Why I (We) Love First Person Point of View

by Martina Boone

Okay, I lied on Friday. Inadvertently, but still. The blog isn’t going to be completely back to normal for a bit. Marissa needs to take a break from the Monday posts, and it may be a while before I get up to speed to help her out. We’ll get back on that as soon as we can.

In the meantime, I’m swamped with STUFF. Writing stuff, work stuff, kid stuff. The stuff we all juggle, so no excuses really. But it turns out that’s good stuff for you, because it means you get a guest post from the amazing Lisa Gail Green of Paranormal Point of View. If you don’t follow her blog, um, WHY NOT? It’s excellent. And catch her on twitter too at, you guessed it, @LisaGailGreen.

And while you are bouncing around the blogosphere, jump by Cam’s blog too, and leave her some get well wishes for whatever excruciatingly painful thing she did to her neck. Feel better soon, Cam! We love you!

Martina

Why I Love First Person

by Lisa Gail Green

I write mainly in first person. There are many amazing books out there written in third. I’m certainly not trying to dismiss it as a valid format. I’ve used it myself on occasion. However, when I started writing in first the difference in my manuscript was amazing. Why? What is it about first that I love so much? Allow me to sing its praises:

First person forces us to delve inside the mind of our MC. If we don’t know that character inside and out, we will never be able to pull it off and sound authentic. As an actress, I was used to regularly getting “into character.” When I tried first person, something magical happened. I became the character, and expressed myself as that person. Now, when someone is having trouble with voice, I often recommend they try rewriting a page, or even a chapter, in first person. It’s a great exercise whether you decide to stick with it or not.
First person allows us to present information from a in a skewed perspective. That’s right. The protagonist’scharacter’s viewpoint may not be an accurate view of reality, but that allows us, as writers, to take a few more liberties with our writing. Do your character’s internal thoughts contradict the evidence the reader receives from the dialogue? That’s not a bad thing. It can add an extra layer of depth to your story.
First person constrains the information available to the reader. Particularly if there’s a mystery aspect to your story, it might benefit you to stay within the limitations of a first-person narrative. That way when clues are revealed, the audience discovers them along with the MC. Either way the reader can learn and explore vicariously along with your protag.
First person allows us more freedom with the writing itself. Does your MC have a particular way of speaking? Does she think in sentence fragments? Does she use incorrect grammar? First person lets us explore these possibilities and gives us an additional way to reveal character through the words they use to tell their story.
First person can make it easier to use unique description. The way your character interacts with and views her surroundings can be a far more interesting way for the reader to explore your world. And it’s a great vehicle for voice. You know, voice? That thing agents and editors always talk about. Voice is all about perspective, so dig deep and let your MC’s viewpoint shine.

There you have it! Five reasons I think first person rocks. Are you ready to dive in? Have you tried it already, as an exercise or as a whole novel? Share your thoughts. Which do you prefer to write? Which do you prefer to read?

Martina Boone

Martina Boone is the award-winning author of the romantic southern gothic Heirs of Watson Island series, starting with COMPULSION from Simon & Schuster, Simon Pulse and the Celtic Legends Collection of novels set in Scotland, Cornwall, and Ireland beginning with LAKE OF DESTINY. She’s passionate about improving lives through literacy and the love of books, and she runs the Compulsion For Reading program to distribute books to underserved schools and libraries.

She lives with her husband, children, Shetland Sheepdog Phinney, and Zoey the lopsided cat, and she enjoys writing contemporary romantic fiction with a hint of magic set in small towns and beautiful places. When she isn’t writing, she’s addicted to travel, horses, skiing, chocolate flavored tea, and anything with Nutella on it.

Post © Martina Boone and/or Adventures in YA Publishing. All rights reserved.

