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Novel Writing Basics Podcasts Vlog Writing

Character Profile Sheets (CPS) – Part 2

By Heena Rathore P. on

Character Profile Sheets are a great literary tool that help you in profiling your characters, especially the main characters of your story. They not only help you in being consistent with your character’s traits throughout your story or manuscript but also help a great deal in creating as well as painting the character arc you desire for your story.

Generally, a Character Profile Sheets consists of the main physical, mental, emotional and social traits of your character’s life and personality along with their general likes and dislikes, their taste in music, their occupation, and stuff like what they like to eat, what they don’t their allergies and different kind of health issues, etc, etc, etc. Basically, your Character Profile Sheet consists of everything about your character.

Character Profile Sheets can be as long or as short as your want them to be, but my advice would be to keep them detailed because detailed Character Profile Sheets lead to good characters and good characters leads to good characterisation. 

Another great thing about Character Profile Sheets is that it greatly helps if you get stuck in a writing slump. Working your characters is a great way to jump start your brain to getting into the right mindset to start writing again.

Check out my video on Character Profile Sheets on YouTube or listen to its podcast on iTunes.

When it comes to Character Profile Sheets there are three things that you need to remember:

  1. If you are a punster then start with a basic Character Profile Sheet to begin with and add details as you go further because starting with a detailed Character Profile Sheet can be very overwhelming. But if you are a plotter then you can straight away start with a detailed Character Profile Sheet.
  2. No matter how long or short your character profile sheet is or how detailed or summarised it is always make room for character’s background in it because character background is very, very, very important an you need to be consistent with it throughout your story. Take it from someone who has written a book with a lot of characters, always make a room for character background in your Character Profile Sheet.
  3. Your Character Profile Sheet will evolve as you make progress with your manuscript so always keep on revising your Character Profile Sheet along with each and every single draft of your story. Otherwise, there’ll be either no point of maintaining a Character Profile Sheet or it’ll get too confusing for you and ruin your manuscript.

So that’s Character Profile Sheets for you. If you want a ready reference with links to some really good Character Profile Sheets then read this article – Character Profile Sheets (the links are the end of the article.)

If you have any questions or doubts or want to discuss Character Profile Sheets with me then leave a comment below and I’ll get back to you ASAP.

Here are some more writing-related articles:

Thanks a lot for reading!

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Novel Writing Basics Writing

A Comprehensive Look At Literary Devices

By Heena Rathore P. on

As a writer, it becomes a necessity at some point or the other, to understand as many technicalities of the craft as possible. Whether you’re an intuitive writer or a deliberate one, there will be times when you’ll have to break the literary rules in order to create your masterpiece, but in order to do so, you first need to know what those rules are. So studying literary devices becomes essential and significant in order to become a better writer.

On the other hand, it is not only beneficial to know about literary devices as a writer, but also as a reader. As a reader, it will help you understand the purpose of the writing better and also to know the real focus of a particular written work. And, on a more practical note, it’ll help you write your school reports and book analysis or reviews better and score good grades (I’m sure that alone should be motivation enough.)

I have come to realise that it is a healthy practice to become a well-informed writer as well as a reader.

A Comprehensive Look At Literary Devices

 

 

 

The definition of a literary device on Your Dictionary, an online open dictionary source, is as a technique a writer uses to produce a special effect in their writing.

This definition is short and sweet but leaves a lot of unanswered questions in one’s mind. In order to fully understand the ocean of things hidden behind these two words, one needs to look at it very closely. So here’s my take on these two very beautiful words:

Literary devices are the techniques a writer uses in order to create a unique and powerful yet appropriate effect in their writing to help them influence the reader’s imagination while at the same time helping the reader to understand the writing effectively and on a much deeper level. It adds multiple layers of sense, feelings and emotions to the reader’s imagination and helps the writer in gripping the reader’s conception of their work in a very effective way.

To further understand literary devices better, they can be broken down into two parts:

1. Literary elements

Literary elements are elements used by the writer in the overall scheme of the things. Some of the main literary elements are:

