Perspectives: A Novel View

A big decision in novel-writing concerns which perspective you'll present to unfold the story and/or develop the characters you have in mind.

To find what will work best for your book, consider these questions:

• Whose story is this?

• Can your main character tell the story well or will someone else’s view be needed?

• Would a single viewpoint or multi-perspective be better?

• As a reader, which do you prefer?

My favorite novels almost always center around the viewpoint of a single person I identify with or admire such as Anne of Green Gables, Mary in The Secret Garden, and Christy. In addition, I like to observe people and discover what shapes, guides, and motivates them. So, it’s pretty much a done-deal for me to write from a single viewpoint, staying in the eyes, ears, knowledge, and feelings of one main character who intrigues me and has her or his own story to tell. Therefore, I mainly have to decide whether to use first person (I, me, we us); second person (you) which isn’t likely in my case; or third person (she/he, them, they.)

Regardless of persons, the advantage of this single view is intimacy and immediacy. i.e., You feel as though you’re there as the story unfolds and primary character matures. This makes the book your story too as you read. Or, equally important, this gives you an idea of what goes on in the heads of people like and unlike yourself.

In describing my book, Hand Me Down the Dawn, which I recently revised for its second printing, I’d have to call the novel “character driven.” i.e., The motivations, choices, introspection, and action come from one main character, who’s dealing with a theme of trust as she overcomes hard times and enjoys life-changing experiences in this inspirational romance novel set in Florida in 1895.

That’s the story behind my story, but let’s look at a different perspective on perspectives. In his newest novel, Dancing King, Glynn Young needed multi-viewpoint characters to keep his action-driven story in motion. Besides expanding the view for readers to get a fuller picture of the story movement, this treatment effectively produced a potential television mini-series, especially since the book is the third in a trilogy.

But I wanted to know what Glynn’s thoughts were and why a multi-viewpoint story came to him. When I emailed to ask, he wrote, “It's a big story, ‘big’ in the sense of complex. It's the story of a young man unexpectedly finding himself and his family in an exalted position.”

The size of your story and its theme, purpose, and reach can help you determine the perspective that will work best for your novel.

In my novel, for instance, a young woman grows up and learns what love is. And so, telling her story from her point of view makes sense.

In Glynn’s trilogy, the story of the main character – a priest-turned-king “is the heart of all three novels. In the first, it's part of a larger group of characters' stories, but he remains at the center. In the second, there is a period in which someone else must tell the story because he's incapacitated. In the third, the story is so large that it can't be told by just one narrator. To tell it properly requires the key players.”

The overall effect reminds me of an action movie that cuts from one character and scene to another as each episode interlocks to create a larger story with a huge theme: the need for political and religious reform. If, however, a single character had presented such a global story, it would most likely come across as either too cerebral or too slanted to maintain balance, and so Glynn's novel is well-suited to a multiple view.

Character-driven or story-driven (action)…? Knowing which category your novel best fits will help you to find perspective and get your writing off to a good start. Then, you can let your main character or main story idea lead you to The End.

Mary Harwell Sayler, ©2018

Dancing King, paperback



Hand Me Down the Dawn, paperback



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A time to write and a time to be a sponge

When I asked a group of Christian poets and writers what one thing they need most in their writing lives, a common response was “time!”

The King James Version (KJV) of Ecclesiastes 3:1 tells us, “To every thing there is a season, and a time to every purpose under the heaven,” and then that entire chapter goes on to put all sorts of usages of time into perspective.

As poets and writers in Christ, we also need to know, there’s a time to pray and a time to listen…

• A time to read and a time to study

• A time to revise and a time to edit

• A time to soak up everything around us

• A time to write again.

Keeping a notebook or laptop handy can help even snatches of time become productive. For instance, when I wrote inspirational romance novels, I worked out my best dialogue while hanging clothes on the line. Now, my best poems usually come when I’m watching wildlife from our deck, whereas insights for devotionals often arise after discussing the Bible with Christian friends. The important step then is:

Take a sec to write it down before that inspired word is forgotten!

These little writing times might not multiply quickly, but they do add up! For instance, commuting to work can be a good time to work out a plot or record notes about a new project. Washing dishes might provide time to ask, “What do I feel drawn to write?” then listening to the answer that fills us with the most enthusiasm, so we can hardly wait to get to it.

