Are Writers Being Taught To “Dumb-Down” Their Technique For The Reader?

Are writers being taught to “dumb-down” their technique for the reader?

I ask because, what is up with saying a story, chapter, or a section of a chapter has to be written from only one person’s point of view?  When did that become “gospel?”  For years, I’ve been reminded in classroom settings of this, preached at by published authors in online courses, and even my local writers group repeats that mantra.

I ask again, why?

Two of my absolute favorite authors—Louise Erdrich and Louise Penny—break that rule on a regular basis.  The reader is allowed to explore the minds of numerous characters in their exquisite novels.

These two authors fill their writing with thoughtful, joyous, and heartbreaking moments; intriguing dialogue while we’re in each person’s head; descriptions to help the imagination soar as the reader is allowed to see a situation from every angle, and stories that feel so damn complete because the reader knows how every character felt, what they’ve thought, and how their reactions had consequences—the reader gets the full scope of a well-written novel.

So, why are new writers reminded constantly to make their stories from only one perspective?  Is it too difficult to subtly move from one character’s thoughts to another’s reaction without disrupting the flow of the story?  Is it too difficult to teach this?  Or, is the whole philosophy due to the face we never really know what another person is thinking so how could we be privileged to know what two or more characters are feeling?  Is it too confusing?

Granted, it is hard not to create a jumble of alphabet soup but what has happened to trust?  Trusting the reader can decipher or be as flexible as the characters or realize that in a crowd of six people congregating in the story there can be six different viewpoints?

Is the new writer being coerced into believing a reader could never understand a story from more than one point of view?

Why?

Is the new writer being told, in a most injurious way to dumb-down their writing so the reader doesn’t have to think too hard?  Does that make for a best-seller, a beach read, a quick on-the-bus titillating novel but let’s not think-too-hard story?

Both Louise Erdrich and Louise Penny develop characters over numerous books and storylines.  In an early story of either authors’ books you might meet a minor character that becomes a major factor in a later novel.  Erdrich excels at this technique as well as Louis Penny doing the same, keeping the reader more invested in getting to know every single name mentioned in every single book.  It becomes a treasure hunt for the avid reader of their books—the reader doesn’t sit and dissect that the proper point-of-view has been used but revels in how each character could become central to a future storyline.  And, why that person becomes important.

I have written family and local history books, two historical novels where I adhered to the singular point-of-view philosophy but…as I write more, I may stretch the boundaries.  I might bounce between characters to let the reader in on a secret one of them has.  I might come back later to revisit that secret, making the reader feel privileged in knowing they saw it coming.

I might break a few rules.  I might hope for that “best-seller” status but, then again, maybe not.  Maybe I’ll just keep wondering why writers are asked to squeeze into a box that might not fit their own creativity.  Because, after all, isn’t that what writing is all about?

Not conforming, but asking why?  Why?  Why?

I may no longer ask “why” but how about “why not do whatever works.”  I might try something totally new—I might fail—but, hey, let’s re-invent the wheel and re-invent how we write.  Let’s try something new, let’s experiment.

I may fail, you might fail, but let’s “try” together and maybe start a revolution of truly creative writing.  I know I’m up for the challenge.  Are you?

—

Marion Cornett, like many novelists, began her career in a steep learning curve that ultimately lasted over some forty years before having her first story published.  After raising her family, years of creating patterns for national magazines, modeling, riding a motorcycle, hiking portions of many of our country’s national trails, and being a part of the motorcycle road-racing community, she now has two historical novels and three local history books to tout—“Juniper and Anise” and “Tilly Loves Johnny” are both stories set during the Prohibition Era, while the local history books include “The Fowlerville Chronicles,” “Through the Eyes of a Country Editor,” and “Mr. Smith’s Forgotten Community,” all three focusing on central Michigan history.

Current work-in-progress is another local history book centered around a packet of Civil War letters found in an old house.  Both Marion and her husband, Doug, are fully retired and passionately working away on their beloved hobbies.

“Juniper and Anise,” “Tilly Loves Johnny,” and “Through the Eyes of a Country Editor,” are available on Amazon

“The Fowlerville Chronicles” and “Mr. Smith’s Forgotten Community” available for purchase at www.lulu.com.

Tags: featured, women writers

Category: Contemporary Women Writers, How To and Tips