  • Antagonist – a character, or a group of characters, which stands in opposition to the protagonist, which is the main character.
  • Characters – any person, animal, or figure represented in a literary work. There are many types of characters that exist in literature, each with its own development and function.
  • Conflict – A conflict in literature is defined as any struggle between opposing forces. Usually, the main character struggles against some other force. This type of conflict is what drives each and every story.
  • Dialogues – a technique in which writers employ two or more characters to be engaged in conversation with one another.
  • Mood – a literary element that evokes certain feelings or vibes in readers through words and descriptions. Usually, mood is referred to as the atmosphere of a literary piece, as it creates an emotional setting that surrounds the readers.
  • Moral – a message conveyed by, or a lesson learned from the story.
  • Narrative – a report of related events presented to listeners or readers, in words arranged in a logical sequence. A story is taken as a synonym of narrative. A narrative, or story, is told by a narrator who may be a direct part of that experience, and he or she often shares the experience as a first-person narrator.
  • Plot – literary term used to describe the events that make up a story, or the main part of a story. These events relate to each other in a pattern or a sequence. The structure of a novel depends on the organization of events in the plot of the story.
  • Point Of Views – he mode of narration that an author employs to let the readers “hear” and “see” what takes place in a story, poem, or essay.
  • Protagonist – the central character or leading figure in poetry, narrative, novel or any other story. A protagonist is sometimes a “hero” to the audience or readers.
  • Setting – the time and place in which the story takes place. The definition of setting can also include social statuses, weather, historical period, and details about immediate surroundings.
  • Structure – the arrangement of story elements according to purpose, style and genre.
  • Theme – the central topic or idea explored in a text.

2. Literary techniques

Literary techniques are the words or phases employed by the writers in their writing. Some fo the main literary techniques are:

  • Allegory – use of characters and events in a story to represent or deliver a broader message.
  • Alliteration – a series of words or phrases that all (or almost all) start with the same sound.
  • Allusion – an expression designed to call something to mind without mentioning it explicitly; an indirect or passing reference.
  • Anachronism – the action of attributing something to a period to which it does not belong.
  • Analogy – a comparison between one thing and another, typically for the purpose of explanation or clarification.
  • Antithesis – explaining an idea or thing by comparing it to something that is familiar.
  • Colloquialism – use of informal words, phrases, or even slang in a piece of writing.
  • Consonance – the recurrence of similar-sounding consonants in close proximity, especially in prosody.
  • Diction – the style of speaking that a writer, speaker, or character uses.
  • Epigraph – a short quotation or saying at the beginning of a book or chapter, intended to suggest its theme.
  • Euphemism – a mild or indirect word or expression substituted for one considered to be too harsh or blunt when referring to something unpleasant or embarrassing.
  • Flashbacks – a scene set in a time earlier than the main story.
  • Foreshadowing – a warning or indication of (a future event).
  • Hyperbole – exaggerated statements or claims not meant to be taken literally.
  • Irony – the expression of one’s meaning by using language that normally signifies the opposite, typically for humorous or emphatic effect.
  • Imagery – use of language and description that appeals to our five senses.
  • Implied Metaphors – a word or phrase that compares two unlike things to more clearly describe them, without mentioning one of the things.
  • Juxtaposition – the fact of two things being seen or placed close together with contrasting effect.
  • Malapropism – the mistaken use of a word in place of a similar-sounding one, often with an amusing effect.
  • Metaphor – a figure of speech in which a word or phrase is applied to an object or action to which it is not literally applicable.
  • Metonym – a word, name, or expression used as a substitute for something else with which it is closely associated. For example, Washington is a metonym for the US government.
  • Onomatopoeia – the formation of a word from a sound associated with what is named.
  • Oration – elaborate and dignified speech.
  • Oxymorons – a figure of speech in which two opposite ideas are joined to create an effect.
  • Paradox – a statement or proposition which, despite sound (or apparently sound) reasoning from acceptable premises, leads to a conclusion that seems logically unacceptable or self-contradictory.
  • Personification – giving human traits and qualities, such as emotions, desires, sensations, gestures and speech, often by way of a metaphor, to things.
  • Repetition – the recurrence of an action or event.
  • Similes – a figure of speech involving the comparison of one thing with another thing of a different kind, used to make a description more emphatic or vivid
  • Soliloquy – an act of speaking one’s thoughts aloud when by oneself or regardless of any hearers, especially by a character in a play.
  • Symbolism – using symbolic images and indirect suggestion to express mystical ideas, emotions, and states of mind.
  • Synecdoche – a figure of speech in which a part is made to represent the whole or vice versa.

So this is the in and out on literary devices. There are a lot more literary elements and techniques but the ones listed here are the main ones so they would be enough if you just want to know literary devices on the surface. But if you want to dig deeper, I’ll be writing another article in future exploring these and many other literary elements and techniques in detail.

If you are a new writer, or an established one stuck in a rut looking for inspiration, do read these articles:

Articles from Literary Devices and Stydy.com were of great help in finding the definitions for various literary devices for this article.
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Novel Writing Basics Plotting Writing

The 4-Act-Structure: Introduction

By Heena Rathore P. on

 

As almost all the plotters would swear by, outlining a story helps a writer greatly in making sense of the story for the readers. We, as writers, know what our story is and how it plays out, the difficult bit is to put in into words in a systematic way and have it make sense to its readers the same way that it does for us. And this is where the story structures come into play.

