[Frustrating POV problem]

OMG. This is my first time on AD, posting anything. I'm really surprised, but also so greatful. Thank you all for giving me your insight. You've all made my decision.

I've decided what to do. I do not like Roader's approach, and I don't want to do a series from different POVs. This is going to be difficult for me, I know, but I have to try to get across the story in a way that the reader understands the characters and how they progress during during Act II. I still cry when I read the final scene of Act III, and I have to get them there. Cole told me abotut his passion he has for his charecters, and that's what I have. I live and breath them. This is truly a character strudy as they progress through their relationships. To keep it personal, I've limited my narrative, and concentrated on their dialoge.

So, therefore I need two points of view, and will do this in third person, delving into both minds. I have three main sharcaters, but for the third characterf, I will leave out his POV, allowing his thoughts to appear through his dialog. That works well for this story.

Again, thank you all for what you've said. As a newbie, it's obnvious by my question that I need your help. This is new to me. My passion isn't.

Richard

[Frustrating POV problem]

VWL, Thank you for your comments, especially about an editor finding what I can't. Cole Parker was gratious enough to read the opening pages of what I had written, and he hit the proverbial nail on the head with a 10 ton jack hammer. I NEED an editor! Thank you Cole.

I am having an internal struggle with using third person expressing two POV's. I think it'll work though.

Again thank you.

Richard

[Frustrating POV problem]

I've written a novel that contains two main characters. It's about the growing love between a teenager and his newly aquired foster father. No, it's not an intergenerational physical love, but rather family love between a father and son. The teenager then falls romantically for a boy he meets at school, but his love for him is unrequited. The family relationship between the foster father and the boy is too important to the story, so I've started from the father's POV for a dreamatic entrance of the boy.

My protagonist's coming of age is too complex to leave it completely to dialog, so I seem to be forced into two points of view.

Iv'e seen how Mark Roader handles multiple points of view, but his way seems to be a cope out. It doesn't provide his stories with the continuity that I'd like to see.

I'm sure you've all been faced with this, and I'm looking for some insight of how you've solved this.

BTW, this is my first novel. I'm an engineer by profession, so my time is somewhat limited for my writing. I wrote the story in 2 months, but it's taken me 12 years to finally get around to editing it. After going through it, I realized that I was in trouble with my POV's.

Any suggestions?

Richard Norway