyed seeing a little more in-depth information about my life and work. Maybe it’ll also help you analyze your own writing to see if there are certain themes that correlate with your voice as a writer. Or maybe you’re just a reader and learned something new about my stories. Either way, thank you for reading!

~SAT

It’s All About Perspective … Or Is It?

29 Jan

Announcement one: I did an interview with The Modest Verge. Not only was it exciting, it was also fun and informative. You can find out if I kill bugs or set them free, what I would be if I weren’t human, and – of course – I’ve dropped yet another hint about what Seconds Before Sunrise (book 2 of The Timely Death Trilogy) will entail. So check it out here, and follow them on Twitter @themodestverge.

Second: if you follow My Facebook Author Page (I’m only 6 away from 2,000 – please “like” me without judging me on how desperate that just sounded. haha) then you’ve already seen this article by the fantastic Nathan Bransford: Wait. A first person narrative isn’t serious???

That’s what I want to elaborate on today.

I recommend you read what he had to say first (as well as the commentary) but I’ll pretend the link doesn’t work by quoting the line that summed up his rant, “Apparently there are literary agents and professors and all kinds of ostensibly rational people out there who think first person narratives are somehow unserious.” After that, he shares a list of fantastic novels – some of which are on my top 10 favorites list (like The Stranger and Never Let Me Go.) – proving how first-person narrative can, in fact, be serious writing. (On a side note, I don’t like the term “serious writing,” which you can read about here.) But I think that was also Nathan Bransford’s point. Who gets to judge what constitutes serious writing? Isn’t that up to the reader? But I wanted to talk about a few things you should consider when choosing a perspective:

I thought this was a good picture for “perspective.” Bogart likes art as much as me, but his kitty perspective is probably different than mine.

I thought this was a good picture for “perspective.” Bogart likes art as much as me, but his kitty perspective is probably different than mine.

1. Your Story – of course.

This is obvious, right? But I still want talk to about it. Depending on how you write a novel, you might know exactly what will happen in your plot the moment you sit down or you might not. This actually might be a problem to consider. If you don’t know where it is going, your perspective can be harder to choose. Analyze your plot and your characters – figure out who would best tell it, and remember: it might not be so obvious. (Think of The Book Thief’s narrator.)

2. Your audience

Although I try to avoid the stereotypical writing tips as the “right way to write” I think considering your audience is always important when starting a new piece. Doing basic research on what they are more likely to accept might help your novel and you out, but I am by no means encouraging you to change your novel based on what others say is “right.” If your research says you MUST do third-person, but you still feel like you should do first-person, I would say go with first-person. I’m a huge believer on following your gut and challenging the norm, but taking the time to consider your research seriously is always helpful and shouldn’t be completely disregarded. For instance, if you choose first in the situation above, be ready to explain to a publisher why your first-person perspective is worth it, special, and why readers will like it.

3. Your voice vs. your characters

For me, one of the hardest decisions I had to make was in a recent novel I wrote. The character demanded to tell the story in first-person, not to mention that she was the only one who wanted to tell the story. (Most of my stories are told in dual first-person perspectives, so it was unusual for my male protagonist to stay quiet.) Plus, there were events that happened when she wasn’t around, so I would lose them in the narrative (and I was really excited about writing them!) So I tried begging the male protagonist to also talk, but he refused. Then, I tried third-person, and she basically rolled her eyes at me and asked me why I was making her talk so funny. Ultimately, I knew I had to listen to her, and it worked out! So perspective can be chosen by someone other than you, too.

All in all, your perspective isn’t all up to you. (You are a huge part, of course) But your story, characters, and readers – in my opinion – can affect what the ultimate decision will be. Consider your perspective carefully, and if youre not sure, I would suggest writing the first three chapters in first and then doing the same in third. Ask yourself which one felt more comfortable, which one seemed right for the story, and hopefully the answers won’t contradict one another. If they do, try again by writing a few scenes in the middle of story. 

In the end, I don’t think your perspective is going to make or break your novel. Instead, I would concentrate on your writing – that will make or break it (hopefully, make it – because we’re positive over here.) As long as your writing to the best of your abilities, willing to grow, and moving forward, a perspective shouldn’t define you, and it shouldn’t stop you. It should guide you.

