If you are a writer who has written children’s stories and are wondering whether there is a market out there, especially for children of diverse backgrounds, well this story will answer your question. Just listen to the interview with Marley and you will be amazed at how articulate little 11-year-olds can be and what they are demanding of writers through storytelling.
POINT OF VIEW
I was recently confronted with questions about point of view in a story I am writing. I thought I would engage those of you who read my blog, in case you have different discussion points to share.
The first person narrator requires the writer to be present in every scene in order to report the scene. While this form provides more intimacy into its characters’ reporting, I think it doesn’t allow the other characters to be depicted with the same depth. Since second person is reserved for “you” and “we” and are dramatized, they have broader use in technical applications.
There’s the third person internal narrator where no description, no sense of the narrator or his consciousness is offered. Instead events unfold automatically and characters reveal themselves directly through dialogue and action. There is more objectivity and no intrusions by a narrator to tell us what is happening.
Then there is the third person omniscient, where the writer can flow in and out of various characters’ points of view with fluidity. The narrator is at liberty to summarize, interpret, judge and speculate. There is no alignment with characters in sympathy or knowledge, unless the author wants him to be. This is the most flexible point of view in my opinion.
In the end, it’s the writer’s ability to master prose, pace, and tell a good tale rather than whether she chooses an internal or external point of view in telling the story, that matters.
Feel free to comment.