Jan is Jan Fields, moderator of this interview with Deborah Lynn Jacobs, and Web Editor of the ICL Web Site. Green shows names or usernames of people and the questions they asked Deborah.

Jan: Welcome to SPECIAL GUEST CHAT: "Speaking in Voices: Writing the Multiple Viewpoint Novel" with Deborah Lynn Jacobs! Pull up a chair and be amazed as we talk about when, why, and how to use multiple viewpoints. Hi Deb, I'm so happy you're here!

Deb: Thanks, Jan! I'm excited to be here!

Jan: Did you have to overcome any personal fear of multiple viewpoint when you decided to try it in a novel?

Deb: Not really. I starting writing Powers over ten years ago. It was always in two voices. Maybe I didn't know better (ha, ha) or maybe it always just fit the novel. It was one of those stories that HAD to be done in two voices to work.

Jan: So, how did you ensure the two voices sounded really different?

Deb: At first, I didn't. They sounded quite alike. I read that old first draft now and I cringe. They both sound like ME which is common beginner mistake. It took several drafts, then running the book through my critique groups, then asking males to read it.... In the end, I made lists of words, phrases, etc. that each character would use. That helped. But what really helped was writing one voice in first person present tense, and the other in first person past tense. Then, the characters became more distinct.

Jan: Writing as a guy would have some challenges I would think -- what kinds of suggestions did male pre-readers give you?

Deb: Stop thinking like a girl! I didn't know I was thinking like a girl, so that surprised me. My son helped a lot. He said that a boy wouldn't be thinking of the same stuff that a girl would be thinking. He gave me some suggestions for the first scene. Also, I had to change Adrian. I wanted him to be a really sensitive nice guy at first, but readers told me they just weren't buying it.

Jan: I'm ashamed to say that I still haven't read POWERS...well, in book form. I need to head to Borders -- can you describe it just a tad for the audience?

Deb: Sure, Jan. It's about two teens who unlock each other's latent psychic powers. Only, they can't stand each other, can't work together and nearly destroy each other. It's a story about power in many forms--not just psychic, but physical, emotional, relationship, romantic and sexual power.

Jan: Okay, clearly I can chatter all night but I have to let some other questions in...or I'll be called a guest hog!

Deb: Hi Kim. Great questions! Let's take the first one first. I've been taught the same thing, that young readers need a single protag to identify with. So, why on earth would you have two viewpoint characters, or more, if you risk losing that close identification and emotional connection? However, it certainly is becoming more common, especially for young adult, but even for middle grade, which is what I'd say Criss Cross is. I think it may be part of a general trend to be bold and innovative in fiction. Look at some of the recent books that have tackled subjects that authors wouldn't have tackled ten years ago. Or, innovative ways of writing, such as free verse or unpunctuated, like how i live now. I was told a while ago that editors were looking for "unusual, innovative," etc. About only experienced writers attempting multiple viewpoints--that's a good one. I certainly wasn't experienced when I started, but it was a steep learning curve and a long, long, long road to publication. Now, I'm on my third multiple viewpoint novel, (in progress) and it's much easier. I'd say, if the novel demands more than one viewpoint, then go for it, Kim!

Jan: Ahhh...you mentioned Criss Cross. What multiple viewpoint novels do you recommend studying to learn more about the form?

Deb: I'm glad you asked. My favorite, which I use as an example when doing workshops, is Behind You, by Jacqueline Woodson. She writes it in 7 distinct voices, and ties all the story lines together. She wrote If You Some Softly as well, but I haven't read it yet. Anyway, her treatment of dialect and voice is so good that you can hear the grandmother's speech pattern in the father's voice and in the grandson's voice. Masterful. I'd also recommend Unseen Companion by Denise Gosliner Orenstein. It's in four voices, all distinct, all with their own stories.

Deb: Hi Gladys1. Sure! Here are some tips--(actually, a lot of these are from the book PLOT, by Ansen Dibell, but I agree with all of them! If you are going to switch viewpoints--
1. do it early, so the reader "get's it."
2. change viewpoints consistently, scene by scene, chapter by chapter or by leaving a blank space when you switch.
3. introduce your characters gradually, and build connections between them.
4. Don't switch viewpoints in the middle of a paragraph!!! (that's my personal pet peeve!)
5. Make the voices distinct. A reader should be able to open the book at any page and quickly know who is talking.

