Does anyone mind if I ask a long, boring question? What I have been wondering about (in relation, in fact, to a new novel I am starting and then stopping and then starting again) is how many viewpoints we can expose readers to, and how quickly, and still hope to engage them?

I'm not talking about multiple first person voices - which I agree can be more demanding - because I always write in third person. I'm just wondering about different narrative perspectives - using the POV of different characters. In my last completed novel I actually (for the first time, for me) stuck to one POV throughout, so I think I may have lost the 'feel' for moving between heads. In the one before (a romantic comedy) I also kept it simple and did the traditional thing for romantic fiction of just moving between the viewpoints of the two protagonists - 'his 'n' hers'. So although in that one I even split the first chapter (and most of the chapters) between the two of them, it was straightforward and I could count on its feeling like a familiar format (POV-wise) to the reader.

the one befire that I did use multiple POVs (still third person) - there were five main viewpoint charcxaters and some little bits in the POV of other minor characters. But I stuck to one POV for the whole first chapter, and a different one for the whole of the second... Those two then carried the brunt of the narrative for most of the first quarter of the book, to get the reader used to them, so to speak.

In the one I'm just starting, the way I find it wants to be told involves having THREE characters' viewpoints on the opening events. Same events, same place, same day, just different bits of what happens told through the eyes of three of the actors (all still third person, I must emphasise). My question is, is that too much to ask, too early in the book (first one to two chapters)? (I'm thinking of probably five or six viewpoint characters in total, at this stage.)

As a reader, can you 'get into' the voice and perspective of more then one - or more than two - characters - that early in a book? Or do you like to let one voice bed down for a while - at least a chapter, say? - before the author asks you to see things through someone else's eyes? And how have you handled the introduction of multiple viewpoints, as a writer, if you've used them? I'd love to hear people's thoughts. Can you think of any books you've read where there are several POVs introduced early on in the book?

Rosy x

Great timing, Rosy - I too have been wondering this very thing. I have four POV characters, one in first person, and I'm thinking I may have taken on too much here. On the fourth attempt at beginning it (!), I've got a prologuey thing in which I introduce two of the MCs meeting when they were teenagers. Then I'm moving to the present day, staying with the POV of one of them and introducing a third through his eyes. After that, not sure... Will the sudden introduction of a first person character jar? Who knows?
My last one alternated between two POV characters, but then introduced a third half way through the novel. I really think that all we can do is write it and see how it feels. It's certainly a great challenge to create characters and voices which strong enough to engage.
On a recent course, we were given the opening of Marian Keyes' latest, This Charming Man, which begins with four different POVs - a quote from each one about the same event. Don't know what happens after that, but might be worth looking at.
But I think it's really good to challenge ourselves, whatever we eventually decide.
Susiex

You could read Phillip Reeve's Mortal Engines series. He has loads of povs, both protags and antags, and even slips in present tense and the second person, and carries it off deftly.



- NaomiM

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And there's Nick Hornby's A Long Way Down with 4 alternating povs, giving their views on the same scene on top of the tower block.

I tend to use multiple POVs - whether I carry it off or not is for others to judge.
In book three ( which is fresh in my mind ) I have six, however the MC always has the most air time. Giving each their won voice is the challenge, though this is made easier by how different the characters are : one is a teenaged Asian girl, one is a middle aged Irish copper etc Whenever its their scene I try to write it entirely in their voice. And I like to use present tense for younger characters as that seems to fit them; more immediate, less refelctive. Past tense for others. Whilst I don't know that the reader clocks the change of tense it changes gear for them, letting them know we're moving in another direction. Does that make sense? I also have one first person POV at the start of each chapter. Added together these passgaes tell a story in themselves, seemingly unrelated to the rest, but it all comes together in the end.
Crime books often have complicated structures and I really don't think readers find them at all difficult so long as they are well crafted.
hb X

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I think when it works least is when the writer slips into onmiscient narrator within POV. Not because that can't work per se, it can, but only when there are long tranches of the same POV. If you are slipping and sliding between POVs, they need to be strikingly different, so x is totally self centred and would not notice things so you cannot slip in observations via the omniscient route. Well of course you can, but then all the POVs morph.
It's the engagemnet point, really. We can engage very early and very well as long as we are totally immersed.
HB x

The main problem with Hornby's A Long Way Down is the lack of enough differentation between the voices, with the exception of the teenager, Jess. He probably should have stuck with just two.
Phillip Reeve has a distinct set of characters, and tends to kill one off before bringing out another, very similar, one so he doesn't end up with too many similar 'voices'.

I like multiple viewpoint novels. They bring variety and energy to a story. Three different takes on a single event is quite a challenge, though. I'd maybe not switch within the single scene but tell the scene in three distinct ways - maybe one central viewpoint as scene unfolds. Second fills in gaps revealing a distinctly different take on events and then maybe, in separate section, third shows surprising shift as he thinks it over whilst milking his cow the following day etc, so there is variety but not confusion. or have them in three different scenes, alluding to a single event, showing radically different slants on it.

