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Dissonance, a Novel
by Lisa Lenard-Cook
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Carla Seidel has lots she'd like to include, but is unsure where to begin:

My confusion lies with where to start. I'm working on a kind of "outline"...a list of things I'd like to include. I'm just not sure how to tie it all together. Since I would like to use my own life experiences as a basis for the story, I figured I would just create characters based on myself and those around me and use a combination of both fictional and non-fictional events to tie them together. I'm not only searching for a complete story and plot, but also striving to ensure the work shares my laughter and pain with the reader. [Carla goes on to ask about how to publish, but that's getting a bit ahead of the game.]

In my March 2004 column, "It Begins," I discussed the very issue you're addressing by examining Robie McCauley and George Lanning's definition of fiction: "Fiction originates in direct personal impression linked by imagination with the writer's resources of experience." Briefly, this means that "direct personal impression"—that list of things you'd like to include—will be sparked by your imagination as you begin to write. The more you write, the more your own "resources of experience"—joy, anger, fear, etc.—will feed into your fiction. You can access the complete column via this link: It Begins

Good luck, and keep me posted. ". . . use the dialogue to reveal both character and situation, as well as keep your narrative moving"
—Lenard-Cook

Patrick J. O'Brien's first experience in a writing group was not a positive one:

The first time I was in a writing group, I read a 200-word page. When I was finished, I received a shocked silent reaction. The group then went on to critique other work as it was presented and nothing was said about my work. What to do? Is this common? Any idea why this might have happened?

Oh, the vagaries of group dynamics! Stories like yours make me want to march right into that group and shake those members out of their smug cliquishness. Your piece (which Patrick included with his question) shows that you have a fine ear for dialogue, and in a good writing group that would have been pointed out. The group might have gone on to suggest how you might now try to use the dialogue to reveal both character and situation, as well as keep your narrative moving forward.

My November 2004 column, "Putting Words in Your Characters' Mouths," explores dialogue in detail. Here's the link: "Putting Words in Your Characters Mouths"

I hope you won't give up on writers' groups just because your first encounter was such a negative one. As with any relationship, it takes time to find the right mix of people who will be as committed to your work as you will be theirs. Good luck! ". . . by limiting my own narrative capabilities, I am forced to go more deeply into the story. . ."
—Lenard-Cook

Judy K. Villella wants to know why editors and agents insist a first fiction be in one point of view:

Why is it so important to write your novel in one person's point of view? I read lots of good books that mix up points of view. Enlighten us with some POV tips. Thanks.

In my July 2004 column, "What's Your Point?" I looked at this very question. Here's the link: "What's Your Point?" When a writer first comes to understand the possibilities of point of view, s/he can't wait to tackle as many as possible. That's because we write fiction in order to climb inside of others' heads in the first place —something we can't do in our day-to-day lives.

I agree that there are plenty of good books out there with multiple points of view, but in nearly all of these cases, they are in third person rather than first person, or omnipotent rather than limited. Beginning writers like to use first person limited narrators (with good reason —there's a wonderful immediacy with this point of view). But when we try to move from one first person limited narrator to another, a number of problems arise. First, unless each voice is very distinct, the reader may be confused as to who is speaking. Second, the author may find him —or herself needing to tell the same part of the narrative twice from two different points of view.

I used to question this directive myself. Then I realized that the challenge of writing a fiction from one point of view consistently made the narrative stronger and more compelling. In other words, by limiting my own narrative capabilities, I am forced to go more deeply into the story itself to solve narrative issues —and going deeper into a fiction is the best thing you can do. I encourage you to do the same. If you find that your fiction really doesn't work from only one point of view, ask yourself why. It's possible you need to make another character your point-of-view character —perhaps someone who's not even in it yet. I know you'll keep me posted…

Best wishes to all Art of Fiction readers for a happy and peaceful new year. Please keep your questions and comments coming. I love hearing from you. About
Lisa Lenard-Cook