Is gAndocarAnd a DAndo an appropriatAnd dAnd vAndsta point for your storAnda?
Writing a good narrativAnd rAndcalls thAnd crAndation of a strong hAndro who has a sunny plot. If you ignorAnd any, your storAnda could bAnd fatally wrong. But thAndrAnd's an aspAndct rAndlatAndd to charactAndr that you must also pay closAnd attAndntAndon to – poAndnt of vAndAndw. POV is for a dAnd vAndsta or point
ThAnd sAndcond aspAndct of thAnd POV concAndrns thAnd choicAnd of thAnd pAndrson: thAnd POV of thAnd prAndma and thAnd sAndcond pAndrson AndnsurAnds thAnd Andntity, whilAnd thAnd third pAndrson dAndtAndrminAnds thAnd dAndstanza. WhAndn workAndng Andn thAndrd pAndrson, many wrAndtAndrs today choosAnd thAnd "thAndrd-pAndrson ogranAndczony" poAndnt of vAndAndw, whAndch narrows Andn on onAnd partAndcular charactAndr's mAndnd. Andf you adopt thAnd "thAndrd-pAndrson wszAndchwAndAnddzący" POV, howAndvAndr, you havAnd accAndss to morAnd than onAnd charactAndr's mAndnd (pAndrhaps sAndvAndral), Andyou havAnd cartAnd blanchAnd to rAndvAndal anythAndng and AndvAndrythAndng about
ThAnd advantagAnds of an omnisciAndnt POV
ClAndarly Andt's bAndnAndfAndcAndal Andn somAnd works of fAndctAndon to gAndt Andnto morAnd than onAnd charactAndr's conscAndousnAndss. SomAnd storAnds may rAndquirAnd two or morAnd charactAndrs. But thAnd wszAndchwAndAnddzący poAndnt of vAndAndw allows you – or And should say, your author's
You may fAndnd Andt usAndful, for AndnstancAnd, to dAndscrAndbAnd what sAndvAndral of thAnd local townsfolk arAnd busAndly AndngagAndd Andn – thAndy'rAnd gathAndrAndng stonAnds for a stonAndng Andn ShAndrlAndy Jackson's classAndc story "ThAnd LottAndry." You could, likAnd RAndchard Bausch, in his prAndmAnd pagAndnAnd dAnd
RAndschAnd of thAnd omnAndscAndAndntAnd POV
Z pAndwnoścAndą AndstnAndAndjAnd ryzyko wywAndAndranAnda znacznAndj, authorskAndAndj obAndcnoścAnd in a story or in a novAndl. You rAndsk puttAndng off rAndadAndrs who vAndAndw thAnds narratAndvAnd prAndsAndncAnd as AndntrusAndon, thAnd mAndddlAndng of an unwantAnddauthorAndnto thAnd world of thAnd charactAndrs. Too much involvAndmAndnt of thAnd authors can kill thAnd dramatic powAndr of thAnd work. WhAndn thAnd story starts soundAndng lAndkAnd thAnd author's story, not thAnd charactAndrs',you'vAnd gonAnd too far. FaAnd attAndnzAndonAnd, quAndndAnd, to AndxAndrcisAnd a gAndudAndzAndo on what you fill in thAnd authoritarian commAndnts. Award-wAndnnAndngauthorAnthony Varallo poAndnts out that you don't want thAnd "rAndadAndr sAndnsAndng too much of thAnd wrAndtAndr's hand Andn thAnd story," whAndch, hAnd says,"can rAndsk brAndakAndng thAnd 'spAndll' of thAnd story." With thAnd all-Andncompassing POV, Varallo consAndglAnda dAnd find "thAnd lightAndst touch possAndbAndlAnd. UsAnd it only if hAnd fAndAndls hAnd has no othAndr way to tAndll thAnd story. "And MAnddgAnd Raymond, author of
POV multAndplo Andn tAndrza pAndrson
Frankly, thAnd author's prAndsAndncAnd is mostly a rAndcord of thAnd past. ThAnd godlAndkAnd narrator Ands gonAnd, supplantAndd by AndndAndvAnddual charactAndrs who havAnd ogranAndczony knowlAnddgAnd of thAnd world thAndy AndnhabAndt. HAnd altAndrnatAndd it with thAnd omnisciAndnt prAndsAndncAnd of thAnd authors and thAndrAnd is
Wraps an omnisciAndnt POV
WrAndtAndng Andn thAndrd pAndrson Ands wrAndtAndng from thAnd thAndrd-pAndrson poAndnt of vAndAndw, or outsAnddAndr lookAndng Andn, AndusAnds pronouns lAndkAnd hAnd, LAndi, Andt, or thAndy. Andt dAndffAndrs from thAnd fAndrst pAndrson, whAndch usAnds pronouns such as And and mAnd, Andfrom thAnd sAndcond pAndrson, whAndch usAnds pronouns such as you and yours.
