Experimenting with Multiple Viewpoints in Fiction II

The second form of multiple viewpoints that I would like to address is that of the "Cinematic Shift." Practically, this is similar to the "Convenience Shift", which I described in the previous post. 

In convenience, the author introduces viewpoint shift and multiple viewpoint characters as it furthers the plot. As I mentioned, the main flaw with it is the temptation to introduce too many viewpoint characters.

"Cinematic Shift" is a more planned approach. It receives its name because it is the way that films tend to work. Lord of the Rings is a prime example of this. In The Fellowship of the Ring, Frodo is the only real viewpoint character. Once we are at The Two Towers, there are three groups of viewpoint characters. This becomes more like two groups of viewpoint characters by The Return of the King. 

"Cinematic Shift" is the idea of carefully planned shifts in viewpoint to add suspense and complexity. 

I am currently working on this in one of my WIPs. In the novel, there are two viewpoint characters. It's hard to explain without talking about the plot, but it is more-or-less planned to use this type of shift. The "camera" flips back and forth (thought not in every chapter) from one character to the other. In a couple of chapters at the beginning, and the entire end, these characters are together. That introduces the main flaw, as I see it, in "Cinematic Shift."

In a film, you do not know the thoughts of the characters, for instance. Sometimes the film makers try to show them to us, but that tends to fail. In writing, though, we usually do see the thoughts of the viewpoint characters. We know "personal" things about them that a viewer would not see if the book was made into a movie. 

We see that in a novel it does not work to just observe the characters. But say you have two viewpoint characters sharing a scene? When I was young, working on my first stories, I never gave it much thought at all. Of course you jump around. Right? But in more recent times, my personal research has shown that it can be a source of enmity between authors. Some writers might think that it is too jarring. Others (such as myself) do not worry much about it.

This is one of the times when the author to make the decision. Some of your readers will like the way that you choose. Others will not. That's the way it always is.

There are a couple of important things to keep in mind. One, do not merely write the same story twice from the perspective of two different characters. And, two, let the reader know somehow how your viewpoint shift is going to work.

In first person narrating, there are a host of additional concerns, as two (or more) viewpoint characters might even be switching narrating the story! But that is a topic for later discussion. 

Experimenting with Multiple Viewpoints in Fiction I

Multiple viewpoints are a useful way to add layers and complexity to a novel--as long as the transition and type of shift are written well.

Up until recently, I had never planned to write a multiple-viewpoint novel. The thing that came the closest to that was A Corgi Tale, a couple of years ago. At several points in that story, one of the three main characters is separated from the others, and the third-person narrator describes their thoughts and actions one at a time.

That sort of shifting viewpoint can be thought of as "Convenience Shift"--characters are put into the spotlight as it works to enhance the plot. This works well enough, though there is one major problem with this type of multiple viewpoints. That is, that it is possible for a writer to create a character just for a single scene, and then have that character as the narrator. 

On a forum, one of the members posted something that has stuck with me for months. An author (I don't think it mentioned who, but if it has, I have forgotten it) created the character of a janitor in a building. This janitor became the main character for a brief scene. The reader "observes" this new viewpoint character as he cleans, opens a closet, and is murdered by a criminal hiding in the closet. That was the entire use of the janitor, even as a viewpoint character!

That scene would have worked if there had been another character, one that was a common viewpoint character, that had observed the murder.

Writers, viewpoint shift can be hard for the reader. Do not change viewpoint without a good reason for doing so. And there may well be a good reason. Just make sure that it is worth risking possible confusion and frustration for your readers!

Tomorrow's post will describe the two other types of multiple viewpoint.