When I first began writing contemporary, I decided to write in First POV. My peers tried to discourage me from using this method saying publishers didn’t really like First POV, and my heroine had to be in every scene. And they warned me about how difficult it would be to get the hero’s point of view across to the reading audience.
Well after much consternation and research on the subject, I decided First POV for my contemporaries was it. Hey, if it was good enough for Janet Evanovich, by golly, it was good enough for me. I mean, it wasn’t like I hadn’t tried to write that same story in Third, I did, but it just didn’t have the same ring my snarky heroine needed for those fast comebacks in any given situation.
Here’s what some of my research produced: First person point of view is the most reader friendly. It’s intimate. The reader feels like the character’s best friend. In fact, the viewpoint character will often confide in the reader things he wouldn’t tell his best friend. “The Writing Craft Blog”
So, how can this be so bad? It’s not. To me, reading a fun story in the character’s point of view is like hanging out with her, having a cup of coffee, or better yet, a glass of wine and snacks. I’m giving my readers a front row seat to my heroine’s inner most secret thoughts. Things she might not tell her best friends for fear they’ll laugh at her. That’s means you guys are better than her best friends. You’re like her confidante.
So the humorous contemporaries will remain in First POV, and my Mysteries will be written in Third—for obvious reasons.
Oh and by the way, my hero’s aren’t having a tough time trying to express those views, feelings, or comments. You’re getting his thoughts by his actions, and she’s having a hellava good time sharing them with you.
[Carolyn, sorry for posting late. I am traveling and in between planes.]