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or to utilize third-person point of view, for one character or more, on a continuum ranging from the all-seeing omniscient to intimately close to one or more characters; and

* Present the story in a style that encourages the reader to be actively involved in the story or, alternatively, presenting the story in a manner that keeps the reader at a distance, more observer than participant.

The fundamentals of author schizophrenia are relatively simple to apply (Let's face it, even a caveman could do it). But when multiple choices are available in multiple categories, the number of potential combinations skyrockets (Think Rubik's Cube, where the puzzle pieces can be rearranged in three dimensions).

Fortunately, novelists don't have to face all of the variables at one time, at least not for very long. In Writing the Breakout Novel, Donald Maas notes that since the invention of the novel, it has been transformed by a progressive narrowing of point of view: from the once-essential author's voice, to omniscient narration, to objective narration, to first- and third-person narration, and most recently to close third-person narration.

As Maas observes, today's reader is in search of authentic experience. In the context of the four mindsets, this substantially reduces the obtrusiveness of both the author and the narrator while raising the role of the viewpoint character and participation by the reader. So unless, for whatever reason, the author wishes to push the reader away and reduce his participation, the choices are substantially reduced.

The schizophrenic novelist can approach the four mindsets like tumblers on a multi-wheel combination lock by setting:

* the author wheel at unobtrusive,

* the narrator wheel at unobtrusive self-narration,

* the point-of-view-character wheel to close third person, and

* the reader wheel to very involved.

It's a winning combination for the reader as well as the author. For me, this is the default starting combination, only to be strayed from for clear reasons.

That doesn't mean the author and narrator roles are eliminated, or that the author needs to be less adept at leaping from mind to mind. On the contrary, it means that the author's discipline and craft are directed toward the challenge of making the author and narrator so unobtrusive that the reader can ignore them and experience the story through the consciousness of the viewpoint character. That's the equivalent of standing fireside in front of an audience and making yourself disappear. Schizophrenic or not, that's something a caveman couldn't do.

Learn more about this author, Mike Klaassen.
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