Interruptions can produce insights too, though, for, in God, no time is wasted. If words seem to plod along, it just might be time to take a break, elevate those tired feet, and get refreshed enough to write again.

Mary Harwell Sayler, ©2017

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10 Ways a Writer’s Work Has Changed

Back in the different old days (neither good nor bad) a writer’s life didn’t focus on marketing or building a platform or connecting with other writers.

1. We had no Internet to build a platform. We did no marketing. We “got known” if we wrote well, consistently placed manuscripts with publishers of books and periodicals, then waited for word to get around – mouth-to-mouth or through ads, book-signings, or other events our publishers planned and paid for. For example, one publisher flew me to company headquarters to talk about writing with school children who approximated the ages of my readers. On another occasion, the publisher of my 7-book devotional series sent a make-up artist and photographer to my modest home for a photo shoot! The picture chosen became a huge poster placed beside my books in bookshops and now in my basement.

2. No Internet also meant no social sites, so those of us who lived in small towns or rural areas almost never had contact with other poets and writers except through writing conferences or by reading publications for poets and writers. Basically, we lived in a vacuum, worked in isolation, and, in solitude, prayed a lot.

3. To find potential publishers, we went to libraries, bookstores, or newsstands to see who was publishing what – a task I highly recommend poets and writers continue to do today by visiting Internet bookshops. This still goes on the “different” list, however, because, once we had found potential publishers, we had to write letters via snails (known then as “first class mail”) to ask for writers’ guidelines. If we ever wanted to hear from them, we included an SASE (self-addressed stamped envelope) to ensure a reply.

4. Few of us could afford to buy each magazine that interested us or every new book a book company published, so we had to request sample copies of periodicals and current catalogs of book titles – again enclosing an SASE with every request. We would then study, study, study each publication to see where we might fill a gap in their line yet stay in line with that particular company’s needs and requirements – a practice I still recommend for anyone who wants to be published by an established publisher, but now, by studying the samples and information on their websites.

5. In the days when libraries had only books, we would read, read, read everything we could find in our favorite genre. If our writing required research, that, too, meant hanging out in a public library, checking the card catalog index to see if the book or journal needed was on file and, if so, where it was located. Since we weren’t always allowed to check out reference materials to take home, we had to ask the librarian to find the publication for us and let us see it long enough to take copious notes and document the name, title, and page number(s) of each source. Another option was to pick up the phone to call on the expertise of an expert, who inevitably lived in another town. Often, this resulted in a horrendous long-distance charge on our next telephone bill, whether the book or article sold or not.

6. Our biggest expenses, though, were office equipment and supplies: a desk, an electric typewriter, well-inked ribbons, reams of 20 lb. paper, carbon paper, and postage.

7. Working on an electric typewriter meant using white-out to correct a mistake then trying (and never succeeding) to erase the same mistake on the carbon copy. If we had too many typing errors on a page, we had to retype. Worse was revision! If we added a full paragraph or scratched through lines, not only did we have to retype that page but those following as the pagination changed.

8. Since most editors wanted an approximate word count, we had to count words – now done by clicking “Review” and “Word Count” in Word software. Then, it meant the ole one, two, three, four, which got tedious if a contract required 100,000 or more words! (Usually, I shortened the process by counting the number of lines and average words per line then multiplying the two.)

9. Writing assignments came with very specific instructions on how many characters were allowed per line. When writing church school curriculum, for example, I had to count – not just the words for the whole manuscript – but the number of letters on each line.

10. Writing freelance also involved querying the editor of the first publishing company on the list, and if s/he wrote back with interest, mailing the article or book manuscript – with SASE – first class. If the editor approved the work, a contract followed – also by mail. If the manuscript was rejected, it came back dog-eared and smudged, which, yeah, meant retyping the whole thing. That alone was an incentive to do the best we could do the first time out. Praise God, I managed to place several books and a few hundred poems and articles that way until my computer and the Internet made my work much, much easier. But working in cyberspace altered everything forever – at least until the next big round of changes.

Mary Harwell Sayler, poet-writer, © 2016

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How to tell a story

In poetry, words with multiple connotations can bring an air of mystery. However, in a short story or novel, that ambiguity doesn't work well – and even less so in science-fiction. Sci-fi needs to be grounded in realism to be plausible and interesting.

