Answers to readers questions on viewpoint, characterization, resubmissions and permissions on copyright
Fiction Craft Answers: Viewpoint, Characterization, Permissions and Resubmission
By
Robert Ferrier
(RobertLFerrier(at)aol.com)
This month’s questions involve viewpoint, characterization, permissions and resubmission.
Dawn Cloyd (morningdew(at)uswestmail.net) writes:
I'm writing a fantasy with two major points of view. My hero's viewpoint has a "contemporary" timeline, while my heroine's takes place 1,000 years before. Midway through the book, my hero and heroine will be brought together to continue the adventure. I've seen similar novels where both timelines are written in first person viewpoint. This causes a problem when I bring my characters together. If I use the chronicler’s point of view, I loose the emotional intensity of the characters' thoughts as well as telling the story in an "after the fact" manner. So, I think my best choice is third person. How deep can I penetrate a character’s thoughts so that it won't jar the reader when I bring my characters together and switch from one character's viewpoint to another?
Answer: Since the story involves the viewpoints of two major characters, I agree you should use third person, multiple viewpoint. However, in each scene, decide which character’s viewpoint will most impact the reader, and then use only that character’s viewpoint. Wait for a break before shifting to another character. Following a scene, decide which character’s sequel (including emotion, dilemma, analysis, decision and new scene goal) will most impact the reader. Then use that character’s viewpoint for the first sequel. Follow with the other character’s sequel if needed. Link scenes and sequels in this way throughout the story. In summary, stay in one character’s viewpoint—whether in a scene or sequel--and you won’t jar the reader.
James D. Thwaites (spedemon(at)shuswap.net) asks:
How do I keep a consistent mood and tone throughout a novel written in bits and pieces over a long time?
Answer: The key to maintaining consistent tone throughout a novel begins with characters: build them thoroughly from the inside out. You must know the major characters so well that they react consistently under pressure. Also, the importance of the story goal forces the character to behave consistently. In other words, they never quit. The better you know your characters, the more consistently they will act, thus achieving the tone you seek.
Marcie Hoye Cumberland (macsminis(at)earthlink.net) sends this question:
A character in my novel uses quotations frequently, and attributes them. I’ve been collecting quotes for years from published sources, including on-line quote collections. Must I obtain permission to use these quotations from famous people, living and dead? Or can I simply acknowledge all the folk to whom the quotes are attributed?
Answer: The key phrase in your question is “published sources.” You’re dealing with copyrighted material. There are two instances in which permission is not required to use copyrighted material: 1) if the material is in the public domain, or 2) for a “fair use” of the material. Work in the public domain is without copyright protection. The copyright may have expired, or the material is ineligible for some reason (U.S. government documents, for example). In general, you can assume that anything published in the United States before 1923 is in the public domain. However, use caution. Check full details of the Sonny Bono Copyright Term Extension Act under U.S. Copyright Law.
Copyright law allows for “fair use” of material for purposes such as criticism, comment, news reporting, teaching, scholarship or research. However, for a novel, you must ask permission to use quoted material from published sources.
DKneppel (dkneppel(at)aol.com) writes:
If I change the title of my novel, can I resend it to publishers who did not even read it after I submitted a synopsis? I suspect they stopped reading shortly after seeing the title.
Answer: I don't recommend resubmitting to publishers who have rejected the work under a previous title. Editors make a "reject or read” decision based on the quality and content of a query letter describing the genre, premise, a paragraph on the characters and story line and the author’s writing credentials. Follow the query letter with early chapters and a synopsis. At this point, they're interested in the quality of your writing. If they like the preliminary work, they’ll request the complete manuscript. The title comes into play later.
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