Don’t run. This is
NOT a discussion of how to avoid multiple points of view in a scene. I'm tired of that lecture, too.
I learned a trick
for creating unforgettable characters when I wrote short stories—SELECT THE
NARRATOR OF YOUR TALE CAREFULLY. I realize this isn’t a new concept. Ishmael in
Moby Dick and Nick Carraway in The Great Gatsby certainly shaped those tales.
Before I wrote my short
stories, I interviewed dozens of acquaintances about their mothers, aunts, and
grandmothers. In several cases, I listened to tales about the same person from
siblings or spouses. I also knew several of the women described. I quickly
recognized that reality depends on the
eyes of the beholder, i.e.narrator.
Then I wrote
vignettes with surprising plot twists about mothers in the 1940s and 1950s (THEGOOD OLD DAYS?) and modern women (OTHER PEOPLE'S MOTHERS). The women in each
story made choices. The narrators of the stories often didn’t understand the
basis of the decisions because of incomplete information or personal biases.
Accordingly, they warped the portraits of the women, and I could develop the
characters to be more memorable.
Even if you don’t usually read short
stories, try these tales. They’re short three to fifteen pages (great bed time
reading). They might encourage you to experiment
with a different point of view in your next story.
You might also consider your mother differently or think about your parenting style.
THE GOOD OLD DAYS?
(https://www.amzn.com/dp/1537743813) & OTHER PEOPLE'S MOTHERS (https://www.amzn.com/dp/1544895011) are available on Kindle & in paperback.