Jodi Picoult is a useful author to look at for narrative shifts. Haven't read much of her recent stuff as it all seems to be about ailing children but The Pact is good for viewpoint shifts in 3rd person.

Thanks, all, for those great suggestions of books to look out. The Hornby must be the only one of his I haven't read!

At the moment I am toying between the first chapter being three short scenes, all showing the same events from the three character perspectives - or sticking to two accounts of that scene i chapter one and thenand having chapter two continue in one of those two voices, before flipping back in chronology to have the third viewpoint character's take on the first scene. the latter would consolidate the main protag's voice in the reader's mind early on - but I never normally mess with chronology, so am a bit scared of trying it!

Maybe I'll write both versions and then decide...

R x

There is also the movie Vantage Point, where the same event is told from different view points:

http://www.amazon.co.uk/Vantage-Point-Blu-ray-Dennis-Quaid/dp/B0017LGEYW

I love the idea of a structure where you see the same event from differing view points. It;s so telling what one narrator leaves out. In a book by Karin Slaughter, called fractured you are introduced to the family set up in first person by an all round good guy, cop, whose wife is always on at him.
Then through the other characters we learn he is a total liar, an abusive womaniser, and altogehter a nasty piece of work. It's very clever.
Jodi Picoult is indeed a master of this also. My sister's keeper tells the narrative through multiple first person, each chapter taking the story forward from a differing view point. The voices are superbly distinct.
Ditto Birthday Boys by Beryl Bainbridge tells the Captain Oates story from multiple first person view points changing by chapter. Again a wonderful study in POV.
Can you tell I'm a bit of a geek about structure?
HB x

I didn't like the different voices in MSK, although I agree they were distinct. I found it quite frustrating to be taken so far and so frequently from the MC's voice, which i really liked. Sorry - not very helpful, and probably just personal preference.

Popsicle - I think that's a very common feeling among readers. We want to identify with one person who is obviously the MC and whilst we're happy to hear about others we want the main story from the main character.
With this is mind I always give my MC the main part in the play. I never stray away from her for more than two scenes, and her scenes are always longer.
The structure ends up like a knictting pattern.
MC, character 2, character 3, MC, character 4, MC, character 2, character 4, MC. You get my drift. I don't even have to remind myself now, it just seems 'right'.
In fact, during the editing stage I am always resistent to suggestions from my editor which spoil my pattern. So she'll say something unobtrusive like 'how about a scene here from the police man's POV' and I'm all, 'Noooooooooooooooooo.' Because I don't wnat to push the MC away any further.
HB x

I've just read A S Byatt's latest - The Children's Book and that has many characters and many POV's but, because the characters were all so different and so engaging, it really wasn't a problem at all. The story just needs to be strong enough to carry the reader through and link everyone together sucessfully, but it shouldn't be a problem if there's sufficient clarity and impetus in the plot.

The story just needs to be strong enough to carry the reader through and link everyone together sucessfully, but it shouldn't be a problem if there's sufficient clarity and impetus in the plot.

Sufficient clarity and impetus. My WIP has multiple viewpoints. Think I might stick your comment on my wall, SB. Perfectly put.

I'm struggling with this a bit at the moment as my WIP opens with a big event which brings lots of the main characters together, but which also has a few characters who then disappear - ie they are functional to do with the opening, rather than characters who then come back throughout the book. Sorry to be vague and cryptic. But it means that I'm worried that it's going to feel like introducing too many characters all at once - especially as the prologue ends on something that later becomes a twist, so it's not 'paid off' as such until quite alot later.

A big chunk of the book will then be told from one character's POV, and then about halfway through other characters will probably take up residence as POV characters - the main character is 60 when the book opens, basically, and her family and friends are gathering to celebrate her birthday; then we go back to her childhood and through her life, bringing it back up to the present day - so as her children get older there will probably be sections from their POV; maybe one or two from her parents and sibling. Hmm. Lots to ponder. I think I'll pick up some more Jodie Picoult as I love thinking about structure. I have something quite structurally complex planned for the next one after this as well.

Hi all.

Just thought I'd add my name to the list of people starting out with a multiple viewpoint novel. This is my first attempt at an adult novel for about six years. Part of the attraction is to play with different characters perceptions of each other - the sort of thing you get when one person's fairly innocent remark is totally unacceptable to another, or how some people can be viciously manipulative while coming across as all sweet and innoocent. So far, I've written a rough outline - about a page - so I really am just starting out. I have read one Jodi Picoult novel - MSK - a few years back, but luckily, I have a wife who has loads more. I think I might read the lot because this is a totally new area for me - and the central theme of the story is a sick child with a dilemma for the parents .

I think I'll pop over the women's writing group and ask their advice on a few things.

Colin M