…only say we’ll see you down the road.

Our Brandon Layng has recently become very busy with two fascinating projects outside of Belfire Press, and therefore has chosen to step down from his position as Copy Editor. We won’t say goodbye, though, as he’ll still be haunting our streets and slush pile at The New Bedlam Project.

It’s not really my place to say what Brandon is doing…so I hope he’ll stop by here and let everyone know himself. Trust me, it’s awesome!

That brings us to a hello and warm welcome for two new folks – Tracy DeVore and Zoe Whitten! The ladies have agreed to come on board as our new Copy Editors, and will be sent assignments as they become available. Both have experience galore, and both know what it’s like to be on the other side of the editor’s icy glare. Or at least, the other side of the editorial pen.

We’re looking forward to working with you both – again!

Point of View: Whose Head Am I In?
by Louise Bohmer © 2009 All Rights Reserved

Next to verb tense, point of view is one of the hardest areas of story composition to master. I certainly haven’t mastered it yet, but I have developed strategies to help keep my point of view on track. In this short article, I hope to provide knowledge and examples to help other writers manage point of view issues.

Point of view describes from which person’s perspective the story is perceived. It’s a narrative mode. It is the method you choose to convey your plot to your audience. Point of view is where you determine your narrator. The narrator(s) of your story is the character(s) you choose to convey the story. Through the narrative, and point of view chosen to carry the narrative, you show the experience through the eyes of the character chosen to convey the story (unless you’re using third person omniscient or universal omniscient, which we’ll cover later).

The narrative is not the author’s perspective. Once you give your perspective as the author, you’ve wandered into territory of authorial intrusion. Remember, you can’t give your reader information your narrator doesn’t know. You shouldn’t impinge your personal voice on your narrator.
(continue reading…)