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Veteran editor Dave Lambert says, “No decision you make will impact the shape and texture of your story more than your choice of Point of View.” So let’s straighten it out, shall we? ” Limit yourself to one Perspective Character per scene, preferably per chapter, ideally per .After you read this post, you’ll know the crucial POV rules and techniques use (and publishers look for)—and how to apply them to your story. That means no switching POV characters within the same scene, let alone within the same paragraph or sentence.You can see how this method forces the reader, in essence, to become a character and how difficult that might be for the writer to sustain for 300 or 400 pages.
First Person is the second most common voice in fiction, but I recommend it for many beginning novelists, because it forces you to limit your viewpoint to one Perspective Character—which you should do with all POVs except Omniscient.
My first 13 novels were written in first-person past tense. Herman Melville’s Moby-Dick begins in present tense but immediately switches to past: Call me Ishmael.
Because many readers find third-person present tense weird, you won’t find it in many novels.
It would sound something like this: Fritz skips out to the garage, fishing in his pocket for his keys. You can imagine how distracting that would be to the reader if maintained throughout.
But here you are, and you cannot say that the terrain is entirely unfamiliar, although the details are fuzzy.
You are at a nightclub talking to a girl with a shaved head.
Some years ago, never mind how long precisely, having little or no money in my purse and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world.
While I recommend first-person, I think you’d find present tense awkward and difficult to sustain.
That takes me from Third Person Limited to Omniscient.
And Omniscient narrators are decades out of fashion.