One Dimensional Writing

One Dimensional Writing-Using First Person Perspective

by: Scott Lindsay

When an author decides to write fiction one the primary methods of storytelling is through a first person perspective. For many writers this is the most comfortable manner of storytelling.

In a first person narrative the reader is allowed to relate to the story one dimensionally. The story is presented to the reader from the viewpoint of a character in the story. The narrator might be the main character attempting to relate their own story. The story might also be told from the perspective of a bystander who may not be overtly involved in the storyline.

In the movie, “Charlie and the Chocolate Factory”, the story is narrated by a deeper male voice. It is only at the end that we discover the story was related by one of Willie Wonka’s Oompa Loompas. This is an example of first person storytelling.

This type of story telling is well used in cinema. Many early filmmakers used first person narrative to present their stories. The reason this type of format was used is primarily due to early filmmaking technology that required some help in the transition between scenes. Narration provided that transition. Film noir and other detective dramas relied heavily on first personal narratives to further their storylines.

Today’s authors are more adept at relating a story from other perspectives such as second or third person which will be dealt with in other articles.

A first person narrative allows you to understand the specific character of the narrator. You are likely to find yourself identifying with the storyteller in a variety of ways. You will either love or despise their mannerisms, but it is their character that provides the strongest connection to the storytelling process.

Because your narrator is finite they will never have all the details of the story they are unfolding for you. Sometimes this creates a unique perspective because the story can sometimes become more about the narrator (at least for awhile) then about the actual storyline. This can occasionally provide a comedic touch to the novel or at the very least some rabbit trails to follow just for the fun of it.

Interestingly some first person narratives are actually related from the perspective of a consortium. The premise is that a group of individuals are relating the story. This is identified by the use of ‘we’ or ‘us’ as part of the narration.

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The post One Dimensional Writing appeared first on Robert JR Graham.

One Dimensional Writing

One Dimensional Writing-Using First Person Perspective

by: Scott Lindsay

When an author decides to write fiction one the primary methods of storytelling is through a first person perspective. For many writers this is the most comfortable manner of storytelling.

In a first person narrative the reader is allowed to relate to the story one dimensionally. The story is presented to the reader from the viewpoint of a character in the story. The narrator might be the main character attempting to relate their own story. The story might also be told from the perspective of a bystander who may not be overtly involved in the storyline.

In the movie, “Charlie and the Chocolate Factory”, the story is narrated by a deeper male voice. It is only at the end that we discover the story was related by one of Willie Wonka’s Oompa Loompas. This is an example of first person storytelling.

This type of story telling is well used in cinema. Many early filmmakers used first person narrative to present their stories. The reason this type of format was used is primarily due to early filmmaking technology that required some help in the transition between scenes. Narration provided that transition. Film noir and other detective dramas relied heavily on first personal narratives to further their storylines.

Today’s authors are more adept at relating a story from other perspectives such as second or third person which will be dealt with in other articles.

A first person narrative allows you to understand the specific character of the narrator. You are likely to find yourself identifying with the storyteller in a variety of ways. You will either love or despise their mannerisms, but it is their character that provides the strongest connection to the storytelling process.

Because your narrator is finite they will never have all the details of the story they are unfolding for you. Sometimes this creates a unique perspective because the story can sometimes become more about the narrator (at least for awhile) then about the actual storyline. This can occasionally provide a comedic touch to the novel or at the very least some rabbit trails to follow just for the fun of it.

Interestingly some first person narratives are actually related from the perspective of a consortium. The premise is that a group of individuals are relating the story. This is identified by the use of ‘we’ or ‘us’ as part of the narration.

Source

Robert Recommends...

• Write How You Want


• The One You Love To Hate


• How To Write Your Memoir


• A Powerful Storytelling Tool


• Seven Ways To Connect Your Writing And Your Life


• Imagine If Yoda Were Your Writing Coach

The One You Love To Hate

by: Scott Lindsay

Many of the best stories in fiction have both an antagonist and a protagonist.

The protagonist is the main character or hero that we cheer on and hope conquers all.

The antagonist is the story’s villain. The best bad guys are the ones we love to hate. We don’t need to know why they are bad, we don’t need a play by play of the choices they made early in life, we simply recognize they are bad and we don’t want them to win.

A story can operate without an antagonist; however the use of an antagonist is the best way to demonstrate conflict within a storyline.

Conflict in a well executed work of fiction provides the friction that keep readers tuned in. In most cases the antagonist reigns supreme through the majority of storyline. The reader wants the forces of good to triumph, yet the villain remains in charge of the bulk of events that thread through your tale.

This combination of good versus evil creates suspense and causes your reader to wonder how exactly the protagonist will gain an advantage.

One of the primary benefits fictional conflict is the reader is often forced to consider how they might respond against such odds and in similar circumstances. In a best case scenario the story assists the reader in learning more about themselves.

Conflict can also be used to disrupt a normally predictable plot. By presenting conflict that is, in many ways, worse than the previous conflict you can instill a greater desire for evil to be defeated while keeping the reader guessing where the story may be headed next.

Ultimately the story must provide resolution. For the fiction writer of faith this resolution process often provides the simple message that good will triumph over evil although other threads of faith will likely work their way through your text – sometimes without you being consciously aware of their presence.

If you allow the antagonist to loose the struggle too early in your story it becomes anti-climactic and the fire in the story is reduced to an ember that may leave your audience cold.

The use of a villain (may not be a human, could be an animal, ideal, political agenda, etc.) goes a long way in conveying a story with elements that emotionally involve your reader.

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The post The One You Love To Hate appeared first on Robert JR Graham.