I used to consider myself a hardcore plotter until I finally realised that I’m more of an intuitive person who writes by the seat of her pants as much as I rely on planning my stories. So now I try to find a balance between pantsing and plotting. And I personally see story structures as an adventurer’s maps – you can have all the adventures you want to have by following your intuition, but occasionally you need the maps to take you where you want to go, especially when you get lost or stuck.

I used the 3-Act Structure for plotting my first novel, Deceived, but for my second and third manuscripts, I needed something more extensive as they are more complex than my earlier work, so I used the 4 Act Structure. In this article, I’ll be introducing the 4-Act Structure and its benefits and use. If you wish to know more about the 3-Act Structure then you can read the following articles I wrote a while ago:

The 4-Act-Structure: Introduction

the 4-act structure

What is the 4-Act Structure?

The 4-Act Structure is basically the broader version of the 3 Act Structure in which the elaborate ‘middle’ is broken into two separate acts. This method is very popular among writers especially those who write lengthy novels and the ones who struggle with the ‘infinite middle.’

  • Act-1: Setup of conflict
  • Act-2: Build-up
  • Act-3: Crises
  • Act-4: Resolution

Here’s a simple diagram to depict the 4-Act Structure:

This image is subject to copyright.

What are the advantages of using the 4-Act Structure?

There are many advantages to using the 4-act structure, just like any other outlining tool:

  1. It helps in dealing with the overall story better, in an organized manner (just like any other story structure.)
  2. It assists in specifically dealing with the problematic middle of the story – the 75% part of the story that is a bit vaguely structured in the 3-act structure of story writing.
  3. It encourages in figuring out the problems with the story plot and in combing out the plot holes that would inevitably make your story weak.
  4. It helps in understanding what exactly your story is lacking in order to make it into a near-perfect manuscript.
  5. It even aids in recognizing, and then getting rid of, the redundant scenes, side stories and subplots.
  6. It greatly helps in dealing with the most coveted enemy of any writer – writer’s block, when you get stuck in the inescapable limbo.
  7. It also serves, for many writers, as a quick fix to complete the drafts within a particular timeline. It’s not necessarily a short cut, but can definitely be viewed as an answer to many plot-progression related problems.

When should the 3-Sct Structure be used? Before starting the first draft, in between or at the of the nth draft?

Over the course of the last couple of years, I’ve discovered the hard way that it’s always best to first write the first draft by the seat of your pants, no matter if you consider yourself a planner or a pantster, because the first draft has to be as unadulterated and pure as can be, and that would be possible only if you let your imagination take over your mind and the muse and instinct guide your hands. The story structure, whether it is a 3-act structure or the 4-act structure or even the 9-act structure, should be applied for the first time to the first draft once it is complete. Then as you progress, it depends on how often you want to adjust your story according to the structure; you can do it while you write or revise your drafts or before or after that. It is entirely up to you.

I have come to realise that if the story structures are applied to the story in the initial stage of the conceiving of the plot, before or right after beginning the first draft (which is far too complex and difficult than one might think) then it corrupts the authenticity of the plot that otherwise might have been and makes it feel constrained. And such writing often results in an amateurish end product.

If you want a simpler story structure for your story, then read this: The 3-Act Structure: In Detail

If you are suffering from a writer’s block or are facing difficulty in getting ahead with your story, here are some articles I recommend:

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Updates Writing

Camp NaNoWriMo April’18

By Heena Rathore P. on

Hello world, I’m back from yet another break!

Like every year since 2014, I’m participating in Camp NaNoWriMo April’18. For this month I don’t have a lot planned out, but just a basic idea of what needs to be done. I’m mainly going to go for 2 things this time – sorting out the ending of Sinister Town and writing the first draft of a story I’d started as a short series flash-fiction, Jessie.

Over the last couple of months, I’d have some really good, strange, outright hilarious and some really amazeballs story ideas and, strangely enough, I wrote them all down. I never really write down random story ideas anymore, I used to write them down very carefully when I started out as a writer, but after I heard the invincible, and my writing idol, SK mention in one of his many speeches, that if you can’t remember an idea for a year (or basically a long time) then it’s not worth

working on. That was the point where I abandoned scribbling down ideas and, now that I reflect on it, maybe that was one of the reasons for my major writer’s block. Anyway, so I’d been writing down random ideas, mostly because I’d been in a writing slump lately (for like a year and a half now) and so I just wanted something different to write about – something random that would help me in ‘pantsing.’

