| The first question some people might ask is why | | | | a hospital scene for example, when an accident |
| any writer would need to learn techniques related | | | | victim is bandaged like a mummy, and the |
| to Point of View. Doesn't POV automatically | | | | following could occur: |
| synchronize with the character's thoughts as soon | | | | John Davis blinked and could make out a doctor |
| as these feelings are expressed by the writer? | | | | standing next to his bed, staring at him with a |
| And isn't the POV of a scene easily identified by | | | | stethoscope dangling from his neck as if it were |
| an attribute or obvious implication? If it were just | | | | being held by two tentacles. John's thoughts |
| this easy. | | | | turned to his wife. With his lips quivering through |
| Shifting POV is Only a Problem When People | | | | thin slits of blood-soaked gauze, John tried to ask |
| Notice It | | | | about her condition, but no words came out. The |
| Some writers possess the skill to seamlessly shift | | | | physician wanted to leave, but realized by the |
| from one person's thoughts to another. As | | | | anguish in his patient's eyes that he couldn't just |
| readers, we won't give this the slightest | | | | walk away. He bent down to the broken man and |
| concern--as long as we don't realize when it's | | | | said, "Mr. Davis,--" |
| occurring. But even some of the most | | | | Certainly, for consistent POV, the penultimate |
| well-respected novelists have at times jarred | | | | sentence might have read: John sensed that the |
| readers with ineffective POV shifts. So what is it | | | | physician wanted to leave, but something told him |
| that enables a POV change to be acceptable in | | | | that he couldn't. The doctor bent down and said, |
| one instance yet not in another? | | | | "Mr. Davis,--" |
| A POV Shift Works When the Reader Finds it | | | | But is the scene as powerful if it's left entirely in |
| Desirable | | | | John's POV? Or would the scene work better if |
| Most writers make POV shifts in a traditional | | | | the penultimate sentence began a new |
| manner. They add a line space to signify another | | | | paragraph? I don't think so, but this is an individual |
| character's thoughts, or go so far as to start a | | | | decision that is highly subjective, and anyone |
| new chapter altogether. But some writers will | | | | would be justified in disparaging the illustration. |
| elect to show multiple characters' most intimate | | | | A Final Thought |
| feelings--within the same frame--without the | | | | Many learned people and grounded writers feel |
| slightest hiccup. These adept authors are able to | | | | that POV is right next to Showing instead of |
| accomplish this for a reason. | | | | Telling as an inviolable principal. And in most cases |
| POV shifts in the same scene are effective when | | | | this is undeniably correct. But there might be that |
| we have become so involved in our characters | | | | rare occurrence, such as in the example I |
| that we want to know each of their innermost | | | | offered, when a POV shift within a scene might |
| thoughts--immediately. Simply, the pacing and | | | | even be preferable. And I would hate to think |
| intensity of the storyline can eliminate what might | | | | that any writer would avoid providing the reader |
| otherwise create a problem for the reader. | | | | with insight into a another character because of |
| So What's a Writer to Do? | | | | POV convention. There are a lot of techniques |
| The ability to shift POV at will doesn't mean its | | | | available to enable the telling of a story and telling |
| importance has lesser significance, but there might | | | | it well. And it's obviously the choices that separate |
| not be the need to worship its inexorably, either. | | | | writers. |
| There may indeed be that one instance in a novel, | | | | |