Various

Points of

ViewREPORTED BY:Eleonor P. GaaJang YosebBSED-ENGLISH

Point of View

Point of view• is the perspective from which a story

is told. (p.o.v)• is the way the author allows you to

"see" and "hear" what's going on. • The perspective from which a

speaker or writer recounts a narrative or presents information.

Types of Point of

View

First Person• the narrator tells the story as something

personally experienced, "I" speak of "my" adventures and thoughts.

• relayed by a narrator who is also a character within the story.

• the narrator's story revolves around him-/herself as the protagonist ;and

• allows this protagonist/narrator character's inner thoughts to be conveyed openly to the audience, even if not to any of the other characters.

• I, We

I jumped down from the pony. A sharp stab jolted my ankle as I landed. Damn, I thought, all I need is to have my leg give up and I'll be out here in that woods with that thing, unable to fight it or get away.With a sudden quavering scream the pony reared, its nostrils flaring. I barely had time to duck aside as it cut at the air with its hooves before subsiding, shuddering, to all fours.Suddenly I heard an eerie sound from the thick bush south of me. At first it sounded like someone dragging a dead horse through the undergrowth, but the sound was accompanied by a faint liquid pulsation as if someone was blowing slime bubbles and popping them.

Second Person• the narrator refers to the reader as "you",

therefore making the audience member feel as if he or she is a character within the story.

• is often paired with the first-person narrative mode in which the narrator makes emotional comparisons between the thoughts, actions, and feelings of "you" versus "I".

• You, Your

"You are not the kind of guy who would be at a place like this at this time of the morning. But here you are, and you cannot say the terrain is entirely unfamiliar, although the details are fuzzy. You are at a nightclub talking to a girl with a shaved head. The club is either Heartbreak or the Lizard Lounge. All might become clear if you could just slip into the bathroom and do a little more Bolivian Marching Powder. Then again, it might not. A small voice inside you insists that this epidemic lack of clarity is a result of too much of that already.“ --- Bright Lights, Big City by Jay McInerney

Third person• Here the narrator does not participate in the

action of the story as one of the characters, but lets us know exactly how the characters feel. We learn about the characters through this outside voice.

• involves directly stating who is being written about without using the words I, me, we, us, or you.

• Omniscient, Limited omniscient and Objective• He/She, They

Third Person-Omniscient

• “all- knowing”• the thoughts of every character are open

to the reader• The narrator's awareness can range

anywhere for information that adds to the story.

Will jumped down from his pony. A sharp stab jolted his ankle as he landed. Damn, he thought, all I need is to have my leg give up and 111 be out here in that woods with that thing, unable to fight it or get away.The scent of horror bloomed in the consciousness of the pony behind him. A white flash of panic exploded through it, and Will ducked aside as it reared, cutting at the air with its hooves before subsiding, shuddering, to all fours. Not three metres south of them, a slug-like mass, bigger than an elephant, heaved turgidly among the shadowy trees. "Food! Food! Food!" ran through its awareness, as the scent of warm blood bathed its sensors, and it began to ooze like a flowing shadow towards Will and the pony

Third Person Limited Omniscient

• Limited omniscient point of view is limited to one major figure,typically the protagonist.

• A narrator whose knowledge is limited to one character, either major or minor.

• the reader enters only one character's mind, either throughout the entire work or in a specific section

Will jumped down from his pony. A sharp stab jolted his ankle as he landed. Damn, he thought, all I need is to have my leg give up and I'll be out here in that woods with that thing, unable to fight it or get away. Suddenly, with a scuffle and a quavering scream the pony reared, its nostrils flaring. Will ducked aside as it cut at the air with its hooves before subsiding, shuddering, to all fours.As the pony quieted, he heard an eerie sound from the thick bush to the south. At first it sounded like someone dragging a dead horse through the undergrowth, but the sound was accompanied by a faint liquid pulsation as if someone was blowing slime bubbles and popping them.

Third Person Objective• is related as it might have been picked up

by avideo camera focused on the events

described.• The author, and the readers, can only

observe exterior actions and dialogue, and from that infer a character's thoughts.

Will jumped down from his pony, stumbling almost to the ground as his left leg gave way. Muttering to himself, he regained his balance, steadying himself with one hand on the saddle.With a sudden quavering scream the pony reared, its nostrils flaring. He ducked aside as it cut at the air with its hooves before subsiding, shuddering, to all fours. Abruptly, Will cocked his head to his left, looking southward towards the bushes. He stood in a strained position, as if listening for something or someone.