Jan: One of our audience members wonders if you would explain the difference between first and third person...and do can both work for a mutliple viewpoint novel?

Deb: Oh, boy....sure, I'll tackle that one! Many mulitple viewpoint novels are written in first person, especially young adult, but also some middle grade. For example, the novels I mentioned earlier. First person is written as "I" I got up this morning and remembered I had the chat tonight and was excited and nervous. Third person is "he, she, they". As in, Deborah woke up this morning. Her first thought was, "Oh, no, chat tonight. Hope I don't make too many typos." Both can work from a multiple viewpoint novel. If you look at most adult fiction, like Clancy or someone, it is written in third person but switches viewpoints by chapter or scene. It seems to be more of a trend for ya or mg, if done in multiple viewpoints, to be done in first person, either present tense or past tense.

Deb: Hi takers001. I think you've hit upon one of the major challenges of multiple viewpoint novels. It can be difficult to keep the plot straight. I'd suggest, first of all, choose as few characters as you need to tell your story. Don't add extra characters that you don't need. Don't add subplots that you don't need. Your reader will have a hard enough time following different viewpoints, so keep it clear, keep it logical, and make sure your characters meet fairly often, in order to establish the connections between them. Also, I keep flow charts, to keep my plots clear. The more viewpoint characters you have, the more you may have to flow chart or (gulp) outline!

Deb: Oh, my, yes. I know exactly what you mean. I've skipped whole chapters of books, because I got caught up in one character and didn't want to leave them. That's another major challenge! To not let one character, the stronger character, take over! So, ask yourself--how many viewpoints MUST I have? Does this story demand to be told in multiple viewpoints? And, very importantly, is every character equally involving, interesting, exciting, etc? If not, why use multiple viewpoints? One suggestion I have is to end every scene on a "cliff hanger" and make sure each character has an equally strong role.

Jan: Considering the inherent challenges -- What are some reasons why multiple viewpoints might work for a novel? In other words, in what situations might you consider using multiple viewpoints.

Deb: Good question. It seems like there are so many reasons to stick to one point of view! Here are some reasons, however, why multiple might work:
1. To illustrate a conflict between two characters. (Like The Long Night of Leo and Bree or, ahem, Powers!!
2. Your story action splits, and you want to follow two or more characters in different settings. (When My Name was Keoko).
3. If telling the story in multiple viewpoints will build suspense, because some characters know things the others don't. (Like in We all fall down.)
4. If you have opposing views of the same situation.
5 When you wish to blend together various different stories (Behind You)
6. To introduce layering and complexity in a novel (probably more for young adult than middle grade, I'd say.)

Deb: Hi Writermom! Fantasy novels are often written in multiple views, aren't they? Or, I think they are. I don't read a lot of fantasy, but I know adult fantasy is often very far reaching. I think for fantasy, you could explore multiple viewpoints. I wonder if your view is too broad, though? Too many viewpoints? So the different viewpoints aren't distinct? So, writermom, maybe you could look at which characters are totally necessary, and which are maybe adding too much info and confusing the reader?

Jan: I just finished an adult fantasy that must have had 15 viewpoints.

Deb: Fifteen, Jan? Wow. Personally, I find that hard to read. I hate books with character lists at the front. I get too confused.

Jan: And it's hard to care about 15 people -- so the plot rules because you don't really care about the people. Which is good because most of them DIED in that book.

Deb: Ha, Jan, most of them died? LOL. Yes, good point about plot. Some genres, science fiction and fantasy for example, sometimes are more plot driven. They encompass a wider story, a very big story, and are told in many viewpoints. Not all science fiction and fantasy, mind you. Some are very much character driven. But, historically fantasy has been more plot driven (end--shutting up now.)

Deb: Hi coloradokate. For Powers, the book that just came out, I started in double first person, both past tense. I then experimented, and ended up leaving the girl in past and putting the boy into present tense. Then, his voice became more masculine, more edgy. Mind you, I'd written quite a few novels by then, all unpublishable. Powers wasn't the first thing I wrote.

Jan: One of our audience members, Razberry, just returned from a conference where many said concentrate on character and figure out the plot later.