But that’s just my perspective on things.

~SAT

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Writing Tips: Different Perspectives

31 Mar

On March 17th post: News: Submissions Closing and Minutes Before Sunset Info one of my followers, rolark, asked “I’m trying out writing from more than one perspective right now (it’s my first time!), and was wondering if you had any advice?”

And I do!

As many of you know, November Snow is told from two perspectives (Daniel and Serena) while my upcoming paranormal-romance novel, Minutes Before Sunset will also be told this way (by Eric and Jessica.) I love using this technique for novel writing, because I enjoy first person, but I dislike how it restricts the storytelling to one character during particular scenes that may be told better by another.

So I use first person by two people—generally one male and one female. Why? Because I generally have a romance aspect to my stories, but I also think men and women can bring different viewpoints to the table. (But so can every character–this is a personal preference of mine.)

One of the coolest part of writing is when one of your fans creates something for you. This is fan art from a novel of mine on my previous Wattpad account. Sophia and Noah, my male and female protagonists.

I love it when fans creates something from my writings. This is fan art from a novel of mine on my previous Wattpad account. Sophia and Noah, my male and female protagonists.

Personally, this is what I do (although 3 comes first, but it’s the longest part), and I’ll be using November Snow as an example:

1. Consider Syntax.

Change it up. One character’s thoughts may drag on, so the sentences are longer or dragged out, while another may make lists or sporadic lengths of thoughts. Consider using italics, colons, and/or dashes for one character.

Ex/ Daniel is often exhausted, so I used shorter sentences to depict his energy state. Serena’s sentences are longer. This allows the voices to seem different in the basic way they think.

2. Pay Attention to Diction. 

One character may use very flowery language, while another may have less of a need to elaborate.

Ex/ Daniel is very patient, but also anxious (especially when walking around Vendona, considering the government is after his kind.) So I always have his eyes darting around. He’s constantly surveying his surroundings, paying attention to the little details, and often loses his thoughts to the physical world. His language, therefore, does the same thing.

Serena is rebellious. She’s tired of conforming to the rules and hiding, so she’s often taking risks she shouldn’t be taking. Because of this, I don’t pay attention to as many details when I wrote from her perspective. She no longer cares. Instead, she’s focused on changing, so I show more details about relationships, people, and the future within her language.

3. Now Perspective. 

Now, I’m about to use a gender stereotype to explain where I’m coming from, but it’s for an example. You’re welcome to swap them around for different effects.

Men may pay attention more to physical action than detail, while women may focus on the little details. For instance, a man may describe someone running, while a woman may mention the fact that the runner was in jeans. These little switches in descriptions between your perspectives will help create a realistic viewpoint in the sense that it’s subconsciously differing from one person to the other. The character doesn’t even consider it; it’s simply a part of how they look at the world.

One of my favorite exercises:

Write a chapter in which the two characters are talking. Let’s say this chapter is written from Daniel’s. Afterwards, whether I decide to use it or not, I’ll write it from Serena’s. Make sure the dialogue and the physical actions are the exact same, but compare the thought process. How did the scene change? What does this change mean?

As an example, two people can be talking and Person A could notice Person B is fidgeting. Person A may assume Person B is nervous, but, when you tell it from Person B’s perspective, you learn that they are distracted, not nervous. These little bits can truly morph the way characters interact. I always encourage this exercise, even if the writer isn’t planning on telling from another’s perspective.

This always helps me understand the consciousness of the characters, and I feel more confident when I move onto a new scene.

You can always post questions for quick answers on my Facebook Author Page! Joining also helps me out, and I really appreciate the support :]

You can always post questions for quick answers on my Facebook Author Page! Joining also helps me out, and I really appreciate the support :]

My hope is that this may help rolark and other writers who want to play with this technique, but I also want to encourage others to ask questions.

I will always do my best to answer! (And you will get credit for asking the question.)

Have a great day,

~SAT

April 2nd: Writing Tips: Make Maps (Interior) 

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