Kristin Bradley

Author Archives: Kristin Bradley

January 10, 2020

Is Your Story’s Point of View Impersonal or Personal?

Point of view is usually taught without the involvement of the narrator’s role—but it should be. The two are inseparable.

Sometimes, though, even after all the concepts have been studied, it can still be difficult to keep straight the eight point of view types. Sometimes it helps to see point of view framed from an alternate perspective, which is the purpose of today’s shorter post. 

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December 13, 2019

Putting the Elements of Point of View Together

This is the final post of a three-part series exploring the mechanics of point of view: what the elements are and how they can be manipulated for greater writing success.

I’ll break down the point of view elements in the Essayist Omniscient, Limited Third, and Central First Person POVs; show what a scene looks like rewritten in each; and then include an analysis about what each narrator’s perspective contributes to the scene.

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December 6, 2019

The Levels of Narrative Distance

This is the second of a three-part series exploring the mechanics of point of view: what the elements are and how they can be manipulated for greater writing success.

Today’s post covers the other elements of point of view: Number of Accessed Viewpoints and Narrative Distance. Part 1 distinguishes the three crucial roles every author must step into in order for point of view to be properly executed.

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November 29, 2019

The Formula to Mastering Point of View

This is the first of a three-part series identifying what the point of view elements are and how they can be manipulated for greater writing success!

Today’s post distinguishes the three roles every author must step into (one is almost always forgotten!) and then covers the first 3 of the 5 elements of point of view: Grammatical Person, Pronoun Number, and Verb Tense.

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July 14, 2019

Several Little-Known Truths about Writing a Story: Teaching by Example with “The Treasure Hunter” by Kristin N. Bradley

Your premise is not absolute.

I changed the premise of "The Treasure Hunter" THREE times before I knew I had found the right one for the story needing to be told.

My route in writing this short story was circuitous, which allowed me to experience several truths that I have not seen readily discussed in the writing community and will be sharing with you today!

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July 5, 2019

“The Treasure Hunter” by Kristin N. Bradley: Teaching by Example

These last few weeks I’ve been working on a short story called "The Treasure Hunter" that I will be utilizing as an instructive tool to reveal some of my behind-the-scenes creation process!

While crafting the story, I realized some of my creative experiences in writing it were topics not readily discussed in the writing craft sphere.

These topics are almost overlooked, rather de-emphasized, and far too valuable to not not talk about!

So, today and next week’s post will be a reversed before and after. 

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April 28, 2019

Your Author-Narrator Dynamic Impacts Your Story’s Execution: Teaching by Example with Airborn by Kenneth Oppel

Kenneth Oppel and his narrator, Matt Cruse, work in harmony to share a beautiful, compelling story.

Their author-narrator relationship is so well honed that the reader feels a sense of leadership behind the actual story and can sit back and easily absorb the tale.

It’s true that as the author, technically, Oppel is Airborn’s narrator.

This makes the purpose of differentiating between the role of the author and the role of the narrator appear to be a moot point. 

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March 25, 2019

Your Narrator’s Temperament Can Create Pacing & Scene Structure Problems: Teaching by Example with The Murder of Roger Ackroyd by Agatha Christie

Most narrators are willing to work with their authors to achieve balance in their stories to increase reader engagement.

But not all narrators are amicable.

Depending on the subject, an uncooperative narrator may refuse to unite forces with the author, which means the story may suffer in various ways, such as its pacing and Scene structure.

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February 10, 2019

Your Narrator’s Pace Impacts Romance, Tension & Plot: Teaching by Example with Beauty by Robin McKinley

If you’ve missed Part 1 or Part 2, I recommend you check them out first as this post will make much more sense after reading them.

The narrator’s pace affects everything in the story.

McKinley understood this and respected Beauty as a character. Because of this, she let narrator Beauty pace the story in a manner that aligns with her personality: slow and deliberate.

But slow and deliberate does not equal an unpleasant read. There is a purpose to using a slower pace.

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February 6, 2019

Flawed Characters Create Compelling Connections: Teaching by Example with Beauty by Robin McKinley

If you are just discovering this post, head over to Part 1 first. In that post, I covered Beauty’s narrator & point of view, voice (and style), theme, worldbuilding, and magic system. 

Characters are the breath of life in a story. They make the plot events matter. But creating a character is hard, especially when the character needs to have a realistic personality and, simultaneously, be intriguing. It’s a tall order!

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