Deb: Hi Razberry. That's great advice. Characterization is critical, don't you think? I think some people might disagree, though, about starting with character first. My books start with a situation. A "what if?" An idea. What if teens developed powers? What if multiple universes exist? Then, I find a character who will suffer the most as the result of this "what if?" Someone who can't handle it. Who will be totally thrown by it. And that's my main character. I know many, many writers who create a character first and then stick them in a situation, but for me, the "what if?" comes first.

Jan: Razberry says the problem is that by creating the plot first, the characters inserted don't seem "big" enough -- not enough huge life crisis or intensity.

Deb: Still mulling this one over. I'm thinking there are lots of big characters out there--like Harry Potter--but aren't there smaller characters? Less world shaking? The character must need to be in that place. I read a book recently about a girl whose dad lost his job. Can't remember the name of the book. Good read, though. And ordinary characters dealing with ordinary life. But, dealing with it so authentically that I really felt for them.

Deb: One way is speech patterns. Long vs. short sentences, use of slang vs. formal language, pet phrases. You can look at local coloquialisms. You might look at whether your character talks in shorts bursts or long lectures. Another thing to consider is that everything your character says is a reflection of where they have come from. Their dialogue, or nonverbal reactions, will be shaped by things like education, upbringing. beliefs, prejudices, wants, needs, fears, secrets. Many writers interview their characters, to discover all of this about them. Once you know your characters' deepest secrets and longngs, they become alive. Voice follows. You will hear them in your head. See them on the street. (Okay, and then you call the nice guys in the white coats....grin.)

Jan: I've seen some multiple viewpoint picture books, but I'm sure the pictures help with understanding.

Deb: Hi Kate. I don't know. I've seen more books for younger audiences being done in multiple viewpoint. I've seen quite a few multiple viewpoint picture books...but the pictures probably help :-) Like Criss Cross...The Unnamed. Would Sisterhood fall into this category? I'm thinking middle grade, 9-12, is not out of the question for multiple viewpoints, as long as you keep the subplots to a minimum and make your shifts clear. What about the Mulberry Project? That was one voice, right, but Linda Sue Park had the author as a second viewpoint character, didn't she? And that was middle grade, for sure.

Deb: Eggamy, I have one book that is a middle grade. (The Same Difference) which is 9 and up. (Though I think it's more appropriate for 12 and up) Powers is 12 and up, making it young adult. The next book, next year, Choices, will be young adult as well, but maybe 14 and up, making it upper ya. In terms of grades, oh, man, I have trouble translating ages to grades! Most of my young adult stuff is rated grades 7 and up. But, Choices might get a grade 9 and up label.

Deb: Hi Betty. It's really difficult to answer your questions without reading your novel. I think it's great that you are using chapters or time breaks to signal your viewpoint shifts. If multiple voices seem integral to your plot, I'd go for it. I'm wondering how you define tween? 10 or 11? It's hard to say if multiple viewpoints will confuse them. I'm thinking it might be okay... I know I said 9-12 yr olds could handle it, but that's just me talking as a writer. I'm not sure what an editor or agent would say. Do you have a critique group? They could probably tell you if it's working. About changing your protag to first person--it might work--but if everyone else is in third, it could be way too confusing. Again, hard to answer without reading your work.

Deb: I've seen it done, where one viewpoint character is in first, and two or more are in third. Maximum Ride, for example. (or, the book I'm reading now, adult fare, by Diana Gaboldon) I wouldn't recommend it. I think some authors get away with it, but I do think it's not advisable, especially when writing for kids or teens.It can be confusing, and, personally, it wrenches me right out of the story and makes me notice that the author is manipulating viewpoint to get the story to go where he/she wants it to go. Wait until you are famous before you break the rules like that!

Deb: I'd say, be very clear about your viewpoint switches, keep your plot clear and logical and maybe stick to just two viewpoints. Don't go for three or four. Keep it simple.

Deb: I think the best way to incorporate pt. of view is through the standard section or chapter switch. However, I've seen some cool (innovative!) treatments of it lately. The Book Thief, for example. Death interjects his own opinions, using bold print, as I remember. Very weird, but cool. Or, Shattering Glass (Gale Giles) This is told in one pov, but has chapter intros by a cast of other characters. Each chapter intro is written from another pov, very short, very distinctive voices. It adds multiple layers to the novel.

