“What’s Your Story?”: George R. R. Martin’s A Song of Ice and Fire

I know any mention of the A Song of Ice and Fire series, its author George R. R. Martin, or its TV adaptation Game of Thrones can lead to some, ahem, passionate debate. And truthfully I’m not particularly interested in most of those debates. I’ve read the books a couple of times and enjoyed them, have my own theories on whether or not Martin will ever finish them, and liked the TV series well enough while also still having my own critiques. What I want to talk about here, though, is Martin’s use of POV, which I find quite well done for the most part. You don’t have to be a fantasy writer to learn some excellent lessons on what to do and what not to do with juggling multiple POVs from these books.

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What’s Your Story?: Ambrose Bierce’s “Chickamauga”

Most people have encountered Ambrose Bierce’s spooky Civil War-set “The Occurrence at Owl Creek Bridge,” likely as part of a short story reading assignment in either high school or college. I certainly read it more than once as an English major, and it is a story that I do enjoy.

It wasn’t until after I graduated that I started reading more of Bierce’s work beyond “Occurrence” and his deliciously snarky Devil’s Dictionary. Bierce ended up writing a lot of fiction about the Civil War (and a fair amount of nonfiction), which makes sense given he’s the only 19th century American writer of note to have served in combat during the war.

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What’s Your Story?: Jeff Guinn’s Road to Jonestown and Evan S. Connell’s Son of the Morning Star

Often, point of view (POV) in writing is discussed solely in terms of fiction, implying it’s not relevant for nonfiction writers. That’s simply not true, though. If you’re writing narrative nonfiction, you can use POV to tell the story more effectively. You can generate compelling tension, amplify your themes, and more through artful use of POV in nonfiction. This is particularly true with true crime, history, or historical true crime.

When I was in college, I took a grammar class with Elise Bishop that really changed the way I viewed writing. One particular week of the course looked at how Truman Capote’s In Cold Blood uses a change in verb tense to signal the confession scene.

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What’s Your Story?: When Your POV Problem Isn’t A POV Problem

It’s not uncommon for me to work with authors on point-of-view (POV) problems. There’s a lot of advice out there in writing communities about how to handle POV—how many to have and when and how to switch POV—and some of it is dictated more by personal preference than what actually works for the story.

I’m a big believer in using the POV that is most effective for the story rather than following arbitrary rules on the subject. Still, it’s not uncommon for manuscripts to struggle with how to juggle between POV effectively or to know which POV to use when, which can be a turn-off for readers.

More often than not, when I identify issues with POV in a story, it’s symptomatic of a much more systemic issue of focus that also needs to be addressed. The POV isn’t working because it conflicts with what the story is trying to achieve with its plot, themes, and characters.

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An Editor’s Playlist: Nick Cave’s “Song of Joy”

I listen to a lot of music through the course of my days, and I certainly listen to a lot of it as I edit. I have specific songs and playlists and artists for certain editing tasks. What I listen to when I am reading is very different from what I listen to as I’m double-checking my work right before sending the manuscript back. I even have specific songs I listen to just for working on citations.

If I’ve done any editing over the years for you, rest assured that there’s a good chance I was listening to murder ballads and/or Nick Cave in the latter stages of editing.

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