In my view, stories and novels consist of three parts: narration, which moves the story from point A to point B and finally to point Z; description, which creates a sensory reality for the reader; and dialogue, which brings characters to life through their speech.
Stephen King, On Writing: a Memoir of the Craft

hi! sorry if you've gotten this question before but I'm writing a novel where the fist half is entirely the POV of one girl and it works well, but in the second half new characters start coming in that make me think I might need to have multiple povs. would it be weird for me to start have multiple povs halfway through the novel?

Hi! I usually prefer books with only one POV to be honest. I think it is easier to ‘bond’ with the voice of the character and to understand the plot better. In my opinion switching POVs can get a bit messy if you don’t plan it very well. If I were you, I’d try to figure out what I really need to get across and if that would require changing my POV. If you think that the main character can’t tell the second half very well, you could maybe create something like “Part One” with her POV and “Part Two” with other characters’ POVs. Switching from one character to the other creates a fanfiction-vibe in my opinion. 

Maybe you are able to stick to your main character and have the other characters tell her what they think/their background,etc. through dialogue. Or maybe your MC can eavesdrop some conversations. 

You have to keep in mind that your reader doesn’t need to know everything - every motive, every thought, every answer, etc - it makes your book even more interesting if some characters are a bit mysterious. So maybe you are worrying about giving these other characters a stronger voice, but they can tell their part of the story without having chapters in their point of views. Think of Harry Potter, for example. We were always seeing everything through Harry’s POV and sometimes he discovered things while eavesdropping, being somewhere where he shouldn’t be, reading a letter/diary…so there are many ways to avoid different POVs and still get everything you need across. I would be carefull with switching POVs.

Hope I helped you…maybe some of my followers have some advice as well? Let us know! :)

Writing is like hunting. There are brutally cold afternoons with nothing in sight, only the wind and your breaking heart. Then the moment when you bag something big. The entire process is beyond intoxicating.
Kate Braverman (via maxkirin)

What's your opinion on writing from multiple perspectives? Like, one chapter would be from Bob's POV, and then the next from Shirley's, ect. Do you have any tips for this?



I love multiple POV stories! I really like when authors explore multiple characters and really give the readers a chance to take in the story from many perspectives.

Multiple POV stories work best when:

  • You have many plots. The more complex the story, the more information you need to feed the reader for the story to work. Sometimes it’s just not possible to get all that information through a single protagonist. Many protagonists, however, are better suited to learning all that information. Many protagonists - especially if they aren’t working together - are also better at screwing up plans and creating chaos. 
  • The plot is character-based. A character-based plot means the story deals more with internal struggles than external struggles. If your plot is character based, you really want to show the reader what all the major characters are feeling. Again, a single protagonist probably isn’t privy to everyone’s emotions.


  • Your POV characters don’t need equal time. And when I say equal time, I mean in chapter time or wordcount time. Devote time to the most important characters and most important situations. Do as the plot demands, not as the character demands.
  • Don’t double up scenes. One of my least favorite moments in multiple POV stories is when the author covers an event with one POV character, then goes back to the beginning of the event to cover it again with another character. If you want another character’s perspective, let them remember parts of the event or revisit as little of the even as you possibly can.
  • Work on voice. You want to keep those characters as distinct as possible. They are different people, after all. I have a voice tag here to get you started.
  • Divide the POVs. Not with that awful **KATNISS’ POV** paragraph starter. Divide POVs by chapter or put a little divider thingy in between POVs if you’re switching in the middle of a chapter. 
  • Keep track of information. Your POV characters will not know the same things because they live different lives and will be exposed to different situations. If your POV character suddenly knows something they shouldn’t, you’ll have a plot hole.
  • Try to avoid one-shot POVs. One-shot POVs are when a character gets one POV chapter, then no others. There’s nothing wrong with it, but it feels strange to hear from a character once and then no other times. 
  • The plots should interact. Even if the POV characters never meet, their plots should have a common element: for example, a common struggle, a common character, or a common theme. This prevents the story from becoming a collection of badly patched short stories.  

would you define beauty?

I guess to define something is to limit it. Beauty means something different to each person. But I think the way human beings are seduced by beauty, it is almost something dangerous. I really like this one passage in Donna Tartt’s “The Secret History” where she wrote about beauty: 

It’s a very Greek idea, and a very profound one. Beauty is terror. Whatever we call beautiful, we quiver before it. And what could be more terrifying and beautiful, to souls like the Greeks or our own, than to lose control completely? To throw off the chains of being for an instant, to shatter the accident of our mortal selves? Euripides speaks of the Maenads: head thrown back, throat to the stars, “more like deer than human being.” To be absolutely free! One is quite capable, of course, of working out these destructive passions in more vulgar and less efficient ways. But how glorious to release them in a single burst! To sing, to scream, to dance barefoot in the woods in the dead of night, with no more awareness of mortality than an animal! These are powerful mysteries. The bellowing of bulls. Springs of honey bubbling from the ground. If we are strong enough in our souls we can rip away the veil and look that naked, terrible beauty right in the face; let God consume us, devour us, unstring our bones. Then spit us out reborn.”

How Do I Get Started On My Book?


A friend asked me this today. Here is my response:

The best advice I can give you is to get started.

Right now.

Don’t even finish reading this email. Open a Word doc or grab a piece of paper and write. When you get blocked or afraid or the stupid-critical voice pops up in your head, give the world the middle finger and write at the top of every page THIS IS ONLY A DRAFT AND IT IS SUPPOSED TO BE LESS THAN PERFECT SO SHUT THE FUCK UP AND LET ME WRITE!

Don’t worry about starting at the beginning.

Don’t worry about not knowing the ending.

Don’t worry about figuring out the middle.

Write down everything you can see and/or hear/taste/smell/feel in your head. WRITE IT DOWN.

You will go back and figure it all out and fix it later. That’s called revision. It is a bit hellish, but it’s not as hard as the first draft because nothing is as hard as a first draft.

Why are you still reading this email?


A scrupulous writer, in every sentence that he writes, will ask himself at least four questions, thus: 

1. What am I trying to say?

2. What words will express it?

3. What image or idiom will make it clearer?

4. Is this image fresh enough to have an effect?

And he will probably ask himself two more:

1. Could I put it more shortly?

2. Have I said anything that is avoidably ugly?

- George Orwell