So I have those story ideas to develop too. One of them is a dark elf story and I can already feel it coming together beautifully as a full-length novel. So I hope I have enough things to write and meet my goal of 50K words as I really need to get back into my usual flow of writing, something that I dearly miss!

I wish all of you who are participating in Camp Nano April all the very best!

Ciao ❤

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Writing

Naming The Writer’s Unconscious – A Little Girl And Her Puppy

By Heena Rathore P. on

I always read craft books not once, but several times. I guess that’s the best way to really get the techniques and the wisdom they have to offer. Lately, I’ve been re-reading Bird By Bird by Anne Lamott and came across a concept, more like a paragraph or two, where author Lamott mentions about naming the unconscious:

“My friend Carpenter talks about the unconscious as the cellar where the little boy sits who creates the characters, and he hands them up to you through the cellar door. He might as well be cutting out paper dolls. he’s peaceful; he’s just playing.”

I paused at this particular bit, as I did the first time I read this book, and started thinking about how my unconscious would be?

Here she describes her friend’s version as a boy sitting in the cellar. But I don’t like the pictures of him sitting in confinement. I like her version of the unconscious better, “instead of a little kid, there’s a long-necked, good-natured Dr. Seuss character down there, grim with concentration and at the same time playing.”

So as I said earlier, I thought about my unconscious and this is what I came up with:

A Little Girl And Her Puppy

Image Courtesy: Pixabay

My unconscious, The Boy In The Cellar if you will, is a Little Girl. And this Little Girl is me, of course.

And the Little Girl is not alone; she has a puppy with her. A GSD puppy of about 4 months. And yes, this puppy is Tiger, my deceased pet.

So that’s my unconscious.

The Little Girl sits in the middle of the aangan of my childhood bungalow, on a stone-tiled floor on a thick faded rug called dari. She’s sitting cross-legged, wearing a beautiful white frock that hangs loosely from her thin wiry shoulders. Her dark-roasted-coffee-brown hair hanging down in waves reaching her waist.

Fair as she is, she has a small mouth and small ears but big brown curious eyes. She’s sitting with her coloring book sprawled luxuriously in front of her among her uncountable Camlin crayons of every color you could possibly imagine. They are the ones that her father gave her.

Now she’s bent over her book and scribbling away with cyan color. She looks happy today.

The Puppy is sitting beside her in a relaxed fashion that only 4-month-old puppies can manage. His head is resting on the girl small knee. He is looking at whatever the Little Girl is drawing with his droopy doggy eyes that look like they’re falling down. He’s a healthy Greman Shepherd and is big enough to come to her knees when she’s standing. He loves the Little Girl immensely and enjoys looking at her draw.

As I said, she looks good, happy. That makes me feel very good. And the important thing is she is not alone, she has the Puppy with her.

She loves drawing and therefore she is always drawing something or the other. Sometimes it takes her days, sometimes weeks and sometimes months or even years to complete a “masterpiece.” And when she’s done, she looks up from her work and calls me and hands me over those drawings.

Sometimes these drawings are so clear that I can clearly see what she has come up with, but sometimes they’re all blurred and abstract and it takes me a while to figure them out, to understand what is it that she wants me to see.

This is how my ideas come to me or rather delivered to me by my unconscious. The Little Girl is not a fragment of me, but she

The Little Girl is not a fragment of me, but she is me. This is how I get countless ideas for my books, characters, plots, sub-plots, short stories, flash fiction pieces, poems, etc.

This is how I write.

Takeaway:

If you are new to writing or if you are struggling with it, then I highly suggest this exercise. It’ll help you attain the very focus you need to center your creative mind.

What about you? Have you ever thought about how your unconscious works? Do you have a particular image of that unconscious?

Further Reading:

If you liked reading this article, then you might like these as well:

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Writing

What Is Writer’s Block? And 3 Things to Keep In Mind

By Heena Rathore P. on

There are a lot of people who don’t believe in the existence of Writer’s Block, but let’s face it, even though you don’t want to name it, there are periods of time in every writer’s life when you simply can’t write (no matter how much you want to!) You can call it a “bad phase”, a stupor or whatever the hell you want it all comes down to the same thing – You can’t write sometimes.

No matter what you want to name it, the truth remains the same – This “bad time” or whatever you want to name it wastes a lot of precious time of writers that can be otherwise used for writing.

This is what is called Writer’s Block. Think of it as just something to name this condition for the sake of convenience.

