When I was in my first graduate program, I struggled to bring forth By Way of Water (it was called The Wall of the Pacific then—a phrase that has found a new home in my current novel, One Man Reservation). One key aspect of the story involves how the main character, Justy, could image and be in the realities of her parents. Specifically, in a given scene, readers “slide” with Justy to other locations, other moments where her parents are but she is not, physically. Whether she does this out of clairvoyance or arrogance is not clear, but I knew this was essential for the book I wanted, and maybe even needed, to write.
One day, while meeting with my thesis advisor, she told me I couldn’t do this: I was breaking the rules when it came to point-of-view. And this wasn’t allowed.
Recently, while working on One Man, I came across the term, glissando. I read the definition with a sense of deep relief. This is what happens in my first book.
As I think back to the me that sat in her office taking in the comment, I wish, for us both, she had said, “You’re breaking rules and you’re not doing it well. Let’s talk about why this is important to us and how you could do this better.” I graduated six months after my classmates, after my thesis advisor grudgingly accepted the draft of the book with these shifts in point-of-view.
In essence, a conversation that focused on the difference between story and craft would’ve helped; a little more time spent on how to move between these two aspects of writing might’ve illuminated the craft problems for us both. I needed to earn the write to make the shifts in point-of-view seamless and credible. This is something I hope to remember as I continue to teach, to mentor, and to bring new, well-crafted narratives into the world.