First person example

Jo Zebedee

Aliens vs Belfast.
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blah - flags. So many flags.
Have at it.

Jean and I each have one handle of the cart, although he holds his side a little higher and I have to bend awkwardly to stop our equipment spilling out. Sebastian will have to check its wheels tomorrow, before we set off. We’ve come to this, that a cart is more important than any car we had before, in France.

My arms are aching but there’s a crowd in front of us, struggling to get past the mud-bath of the entrance into the field. Jose, never one to patiently wait his turn, elbows through, scouting for the best site still available, one near the edge. This caravan isn’t as bad as some I’ve been with but there are still times when trouble flares - when food gets stolen and a fight ensues or someone takes offence at someone else’s customs – and spills over, spreading quicker than a watchperson can respond to. Being on the edge of the site gives us a chance to retreat if we need to.

“Pull up on the right,” mutters Jean. It’s the first thing he’s said in hours. “You’re going to get us stuck.”

“I’m trying. You need to take more of the weight,” I say.

The field is a mess of mud and half-trampled grass, a staging point which has never been prepared properly. Ireland – all of it, North and South, united at last – closed its borders, even though the smugglers had never recognised the border, anyhow, moving their cargo as they wanted to. Since then, and the ending of any EU money to support the countries that are not in drought, they’ve tried to close us off from the land and hope that enough of us die over the winter.

“Julia! Jean!” Jose waves the red and yellow rag that’s all he has left of his Spanish flag. Even though he’s not French, he’s been with us since we set off from Canet. We liked him then and we like him more now. He steered us through France, to the coast where we were taken across the water to an Ireland we had never planned for and, since then, north to this field where we’ll be safe for another night at least.

Jean changes direction without telling me, heading for Jose, and in the process nearly wrenches my arm from its shoulder. I curse but help to force the cart forwards. Maman joins us, her hand on the top of our equipment to hold it in place.

“This way!” Amelia stands to the left of Jose, marking out our ground. Her glares and don’t-mess-with-me attitude make sure others stay clear. The English and Italians, our often-neighbours, don’t take Amelia on but establish their own base instead, either side of ours, and we all settle into place.

Jose, as ever, has found a good spot: well away from the latrines – a walk is always preferable to the stink – and with a half-dug pit that will let us get the fire going quickly. It never matters that we come in late; he has an unerring ability to find the right place. He’s even made sure to secure a pitch just across from the homestead we passed. Jose knows I was scoping it out and he’s right that I’ll want to go back over: there’s a chance of getting to the ragged vegetable patch I spotted.
But that’s for after dark, hopefully when the storm has already hit. For now, we get down to our duties. After two years on the road, it’s like clockwork. Mama heaves it stockpot off the cart and fills it with water collected during a vicious rainstorm earlier. One thing we don’t lack, at least, is water, and I’m thankful for that mercy; I remember the thirst in France, how thoughts of glugging water the way I used to, cold and clean from a bottle, used to wake me at night.

Jose expertly skins a rabbit. Without him, we’d starve even more than we do. He takes to woodland or lost farmland and hunts on his own while the caravan trudges on, joining us later with whatever he has caught. Rabbits, birds, the crows, fish.

Jean and I pitch the tent in silence, taking care to ensure the lines are tight and taut. As we work, Sebastian takes his place at the front of the camp, staring down anyone who might try to take our food. In France, he was the biggest person I knew, with the broadest shoulders. Now he’s thinner, his muscles spare, but he still looks threatening enough to keep our space safe.

Maman adds some half-mouldy vegetables and then, carefully, drops grain into the water, each handful precious. That makes my breath catch. Once, we were a family who gave food to the charities for refugees. Papa used to say it was a terrible thing to have no home and no food. Then the drought reached us and we relied on those donating, instead. I remember Papa telling Jean to hand over a last bag of food to a family with two babies in arms. He said we’d get more the next day, even though the market was a good five miles away and we’d have to walk. His voice, so sure everything would be okay, that the bad times would pass. He believed, right to the end, that things would get better, that there was an end of the road for us where we would settle and be safe. The thoughts become too big: soon this land, too, will run out and I don’t have my father’s hope.
 
I'm not skilled or educated enough regarding styles to offer an accurate opinion. But, I need to read through it a few times more since it's not really hitting home for me. It somehow feels detached--as though not wholeheartedly first-person--it's difficult to explain, but the narration aspects feel "to me" like you're noting action as an observer of yourself. Yes, you use "I, me, my, etc." ... grrrmm, I'm not sure how to explain it.

Perhaps the easiest way is to use the dialogue. You have:
“Pull up on the right,” mutters Jean. It’s the first thing he’s said in hours. “You’re going to get us stuck.”
“I’m trying. You need to take more of the weight,” I say.