It’s not all bad if you can recover from it in a short while, say a day or a couple of days or even a week. But it gets pretty bad if you simply can’t get over it for a long period of time, say a month. Or maybe more.

I’ve come across a lot of stories of writers giving up when they suffer a prolonged period of Writer’s Block and it greatly saddens me because this is not a solution. Giving up never is.

In 3 years of my full-time writing career, I’ve gone through multiple phases of Writer’s Block, both short and long spells. And if there’s something I’ve learned from each and every time, it is these 3 things:

1.  Make use of this time

Many of us use our extra time for writing. We get a day off, we write. We get an hour off, we write. We go on a vacation, we write. Being a full-time writer also, I use my extra time for writing, so I practically don’t get any free time for other things.

Use this “bad spell” to do the other things like weed the garden, take a small vacation with your family, do the house chores, spend time with your family and friends (god only knows how limited time writers get to spend with others), go for swimming, movies, or do anything else that either needs to be done, or you’ve wanted to do but couldn’t because of writing.

2. Keep feeding your creative mind

Just because you can’t write doesn’t mean you can’t read, or draw or do research or can’t do anything else that’ll work as a fodder for your creative mind.

Remember, our minds are like a sponge, they keep on absorbing and observing things. So when you’re not writing, either read books in your genre or read some refreshing new genre, or sing or dance or do something that you like. But again, don’t do anything that stresses you. You’re just doing these things for yourself, not to please others.

I watch a lot of movies and read a lot of books, both in my genre of writing. It always helps me.

3. Don’t give up

It’s okay to take a break. In fact, the way I see it, Writer’s Block is a way for our mind to tell us to take a break. If you’ll notice it generally happens after you’ve spent a considerable time working on your writing projects.

So listen to your mind and give it a rest.

You’ll always bounce back eventually.

Takeaway:

Don’t over think. Relax and take a calming breath. Your mind simply needs a break, it is NOT giving up on writing. So do what you want to do, keep in touch with your creative side and don’t ever think of giving up.

In case if the Writer Block doesn’t go away after a while, then face the truth – It’s not the Writer’s Block, it’s you. You (maybe your subconscious self) are making reasons and coming up with stupid excuses to not to write. So get on your ass and start writing. It’ll be hard, but who said writing will be easy?

Do not give up.

What are your experiences with Writer’s Block?

Further Reading:

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Podcasts Writing

10 Questions To Help You Determine The POV(s) For Your Story

By Heena Rathore P. on

Choosing the main Point Of View(s) for your story is either the simplest or the hardest thing you’ll ever come across while writing your book. Determining the voice which narrates or unfolds your story is a tricky thing because if you select the wrong one your story is doomed.

Sometimes (a few precious instances), you don’t have to think about the POV because either you already have it figured out even before starting the story or know which one comes more naturally to you, the one that suits your writing style and feels like the perfect fit for your story. If you find yourself in this situation then consider yourself very lucky because otherwise, you might have a very hard time figuring it out.

question-1243504_640Rest of the time (i.e., for the majority of your writing career), you won’t know how to go about determining the POV for your story. This happens mainly due to the unyielding need for perfectionism. You want your story to be perfect (obviously!) but you can’t figure out which should be the main or the central voice that tells the story.
Ideally, more than half of the times the answer lies in using multiple POVs, but that comes with another set of problems that I’ll be covering in my next article relating to POVs. But what if you don’t know which multiple POVs to use?

When stuck in the latter situation, you’ll find yourself in a dark endless pit which will drive you to the brink of giving up, and we certainly do not want that. So to make the process of selecting the perfect POV(s) for your story, I’ve come up with a list of 10 questions that you need to ask yourself in order to get the answer to your POV worries.

The 10 Questions:

  1. How much you want to reveal? And how much you want to hold back?
  2. Whose perspective will be interesting for the reader?
  3. Who’s in the middle of most of the conflicts?
  4. How much information about the plot/story you want to reveal?
  5. How much information about the character you want to reveal?
  6. How it’ll affect the pacing of the story?
  7. What are you comfortable with? First person? Second Person? Or Third Person?
  8. How’d you like the reader to perceive your character and story line?
  9. Are there any parts of the story that need to be shown through different perspectives or through scenes that don’t have the main POV character(s) in them?
  10. How many stories are you trying to tell? And are these stories a part of the main story?

The process doesn’t end here. Once you’ve asked these questions to yourself, it’s imperative that you don’t only answer these questions truthfully but also try to understand them in detail so as not to mess it up. Once you’ve laid out the answers, 99% of the times you’ll be able to figure out the POV(s) for your story. The remaining 1% is your gut feeling which will either confirm your decision and make you feel like you’ve conquered the world or (at it happens to me most of the times) will make you doubt everything you just did and will force you to repeat the entire exercise again (and again, till you get it right.)

