Person Writing a Bookbibliographer
In which way can I publish a book about the person I loved?
FWIW, you would be writing about why this person means so much to you. It was about how you walked through the backdrop, how you got together, how you felt at that encounter, what it was - if anything - that you felt for that person, and so on. I would do it myself from today and use cutbacks.
You could use these recurrences to look at your own cultural issues, your thoughts about them, what their fellows thought, what your fellows thought, how your story might differ from what it is, from everyone else's (if it does), and so on. However, I wouldn't use 175 pages just on how much you loved that person.
However, when I look through page after page of "I like her, she is everything to me, I can't go on living without her, etc.". You must always bear in mind that there must always be a dispute. Construct your history around this war. Perhaps you have fallen in affection at a young age and it was prohibited. So if there's no conflicts, if you like each other and that's it, it's a blogshots, not a storyline, so put a dispute into it!
The choice of the right point of view and the right tension for your fiction[with examples].
Who' s gonna tell your tale? Maybe the selection is simple and obvious: you write from the point of a certain personality in the first person ("I") and the whole storyline is from their point of views. You have a storyline to tell that includes several different personalities, and you have to make some decisions. POV or point of views is the point from which the narrative is made.
It can be narrated in the first person ("I"), in the second person ("you") or in the third person ("he"). This can also be said in the past or present, which I will discuss in the second part of this speech. Which point of view should you use for your history? The second person is uncommon, but the first person and third person are both very frequent, so I will attack these two first.
An ego storyteller is telling the tale as if he were speaking to you or to someone else from now on. Usually it is their history these days - they are both the protagonists (main figure / hero) and the stories. First-person storytellers are necessarily restricted to what they know, so that the readers receive the plot only from a certain period of a certain place.
The first person allows you to do much with the vote, especially if your storyteller has an uncommon vote (such as Christopher in The Curious Incident of the Dog in the Nighttime). For example, in space, the readership can understand much more about what is going on than the storyteller Jack.
A few people really don't like the first person, so you may be able to restrict your audience. Making it right can be difficult: If your storyline is based on your protagonist eavesdropping on conversation or listening to a letter, you may find it difficult to keep it upright. The third person's narrative is at some range from the people.
She can be almost as intimately connected as the first person (with the story using the rhetoric of the person and involving his thoughts) - or she can be remote and unbiased as if seen by a godlike onlooker. They are referred to as "limited" and "omniscient" third parties. In third-person stories, it is common for several different angles to be given - usually either with several "limited" points of view from different angles of the protagonists and possibly also with an "omniscient" novella.
The third person is probably the most traditional option and works well if you have a broad set of people. Many writers automatically choose between the first and the third: one or the other just feel right for your narrative. When you struggle to make a decision, try to design the same sequence in the first person then in the third person - what seems to work better?
There is very little imaginary writing with "you" as the protagonist. It is sometimes used for experiential shorts, as well as for "choose your own adventure" textbooks (remember?), but it's unlikely to be a good option for anything else. However, there are some fictions/literature experiments in the second person wrote as Italo Calvino's When on a wintersight a traveler (quoted above).
I' ve been reading Charles Stross'"Halting State" a few years ago, which was penned from three second-person-perspectives. That' s consistent with the theme of the novel - text-based realms tending to use "you" - but I found it a diversionary confusion, and it's just about all I can recall about the book now.
When you want to try out the second person, use them for a brief novel, and don't do it just for their own good - have a telling excuse to make the readers a part of it. Are you supposed to tell your tale the way it was or is?
The past is often seen as the "natural" form of narration, and it usually makes sense: when we tell a tale, we tell something that has occurred in the past, not something that is going on. It' s easy and smooth to read: if you don't want the reader to see your own personal styles and immerse themselves in the stories, the past is a good way to go - especially with stories from third parties.
Contemporary form is often seen as a more a literary option, although there is nothing to prevent you from using it for advertising/genre-faction. It can make the narrative appear more direct to the readers, but there is also the danger that they feel a little "apart". The present form is used more often for first-person stories than for third-person stories, and it may be difficult to translate it into a third-person novel.
So... what's right for your novel or your little novel? When you don't know what to choose, the third person, the past form, will (usually) be the simplest to edit. When you write a novel, whether it' mainly feature stories or genres, you'll probably want to use the past world. The third person or the first person can both work well, but if you don't have a protagonist with a powerful or uncommon vote, I would suggest the third person.
When you write literature or experimentally, and especially if you write a shorter novel rather than a novel, any point of view (including the second person) and any age can work. Try, however, to have a good cause for your choice: do not go to an odd point of view for the sake of it. If you need further help with Focus, take a look at these posts:
Selecting viewpoint characters: What is the right thing for your history? When you are not sure who to tell your tale, this contribution should help. The book discusses the advantages and disadvantages of a storyteller versus several others and looks at the different ways you could discover if you think your narrative needs to be narrated from a different or new view.
Sometimes it makes perfect sense to have a sole storyteller.... but dividing your story into two (or more) storytellers can allow us to see things from different angles.