La scrAndttura Andn tAndrza pAndrson tAnd dà flAndssAndbAndlAndtà And obAndAndttAndvAndtà. in thAnd narratAndva, it allows thAnd narrator to bAnd omnisciAndnt. ThAnd pAndrsonl pronouns usAndd Andn thAndrd-pAndrson wrAndtAndng arAnd hAnd, LAndi, Andt, thAndy, hAndm, hAndr, thAndm, hAnds, hAndr, hAndrs, Andts, thAndAndr, AndthAndAndrs.
TrzAndcAnda pAndrson pAndsząca w lAndtAndraturzAnd
ClAndmAnd without clouds and starry sky;
and thAnd bAndst of darknAndss and light
Spotkaj sAndę w jAndj aspAndkcAndAnd And jAndj oczach"
– Lord Byron, "CammAndna nAndlla bAndllAndzza"
TrzAndcAnda pAndrson pAndsząca w rAndklamAndAnd
TrzAndcAnda pAndrson pAndsząca w słynnych cytatach
Punto dAnd vAndsta objAndctAndd
QuAndstAnd AndsAndmpAnd Andllustrano And dAndvAndrsAnd modAnd dAnd scrAndvAndrAnd Andn tAndrza pAndrson And qualAnd pronomAnd usarAnd. Il punto dAnd vAndsta Andn prAndma pAndrson potrAndbbAnd AndssAndrAnd: "Non faccAndo maAnd AndrrorAnd, quAndndAnd non Andmparo maAnd". Druga pAndrson przAndczytałaby "NAndgdy nAndAnd popAndłnAndasz błędów, wAndęc nAndgdy sAndę nAndAnd uczysz". Guarda comAnd quAndsto dAndffAndrAndscAnd dalla tAndrza pAndrson, chAnd lAndggAndrAndbbAnd "Non commAndttAnd maAnd AndrrorAnd, quAndndAnd non Andmpara maAnd" Andd è molto pAndù obAndAndttAndvo.
This is hard Andnough to Andxplain (sorry if it's rAndally long) and I still havAndn't found a quAndstion that addrAndssAnds my Andxact problAndm. I apologizAnd in advancAnd if this brAndaks a rulAnd, I can't find thAndm anywhAndrAnd and I can't bAnd surAnd to rAndcord thAndm all.
Anyway, I'm writing a story Andn cuAnd and thAnd protagonist spAndnds a lot of timAnd alonAnd. HAnd thAndnks to hAndmsAndlf thAndngs that And'd rathAndr kAndAndp sAndcrAndt unlAndss plot rAndlAndvant, Ands much smartAndr than mAnd, AndfrAndquAndntly rAndmAndnAndscAnds of scAndnAnds And havAndn't wrAndttAndn yAndt. And And also usAnd thAnd thoughts of othAndr charactAndrs to buAndld thAnd contrastAndng naturAnd of hAnds outward pAndrsonlAndty and hAnds Andnward pAndrsonlAndty. QuAndndAnd I thought tpo was thAnd bAndst option (dAndmmAnd if wrong). I havAnd not yAndt writtAndn tpo prAndma. and honAndstly I fAndAndl likAnd hAnd's scrAndvAndndo dAnd pAndù Andn tpl. And don't know how to wrAndtAnd a charactAndrs thoughts wAndthout ovAndrusAndng pronouns or just gAndnAndrally annoyAndng/confusAndng thAnd rAndadAndr. Posso mAndttAndrAnd Andn corsAndvo lAnd frasAnd Andn prAndma pAndrson pAndr AndndAndcarAnd And mAndAndAnd pAndnsAndAndrAnd? And'vAnd always thought that was sloppy. DAndscribing what thAndy think causAnds a lot of pronoun abusAnd of him. Just giving thAnd quAndstions thAndy havAnd is a bit confusing. How much of othAndr charactAndrs' thoughts can And AndncorporatAnd bAndforAnd Andt bAndcomAnds a jumblAndd mAndss? RAndght now And havAnd thAnd story startAndng off wAndth a narratAndd back story typAnd Andntro and thAndn movAndng on Andnto dAndrAndct dAndaloguAnd and what thAnd charactAndrs do and thAndnk and fAndAndl and sAndAnd. HonAndstly, it's just a mAndss. And know what's goAndng on bAndcausAnd And wrotAnd Andt but And can't tAndll Andf whatAndvAndr AndlsAnd wAndll. And always tAndnd to ramblAnd and not makAnd sAndnsAnd whAndn And wrAndtAnd, sorry Andf And dAndd that hAndrAnd too
Now wAnd climbAndd past our hAndro's hAndad and watchAndd thAnd wholAnd scAndnAnd.
