When I was a screenwriter, I had no choice but to write in the third person. It’s hard to imagine how one would do anything else. Movies almost always work best as third person experiences. (Watch the 1947 Robert Montgomery movie Lady in the Lake, which was shot entirely from Phillip Marlowe’s point-of-view, and you’ll see why.)
When I started writing Goddess, my first romance novel, I was excited by the chance to write in the first person. I found in liberating. It was like sitting around a campfire, sharing a story that happened to me personally. I was able to live the story moment by moment as Julia Nelson slowly but inevitably falls for the hot, enigmatic archeologist Ashland Stewart. it was almost as if I was in bed with him, experiencing every touch, every sensation. It made writing an erotic romance seem easy… and exciting.
But I also learned the pitfalls of the first person perspective.
Writing a romance novel in the first person isn’t a popular choice for a reason. A romance is about two people. (Unless it’s autoerotic, which might be interesting.) When we’re first getting to know someone romantically, there’s often a lot of guesswork involved in figuring out the other person’s intentions and nature. But in third person fiction, the reader can be inside both characters’ heads. We can know what that hot guy is thinking. Of course, that does take some of the suspense out of the narrative, but it helps us understand him more.
One of the criticisms I heard about my early drafts of Goddess was that Ashland wasn’t as well developed as Julia, my point-of-view character. This made complete sense. We knew everything Julia was feeling and thinking. We didn’t have that same luxury with Ashland. It took a lot of rewriting to make Ashland more three-dimensional. But I knew he could never be as fully developed as his lover. That’s just one of the compromises a writer has to make when writing in the first person.
My training as a screenwriter did help me avoid one of the pitfalls new writers often fall into when writing in the first person. In a script, a writer shouldn’t put information on the page that the audience watching the finished movie couldn’t possibly know. A screenwriter has to portray a character’s inner thoughts and feelings through outward action and dialogue. Otherwise, it’s considered cheating and is frowned on by script readers.
Too many new writers working in the first person also try to cheat when conveying information they want the reader to know. One of the most popular (and most cliche) way is through the overheard conversation. (Or, in the age of cellphones, the stumbled upon text or voicemail message.)
The other pit writers fall into is getting stuck in their main character’s head. The story becomes a constant recitation of her thoughts and feelings. It’s enough to give the reader a splitting headache.
When writing in the first person, it’s important to remain grounded in time and space. What can your character see, hear, taste, smell, and touch? After all, while we may constantly have thoughts swirling around in our brains, we’re also are focused on the world around us. (Unless you’re a narcissist!)
If you’ve never written in the first person, I would suggest giving it a try. It may just change your own perspective on your story, and on your writing.