![]() However, they can put together the contextual clues that suggest that Character B is being secretive: their body language, the volume and tone of their speech, nervous or tell-tale gestures, stories that aren’t adding up. Continue to remind yourself: What do they know? What do they not know? What can’t they possibly know?įor example, let’s say that in a scene, Character A can’t know for certain that Character B has a secret. To avoid this issue, ensure you’re always writing from the contained perspective of one single person if you’re writing in Limited. We’re in Character A’s head, experiencing the story through them, and then the writer swaps out the driver, and we’re riding along with Character B and in their head instead. This is when, suddenly, in the middle of a scene with no prior warning, the “driver” narrator changes. One of the most common mistakes with writing in multiple First Person Limited or Third Person Limited POVs is a phenomenon known as Head Hopping. However, multi-narrator stories are also easy to get wrong. Three asterisks or a pound-sign are the most commonly used separators. If you’d like to switch who is in the driver’s seat within a chapter itself, it is best practice to put in a scene separator between the sections of story. ![]() Usually these types of stories work by alternating narrators every few, or every other chapter. It can also allow the readers to experience two or more characters’ versions of a single moment, conveying the idea that one character’s perception might not be the absolute truth of the moment, though this effect is best used sparingly. This storytelling choice allows the readers to experience different moments and episodes within the plot, perhaps when one narrator is present but the other is not. ![]() Depending on how your plot is structured and the way your scenes are woven together, both your narrative and your readers may benefit from being able to experience your story through multiple different narrators. ![]()
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