Plot Structure with Dual POV

PiratePhillips

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I'm finally revising my novel, which I wrote before understanding the value of an outline. It is dual POV, with each character basically being her own protagonist and the other's antagonist. They each have goals related to the other, but their character arcs are not necessarily dictated directly by each other. So while the characters are linked, their individual 'mini-antagonists' drive much of the plot.

As written now, I've noticed that it's falling okay within a basic three-act structure (obviously it will be tighter with revision). But their plots are not in sync with each other. For example, MC1's plot climax happens several chapters before MC2's does. Is it okay, structurally, for them to be at different paces within the novel, or will this frustrate the reader? Does anyone have any resources you like that focus on structuring a Dual POV novel?
 

Aggy B.

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Usually with multiple plots the climax for all the plots doesn't all happen at exactly the same time. (Sometimes it can. But unless all the plots lead to the same conflict then they usually happen over an extended sequence.)
 

sideshowdarb

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A pair of books that might be helpful in terms of dual POV (both alternating 1st and 3rd, though this may not be what you're doing) are Bleak House by Dickens and Eureka Street by Robert McLiam Wilson. Both are great books that may give you some insight on managing this type of structure. I would say the two narratives of your POV characters should at least impinge on each other, or inform each other; it's not necessary they echo one another in plot terms precisely.
 

blacbird

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A pair of books that might be helpful in terms of dual POV (both alternating 1st and 3rd, though this may not be what you're doing) are Bleak House by Dickens

My recollection of Bleak House is that it is narrated in omniscient POV, but it's been a long time since I read it, and I might be mistaken.

caw
 

PiratePhillips

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Thank you, everyone, for your insight! Mine is written in limited-omniscience third-person for both characters. I will check out the suggested reading, which I'm sure will be helpful. And I will never start a novel without an outline again!
 

Harlequin

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OP--my understanding is that limited omniscience, by definition, means you are confined to one character:

"A narrator whose knowledge is limited to one character, either major or minor, has alimited omniscient point of view."

It sounds as if you just have omni POV?
 

CLEasterwood

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I live by my Outline. Before I even put a word to paper, I have an outline. I used to use index cards to do it but now I'm looking a Scrivner to help with that.

Limited 3rd person POV is exactly what you have. Omniscient is when you have a narrator that knows all and sees all. From what I've read lately, omniscient is falling out of favor with publishers. It's being replaced with limited 3rd person POV.

Consider a time travel story (what I write) if you will. You have multiple characters interacting across multiple time lines and multiple POVs. No narrator is telling the story so it isn't omniscient. It's very difficult to stay in the head of one character for the duration of the entire story so you have to head hop. Without an outline you will easily get lost. Now I do head hop within chapters, but I always use a # sign to designate that a new POV is introduced and I never hop out of that characters head during that particular scene. I make sure it's immediately evident whose head you're in when I do it.

IMHO, it doesn't matter at what pace each character's individual climaxes are set to as long as the ending climax meets up nicely you should be okay.

Lynn
 

sideshowdarb

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My recollection of Bleak House is that it is narrated in omniscient POV, but it's been a long time since I read it, and I might be mistaken.

caw

It alternates between an omniscient narrator and Esther.