Hi! I was thinking about that movie,
The Thin Red Line, about multiple POVs. And works. Just like what you say: "I have one very diverse PoV chapter ... but it works". Although transferring something like this to literature requires taking certain precautions in attention to the obvious differences of each particular genre, but at the same time some advantages can be used.
For example, in the case of cinema, the camera focuses on a certain character reflecting on something and then another character is shown thinking in turn of something else and so on and there is no problem, the viewer believes it. And there's even a general voiceover throughout the film that serves to introduce other thoughts. And there's no problem. Everything is perfectly understood. But for one as a spectator it is possible to understand it due to the change of shot / camera. It is almost automatic.
However, applied to literature, it is recommended that
at least there be a paragraph change between the thoughts of one character and those of another. Which would be equivalent to a change of camera / character. There is no need for a line break between two paragraphs, which would already be equivalent to a change of scene. Although, as I said, it is not the norm either; only recommended.
Now, regarding your question:
is it okay to shift from the primarily close-3rd format in other chapters to a 3rd-omni in a couple other--back to back--chapters?
I would say that there would be no problem as long as in the case of chapters with mixed characters it is very clear which character is doing or thinking or saying such a thing or when it is the omni narrator who intervenes.
Actually this is what worries me more than the above:
I don't even break up my chapters into sub-scenes.
Here I think they could throw you eggs and tomatoes. You see, one is supposed to write with the intention of being understood. That as a first thing, right? That is the goal of writing courses, at least. You know, subject, verb, predicate. I guess we all agree on that. Well, then, for example, if one sometimes refrains from using the tacit subject even though he is aware that it is not necessary, one does it with the same objective of making it understood and there is no doubt in the message that one wants to transmit.
Because we are also talking about communicating. I suppose because of that there are all these conventions that give rise to advice on what can and cannot be done. I personally admire all those who write in a say "experimental" way, it is a gift. But I can't help but think about who will read what I write because
I'm interested in him understanding me. I'm not interested in boasting or looking sophisticated. So I prefer to drive straight down the line of the road even though they call me demure.
The first convention is that the paragraph is a central idea plus two or three supporting sentences and a closing, right? And in a chapter you can have the paragraphs you want. But I insist that if possible it would be good
if you make a scene change there is actually a line break that leaves a blank space between two paragraphs.
And going further, if the scene ended but you are still within the same chapter because this is determined by the internal logical order of the story, that kind of "Hours later" or "The next day" that is invisible but can be felt,
I recommend that the line break between paragraphs is double or triple or even insert a wedge that no longer leaves the slightest doubt to the reader. A kind of centered ***.
There are some who also use numbers to mark sub-scenes. For which they obviously number chapters such as Chapter I, Chapter II, etc, or some other nomenclature that avoids confusion to the reader.
A chapter 'for me,' is an entire scene from start to finish.
I fully understand what you say. The longest chapter I have ever written belongs to my fourth novel, written in 2009.
It has 185 pages! 90K. 1350 paragraphs. It is practically one novel within another. But, as you say, sometimes that internal unity that one feels it suggest that if force the division of chapters it will lose cohesion and fluidity. And it is not that one is thinking of producing any effect. One feels that way because obviously one is the first reader of what one writes, and if one is out of breath after nearly 200 pages readed at a stretch one also knows that the same will happen to the reader. It is a fact.
This is basically like having a child. Well I am a woman. I know what I'm talking about. And there are babies that are born very large. What we in literature call doorstopper-sized tomes.
But, whether it's just my lack of skill to pull it off, or maybe just a preference, I don't care for broken up chapters in what I write.
Well, going back to the topic of children, a novel feels and is loved as one, but it is not. You can make him lose weight, for example. I mean, take away K. Also, I think you're underestimating yourself. Or do you think anyone would raise a thread like this? No, my friend. Because as soon as I saw this in the forum I knew that I had found something exciting, from which we can all get some things. Because don't you forget that this is also being read by guys who are just starting out, and I hope you will forgive me if sometimes it seems that I am giving the can, but I do it thinking of those people who are looking for an opinion and who are just starting to climb the mountain. I have been writing since I was ten and I am 30, and I know that I can give some help to everyone, I consider it a duty. And in the same way I know that the kind of questions you ask are not the ones a newbie would ask. Because you come across such things when you've gone up a certain stretch.
So in your case I doubt that it is due to lack of skill, but rather an aesthetic choice, I would say. But also something that you feel strongly. Just as there are writers who dispense with quotation marks in dialogues. By the way, a wonder, The Nova Express. One reads it all the time a little frowning, because there are no commas, there is a complete disregard for the rules of writing and only at the end understand why it is written that way. Because actually the narrator of that story is an alien. "Word falling, image falling". Etc.
And, ay, this is only from the first post. I have yet to see what you guys posted later. But I can already see that this talk is going to be wonderful!
In the same trench with everyone. Always!