Character Dialogue and

Thoughts

Dialogue• is a literary and theatrical form

consisting of a written or spoken conversational exchange between two or more people.

Dialogue is not a conversation

The aim of dialogue in a novel is to fulfill one of two very distinct goals:

• To provide plot or character information.• To develop characterization and build the

depth of your characters.

Writing DialogueIn order to write effective dialogue, here are

the key points to understand:• 1. A character is made up of three elements;

dialogue, internal thoughts/feelings/beliefs and reaction to events. Characterization is the inconsistency of these three elements.

• 2. See dialogue as ‘beats’. That is short sections that alter a character and/or pass a specific piece of plot information.

• 3. Dialogue is all about action and reaction.• 4. You can only write effective

dialogue if you understand the internal motivations of your characters.

9 Easily Preventable

Mistakes Writers Make with Dialogueby JOANNA PENN

Mistake #1: Being Too Formal

Even if you’re a stickler for the finer points of grammar in your prose, real people don’t talk like textbooks. They say things like:

• Me and him went to the shops.• I dunno.• If I was you…

Mistake #2: Being Too Realistic

• Some authors, shying away from formality, go too far into making their dialogue real. They pepper every character’s sentences with “ums” and “ers” and hesitations. They have so many interruptions that it’s hard to figure out what’s going on.

• This might be a perfect transcript of how real people talk all the time – but it will make your character sound incredibly indecisive and uncertain to your readers:

“Um, I don’t really know if – actually, yes – er, let’s go to the, the park.”

Mistake#3: Using Obtrusive Dialogue Tags

A dialogue tag is the little phrase that tells the reader who’s speaking, like this:

• He said• She asked• I answeredSome writers worry that using “he said” and “she said” all

the time will get boring, so they start varying their dialogue tags:

• He opined• She screamed• I exclaimed

Mistake#4: Using Phonetic Spellings

• Tread very lightly here. If you’re peppering your character’s speech with apostrophes and creative spellings, it’s going to make the reader’s life hard. It can also give the inadvertent and unfortunate impression that you’re looking down on or even mocking that character’s region, class background, or race.

• Instead of writing words out phonetically, try using occasional dialect words, or unusual word order, to indicate a character’s speech patterns.

Mistake#5: Using Character’s Names Too

Often• In real life, we don’t tend to use other people’s names all that much when we’re talking to them – even if there are three or four people involved in the same conversation. We might say “Hi, Sue” when they arrive, or “It was great to meet you, John” when they leave – but we don’t use their name every time we address a remark or question towards them.

• In fiction, though, you’ll sometimes find characters talking like this:

Hi, Amy. Is there much happening today?Not much, John. Did you get those figures I needed?

Sorry, Amy, I forgot.

Mistake #6: Not Including Any Narrative

• Some writers, though, seem to get into “dialogue” mode and have line after line of dialogue, with no more support than a few dialogue tags. By blending in action and the viewpoint character’s thoughts – not necessarily every line, but at least occasionally – you can enhance the dialogue by adding new levels of meaning.

Mistake #7: Having Every Character Sound the

Same• We all have different ways of speaking … but sometimes in fiction, authors make all their characters sound exactly alike. This might work if the story is set in a homogenous group – but it sounds silly if some of the characters are teens and others are grandparents.

For each character, you could think about:• Any habitual phrases they use. .• What words they don’t use. • How eloquent they are – or how

taciturn they are. • How polite they are – or not!

Mistake #8: Using Indirect Speech Poorly

• Not all conversations in your story need to be spelled out in full. Sometimes, you’ll want to give the reader a quick summary – and you can do that with indirect speech. It looks like this:Tom and Jonathan chatted for a while about the football game they’d seen last night. Beth, bored, went to get another 

drink.

Mistake #9: Spelling Everything Out in the

Narrative• Some writers worry that the reader

won’t quite “get” the dialogue, and decide to spell things out, like this:“I hate you!” George slammed the door and ran upstairs. He was furious with his mum – he felt that she was 

being unfair.

References• http://learn.lexiconic.net/furtherfictionnotes.

htm#oscarpov• http://www.tarakharper.com/k_pov.htm• http://www.learner.org/interactives/literature

/read/pov2.html• http://bubblecow.net/how-to-write-effective-

dialogue-in-your-novel/• http://www.thecreativepenn.com/2012/10/0

4/dialogue-mistakes/• http://www.writersbeat.com/showthread.php

?t=19523