Writing Tips for narrating your novel

Omniscient Voice or Head-Hopping?

What’s the difference between an all-knowing, omnipresent, prescient narrator, or what’s basically author intrusion?

The widest footprint in the sand is whether your omniscient narrator has a role in the story or whether it observes events. An omniscient narrator knows the thoughts and timeline, but does not influence them. It is unkind to show off this knowledge of multiple characters in the same scene or paragraph, let alone same sentence, but it’s not necessarily wrong. Omniscient Point Of View (POV)s are generally found in literary works instead of genre work. Omniscient POV generally works better in plot-driven story (when the story is mostly about what happens/reactions to events) vs. character-driven story (when the story is mostly about the people/what they do).

Head-hopping switches from a person’s thoughts about something to another person’s thoughts of their own individual tone/perspectives in the same setting or scene, in the same sentence or paragraph. It is the character’s voice vs. the narrator’s voice telling something about them or another character from outside of the purview, not the characters sharing their story from their own mindset.

Is head-hopping ever acceptable? Let’s just say, it’s done on occasion, especially in some romantic lit or in books by popular authors whose editors fear their reps. It can be done without disrupting the reading experience (eg, in the heat of the moment), but it’s more compelling to watch an expert author spin a tale limited to one perspective (at a time).

Omniscient voice should never change perspective but keep the same tone and ability throughout, an all-knowing prescient entity, unless the narrator is a character with a storyline and purpose. Omniscient voice often masquerades as author intrusiveness and lays a barrier between reader and story. An aspect of omniscient voice that I try to teach writers to avoid is that a prescient voice tends to waste the reader’s time explaining what’s not happening, not heard or seen, not done, or not known. Omniscient is what perspective, in general, cinematic films use to show story.

Omniscient voice can be:

Completely outside narrator with a voice/personality/perspective of his own (Our Town/Wilder, Book Thief/Zusack). This perspective may be unreliable because it has bias. (Oddly enough, The Lovely Bones/Sebold crosses the line between this description and the next and falls technically into paranormal because the character Susie influences others outside of herself.)

Omniscient close third – the narrator knows the thoughts and feelings of everyone, those born and long gone, but does not direct the action; merely reports, not responds, not causes the characters to act or react; this narrator is trustworthy (and boring), and uses the same tone throughout the book. (Celeste Ng/Everything I Never Told You, Brave New World/Huxley)

Omniscient limited third – the narrator knows everything about only one or two characters or an event. The setting can become a character. It has bias but only from what it knows about the character. This voice understands and not always hears those around him/her. (Harry Potter/Rowling, Hogwarts; A Man Called Ove/Backman, the neighborhood; My Grandmother Told Me to Tell You She’s Sorry/Backman, the apartment house)

What should you choose for your story? Here are some pointers:

 Does your story have a literary scope or does your story fall into a specific genre?

• Whose story are you telling? (Which character has the most to lose?)
• Is the relationship among the characters or the event/scope of the story more important?
• How would your story be different if your characters weren’t directing their own actions?
• Can you carry such an all-knowing voice consistently throughout the entire book?