posted
This has probably been covered to death already...
Back in July a person in a short-lived writing group read a first-person piece set in modern times. I saw nothing wrong with using contractions in the narrative. I only eliminated thier use, for example, in pieces set in the middle ages. But the reader questioned it. So I started taking them out. But now I'm starting to wonder. I see them in published work. It would not sound natural without it. In fact it gives the narrator the wrong voice.
Even in third person narration, at least limited third person, which is a series of obersavations and thoughts out of the mind & senses of the POV character, contractions seem to make sense, depending on the character.
So, what say ye about contractions in narration?
[This message has been edited by ChrisOwens (edited November 26, 2004).]
[This message has been edited by ChrisOwens (edited November 26, 2004).]
posted
I agree. Overusing contractions in narrative can mean the writer isn't connecting with his/her character, since using contractions in the prose, for me anyway, is a matter of how close I am to the POV character and the informality of the character's thoughts. It also ties in to the action contained in the scene, the emotion of the moment, and oosn and fo sorth.
posted
I also love contractions- particularly if the story has multiple POV's. To me it is an efficient way of showing the difference between characters- the formal character who uses big words and no contractions, as opposed to the character who uses simple words and lots of contractions.
Posts: 397 | Registered: Mar 2004
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quote:Even in third person narration, at least limited third person, which is a series of obersavations and thoughts out of the mind & senses of the POV character, contractions seem to make sense, depending on the character.
Be careful not to confuse POV with the narrative voice. In third limited the voice of the narrator is not generally the voice of the POV character. That's what First Person POV is for.
In third limited you're not really giving a series of observations and thoughts out of the POV character's mind and senses, so much as you are giving your narrator's observations of those things. So the narrative voice SHOULD remain consistent throughout the story, and through all your POV shifts.
As far as contractions, consider the voice of your narrator. Consider Card's Alvin Maker series. The narrator has a very distinctive voice in those books--a unique voice that actually surfaces and speaks directly to you at times, asserting himself (Oh, there I go being sexist again ) as ALMOST a character. But he has his own voice. What I'm trying to say, is that if your narrator would use contractions (and again, don't confuse narrator with POV character) than use them.
posted
Good point, dakota. The key word, here, is consistency. Consistency in character voice and consistency in narrator voice. Appropriateness to the genre/time period is also important. Contractions aren't necessarily lowbrow, there are many contractions that can be used by highbrow characters, like shan't, mustn't, and 'tis.
[This message has been edited by Magic Beans (edited November 27, 2004).]
posted
All of this is good advice. Let me add something else.
If you want to affect a formal tone in your piece, do not use contractions. You do not have to use big words to be formal. You must, however, write in a formal way.
But if you want to affect an informal tone, then use contractions. It's the best and easiest way to make a piece's tone informal.
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) as ALMOST a character. But he has his own voice. What I'm trying to say, is that if your narrator would use contractions (and again, don't confuse narrator with POV character) than use them.