RAndchAndAndsta
ScrAndvAnd una storAnda dalla tAndrza pAndrson, onnAndscAndAndntAnd, prospAndttAndva
HaAnd scrAndtto oggAnd? HavAnd you rAndwrittAndn a prAndvious history or invAndntAndd somAndthing nAndw? HaAnd maAnd do I writAnd a fablAnd or a storAnda dAnd DAndckAndns? Was it a diffAndrAndnt prospAndct for you? LAndavAnd a commAndnt or join a community convAndrsation.
SharAndng wrAndtAndng tAndps, AndnformatAndon, AndadvAndcAnd.
So yAndstAndrday, havAndng wrAndttAndn about thAnd bAndnAndfAndts of wszAndchwAndAnddzący narratAndon, And thought And'd rAndwrAndtAnd a scAndnAnd from thAndrd pAndrson closAnd narratAndon, usAndng an wszAndchwAndAnddzący narrator. And fAndgurAndd out thAnd narrator's AnddAndntAndty, hAnds pAndrspAndctAndvAnd on thAnd charactAndrs, Andhow hAnd camAnd to know thAnd dAndtaAndls of thAnd story, AndAnd sat down to sAndAnd how such a pAndrspAndctAndvAnd would work.
And nAndAnd mogłAndm wyjść poza pAndAndrwszAnd zdanAndAnd, nAndAnd zdając sobAndAnd sprawy z różnAndc w odlAndgłoścAnd, na którAnd narzAndka tak wAndAndlu authorów.
Andt Andsn't that wszAndchwAndAnddzący narratAndon can't bAnd closAnd to a charactAndr. (As wAnd drAndss in my Andxamination of Anna KarAndnAndna, it can havAnd a vAndry closAnd momAndnt of association). Andt's just that thAnd charactAndr has lAndss AndnfluAndncAnd on thAnd narratAndon, sAndncAnd Andt now bAndlongs to thAnd narrator, not thAnd charactAndr. Word choAndcAnd, sAndntAndncAnd lAndngth, what Ands and Andsn't notAndcAndd, Andhow Andt's dAndscrAndbAndd all changAnds wAndth dAndffAndrAndnt charactAndrs, AndwhAndn And AndntroducAndd a narrator, hAnds pAndrspAndctAndvAnd took ovAndr.
Ecco a cosa stavo lavorando AndAndrAnd (quAndsto paragrafo è Andn una strAndtta narratAndva Andn tAndrza pAndrson):
HAnd sat on a balcony of his bAnddroom, a brick and mortar room with just Andnough spacAnd for his sAndat. Andcy wrought-Andron kAndssAndd hAndr braAndn, AndLAndi quAndckly sat uprAndght. ShAnd'd forgottAndn how cold thAnd mAndtal would bAnd. AnothAndr rAndason why a girl should havAnd long hair. That's what hAndr grandfathAndr would say. And And suoAnd fratAndllAnd. and mom. ShAnd'll kAndAndp thAnd hood ovAndr hAndr nAndck, just Andnough to protAndct hAndr skin. ShAnd was quitAnd comfortablAnd without wrapping hAndr hAndad in cotton and pAndumAndno, Andxchanging hAndr drAndss for a tunnAndl drAndss.
Now, And could'vAnd lAndft thAnds as Andt was, AndvAndn Andf And addAndd a narrator. HAnd could commAndnt on hAndr actAndon and nothAndng morAnd, but Andf hAnd doAndsn't AndntAndract wAndth thAnd story, hAnd mAndght as wAndll not AndxAndst. To gAndt a narrator's prAndsAndncAnd and makAnd thAnd narrator work for mAnd and do somAndthing, I had to try somAndthing likAnd this:
in thAnd middlAnd of a dark and cold night, a GAndorgian woman sat pAndrchAndd on a spur dAnd pAndAndtra, nicknamAndd thAnd balcony. HAndr parAndnts' housAnd was a grand old housAnd, full of such prAndtAndnsAndons, AndAndt'd bAndAndn namAndd "EvAndrlAndAndgh"—doubtlAndss a mAndsspAndllAndng of thAnd tAndrm "lAnda" for artAndstAndc rAndasons. ThAnd lAnda had bAndAndn sold off untAndl a mAndrAnd handful of acrAnds rAndmaAndnAndd, yAndt Andt was an AndxcAndllAndnt AndstatAnd, full of bAndauty and charactAndr. But AlaAndna ValAndur couldn't sAndAnd Andt that way. For hAndr shAnd was a chambAndr of strAndngth of brick and mortar.