If you want my advice, never ignore the gut feeling. Otherwise, you’ll regret it later on.

Watch my video podcast on 10 Questions To Help You Determine The POV(s) For Your Story:

If you have any doubts regarding this post or want to share your experiences or anecdotes then please leave a comment below.

Further Reading:

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Writing

Point Of Views (POVs)

By Heena Rathore P. on

Point Of View, casually known as POV, is one of  the most important literary devices that is used in fiction writing. Determining the perspective from which the story is told is often the making or the breaking point of a novel.

If you make a wrong decision, your readers will be highly disappointed due to lack of plot coherence, and not only this, choosing the wrong POV also affects the bonding between the main characters and the reader, thus, affecting your novel on the whole. But if the point of view is chosen well, the readers will not only love your story and develop a memorable relationship with your characters but will also respect your writing and look forward to reading your other works.

Hence, it won’t be wrong to say that the choice of point of view and its execution shows the writer’s ability, efficiency, and dedication to their story. And in order to make the right choice you need to have an in-depth and precise knowledge about all the POVs before settling on one (or more) for your story.

Definition:

Point of View aka POV is the perspective from which a story is told. Point Of View is what can be called as the voice that tells the story to a reader.

Following are the 3 types of Point Of Views (POVs):

First Person Point Of View–

In First Person POV, the narrator is a character himself/herself. The story unfolds as a first-hand experience of the narrator or it can be said that the character is narrating the story.
The information is unreliable as its scope is limited depending entirely on the main character’s knowledge of/in any situation. For instance, if the character is delusional then it creates a problem if you’ll write the entire book from his perspective.

The First Person POV has recently garnered a lot of popularity as a lot of new authors are using it. The advantages of First Person POV is that the reader can relate to the main character quite easily and the bond that follows is very strong. But of course, it requires a high level of expertise to pull it off.

The pronouns used in First Person POV are – I, me and mine.

Types of First Person POV:

  1. First Person Central POV: When the story is told from the point of view of the main character it is known as the First Person Central POV. This helps in developing an intimate bond between the main character and the reader. It often includes internal monolog, personal feelings, etc, which help in making the reader understand the main character inside-out.
  2. First Person Peripheral POV: When the story is told from the point of view of a secondary or a minor character, who can also be an observer, is known as First Person Peripheral POV. This POV is detached and neutral and provides an objective look at the main character.

Popular books written in First Person POV:

To Kill a Mockingbird by Harper Lee
The Adventures of Huckleberry Finn by Mark Twain
Hunger Games Trilogy by Suzanne Collins
The Fault In Our Stars by John Green
Penryn And The End Of Days Series by Susan Ee
Twilight Saga by Stephenie Meyer

Second Person Point Of View–

In Second Person POV, the narration is addressed from one person to the second person.

The disadvantage of this POV is that it is difficult to relate to. It is a form of direct speech and the narrator or the character refers directly to the reader as “you.”

The Second Person POV is rarely used in fiction-writing, though there are some authors who use it for writing their novels.  It is mostly used for instructional writing and how-to books.

The pronouns used in Second Person POV are – You, your.

Popular books written in Second Person POV:

Bright Lights, Big City by Jay McInerney
If On A Winter's Night A Traveler by Italo Calvino
You by Caroline Kepnes
All The Truth that's In Me by Julie Berry
Booked by Kwame Alexander
The Night Circus by Erin Morgenstern

Third Person Point Of View–

Third Person POV is the point of view in which a narrator (generally, the one who is not part of the story) tells the story.

This is one of the most widely used POV and most of the early literature and classic novels are written in this POV. A lot of contemporary writers still believe that only the stories written in Third Person POV are good, but of course, it’s their personal opinion.

The Third person POV helps the readers understand the main characters from a distance and many believe that this is what makes it so interesting and capturing.

The pronouns used in Third Person POV: He, she, it, him, her, they, them, its. 

Types of Third Person POV:

  1. Third Person Omniscient POV: Omniscient = All-knowing. In Third Person Omniscient POV the narrator knows and reveals the feelings, thoughts, and/or motivations of all the characters (at least partially.)
    Eg. Unwind Series by Neal Shusterman.
  2. Third Person Limited POV: In Third Person Limited POV the narrator knows and reveals the feelings, thoughts, and/or motivations of only a single character, the main character.
    Eg. Harry Potter Series by J.K. Rowling.
  3. Third Person Objective/Dramatic POV: In Third Person Objective POV the narrator knows and reveals no feelings, thoughts and/or motivations of any of the characters. Rather, the narrator reveals only the facts and details about the story.
    Eg. The Scarlet Letter by Nathaniel Hawthorne.

