A single
character’s perspective limits the story. Motivations and realizations that
occur for other characters must only be guessed at by the central Point of View
(POV) character. Yet working within the limitation demonstrates the writer’s
skill. It’s on the author to help us see all characters’ journeys through the
main character’s perspective.
When the
writer ignores the limitations of the single POV and exposes us to multiple
characters’ experiences, our writers’ group calls it Head Hopping. We recognize
that there are rules to sharing the POV with multiple characters.
Rule #1:
Clearly distinguish the points of shift. Shifting during the scene confuses the
reader. Our group allows spacers and chapter changes for the shift to logically
occur.
Rule #2:
Only give a point of view to a character if you need the audience to know
something about that character that no one else can know. Some internal
motivations and secrets have to stay hidden from the other characters until
they create a pivot point for the story.
For
example, if at the pivot point in the story you plan to have the character
Sasha perform an illusion she learned while traveling with a carnival magician
as a teenager, then that carnival experience needs to be part of what the
reader knows about her. We cannot arrive at the pivot and think, “Since when
does Sasha know magic?”
When
people claim something happened out of nowhere in a novel, it’s because the
knowledge, skills, or motivation to commit that action have not been disclosed.
In The
League series of fantasy romance books I’m currently binge reading, the author
frequently shifts point of view between the male and female leads. The habit
seemed like poor writing in the first two books. By book three, though, I
started to wonder if she was working with a dual protagonist.
In most
stories the protagonist wants something and will do anything to get it and the
antagonist stands in that person’s way. But in a romance, there are two main
characters, the lovers. Can a novel have two protagonists?
The
benefits of two protagonists include watching two unique plot arcs, seeing two
characters grow and change, and enjoying the intermingling of the two whenever
their actions interfere with one another. Even so, only skilled authors can
keep two protagonists separate but equal. It’s a unique challenge to engage the
reader with two (or more) main characters.
Two
protagonists in one story is a literary no-no that has recently been challenged
by some significant works such as All the Light We Cannot See, The
Orphan Train, and the entire Game of Thrones series. Those books
follow the rules stated above. They only give POV to characters we need to know
more about and they shift on definitive lines.
As
writers continue to experiment with multiple protagonists, to see if that
experiment works, and to show others how it’s done, our literary rules are
evolving. And as the craft evolves, the distinction between head-hopping and
multiple protagonists may become a measure of skill.
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