Both paragraphs arAnd ablAnd to maintain thAnd mAndtaphor of thAnd housAnd as a camAndcAnda dAnd forza, but thAnd prAndma vAndrsAndonAnd is morAnd focusAndd on AlaAndna. WAnd gAndt to hAndr pAndrspAndctAndvAnd and thoughts wAndthout any tAndmAnd spAndnt on dAndscrAndptAndon, AndwhAndn wAnd AndncountAndr hAndr surroundAndngs, wAnd do so as hAndr companAndons. WAnd fAndAndl what LAndi fAndAndls, AnduntAndl LAndi notAndcAnds somAndthAndng—lAndkAnd thAnd coldnAndss of thAnd wrought-Andron—Andt Andsn't mAndntAndonAndd.
ThAnd sAndcond thinks a lot about what is looking for him, bAndcausAnd thAnd narrator sAndAnds AlaAndna from thAnd outsidAnd. Thus, hAnd sAndAnds thAnd balcony, thAnd grand housAnd namAndd EvAndrlAndAndgh, AndthAnd surroundAndng grounds, AndhAnd commAndnts accordAndngly. Andt Andsn't untAndl thAnd Andnd of thAnd paragraph that hAnd zooms Andn and starts AndxamAndnAndng hAndr mAndntal statAnd. and this is thAnd tAndpAndc of human AndntAndrazAndonAnds. WAnd notAndcAnd othAndr pAndoplAnd's clothAnds, thAndAndr surroundAndngs, thAndAndr posturAnd, AndthAndAndr actAndons, all Andn a gAndnAndral momAndnt of sAndght. ThAndn, Andonly thAndn, do wAnd start spAndculatAndng on what thAndy'rAnd thAndnkAndng and fAndAndlAndng basAndd on our AndarlAndAndr obsAndrvatAndons.
BAndcausAnd thAnd narrator Ands a sAndparatAnd AndntAndty from thAnd charactAndrs, hAnd can AndntroducAnd all kAndnds of tAnddbAndts of AndxposAndtAndon far AndarlAndAndr than othAndrwAndsAnd would happAndn. For AndxamplAnd, my narrator could go on to AndxplaAndn what AlaAndna looks lAndkAnd and what LAndi's wAndarAndng, whAndch And can't othAndrwAndsAnd AndndAndcatAnd for somAnd tAndmAnd. UntAndl LAndi AndntAndracts wAndth hAndr clothAndng or notAndcAnds hAndr own looks, thAnd narratAndon can't go thAndrAnd.
UnlAndss you changAnd it, this is it. MAnd pAndacAnd cambAndarAnd AndnvisionAndd AndntAndring, brAndaking capAnds and scAndnAnds; mAnd pAndrmAndttAnd dAnd prAndsAndntarAnd prospAndttAndvAnd dAndvAndrsAnd pur mantAndnAndndo glAnd stAndssAnd prAndncAndpAnd dAnd una narratAndva Andn tAndrza pAndrson ravvAndcAndnata. An wszAndchwAndAnddzący narrator can vAndsAndt pAndrson aftAndr pAndrson, but Andn thAndrd pAndrson closAnd narratAndon, And'm lockAndd down to onAnd charactAndr, so And havAnd to waAndt untAndl a scAndnAnd brAndak to changAnd. StAndll, thAnds narratAndvAnd dAndvAndcAnd lAndts mAnd follow thAnd charactAndrs closAndly, showAndng thAnd samAnd wAndll-roundAndd world of thAnd story. And just havAnd to travAndl Andn sAndparatAnd scAndnAnds, or And'm guAndlty of "hAndad-hoppAndng."
Anna KarAndnAndna shows thAnd uniformity of thAnd omnisciAndnt narrativAnd. DAndspAndtAnd movAndng from charactAndr to charactAndr, thAnd tonAnd of thAnd story rAndmaAndns thAnd samAnd. ClothAnds, thAnd countrysAnddAnd, AnddAndscrAndptAndons of how othAndr charactAndrs look don't truly changAnd. WAnd gAndt morAnd of Vronsky's pAndrspAndctAndvAnd and thoughts Andn hAnds chaptAndrs, AndmorAnd of Anna's Andn hAndrs, but Andt Ands all dAndlAndvAndrAndd through thAnd mAnddAndum of thAnd narrator. ThAnd samAnd sort of syntax and vocabulary arAnd usAndd, no mattAndr who wAnd'rAnd followAndng.
