I'm writing 4 POV in past tense as it's a novel about the friendship of four very different women. It's a struggle and was thinking I had too many POVs. I'm going back to check each needs their voice to be heard for the story to work but at least I know there isn't really a fixed limit.
No reason at all you can't have all four POVs, Kate. Lots of possibilities eg they might all have equal weight or you might decide that one character dominates more than the other three. All options are open.
Writing dual POV novel - both present tense. I learnt I may get some traction from giving a couple of minor characters their own POVs to amplify the story. Need to think about that. As far as reading goes, I hardly ever notice POV or even psychic distance. Must pay more attention to mechanics tho I read very fast.
Thanks Debbie. I've managed to see structural things plus character development in the books I read but as I've just finished a structural edit 0f the novel I am about to restart at Ch 1 so this is an ideal time to check out how writers use POV & PD. I read a mix of literary, book group and crime fiction so there's a lot to compare.
Hi Maggie, I can't stop seeing all the POVs! I find there's never much PD going on. I tend to read commercial fiction, and it really bugs me. It's a joy when the author takes us deeper into the character's head and we get to learn how they think. I am a slow reader though, I like to savour the words. Good luck!
I'm writing a multiverse SF story in which the main character, Saffy, meets different versions of herself, her father, and her boyfriend. For plot purposes I switch POV between five different Saffies, separated by chapters; or sometimes extra line breaks to make a new section within a chapter (as when they are acting simultaneously in parallel worlds). But rarely are they iswapping POV n the same scene.
Only at the end, by which time the reader will have got used to things, does Saffy meet an alter ego whose parallel world only split off a day ago. I have written these two almost as one character, for example with two lines of dialogue running on without a para break, without even with a handle on exactly who says what.
It serves the plot, but it also fits thematically, and allows me to work up subtle differences between mostly identical characters.