Writing with two MCs.

Aris Hunter · **Posted:** May 27th, 2011, 2:48 pm

I've had an idea for a story (shocking, isn't it? A writer has an idea for a story

) which includes two main characters. But, I want to write in a way that the reader sees through the eyes of both MCs. Not in first person, but third.

Is there a way to do this effectively? Or, is there a way to do this period?

Elly · **Joined:** October 22nd, 2010, 7:58 am **Posts:** 4197

Aris:

Try allowing the reader to really get to know the characters through a couple scenes which involve only that character.
Allow the characters to understand their agreements and disagreements. If they are friends (I'm assuming they are), there may be times they need to say, "Let's agree to disagree".
I love first person, yet third person point-of-view can be effective when you have two MCs (or more).
Let the characters be introduced at the same time in the first chapter. Keep it simple in chapter one; no "cut to" scenes or anything that could make it complicated for the reader.

Aris Hunter · **Posted:** May 27th, 2011, 4:01 pm

What are cut to scenes?

Lady Eruwaedhiel · **Posted:** May 27th, 2011, 5:35 pm

I'm a little confused. Do you mean having scenes from the viewpoint of both characters at once, or switching between the two for each scene? If you have both viewpoints at once in one scene, then you're writing from third person omniscient perspective.

I have three MCs. The primary (Arionwyn) is written from her perspective alone for each scene in 1st person, past tense. The other two MCs (Aaron and Iri) switch scenes as well, but they're written in 3rd person, past tense. Lemme dig out my writing book ...

Ahh, here we go. A whole chapter on viewpoint. (By the way, the book is Manuscript Makeover by Elizabeth Lyon; I highly recommend it.

) The book narrows it down to:

I think the one that most applies to you is Dual, correct? Here's an excerpt:

Quote:

Two-character viewpoints allow development of your protagonist and one other character, whether the relationship between the two is as relatives, friends, lovers, work partners, or as protagonist and antagonist...That means you will have to decide if you selected the best character for each scene when you wrote your novel. It also means that you should have signaled readers of your plan to use more than one viewpoint soon after beginning the story.
Dual viewpoints can use third person for both characters (the most common) first person and third person, or first person and first person...Both the sequence and viewpoint changes and the depth of story and character development differ from novel to novel and from genre to genre.
ADVANTAGES OF DUAL VIEWPOINTS
An immediate advantage of dual viewpoints is the development of two characters and their relationship in depth. The reader stays stimulated with two different voices and the greater complexity of relationship of two lives...
DISADVANTAGES OF DUAL VIEWPOINTS
The disadvantages of dual viewpoints are few. If the writer creates a pattern of alternating chapters, the pattern in itself can seem too contrived or forced. Another possibility is that the character other than the protagonist is more interesting and "colorful" than the protagonist...In any case, it's important to have a clear protagonist with a five-stage dramatic story line and to use the other viewpoint character as a polishing stone. And the hero or heroine should have more scenes than the other character.

All that to say, if you do it right and carefully, yes, it's possible and even a good idea.

I don't agree with her as strongly about there being only one protagonist per book, simply because I have three. :rofl:

I suppose she's probably right, but I think each can share equally (as long as you are tasteful with which scenes you have from which character) and have just as many vibrant, interesting characters as you want. Two shouldn't be a problem.

Hope that was helpful!

Aris Hunter · **Posted:** May 27th, 2011, 6:18 pm

Cool. That was helpful. Thank you, ladies!

I wasn't planning on switching between both MCs for each scene. I would perhaps focus on one MC for one scene, and for another scene, only the other MC. Or I would have both for one scene (I've really got this one down :roll:

) The story more or less revolves around one MC (Tesmir). I wanted another MC as a girl, since I don't have many female MCs. :blush:

She accompanies the other MC to keep him from falling apart (emotionally, or something. He's off on an adventure to get revenge for the deaths of his brothers) and to just keep him company. She also has her own special piece in the story.

I want to lead readers (should it reach other eyes

) to the idea that the male MC is in love with a lesser character, but in the end he's in love with the female MC. So she wouldn't be as focused, for a while, as the male MC, but I still want her to be recognized as an MC.

Elly - Can you give an example of the agreement/disagreement point? I think I understand. I just want to make sure.

OK, I'm talking too much. Forgive me if anything derailed the topic.