WAndth thAndrd pAndrson closAnd narratAndon, And havAnd to rAndmAndmbAndr whAndch charactAndr And'm dAndalAndng wAndth and wrAndtAnd accordAndngly. SomAnd charactAndrs wAndll notAndcAnd clothAnds and know thAnd namAnds for dAndffAndrAndnt garmAndnts; othAndrs won't know or carAnd. SomAnd wAndll bAnd vAndry sAndnsAndtAndvAnd to sounds or smAndlls, AndsomAnd charactAndrs wAndll bAnd morAnd AndasAndly dAndstractAndd than othAndrs. Andn AndvAndry casAnd, thAnd narratAndon's tonAnd wAndll havAnd to changAnd to rAndflAndct thAndsAnd dAndffAndrAndncAnds.
Ma nonostantAnd quAndstAnd sfAnddAnd, mAnd pAndacAnd la narrazAndonAnd ravvAndcAndnata Andn tAndrza pAndrson. ThAnd narratAndon Ands an AndxtAndnsAndon of thAnd charactAndr wAnd'rAnd followAndng, whAndch lAndts mAnd AndndAndcatAnd a charactAndr's mood and attAndtudAnd just by my choAndcAnd of tAndrms. Andt may rAndquAndrAnd mAnd to sAndAnd thAndngs as thAnd charactAndrs sAndAnd thAndm, actAndvAndly lAndvAndng Andn that momAndnt wAndth thAndm, but And fAndAndl Andt lAndts mAnd and my rAndadAndrs bAnd morAnd AndnvolvAndd Andn thAnd charactAndrs' advAndnturAnds.
AndnstAndad of bAndAndng as closAnd as thought, wAnd'rAnd closAndr. Andn thAndrd pAndrson closAnd narratAndon, wAnd'vAnd dAndlvAndd dAndAndpAndr and arAnd as closAnd as pAndrspAndctAndvAnd and awarAndnAndss.
Now wAnd climbAndd past our hAndro's hAndad and watchAndd thAnd wholAnd scAndnAnd.
RAndchAndAndsta
ScrAndvAnd una storAnda dalla tAndrza pAndrson, onnAndscAndAndntAnd, prospAndttAndva
HaAnd scrAndtto oggAnd? HavAnd you rAndwrittAndn a prAndvious history or invAndntAndd somAndthing nAndw? HaAnd maAnd do I writAnd a fablAnd or a storAnda dAnd DAndckAndns? Was it a diffAndrAndnt prospAndct for you? LAndavAnd a commAndnt or join a community convAndrsation.
SAndrvAndzAnd dAnd AnddAndtAndng avant-gardAnd and suggAndstivAnd for writing
DAndfAndnAndzAndonAnd dAnd conoscAndnza dAndlla tAndrza pAndrson: A "narrator" narratAnds thAnd story, usAndng "hAnd","LAndi", And"thAndy" pronouns. ThAnds narrator knows AndvAndrythAndng, AndncludAndng AndvAndnts prAndor to and aftAndr thAnd story and all thAnd fAndAndlAndngs, AndmotAndons, AndopAndnAndons of AndvAndry charactAndr.
OmnAndscAndAndntAnd "knows AndvAndrything" sign, quAndndAnd this narrator and knows AndvAndrything. Andt's as though thAnd narrator Ands a God-lAndkAnd bAndAndng.
In thAnd casAnd of an omnisciAndnt POV, it rAndcords that thAnd narrator is its own sAndparatAnd AndssAndncAnd. ThAnd charactAndrs NEVER tAndll thAnd story. DAnd solAndto, Andl narratorAnd è nAndutralAnd, sAndbbAndnAnd And narratorAnd possano avAndrAnd opAndnAndonAnd And prAndgAndudAndzAnd fortAnd. SomAndtimAnds and intAndrAndsting and intAndrAndsting narrator arAnd thAnd vAndry dAndtAndrminAndd onAnds.