Generally speaking, clarity comes by briefly identifying each person, situation, and setting as you introduce them in your fiction. Keep in mind though, the story is the point. Then keep the action in each scene moving without interruption.

Details can be woven between scenes with story movement occurring as it happens. In other words, show movement in the moment, rather than telling about it before or after the event. This develops your story in a logical time sequence, which helps to clarify what's happening, when, and to whom.

 

Mary Harwell Sayler, ©2016

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Tips on writing nonfiction

• Pick a subject that clearly relates to the theme and purpose of the publication or blog for which you would like to write.

• List the points you want to make. [Hint: Give your ideas time to surface.]

• Select the most significant, timely, and/or freshest points.

• Arrange those points in order of importance.

Next, evaluate how long your article will probably need to be.

If you have one main point or fresh perspective you want to discuss in, say, 200 to 300 words, that would be about the right length for a blog post.

If you have 3 to 5 points you’d like to develop in, say, 1500 to 3000 words, that could be a magazine article.

If you have a long list of points that will require research and/or take time to explain, you might have the makings of a book!

If you’re interested in suggestions on ways to develop each point, let me know in the Comment space below, and, Lord willing, we can talk about that next time.

by Mary Harwell Sayler, © 2015

Besides a couple dozen books in all genres for Christian and educational markets, Mary has placed over 1,500 articles, devotionals, and other short manuscripts with traditional and indie publishers. She also wrote the Christian Writers Guide e-book on writing, revising, and publishing to help you in your Christian writing life.

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Step into the New Year: writing, revising, and marketing

Preliminary Steps:

Study classical and popular works in your favorite writing genre.

Consider what draws readers to a particular poem, story, article, or book.

Study magazines and other publications you like to read.

Get familiar with the book catalogues of publishers whose work you like.

Consider potential gaps that your story, poem, article, or book might fill.


Writing Plan:

Plan your fiction or nonfiction manuscript before you begin.

Decide on a theme, purpose, and reading audience.

Thoroughly research your topic or story setting.

Outline each article or nonfiction book.

Write a synopsis of your novel in present tense.

Both the synopsis and the outline should be from 1 to 5 pages.


Writing, Revising, and Marketing:

Let your writing flow without criticizing yourself, then let your work rest.

Later read those pages as if someone else had written them.

Read your work aloud and notice if anything seems “off.”

Pinpoint a problem, and you will usually find a solution.

Revise to make the manuscript your best before you send it to a publisher.

Find and follow writers’ guidelines located on the company's website.

Query several editors at once about an idea or book proposal, but when you submit your actual manuscript, send it to only one editor at a time.

When mailing your manuscript by postal service, enclose a self-addressed, stamped envelope (SASE) to cover its potential return.

Keep track of where, when, and to whom you mailed each manuscript.

If you don’t hear back in 3 months, follow up with a brief, polite email.

While you wait to hear from one editor, query another editor about your next idea.

Repeat the above steps.


©2015, Mary Harwell Sayler 

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Knowing what and when to write

Most writers wonder where or how to start when they first begin to write, but seasoned writers also have difficulty discerning which subject or story idea to focus on next. Assuming you have prayed for God’s guidance, just begin with whatever God brings to your mind. For example:

• Make a list of the Bible verses that speak to you often.

• Consider your Life Themes such as encouraging people or ministering healing to the church.

• Keep a diary, notebook, scrapbook, or journal.

• Practice journaling in a written conversation with God.

• List stories in your life that might make illustrative works of fiction.

• Start an "Idea Folder" on your favorite topics, interests, and places you would like to go.

• Jot down dreams, thoughts, and insights that come to you on awakening.

• Write down every idea God brings to mind for a story, article, or book.

If an idea or subject comes up again and again, prayerfully consider this as the start of a writing project, then let your imagination play. Have fun with the possibilities. Get comfy. Relax. Focus on a central topic or story idea, then let your thoughts flow. Write down everything that comes to mind without censoring yourself or eliminating any possibilities at this point. Later, you can cut or insert words as you revise.

Why wait? Writing and editing involve two separate tasks and actually use two different parts of the brain. By separating those aspects of your work into different time slots, you’ll avoid short-circuiting yourself!