The 'I say' makes it feel detached (to ME), and the dialogue tag for Jean reads 3rdP to me. So, perhaps like this:
“Pull up on the right, you’re going to get us stuck.”
The first thing Jean’s said in hours and he's griping at me, “I’m trying. You need to take more of the weight.”
or:
“I’m trying. You need to take more of the weight,” the first thing Jean’s said to me in hours, and he complains.

I'll try and take a better look, but that's how it's striking me at first blush. Also, I'm not sure how it is there, but in the U.S., Jean is female, Gene is male.

K2
 
I'm not skilled or educated enough regarding styles to offer an accurate opinion. But, I need to read through it a few times more since it's not really hitting home for me. It somehow feels detached--as though not wholeheartedly first-person--it's difficult to explain, but the narration aspects feel "to me" like you're noting action as an observer of yourself. Yes, you use "I, me, my, etc." ... grrrmm, I'm not sure how to explain it.

Perhaps the easiest way is to use the dialogue. You have:
“Pull up on the right,” mutters Jean. It’s the first thing he’s said in hours. “You’re going to get us stuck.”
“I’m trying. You need to take more of the weight,” I say.

The 'I say' makes it feel detached (to ME), and the dialogue tag for Jean reads 3rdP to me. So, perhaps like this:
“Pull up on the right, you’re going to get us stuck.”
The first thing Jean’s said in hours and he's griping at me, “I’m trying. You need to take more of the weight.”
or:
“I’m trying. You need to take more of the weight,” the first thing Jean’s said to me in hours, and he complains.

I'll try and take a better look, but that's how it's striking me at first blush. Also, I'm not sure how it is there, but in the U.S., Jean is female, Gene is male.

K2
This is - I suspect - part of Harebrain’s commentary (it’s why i decided to set the context and post it - I felt it was impossible to get what he meant without an eg) in the first person writing thread.

This character is supposed to be reserved, even to herself. There is another character switching POVs with her who is much closer (which I hope then shows this is deliberate, not the writing ability ;)) As time goes on she becomes closer to herself and a lot of the distance falls away.

so there’s a whole new linked question in there! (I’ve read Eleanor Oliphant is completely okay since writing this one - and it raises the same question? I think Rebecca does too) @HareBrain - one to make your brain hurt!

can first present be ‘played’*with to show character aspects as other tenses can be? Sure, I could put this into past. But I don’t actually want to as present is allowing me this room to explore the characters more.

for context here is a snippet of the other POV:

A caravan passes below my watchtower, snaking to the brow of the hill. On the other side of the road that’s more weeds than tarmac, Hennessey’s field is being used as a camp. Even though it’s a swamp, theInflux will force whatever they’ve put their belongings into – old prams or wheelbarrows, anything they’ve managed to nick – through the mud, rather than move any further today. Not with the storm that’s threatening in low, dark clouds, just over the top of the plateau, making my hair tighten and pull at my skin.
A group of stragglers bring up the rear. They’re thin and hard-looking which means they’ve been on the road for some time, and I come to alert as they pass our fences. Sure, they could be at the back because they’re knackered. Or they could be scoping Home out.
I lean over the railing, disturbing a pair of crows who caw and yell as they flap towards a copse of scrawny trees.



They are French and Jean is John in French :) (it is pronounced like John more than Jean)

* this one will be self published so I don’t need to conform to the publishing industry’s norms
 
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I'm just going to point out some occasions where this is at odds with "my" method. It might be of interest or might not.

This caravan isn’t as bad as some I’ve been with but there are still times when trouble flares - when food gets stolen and a fight ensues or someone takes offence at someone else’s customs – and spills over, spreading quicker than a watchperson can respond to.

I'd like her thoughts about what can happen when trouble flares to be more closely linked to her present. Perhaps mention that she's watching out for trouble, and then give the reason?

“I’m trying. You need to take more of the weight,” I say.

Not a first-present point, but generally I think it's best when the dialogue tag comes as early as possible (in this case after "trying"). After two sentences it feels an afterthought.

Ireland – all of it, North and South, united at last – closed its borders, even though the smugglers had never recognised the border, anyhow, moving their cargo as they wanted to. Since then, and the ending of any EU money to support the countries that are not in drought, they’ve tried to close us off from the land and hope that enough of us die over the winter

Even in close-third I think this would come close to info-dump, but though I can see her having a vague awareness of this stuff in her mind at this moment, this feels too organised and coherent for me at this point.

Even though he’s not French, he’s been with us since we set off from Canet. We liked him then and we like him more now. He steered us through France, to the coast where we were taken across the water to an Ireland we had never planned for and, since then, north to this field where we’ll be safe for another night at least.