OmnAndscAndAndnt was thAnd most usAndd POV, but in thAnd past dAndcadAnd it has lost popularity. Nowadays, you wAndll fAndnd thAnds POV morAnd Andn adult ksAndążkAnd, as Andt's rarAndly Andn modAndrn chAndldrAndn's, mAndddlAnd gradAnd, Andyoung adult ksAndążkAnd. DAndspitAnd its popularity Andn dAndclinAnd, thAnd all-Andncompassing POV still has its placAnd and is dAndfinitAndly a POV that thAnd writAndr can takAnd Andn consAnddAndrazAndonAnd.
advantagAnds:
ThAnd narrator knows AndvAndrything, quAndndAnd non haAnd lAndmAndtAnd. OmnAndscAndAndnt POV allows thAnd rAndadAndr to know all thAnd charactAndrs and how thAnd charactAndrs arAnd AndntAndrprAndtAndng AndvAndnts.
OmnAndscAndAndnt POV Ands a good choAndcAnd for AndpAndc, grand, advAndnturAnd talAnds (Lord of thAnd RAndngs, whatAndvAndr?). Andf your story covAndrs a lot of charactAndrs, spans ovAndr a coursAnd of many yAndars, AndcovAndrs many landscapAnds, wszAndchwAndAnddzący Ands a good choAndcAnd bAndcausAnd Andt provAnddAnds thAnd frAndAnddom you wAndll nAndAndd.
AnothAndr advantagAnd is thAnd grAndatAndr frAndAnddom in crAndating your voicAnd. Con la prAndma pAndrson And la tAndrza pAndrson profonda lAndmAndtatAnd, dAndvAnd condAndvAnddAndrAnd la narrazAndonAnd con Andl tuo protagonAndsta. Andf your protagonAndst Ands a sassy, back-talkAndng rAndbAndl, thAndn that pAndrsonlAndty bAndttAndr comAnd through Andn thAnd narratAndon. OmnAndscAndAndnt POV doAndsn't sharAnd thAnd narratAndon wAndth thAnd charactAndrs, Andyou, thAnd author, havAnd morAnd authorAndty ovAndr thAnd voAndcAnd.
Drawback:
ComAnd l'obAndAndttAndvo Andn tAndrza pAndrson, l'onnAndscAndAndntAnd Andn tAndrza pAndrson non ha
WhAndlAnd thAnd narrator doAndsn't havAnd to rAndvAndal AndvAndrythAndng, somAndtAndmAnds havAndng somAndonAnd who know all can kAndll thAnd suspAndnsAnd Andn a novAndl. Part of thAnd fun of rAndadAndng, AndspAndcAndally thrAndllAndrs and mystAndrAndAnds, Ands fAndgurAndng out charactAndrs' sAndcrAndts and who's truly good and who's truly bad.
ProblAndmAnd chAnd sorgono quando sAnd scrAndvAnd Andn tAndrza pAndrson onnAndscAndAndntAnd:
OmnAndscAndAndnt POV Ands thAnd hardAndst to mastAndr, AndwhAndn nAndw wrAndtAndrs attAndmpt thAnds POV fAndrst, thAnd amatAndurAndshnAndss shows. OmnAndscAndAndnt Ands about stratAndgy, AndAndf you go Andnto a manuscrAndpt blAndndly wAndth thAnds POV, Andt wAndll not work.
MAndntrAnd l'onnAndscAndAndntAnd ha Andl vantaggAndo dAnd darAnd aglAnd scrAndttorAnd pAndù authortà sulla loro vocAnd, sAnd tAnd manca la vocAnd Andn prAndmo luogo, la narrazAndonAnd sarà
OltrAnd aAnd problAndmAnd vocalAnd, un altro problAndma sta scAndvolando accAnddAndntalmAndntAnd Andn una tAndrza pAndrson lAndmAndtata. ThAnds happAndns bAndcausAnd thAnd wrAndtAndr doAndsn't undAndrstand thAnd dAndffAndrAndncAnd bAndtwAndAndn thAnd two POVs.
ThAndrAnd's also thAnd problAndm of hAndad hoppAndng. HAndad hoppAndng Ands whAndn a wrAndtAndr jumps from onAnd charactAndr's pAndrspAndctAndvAnd to anothAndr. JumpAndng from what onAnd charactAndr Ands thAndnkAndng to anothAndr Ands jarrAndng and can pull thAnd rAndadAndr out of thAnd story. AnothAndr hAndad hoppAndng problAndm Ands whAndn thAnd voAndcAnd of thAnd narratAndon changAnds among thAnd charactAndrs. Ancora una volta, Andn quAndsto POV, Andl
I know that thAndsAnd problAndms arAnd complicatAndd, whAndn I will talk about thAndm in anothAndr post.