Popular books written in Third Person POV:

Harry Potter Series by J.K. Rowling
The Lunar Chronicles by Marissa Meyer
The Mortal Instruments by Cassandra Clare
Maze Runner Series by James Dashner
The Scarlet Letter by Nathaniel Hawthorne

Watch my video podcast on POVs:

If you have any doubt regarding POVs or want to share your experiences or anecdotes then please leave a comment below.

Further Reading:

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Writing

The Font Effect

By Heena Rathore P. on

While working on my first book, Deceived, I hit the much-dreaded writer’s block at a very crucial time – right when my book needed revising. It felt like I hit the bottom of my creative well and I had to abandon my manuscript for almost 2 months.

I was completely devastated and after a few fruitless weeks of consoling myself that I’ll get back to writing soon, I started panicking and then began wondering about my writing altogether.

I’ve had my fair share of writer’s block since I started writing 2 years ago, but this one was the worst I ever dealt with. I tried everything to get over it. Everything. I followed different versions of Writing Rituals, went for jogs, went out for dinners, read 15 books one after the other to break this bad spell of stupor, took full day’s off several times a week, tried writing flash fiction, tried doing Freewriting. But everything backfired and left me completely exhausted. 😦

Every time I tried to open my manuscript, I felt like staring at a blank wall for hours. It really frustrated me that I, the girl-who-was-doing-so-good-with-her-writing suddenly turned into the girl-who-might-not-even-be able-to-complete-her-first-book!

It was literally one of the lowest points in my life because my first book meant everything to me.

At the end, almost giving up on my manuscript, I tried to divert my mind by agreeing to beta read a part of my Australian critique partner’s book. But then the most amazing thing happened!

As soon as I opened her book on my Mac and started reading it, I was struck by how beautiful and neat the file looked. And that was when it hit me.

I closed that file straight away and opened my own manuscript, and the moment I looked at the sad font of my manuscript and I knew why I wasn’t able to work further on it.

I immediately changed the of my MS from Courier Sans to Times New Roman. And…. Viola! Just like that, everything changed!

And the next thing I know, I was revising my manuscript!

I was done revising my manuscript in the next four days, and in those four days, I realized one thing – My book is really good!

You notice how I went from I-should-quit-writing to my-book-is-really-good? This is what I like to call as The Font Effect.

When I started writing my book’s first draft, I used the font Avener Book right till the time my manuscript was ready. Somehow writing in Avener Book helped me write for long hours without any headaches. I really liked it plus it looked beautiful in print. But when I was sending out the inquiries to Literary Agents, I formatted my manuscript according to the standard format and  changed its font to 12 pt. Courier.

Since then my manuscript has been in Courier only, and that’s where the problem began. Somehow my subconscious mind found it repulsive, or to be honest, plain ugly. I developed an aversion to Courier that I still can’t explain. I had a hard time reading more than a page at a time and that too without even it.

After changing the font to Times New Roman, I revised my book three times in one month, then edited it in the following month and sent it to my publisher (with whom I already signed an agreement by then) for the final editing.

Moral of the story – Fonts are very important. And we, as writers, should never underestimate their power.

As I see it, the importance of fonts, in general, is underrated, and most of the time their value gets completely lost amidst other “more important” things.

If you really think about it, fonts are one of the most used tools in a writer’s life.

Can you imagine what the hell would writers do without fonts?

What do you think about The Font Effect? What are your favorite fonts and why do you like them so much?

Feel free to share any stories or experiences you’ve had with fonts (or writing in general.) I love reading and replying to all your comments.

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Random Writing

How I Started Writing

By Heena Rathore P. on

In the last six years of my writing career (as of 2019 end) I’ve been asked this questions now and again so I thought that I’ll write up a post on it as I am better at writing than verbally explaining my feelings and thoughts.

It always irks me whenever someone, generally an old friend or acquaintance, pings me or sends me a random DM and begin the conversation by saying “I never knew you liked writing” or something on the same lines. It bothers me because it reminds me of how I let someone else’s expectations get the better of me and forgot, for the major part of my life, what I really wanted to be. It irritates me because I never ever told anyone what I wanted to do, not even my own self. I think I simply didn’t dare to dream about it because it was something unimaginable as no one around me was doing it. So I thought I’d finally answer this question once and for all.

