30

It's fine if the switch is clearly intentional and well sectioned-off. It's fine to jump between POVs for say, chapters or whole scenes. What isn't all right is a book that mostly is one POV, but occasionally will be privy to the thoughts and feelings of another character for a single line/paragraph of a scene, then hops right back to the main character's ...


27

To the person experiencing anger, it won't appear irrational. To them, there's a very good reason why they're angry, why they're infuriated. What you need is to show the reason. Now, the reason might not be what's right in front of them right now, causing the anger to appear irrational to the outsider. It might be that this last event is just the last straw,...


27

Psychopathy is characterised by persistent antisocial behaviour, impaired empathy and remorse. (source: Wikipedia) Your character needs to care for others. Watching a person get hurt, let alone killed, isn't easy. It should never become easy. That's something your character would respond to. That is what distinguishes them from a psychopath. Now, how does ...


18

Well, you can try using short words to display bouts of rage, using really simple words in the speech with a slurry of verbs scattered intermittently. You can also emphasize repetition because people who are angry often can't forget about the past and think the same things over and over again. For example, you can say something like "I remember being on ...


17

There are a few ways to solve this: 1) Switch narrators. Everything is told by your main character until his/her death, at which point some other character finishes the story. 2) Your narrator continues narrating from after death in some supernatural fashion. Your narrator could become a ghost or spirit, wander disembodied, communicate through Ouija ...


14

This depends on your style guide and potentially your teacher/school/boss/etc.'s guidelines. If your teacher (for example) says to avoid using the first person you may be able to negotiate to change their position, but ultimately they are the ones evaluating your work so you need to follow their rules. None of the three major American style guides forbids ...


13

Dune head hops the whole way through and is still held up by many as an example of a Sci-fi great. The rule to any writing mechanic is that it must be executed smoothly, consistently, in a way that does not confuse the reader. Finally that mechanic must be additive, in that it provides something to the story. In Dune, head hopping is is used to show how much ...


13

I would challenge her lack of fear, if her ability can't trigger automatically as stated in comments she should still have some fear of death, things can happen around her that she isn't aware of and there are many things that can happen before she can react to save herself. We see in Edge of Tomorrow that Tom Cruise's character becomes extremely cavalier ...


12

What I suspect you're really asking here is, "How do I make scenes involving this character feel adrenaline-filled and emotional?" To answer that question, you have to realize that portraying this character's emotions is only half the problem; the other half is the lack of stakes. It's one thing for your character to want to prevent injury or death to ...


10

If you want the scene to initially be confusing, go ahead! Since it's written in first person, that's just realistic. However, keep it brief. It would probably be rather annoying to try to read through more than a paragraph of stuff that makes no sense, and readers might just want to skip it. Also, to make sure they don't continue to feel confused after ...


9

For the sensory input, instead of "you see/feel/smell/touch/taste," try moving the thing to the front of the sentence or phrase to make it the subject. Instead of "You see a shiny red rock," try: A shiny red rock glints in the gravel at the side of the road. This presupposes (rather than stating explicitly) that the reader is looking at the red rock in ...


9

A trick I have learned and have been practicing recently is to stop every now and then and observe myself living in the moment instead of just living it. Its hard to do, but gets easier as you practice. When you are in a moment where you are angry, try to stop and take note of what your own inner dialogue is. What are you thinking? What do you wish you ...


8

I've read at least one book which successfully did this; the author just titled each chapter "Bruno" and "Melusine," depending on whose perspective it was. The timeline was mostly chronological, although there was some overlap so we see how one felt about the other's actions. It worked perfectly fine for me. It's not subterfuge. Label each chapter, throw in ...


8

Sounds fine to me. The prologue and epilogue are literally before and after the story, so it's fine for them to be formatted differently or have a different POV.


8

A technical term for this is "filtering," meaning you're often reminding the reader what POV or filter rather than the context of the situation allowing the filter to be implicit and unwritten. Get inside the character's head, tight enough that your inside his body, and then write that. Ex of filtering: I found the envelope in the supermarket. I reached ...


8

The most famous example of what you're describing is Sherlock Holmes, told of course from Dr. Watson's POV. Watson never becomes the protagonist of the story - the focus is always on Holmes, Watson serving merely as his "biographer". What Watson's perspective gives us is the incredulity at Homes's conjectures: where Holmes sees a solution to the mystery, ...


8

The subject of your sentence can be something other than the MC when you're writing in first person. For example: My phone rang or Footsteps were coming down the alley behind me You don't need to always narrate in the active: "I saw", "I heard", "I conquered". You don't even need to specify your character's presence - it's assumed. My first example ...


8

Take a look at The Couple Next Door. There is a fair amount of the more traditionally-accepted head hopping and it works fine. It's a recent title. The advice against head hopping is, I believe, because for a novice it is too easy to accidentally head hop. Learning how to effectively stay in viewpoint is (in my opinion) very necessary as a basic ...


8

Personally, I don't think there IS an internal monologue; irrational anger is all feeling and emotion, perhaps single words, and I would describe those, not try to transcribe those thoughts. The dialogue that goes with these feelings is primitive at best, and cannot capture the depth of feeling associated. I've seen that tried, and it comes off flat to me. ...


7

You're mixing up the terms. There is the protagonist, and there is the narrator. Narration has perspective. The narrator is the voice in which the book is told. If the story is told using "he/she/they" and not "I," it's third-person. This narrative voice (perspective) can see into everyone's thoughts (omniscient) or only one person's thoughts (limited). ...


7

I think the best way to write from his perspective would be to emphasize the way what he means is quite different from the way people perceive him, so as to show that his 'bad boy' nature is, in fact, a misconception of his character. There are a few ways of doing this: Implied through action: Confident people tend to take the lead without really ...


7

Although I have read a few things I liked written from the first person, I can't write that way myself; it is far too limiting and constrained. For one, the POV character has to be in every frikkin' scene or learn about what happened from other characters, books, videos or some other kind of discovered information. Second, if the POV character is narrating ...


7

I am a scientist, and my first reaction to poorly argued questions is often to criticize the logic. Which I will do here, but before I do, I will say there is nothing inherently wrong with head-hopping if it is done right. The bad logic here is arguing that because famous, one in a million authors have done something, it is fine for me to do it too. JK ...


7

You can expose opinions in third person POV. In "close" third person you're extremely likely to expose the third person POV character's opinions. And even in third person omniscient, you could have an omniscient voice with an opinion. The Chronicles of Narnia, for example, is full of narrator opinion. In first person, it would be unusual--not impossible, ...


7

Ask yourself (or inquire) what such a person is experiencing. It could be "I remember shaking, and then the next thing I knew was...", and they know how they felt (hot, exhausted?) and are told by others what they did. Could be they had thoughts that they ended up accepting. ("I just had to win. To prove to him that the only sensible way to.drink coffee ...


7

Naturally, this is a great opportunity for "show, don't tell". You can't describe a first-person narrator's actions as irrational; you need to show somehow that they're irrational. So, how to do that? I'm going to offer a couple of counterpoints to Galastel's answer which argues that it's not irrational from the narrator's viewpoint. Omit things that the ...


6

Try this: San Francisco is just coming to life. I can see all of downtown from my hotel room. Ten stories below, the traffic is backed up on Powell Street. ... etc. ... etc. Two weeks earlier I am sitting in a bar in New Orleans. The bartender asks me etc. etc. The italics on their own line become a timestamp rather than part of the sentence.


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