Deb: Hi inky. This is a question that gets kicked around a lot on message boards! Some people say, "let the publisher decide." And I agree to some point. I'll let my editor/publisher decide whether my books are 12 and up or 14 and up, for example. But if I'm writing a middle grade, mostly 9 -12, my subject matter will be far different than if I'm writing for 12 or 14 and up. At 9-12 you are concerned with different issues, than you are at older than 12. so the age of your protag, the issues they are facing, the mature content (or lack of it), (and other factors) will all determine whether you are writing a book for younger kids or older teens. And THAT will determine where you market that book. You don't want to send an edgy YA book to a publisher which is interested in funny middle grades, for example. A critique group, either online or in person, can sometimes help you determine the market for your book.

Deb: Me, magazines. Nope. Only adult ones. Adult as in grown up stuff, non-fiction, feature articles. I've had quite a number of those published. But not kids mags. I don't really get into the mind set of younger kids, which is where so many mags find an audience. And I can't write "short." Even when I wrote for newspapers and magazines, I wrote features that took up a double page with photos. I'm just longwinded.

Deb: No concrete suggestions, I'm afraid, though I do think there is a market for mainstream, mild books. Let's face it, edgy gets boring after awhile! Not every book can, or should, break the rules or be edgy! I'd say the usual routes are best--go to conferences, hang out on message boards and writers' lists, talk to other writers, do your research (CWIM, or the SCBWI website...) Oh, and go to a big bookstore. Take a journal. Write down the names of every publisher that publishes books like yours. I've done that with a friend--took us several hours, but we had a blast and came away with tons of ideas.

Deb: I think you should have an idea what age range your work is right for. Most publishers will categorize their "needs" by whether it's pb, or early reader, or early chapter, or middle grade, or ya, etc. So, it's good to know where your work falls along that continuum. Of course, other writers might disagree. Just my opinion.

Deb: Hi, Aurora. That's another question that people like to discuss. Um...argue, actually! Many publishers are still open to you without an agent. I'd go that route, at the beginning. I sold my first book without an agent. Then, I found an agent to represent me. BUT, it was a bit of luck on my part. Someone posted on a list that her agent was looking for 7 or 8 more clients. So, I subbed to him and he agreed to represent me. I had sent queries to other agents previous to that, and didn't get many bites. I don't know if having a book out already mattered to the agent who took me on. But, it did give me the confidence to really sound ...uh...well, confident in my query letter. I'd say, try sending things out on your own first. Make sure they are polished and professional. If you want to look for an agent at the same time, do so. But don't wait for representation before you send your works out yourself. It can take a long time to find an agent. Life is short.

Jan: So...it took you ten years to write Powers...how long did it take to write your first book, the middle-grade novel?

Deb: The Same Difference? Depends on how you define "write." It came from an earlier novel. Actually, both Powers and The Same Difference came from that earlier novel. I think, once I figured out the plot lines, The Same Difference took maybe a year. Longer, perhaps, if you count the research time--time to research Aspergers Syndrome and Autism. The fastest book I ever wrote took six weeks, but it hasn't found a home yet. Can't imagine why (big grin) Choices, out next fall, took 8 months or so to write, 4 to revise, and is now in revision again.

Deb: Hi Riada. I think I started writing novels in 1994. (Though I wrote for newspapers and regional magazines in 1992) I got my first acceptance in 1998, (the middle grade) which was published in 2000. My next book, Powers, was accepted in 2004 (I think) and came out in 2006. The next book is scheduled for 2007. I've never written for kids' mags. I don't have the imagination or talent, I guess, and have never explored the market.

Jan: And that brings us to the end of the chat time. Thank you to everyone in our audience for sticking with us even when everything went all wonky. AND a HUGE thank you to Deb, my friend, for not giving up. You really taught us a lot tonight.

Deb: Thanks, Jan, aka "guestspeaker." Thanks for putting up with my computer! I had a great time. I'm not nervous now!

Jan: Ah, the sure cure for nerves -- have everything go wrong and make it through anyway. Thanks again, all, and good night!