How I Started Writing

Unlike most writers, I was not a child-writer (children who start writing beautiful – or shitty – stories from an early age.) Though I did love reading, or to be more specific, I loved stories. Cinderella was my ultimate favorite, not because she ends up being a princess but because, unfortunately, I was able to relate to the first half of her life more than I can still relate to anything else. I belong to a dysfunctional family and suffered from dysthymia from a very early age so I knew how being unloved and unwanted felt. I used to think that I was living in Cinderella’s life.

I used to spend almost all my time in pretend worlds. I used to line up all my dolls and bears and other toys upon returning from school and pretended to teach them whatever I learned in my classes that day or play with my dolls and barbies cooking food with my kitchen sets and feeding my deal mute friends. I was an introvert and was scared of letting people in my life openly so I have barely any friends. Not to mention, I had no best friend. So, I used to pretend that my 1.5-acre tree-covered property was a long-forgotten island where I lived alone. My father was either busy with his business, or friends or drinking and my mother with her special friends, so you see I had a lot of time to myself as I was barely ever in their company.

I had a very elaborate and distinct imagination and as a result of spending most of my time in my own imaginary worlds and being busy talking to either with myself or my toys, I was rarely sad (which might seem odd if you belong to a normal family but I developed a very complex defence mechanism at a very young age.) I used to share my sorrows with my dolls and never real people. My dad loved me but had barely any idea what I was dealing with and my mum simply didn’t love me (she has gone through some bad stuff in her life because of which she has detachment issues.) And as far as I remember I was okay, if not happy, being that way because it was normal for me to be this way.

So I knew that I loved stories and books (and movies), but I found out that I wanted to be a writer on a very special day. I was in 6th grade and as per my school’s curriculum, we had our 1st ever library period in the very first week of starting of that school year.  I was completely mesmerized because my school library was very different than my local library – it was my school library (you know! SCHOOL LIBRARY!)

Of course, the first thing that I wanted to read was a good book, but our Sister Principal gave strict instructions to our Librarian to let us pick books from a particular shelf only. That shelf had some educational mags and some similar uninteresting things and I hated the idea of being restricted. And by that point, my enthusiasm for being in the school library considerably dropped and I began missing my local library.

So like everyone else in my class I picked up whatever I could get my hands on and began leafing through it when all of a sudden I came across a poem. It was named something like The Tree (I’m not sure now), but I was so impressed by that poem that I wrote it down in my new ‘Library Notes’ notebook. Which was huge for me because until that day I never really cared for poetry.

After that I read it again and again, switching between the mag from which I copied it and my notebook, for the entire period. After that whenever I used to go to the library (once every week) I used to copy down the poems or articles I found interesting. The thing was I wanted to write so badly that having no idea how to write something on my own, I started to copy whatever I thought was good.

And so on I kept doing till finally, I had to give up those mags for studying references. That was the first time when I actually contemplated becoming ‘one of those people who write all this’ and I remember thinking, after all, there have to be a few dedicated people who wrote stuff for these mags and books? You see, for whatever reason, I was simply not aware at that age that writing was an actual career option.

After that year I lost my normal library routine because I got caught up in studying to fulfil my mum’s dream of becoming an engineer. And thinking that writing was simply not a career option for me, by any stretch of the imagination, I never ever told anyone about it (mostly because I buried this dream so deep inside of me that I barely thought about it again.) That is until I started reading again (and that was after my parents’ divorce at the age of 16.)

I started reading and my grades started dropping (much to my mum and step-father’s annoyance.) Still, I kept on reading because that was the only escape I had. I read most of Sidney Sheldon’s books and then started reading Nicholas Sparks. After that, I read Twilight and a few other books. Due to the scarcity of time, I used to read only at nights taking out half an hour or one hour out of my study time which would always end up in 4-5 hours of reading.

After that, I never really left reading, no matter how my grades were affected (and this is something I’m really happy about and proud of.)

Then I got into Electronics and Telecommunication Engineering and finally coming to my senses, I rebelled against my mum and step-father in my 2nd year of engineering and dropped out of it, and married Vishal. And after that, everything changed forever because I finally started thinking about what I really wanted to do. Still, it took me some time to finally realize that I can become a writer and start writing whatever I wanted to. So after I did 3D Animation Film Making I got straight down to it. I created The Reading Bud and thought of starting with baby steps by writing reviews of books I read.

And then later I started this blog to see if I could write something original, and here I am 6 years down the road with a published novel of my own and working on another 3 books.

Takeaway:

Don’t be afraid of dreaming because that is the way you let the Universe know what you want in life. Dream, imagine, believe and work towards it with all you’ve got and soon you will have what you had dreamt of.

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