Posted: Aug 16, 2011

Category: Imported from AYAP

Tags: Craft of Writing | Martina Boone | Point of View

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The first slide is an animation of a science/magic room in a castle. A cartoon character of a mad-scientist looking man in in the foreground says: “Hello! Dr. Frankenstein here to say, Well Done on kid lit zombie week! I’m an expert at reviving the dead, and let me assure you, with a little spark, you can bring dead projects to life. Especially if you dig up parts from other dead things. I’ll even let you have a sneak peek at my laboratory’s store room to consider potential parts for your dead project. If you see something with a yellow glow, that means you should click it. Have fun!”

He points to the right side of the screen and a new scene slides in of a castle science/magic storage room. There are various cartoon Frankenstein body parts scattered around. Some of them have a yellow glow. If you click on them, the images below appear (I’ve added alt text to them, so I hope it works).

The Heart of your story is the main character. The protagonist is the beating core that truly brings your story to life. If your MC doesn't make kids (and their grown-ups) care within the first few pages, your story will flatline. </p>
<p>Your main character needs to be:<br />
• Relatable enough for kids to see themselves<br />
• Unique enough to stand out in the slush pile<br />
• Active enough to drive the story<br />
• Memorable enough to survive multiple readings at bedtime</p>
<p>Where do you find this amazing donor heart? It might be the very thing you loved so much about the manuscript you want to revive. It might be the younger sister from your shelved YA novel. Or maybe it’s the hilarious kid you blogged about meeting at a school visit. Find a character beating with potential and place it in the center of your story.<br />

The Brain of your story is the theme or central message. The theme is the big idea that controls everything else. Picture books are more than stories - they're tiny life lessons disguised with humor and heart.</p>
<p>But your theme needs to be:<br />
• Subtle enough not to trigger the dreaded "didactic" rejection<br />
• Clear enough for a four-year-old to grasp<br />
• Universal enough to speak to both kids and adults<br />
• Fresh enough to prevent agents and editors from responding with "Not another sharing/bedtime/first-day story!"</p>
<p>Check your other dead manuscripts to see if there is a recurring theme, something that really seems to be speaking to you. Find the bit of poetry you scribbled on the back of a receipt to see what theme inspired it. Reread the pep talk you texted your critique partner at 1am. Pick the theme that will drive your story, giving it purpose, direction, and deeper meaning.<br />

The Legs of your story is the plot. Not to be confused with a grave plot.🤪 The plot is what keeps everything upright and moving, as well as providing support for all the other elements. You have very few words to use in a picture book, so you need to do a lot with each plot point.</p>
<p>In general, your plot should:<br />
• Hook readers fast<br />
• Build tension that a child can follow<br />
• Create page turns that feel natural<br />
• Wrap up in a way that satisfies</p>
<p>You can borrow a plot twist (a leg) from one manuscript and the opening (the other leg) from a different manuscript. Consider if the subplot of the middle grade novel you trunked would work better as a picture book. Or maybe your Facebook post about a disastrous camping trip could become a story for kids. Just keep putting one foot in front of the other until you have your storyline.

The Arms of your story are the side characters.

The Torso of your story is the setting. Setting helps a story breathe and connects all the elements of the story. It isn't just where your story lives, it's what makes your story ALIVE. It's the difference between "this happened in a park" and "this happened in that park, the one with the twisty slide that burns your legs and the creaky swing that sounds like a baby crying.”</p>
<p>Your setting should:<br />
• Make your character's world feel real<br />
• Contain your story in a way that makes sense to young readers<br />
• Connect different scenes and moments organically<br />
• Give your illustrator enough room to add visual subplots</p>
<p>Half-finished manuscripts are a great place to dig up settings, since you worked out the place details before the plot petered out. Or maybe you had to cut a second fantastic location from your chapter book. You can also revisit the detailed caption from your Instagram carousel documenting your tour of that delish candy shop. Disinter a robust setting that can house all of your story's vital organs.

After you press the Click When Done circle button, the lights flash with the sound of electricity buzzing. Then the screen goes black and lightning zaps across the screen with the sound of thunder.

The screen then lights up to show the storage room, and all the Frankenstein pieces have been assembled into the whole monster. An upbeat song plays in the background. Then a speech bubble pops up with the words, “I’m alive! I’M ALIVE!” Then the screen goes to black.

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