Andrew Amnon Mimetes · **Joined:** May 14th, 2010, 4:43 am **Posts:** 4458

I have two MCs (Zaciré and Numaryá), and I sort of tell the story from a POV of each MC. I don't alternate through chapters, though, I generally alternate by scenes, seven or eight of which make up a chapter. That keeps it fresher and less dependent on a single charry, IMHO. Then I have a few isolated scenes from the perspective of a few other characters.

Throughout the third-person narrative, I have some first person thoughts which make it clearer from whose POV the scene is written.

(On a side note; Lady E, that sounds like a great book! I've got to get my hands on that one.)

eru

Elly · **Joined:** October 22nd, 2010, 7:58 am **Posts:** 4197

Sure, Aris!

The agreement/disagreement is where, if you work with third person, that you don't 'agree' on one thing with one character, but 'disagree' with the same thing with the other character. Sometimes it's just best to keep your opinions out of the book and just let the characters do the speaking.

And cut-to scenes are where the scenes are switching back and forth from one character's scene to another scene. This can be challenging, but cut-to scenes are generally very action packed and fun reading for the reader.

Neil of Erk · **Posted:** June 6th, 2011, 6:44 pm

Originally, Jay and I imagined that Bonesword (WIP) would be written using this mechanism. Bonesword and the High Priest would receive equal air time. The reason was twofold:

1. Increase the tension by giving the Positive Ideal and the Negative Ideal POV time. It also would have allowed deeper introspection on the Priest Vwe's part, allowing us to better understand his position. Having the villain as a primary POV is a nice trick for deepening conflict. Plus, it allowed me to maintain the confusion of Ideals I wanted to impose on the reader for a little bit longer than it would have worked otherwise.

2. More material. I like long books. Having two primary POVs also prepares the readers for accepting a number of secondary POVs, which I wanted to throw in often, for scenes in which neither primary POV is directly involved, but which are necessary to the content.

I always dedicate an entire scene to one POV. If I need to make a series of quick shifts between POVs, I just create several quick and neat scenes. This avoid the shock (which I have experienced sometimes) of shifting to another POV in the middle of an unbroken battle scene.

Ardyth · **Joined:** November 24th, 2010, 1:24 am **Posts:** 220

My opinion is that if the romantic element in the story is strong, definitely use two POVs. Readers who enjoy a romantic element in the story would generally love seeing it through both their eyes and how they think about each other. It's a great way to show the relationship developing. Third person is fine for that, I'd just use a scene break, like:

***

Then have a new POV on the other side. I really don't see any downside to this method and have read tons of published books that do multiple POVs in third person. I get a bit frustrated with too many because I can't get attached to anyone properly with all the jumping back and forth, but 2-3 characters always works fine.

My own novel is told in three third person POVs, because without having the villain's POV I found I didn't have enough tension. He did a lot of secret things behind the scenes, while the main characters were distracted. The reader spent too much time with one of the other MC's trying to "spy" on conversations to create a sense of tension. I cut all the eavesdropping, and just added the villain's POV as more dramatic and tension building.

Aemi · **Posted:** June 8th, 2011, 12:43 am

I have two main characters. I want to write most of the story from my MC girl's point of view, but later in the story, after she meets the MC man, I'm planning to switch to his POV for the few scenes where the girl is not present.

Aris Hunter · **Posted:** June 9th, 2011, 2:16 pm

Those are good, guys. Thank you.

How do I use the second MC's POV effectively, but at the same time keep readers thinking of a romantic line between the main MC and a different character? (At least until that other character is gone, and then the two MCs can develop a relationship)

Andrew Amnon Mimetes · **Joined:** May 14th, 2010, 4:43 am **Posts:** 4458

So...Character A and Character B are MCs, and Character A is in a romantic relationship with Character C, correct? Hmm. Perhaps:

Maybe Character B is jealous of Character C, thus notices everything that goes on between C & A.

Or, maybe Character B is just extremely observant

This would work if B were a mentor figure to either A or C. Or, B could be mentored by either A or C, which would also work

Not knowing anything your story, I kept it general

But those were a few ideas off the top of my head.

eru

Aemi · **Posted:** January 26th, 2012, 11:41 pm

Aemi wrote:

I have two main characters. I want to write most of the story from my MC girl's point of view, but later in the story, after she meets the MC man, I'm planning to switch to his POV for the few scenes where the girl is not present.

In my first draft, I also switch to MC girl's father's POV for a while, because I need to show his memories and feelings. This may or may not change in subsequent drafts.

Writing with two MCs.

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