omniscient POV

[mbeachbum]

I've been having a hard time with POV. I'd like to write from the omniscient (all-knowing) POV but I keep sliding into the narrow viewpoints of different characters from time to time. I know it might be easier to choose one of those characters for the POV. For some reason, though, I've just wanted to write from the all-knowing viewpoint.

Do any of you write from this POV? If so, do you have any tips or suggestions?

Thanks.

[DrRita]

Try using present tense. Example:

Sam tries the door but it's locked. Frustrated, he looks around to see if there might be a key somewhere nearby. He reaches his hand up and fingers the top of the door casing, closing his eyes as he gingerly runs his fingers along the ledge. Cursed with large fingers, he finds he's not able to feel his way and awkwardly knocks something from its perch. The object hits the floor and bounces twice before it comes to rest just under the chair.

Now once you've banged it out in present tense, then you can change the tense back to past or whatever and you've got your omniscient POV. Should work for you until you get the hang of it, then you can just do it from the tense you want to use.

[mbeachbum]

Thanks, Dr. Rita, for the suggestion. Now, I have another question. Say that I have more than just Sam in the story. Do I do the same type of thing for each other main character? If I don't, then won't my story end up being just from Sam's POV? Or am I missing something here? :confused:

[Phy]

Contemporary wisdom is to stay with insight from one POV character per chapter. That gives you variety without head-hopping. However, this rule, like all others, can be broken as long as you knock it out of the park. ;)

For my swashbuckling serial, I've made it a point to write for a variety of disparate viewpoints. I wrote the first chapter in the third person cinematic POV, where the 'camera' could see whatever the primary character saw, but I never ventured into anyone's thoughts. Following chapters ventured into classic third person omniscient, first person, and straight omniscient (able to tell the stories, with feelings and thoughts, from a variety of different characters).

Because I'm writing out my 'million words of dreck,' I've given myself free rein to experiment. It's been an eye-opening experience, and I feel I'm a stronger writer for the exercise.

[mbeachbum]

Thanks, Phy, for the tips. I understand how that could work for novels. What about shorter pieces? Must I keep one POV throughout?

[Phy]

Thanks, Phy, for the tips. I understand how that could work for novels. What about shorter pieces? Must I keep one POV throughout?

I would, yes.

The purpose of a short story is to achieve one primary effect. It's a one-shot heat-seeking missile designed to accomplish precisely one thing, and that as effectively and artistically as possible. For that, I'd settle on one POV and nail it.

The question becomes 'which POV do I choose' and 'whose thoughts (if any) do I follow'.

[dulcigal]

Mbeachbum: I actually found one writing-teacher who blasts everything BUT omniscient--John Gardner (The Art of Fiction). It might be helpful for you to check out his writing books, as most other teachers don't offer much more than "don't do it."

[Tarin]

This rule, like all others, can be broken as long as you knock it out of the park. ;)

Nicely said...

You're swashbuckling series sounds interesting. Is it published yet?

[Phy]

Mbeachbum: I actually found one writing-teacher who blasts everything BUT omniscient--John Gardner (The Art of Fiction). It might be helpful for you to check out his writing books, as most other teachers don't offer much more than "don't do it."

I have that book (among many others). Gardner is a bit old-skool, a classic teacher. Strictly limiting yourself to just Omniscient is perfectly acceptable, but also strictly limited. ;)

[Phy]

Nicely said...

You're swashbuckling series sounds interesting. Is it published yet?

The first ten chapters are available online at Ray Gun Revival (free registration required - shoot me an e-mail at johne.cook at gmail.com for expedited registration). The Adventures of the Sky Pirate is a monthly cliffhanger swashbuckling space opera tale and starts in Issue 02, and recurs in the even-numbered issues thereafter (for 36 months, after which I will likely take a breather, heh). The first chapter, "The Assassin of Patience Bay," is available here: http://raygunrevival.com/Forum/viewtopic.php?t=314

[dulcigal]

I have that book (among many others). Gardner is a bit old-skool, a classic teacher. Strictly limiting yourself to just Omniscient is perfectly acceptable, but also strictly limited.

Old school, yeah. But I did find quite a bit of gems there (and really appreciated his literary theory, plotting techniques, and excersizes), once I got past the swipe at non-university-schooled writers being ignoramus! I find it interesting to see takes on every angle or school of thought, as each author seems to teach narrowly and with emphasized opinions...

But no, I couldn't write all omniscient! Limit myself--never!

[Lookin^Up]

The problem with omniscient POV is that there is no focus of the story. Readers need to identify with the characters to really enjoy your book. I fully agree with Phy: one POV is best for short stories, but often in a novel there are several characters who, more likely than not, will not all be in every scene every time. My own book, Savage Worlds, has the attitudes of several key characters changing by the last chapter, and it was necessary to enter their heads to see how that worked.

This advice I received from Diana Lee, an occasional poster on this site. From her experience as an editor, she says to use omniscient very sparingly, and only if no one person can be in every place in the passage.

[mbeachbum]

Ok, everyone. You've given me lots of food for thought and I appreciate it. Now, I have homework to do - namely, experiment! :p Thanks!!thumbsup!