Writing takes time. Revising takes time. So you might be wondering what you’ll do when you have no time to spare. Simple! Use snatches. A minute here or a half-hour there, waiting around for something, can offer writing moments you might not have realized were yours. For example, consider how “Tweeting” in 140 characters sounds inconsequential, but spending only a few minutes a day on Twitter for four years gave me 147 single-spaced, typewritten pages!

Although a well-written manuscript consists of more than tweets, notes, and fleeting thoughts, a little time at the beginning of a writing project can save you all sorts of time (and grief!) as you proceed. For example, almost every type of writing needs an underlying theme and purpose with an appropriate audience in mind. A favorite Bible verse can provide that theme, perhaps, with the purpose of helping to increase a reader’s faith in God, Christ, the church, love, forgiveness, or biblical principle.
“Wear steadfast love, kindness, and truth around your neck. Write them on your heart, and you will have a good reputation with God and with people too. Trust the Lord with all your heart, and do not rely on what you think you know. Remember God in everything you do, and the Lord will show you the way,” Proverbs 3:3-6

© 2014 Mary Harwell Sayler, all rights reserved. This above post is an excerpt from the Christian Writer's Guide e-book.

Christian Writer's Guide, Kindle e-book on Amazon


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Time in fiction, nonfiction, and poetry

• Let a narrative poem, true story, novel, or short story unfold according to its time sequence.

• Avoid flashbacks or use sparingly.

• Avoid distractions or unnecessary interruptions.

• Let time flow.

• In nonfiction, arrange each point chronologically, sequentially, or logically in the natural order of development.

• Make your points then move along from one point of interest to another.

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© 2014, Mary Harwell Sayler - poet-author of published books in all genres, and a lifelong lover of Jesus Christ, the Bible, and the church - wrote the Christian Writers' Guide e-book with you in mind.

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How To Wear A Poem

Regardless of your shape or size, putting on an appealing poem begins with a foundation of naturally firm but willowy lines or with an artificial yet artistic means of getting those natural lines into a traditionally pleasing shape. Various schools of poetry may disagree, but either way works. So, if you’re a highly gifted poet with a natural eye or ear for poetry, you and free verse will probably go nicely together. Or, if you’re a highly gifted poet with a natural eye and poetic ear, you might dress up well with an extraordinary use of traditional verse forms.

Before you wear yourself out with a poetic style you don’t like, consider what types of poetry you most like to wear when you’re reading. Is this the type of poem you would like to put on or show off or quietly carry over your shoulder like a shawl? Do you look good in those colorful images? Do you like to put on your dancing shoes of rhyme or regular rhyme? Can you pull off wearing bling in the sometimes flashy patterns of in end-line rhymes? Or do you prefer to tone it down by scattering rhyme freely into free verse, but not in predictable patterns?

If you’re more concerned about content, rather than a stylish form, you can tailor that preference to yourself too, wearing either free verse or traditional metered poetry such as the sonnet, villanelle, or sestina. It just depends on what appeals to you. So whatever you want to wear, be sure the poetic style fits you.

As you learn to wear your poems well, check the mirror for masters of that particular form or type of free verse. Don’t just study contemporary poets whose work you like the look of, but also scan old catalogs of classical poets who wrote with style throughout the centuries. Even if you opt for the bargain price of packing rhyme, rhythm, imagery, and social commentary into the vintage pattern of a sonnet, as countless poets have done, your voice, your fresh idea, your apt comparison, your poetic face can make an outmoded fashion look new and “in” again.


[For more about writing, revising, and marketing your poems, visit the Poetry Editor blog .]

How To Get Published

Whether you feel drawn to writing poetry, fiction, nonfiction, or children's books, you eventually might want your work to be published by someone other than yourself, but how do you go about it? 

Here are some tips on submitting your work to potential publishers:

• Notice the publishers of books or magazines that you enjoy reading.
• Do these publishers have a website? If so, study the titles in their book lines and the poems or magazine articles in their archives.
• Make a list of publishers whose work seems most in line with yours.
• Study and carefully follow the writers' guidelines on each company's website.
• Submit your complete manuscript or batch of 3-5 poems to one editor at a time.
• Keep track of where and when you sent your work. If you do not have a response in a few months, follow-up.
• While you wait to hear about one manuscript, start another.
• If the editor sends back your submission, read it aloud. Listen for any rough spots. Revise as needed, then submit your poems or manuscript to the next potential publisher on your list.

(c) 2009, Mary Harwell Sayler; updated 2021