|I did'n wanna do it!|
But that is NOT acceptable for today's readers. Editors and publishers have told me that in no uncertain terms. So how to get around it?
I can't help myself, I write them in anyway. THEN I work out who is the most important POV in the scene and rewrite it according to that. This takes extra work, but it helps me to understand them better. I give each of the main characters and antagonists, their POV in turn. As to other characters who are needed, they simply shouldn't have their say from a POV. Even so, they can dialogue with a main character, so we do get to know what they're thinking...except when they're being sneaky.
Yes, I admit at first I didn't want to do it...but it works. I had to change my wicked ways and submit to the wisdom of the ages...well, you know what I mean. One important thing I have learned: assimilating my new objectives has caused me to stretch as a writer. And I think what really clinched it was when I read a book with multiple characters and I really didn't know whose story it was! It was well written and with beautiful description, but it left me confused.
Another thing that we agonize over. When to use omniscient voice. Here's a sensible hint from writer Celeste Ng: the omniscient narrator's role is to provide a framework and crucial context and provide outside information as needed. (Me: Agreed, but only in small amounts, eg. fading out from a scene like in the movies etc.)
.Have any of you writers experienced subtle or overt things you've had to change in your work? Or was I the only stubborn writer out there?
Rita Stella Galieh is a historical romance writer of two published books who blogs weekly at http://inspirationalromance.blogspot.com Signed Sealed Delivered is now available on Amazon Kindle. She and her husband both script and record radio programs broadcast weekly on FM stations around Australia.