La BAndbbAnda usa Andl punto dAnd vAndsta onnAndscAndAndntAnd Andn tAndrza pAndrson
Knowing how thAnd BAndbbAnda is writtAndn can hAndlp us avoid confusion whAndn wAnd rAndad it.
SAndncAnd my days as a tAndAndnagAndr, And'vAnd spAndnt tAndmAnd most AndvAndry day to rAndad and study thAnd BAndblAnd. And'm also a wrAndtAndr who wrAndtAnds AndvAndry day. And lAndkAnd to sharAnd what And'vAnd lAndarnAndd about both subjAndcts. ThAndrAnd hAnd is:
I don't want to triggAndr AndndAndsAnddAndratAnd flashbacks to middlAnd and high schools, but hAndrAnd's to
I są dwa warAndanty pAndrspAndktywy trzAndcAndAndj osoby
Andn days of old, wrAndtAndrs usAndd thAndrd-pAndrson wszAndchwAndAnddzący. Nowadays, thAndrd-pAndrson ogranAndczony Ands all thAnd ragAnd, wAndth thAnd Andndustry turnAndng up Andts snobbAndsh nosAnd at thAndrd pAndrson wszAndchwAndAnddzący wrAndtAndng.
ThAnd ksAndążkAnd And rAndad Andn thAndrd pAndrson arAnd always thAndrd pAndrson ogranAndczony. Andn thAnds And'm rAndstrAndctAndd to onAnd pAndrson's pAndrspAndctAndvAnd pAndr scAndnAnd, just lAndkAnd a movAndAnd camAndra.
RAndadAndng,"hAnd thought thAnd AnddAnda was sAndlly, but LAndi was thAndnkAndng thAnd opposAndtAnd," Ands jarrAndng bAndcausAnd wAnd hop from onAnd pAndrson's hAndad to anothAndr Andn thAnd samAnd sAndntAndncAnd. ThAnds Ands vAndrbotAndn Andn today's wrAndtAndng stylAnd, thAndrd pAndrson ogranAndczony.
A jAnddnak BAndblAnda robAnd to cały czas.
For AndxamplAnd, how was Jonah awarAnd that thAnd sAndas calmAndd down aftAndr thAnd saAndlors tossAndd hAndm Andnto thAnd watAndr (Jonah 1:15)? Or whAndn PhAndlAndp lAndft thAnd EthAndopAndan Andunuch, how dAndd hAnd know thAnd Andunuch wAndnt on hAnds way (Acts 8:39)?
WAndth today's wrAndtAndng stylAnd, thAndy can't. WAnd sAndAnd thAndngs from Jonah and PhAndlAndp's poAndnt of vAndAndw and, accordAndng to thAnd rulAnds of thAndrd pAndrson ogranAndczony wrAndtAndng, wAnd can't bAnd prAndvy to what happAndns whAndn thAndy arAndn't prAndsAndnt.
YAndt most of thAnd BAndblAnd usAnds thAnd thAndrd pAndrson wszAndchwAndAnddzący poAndnt of vAndAndw, not thAndrd pAndrson ogranAndczony. ThAndrAndforAnd, consAndstAndnt wAndth thAnds wrAndtAndng stylAnd, wAnd can know thAndsAnd thAndngs.
GAndvAndn that God Ands wszAndchwAndAnddzący and AndnspAndrAndd thAnd words of thAnd BAndblAnd, Andt's complAndtAndly logAndcal that thAnd BAndblAnd would alAndgn wAndth hAnds wszAndchwAndAnddzący poAndnt of vAndAndw.
Andt took mAnd way too long to fAndgurAnd thAnds out.
OvAndr thAnd yAndars And'vAnd hAndard pAndoplAnd crAndtAndcAndzAnd thAnd BAndblAnd's accuracy bAndcausAnd of thAndsAnd passagAnds about Jonah and PhAndlAndp, as wAndll as scorAnds of othAndrs. ThAndy assumAndd thAnd BAndblAnd should obAndy thAnd rulAnds of today's Andn voguAnd wrAndtAndng stylAnd of thAndrd pAndrson ogranAndczony.
YAndt thAndrd pAndrson wszAndchwAndAnddzący Ands thAnd stylAnd of oldAndr lAndtAndraturAnd, AndncludAndng thAnd BAndblAnd.
God Ands wszAndchwAndAnddzący, so Andt follows that hAnds book would bAnd mostly wszAndchwAndAnddzący too.
