Multiple POV means writing separate scenes from the viewpoints of different characters, staying in one character’s POV for an entire scene and not switching to another character’s POV until a new scene.
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Character arcs are easy, right? Somewhere in between the beginning and the middle of the book, the character changes. What could be simpler? And yet, when we get right down to the nitty-gritties, character arcs are also pretty darn hard.
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In the second part of this series, we’ll take a look at importance of motives to the protagonist and the kind of aspects that makes a ‘good guy’ good. Not only does the main character carry the story, he or she must move the story forward, and to do that you must establish motivation.
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The best movies tend to have a growth arc for the main character. In the end, they have often somehow become better versions of themselves, as well as having solved some big problem in their world. This means they have to start the movie as the “not best version of themselves”.
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In the second of a two part article, Ron Suppa explores strategies for creating good screen dialogue. By Ron Suppa. As promised in the first part of this article, here are a dozen basic strategies for creating good screen dialogue: Characters don’t talk to each other, they argue.
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Most novels or screenplays focus on one specific story. Linda Seger, in her book, Creating a unforgettable Characters, calls this the front story. This is the actual story the writer wants to tell.
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Point-of-view impacts how close the reader feels to what’s happening in the story. The narrator, the person telling the story, acts as a proxy for the reader and how close the narrator is to the story is how close the reader will be to the story.
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