At one point in a WIP, I had one character being held captive, two characters on a quest to bust them out, two characters racing to join the jailbreakers, four with no idea any of this is going on because they think they’re all dead, and then of those four, two split off on a side quest, and the remaining two also split off on various other tasks.
If you’re keeping track, that meant I had a book rotating between 6 different subplots and about 9 POVS at the absolute worst, and then about 4 subplots once characters finally reunited with each other.
It was… a lot.
Now this was never published so I don’t know how well it would have been received but it was a sequel and its predecessors received good feedback so I think I know what I’m doing.
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When you’re committing to a book with Multiple POV, you’ve generally got two roads you can go down: predetermined narrators or ~cinematic~.
You can select a set number of characters to narrate regardless of how many exist in your ensemble cast, and no matter how many split off on their own subplots, those predetermined narrators will be keeping up with the story. These types of books tend to have shorter chapters and single narrators for chunks of chapters at a time with no cutting in between and fairly long breaks in between a character’s chunks of POV. Or, they have entire sections of book dedicated to them with clear markers between POVS.
The easy example here is Heroes of Olympus that I believe had up to 4 narrators per book despite a main cast of about 8 characters depending on the book. The first two were 3-POV, for each of the 3 questers, and then once the whole party was together the POVS were determined by who split off into which groups. Rather infamously, in my opinion, the last book of the series did not give a POV to the two legacy characters and the former protagonist of the first series, which was… a choice. I think the point was that Riordan gave them their spotlight in book 4 and was passing the torch to the new batch for book 5, but for many of us, who had no idea we’d never get a POV of these two again, it was mighty disappointing.
These books also had no chapter titles and instead had banner-style chapters where you had NICO or PIPER in massive banners over the start of each chapter, which was also a choice as going without chapter titles (or even numbers, they’re in roman numerals) makes it a lot harder to search things up in books 500+ pages long.
Who narrates when is less determined by who the most important character of the chapter is, for the most part. It might be Hazel’s moment, but she’s not a narrator of this book, so it’s in Piper POV (or Nico’s forced coming out moment in Jason POV which I will never forgive Riordan for). It’s just a dice roll of whoever it lands on which can lead to some moments, like the Nico incident, that really should have been in Nico POV, but the structure of the story demanded otherwise.
I don’t really love this style of multiple POV. Personally, I think it’s rather inflexible and doesn’t take full advantage of what MPOV can do. But that’s personal opinion so here’s some strengths:
It doesn’t jump around as much and with a minimal set of narrators, it’s more streamlined. You know what to expect going in with no surprises
It forces the author to get creative within the bounds of the POV they’re stuck in
The extra time with a single narrator can be a solid guide rail through a complicated plot piece
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Or, you can write a more ~cinematic~ MPOV. I don’t know the proper term for this, if it exists, but this style of MPOV is when you basically free-for-all. Anyone can narrate whenever the scene demands and this either grants you a book with short chapters, but one narrator per short chapter, or multiple narrators within a single chapter, as you’d film a movie or an episode of TV with multiple perspectives per set piece.
This isn’t a random grab-bag of narrators. It demands a lot of restraint. This kind of MPOV is entirely based on who is the most important character of the scene, or who’s POV would be the most interesting to view the scene through.
ENNS is written in cinematic MPOV, with a far smaller rotating cast than the WIP I mentioned at the top of this post. It starts out slow with the protagonist for the first two chapters as the only narrator, then mid-chapter 3, I give a cue that he’s going to be unable to narrate the next bit, and I switch to my deuteragonist. I don’t give banner headings. I don’t give my characters entire chapters because the POV structure demands it. I just start whichever POV with the narrator’s name within the first 1-3 sentences. If that means one character has an entire chapter to themselves, then at this point in the story, their arc is the most important thing to be focusing on.
In the WIP at the top of the post, it was book 3 of a series which gave me some freedom. Namely that most of those 9 POVs were established characters you’d already be familiar with. I wasn’t throwing my audience into the deep end with 9 strangers and demanding they try to keep up with 6 subplots of equally confusing and unknown characters.
Cinematic MPOV should rely less on “who hasn’t narrated in a while let’s give it to them” and more “who would be the most interesting narrator for this moment”. You could have a villain POV, a one-off that might never narrate again, or a tertiary character who isn’t doing the most action in the scene, but has the richest commentary on what’s going on.
It does demand restraint. If anyone can pick up the narrator hat, then you could find yourself splitting off into unnecessary subplots. Not every piece of the story must be told and letting readers imagine what’s going on behind closed doors is sometimes better than detailing it all out. I could give a captive or missing character some POVS, or I could let the audience anxiously stew with the rest of the cast wondering if they’re even still alive.
In some books I’ve read, the deliberate choice to not let readers see into the mind of a character as they make important decisions, left on the outs with their friend or lover or relative, is maddeningly entertaining. They won’t explain themselves to the people who care about them, and they won’t explain themselves to the audience, either.
Or, you can let a side character have the spotlight for a scene or two as we see our favorites through their eyes, possibly in a way they’ve never been depicted before. A’s lover B might describe them as strong and brash. A’s old rival C might describe those same actions completely differently.
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In terms of who narrates when, like the 9-POV monster I had going, I had key moments of every POV that had to hit the book's physical layout at specific times. Like episodes of TV, I needed certain scenes and moments and reveals to fit within specific chapters, not dangling off on either end.
I had to remember the time scale that all of this was happening on so every scene that was meant to happen simultaneously actually read like it was all going on at once. I had some chapters with the “A” group of narrators, then skipped them for a chapter for the “B” group of narrators for their scenes. Keeping the pacing as frenetic as it needed to be wasn’t easy, but if you can pull it off, I think it can be quite entertaining.
Some things to keep in mind with MPOV:
Don’t retread the same scenes or conversations. I read a fanfic a very long time ago that had I think 10 different takes on one character’s death with the dialogue copy-pasted over and over again and it was exhausting. If you want to have a character reflect on a previous scene, pull the specific lines as they remember them.
Unless messing up the timeline is the point of the story or you make it very clear that a scene happens before the present, don’t let POVs muck up the continuity. If plot happens on a Wednesday and the next scene is more important plot that happens that previous Tuesday, you might confuse your readers on when everything is meant to be happening.
Sometimes not knowing is better. Prequels tend to fail because whatever fans imagined happening is way better than what the writers explicitly show happening. Practice restraint.
Unless your story is paced very slowly, try not to have POVS butt up right against each other every time. In an action set piece, everything happens in sequence with zero black space between them. But a whole book with zero room to breathe can get tiring to read. Books with a single narrator have scene breaks and mini time skips, not every single part of your characters’ day has to be detailed.
If you don’t have banners, make it clear as quickly as possible who the new narrator is. Eventually, if your narration is distinct enough for each character, you can go a paragraph or two and your audience will know who it is anyway just based on how they think.
If these are all unknown characters, try to hop around minimally at first until you establish a clear protagonist, otherwise your readers might get lost on who the focus of the story is meant to be and lose which character is doing or thinking what.
*ETA: I forgot: typically with multiple narrators for a single “group”, like two characters stuck on a side quest together, I try to flip-flop their POVS. For example, if I have D and E with a whole chapter to themselves, the POV structure would go D E D E. To my eyes, it looks better, as they have equal share of the action. I try very hard to not let any one narrator have back-to-back POVS unless the narrative demands otherwise. But that’s just me.
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This is personal opinion on what I think works. If you’re struggling on maintaining pacing or clarity with your ensemble cast, consider the above points. Hope this helps!
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