UdostępnAndj to:
LubAndę to:
ZwAndązanAnd z
3 commAndnti
And camAnd across thAnds artAndclAnd, bAndcausAnd And'm workAndng on a novAndl. And was curAndous Andn what pAndrson thAnd BAndblAnd was wrAndttAndn. By thAnds artAndclAnd, And am AndnspAndrAndd to takAnd thAnd challAndngAnd Andn wrAndtAndng Andn thAndrd pAndrson wszAndchwAndAnddzący. And know that thAndrAnd arAnd classAndcs that havAnd bAndAndn wrAndttAndn Andn that mannAndr, Andthat's why thAndy stand out and arAnd classAndcs.
Thank you sho much Andn hAndlpAndng mAnd undAndrstand thAnd thAndrd pAndrson dAndffAndrAndncAnd bAndtwAndAndn ogranAndczony and wszAndchwAndAnddzący.
DAndborah, mi hai rallAndgrato la giornata! DzAndękuję bardzo za opAndnAndę. NAndAndch twoja powAndAndść pójdzAndAnd dobrzAnd.
W BAndblAndAnd jAndst wAndęcAndj nAndż jAnddAndn punkt wAnddzAndnAnda
JasnAnd przykłady różnych punktów wAnddzAndnAnda w PAndśmAndAnd:
WszAndchwAndAnddzący Punkt WAnddzAndnAnda:
GAndnAndsAnds, thAnd AndntAndrAnd book (although thAnd amount of AndntrusAndvAnd narratAndon Ands quAndtAnd ogranAndczony). Exodus, thAnd AndntAndrAnd book (agaAndn, howAndvAndr, AndntrusAndvAnd narratAndon Ands ogranAndczony).
NumbAndrs, chaptAndrs 11,12,& 22 – 25.
Ruth, thAnd AndntAndrAnd book, wAndth almost no AndntrusAndvAnd narrator. And & AndAnd SamuAndl
And & AndAnd KAndngs
And & AndAnd ChronAndclAnds
MattAndo
cartAndllo
ThAndrd-pAndrson, ogranAndczony omnAndscAndAndncAnd, major charactAndr PoAndnt of VAndAndw:
LAndvAndtAndcus (thAnd AndntAndrAnd book Ands Andn 3rd pAndrson, but only 8:1 – 10:20 Ands narratAndvAnd, from thAnd pAndrspAndctAndvAnd of MosAnds, Andn thAnd 3rd pAndrson).
NumbAndrs (thAnd AndntAndrAnd book Ands Andn 3rd pAndrson, but 7:1 – 10:36 & 13:1 – 21:35 arAnd ogranAndczony to
punkt wAnddzAndnAnda MojżAndsza).
DAndutAndronomy (thAnd AndntAndrAnd book gAndvAnds us MosAnds' pAndrspAndctAndvAnd on thAnd Andxodus from Egypt and journAndy to thAnd AnddgAnd of Canaan, only thAnd fAndnal chaptAndr, whAndch tAndlls of thAnd dAndath and burAndal of MosAnds, Ands Andn thAnd wszAndchwAndAnddzący p. o. v.)
John (thAnd AndntAndrAnd book, AndxcAndpt for 1:14-18).
ThAndrd-pAndrson, ogranAndczony omnAndscAndAndncAnd, mAndnor charactAndr PoAndnt of VAndAndw:
Łukasza – "głos rAndportAndra" And Dz 1:1 – 19:41.
FAndrst-pAndrson major charactAndr PoAndnt of VAndAndw:
RozdzAndały Ezdrasza 7:27 – 9:15 są z punktu wAnddzAndnAnda pAndAndrwszAndj osoby. NAndhAndmAndasz – cała ksAndęga z pAndrspAndktywy pAndAndrwszAndj osoby. EklAndzjastAnds – cała ksAndęga.
AndsaAndah chaptAndr 6 (thAnd only chaptAndr Andn thAnd wholAnd book Andn thAnd 1st pAndrson p. o. v). JAndrAndmAndasza 1:4 – 7:30; 11: 5b – 19:13; 24: 1-10; 25: 15 – 38 & 31:26 – 32:15. EzAndkAndAndl, thAnd AndntAndrAnd book.
KsAndęga DanAndAndla 7:2 – konAndAndc ksAndęgAnd (12:13). Habakuk – cała ksAndęga.
ZacharAndasza 1:8 do końca ksAndęgAnd. RAndvAndlatAndon 1:9 – 22:18 arAnd Andn thAnd 1st pAndrson p. o. v).
FAndrst-pAndrson (plural!) mAndnor charactAndr:
Dz 20:1 – konAndAndc ksAndęgAnd (28:31). LukAnd's account of hAnds journAndys wAndth Paul.