Similar to above.

Jean changes direction without telling me, heading for Jose, and in the process nearly wrenches my arm from its shoulder.

It feels to me that her awareness of the arm-wrenching would come first, and then she'd realise the reason. (If not, wouldn't she see it coming?)

But that’s for after dark, hopefully when the storm has already hit. For now, we get down to our duties. After two years on the road, it’s like clockwork. Mama heaves it stockpot off the cart and fills it with water collected during a vicious rainstorm earlier. One thing we don’t lack, at least, is water, and I’m thankful for that mercy; I remember the thirst in France, how thoughts of glugging water the way I used to, cold and clean from a bottle, used to wake me at night.

This is an example of when you do it right, IMO.

In France, he was the biggest person I knew, with the broadest shoulders. Now he’s thinner, his muscles spare, but he still looks threatening enough to keep our space safe.

I think the order should be reversed here: she notes his thinness (visual input) and this triggers the sad thought about how he used to be bigger.
 
This is a good example of both first person and present tense.
However there are too many words--this needs cleaned up.
Removing excess adverbs, adjectives and other modifiers might help both to make this flow better and sound more natural to first person, which might allow less formal grammar than some other narrative styles..
 
This is a good example of both first person and present tense.
However there are too many words--this needs cleaned up.
Removing excess adverbs, adjectives and other modifiers might help both to make this flow better and sound more natural to first person, which might allow less formal grammar than some other narrative styles..
Thanks! It is due another pass :)
 
Well, this had nothing to do with content. Her first response was that, while first person present is her favorite, she wasn't crazy about the writing here. When I asked her why, she looked at the text again, and said that there were too many sentences at the beginning starting with too many different names. She read them out loud: "Jean and I each have..."; "Sebastian will have..."; "Jose... elbows through..."; etc, and that this felt choppy (I don't think she used that precise term, but words to that effect) and it threw her off.
 
Well, this had nothing to do with content. Her first response was that, while first person present is her favorite, she wasn't crazy about the writing here. When I asked her why, she looked at the text again, and said that there were too many sentences at the beginning starting with too many different names. She read them out loud: "Jean and I each have..."; "Sebastian will have..."; "Jose... elbows through..."; etc, and that this felt choppy (I don't think she used that precise term, but words to that effect) and it threw her off.
Cheers! :) thank her from me :)
 
Hmmm, this might sound crazy but I wonder if the fact I’m trying to make her sound French and not Northern Irish is what is partially causing this.
If I had this in NI, the opening would go something like (this is a draft, nothing more):

We’re just getting into the field when Jean yanks the pram to the right, nearly putting out my shoulder. The little ******* smirks and I know it was deliberate, but I won’t give him the pleasure of responding.

Instead, I set my shoulders and follow Jose across the field, pulling and yanking the pram through the mud. He’ll find a great place to camp: it’s why we let him join us, even though he’s Spanish, not French.

He turns, waves, and Jean and i pitch the tent, checking each line and cord. Two years on the road, and my brother and I are used to this dance. It’s just that we used to chat and joke through it; now, we have nothing to say.
 
As said, I think it needs a re-read. As a simple example:
We’ve come to this, that a cart is more important than any car we had before, in France.

I get the character is speaking about how far they've fallen, 'We've come to this,' that works fine.
Would you say to yourself, 'that a cart...' or just, 'a cart'? ---- or; 'than any car we had before,' or just, 'than a car'?
The addition of 'in France' doesn't read (to me) like first person, it seems more adding it on--at an inopportune time--to make sure the reader now knows they came from France. I suppose you could still get that point in there, but it would take placing it elsewhere in the phrase.

Perhaps something like (just trying to convey my thinking):
We've come to this, a/this cart is more important than a car.
--or--
We've come to this, we're like those beggars back in Paris, a cart is more important than a car.

I use 'Paris' just a-cuz... The point being, I assume you're speaking of 'home' so I tend to be a little more geographically precise. IOW, using the town name when thinking to myself. I know what country it's in, so casual musing I'd think like that. When speaking to others, or considering something more important/bigger, then I might think in terms of the nation.

After writing that, I'm wondering if the cart is 'more important' or 'more practical/useful.' Since it's first person (to me) it should then read:
We've come to this, a cart is more useful than a car...like those beggars back in Paris.

Don't get me wrong, the way I speak in my head--my voice, not those other ones that compel me to play the record backwards--is simpler, not so grammatically correct, and so on. It's one thing to try and wax poetic in your dome, but my minute to minute grousing isn't quite so well phrased. It's simpler and direct.

Anywho... just a little more of what I tried to convey.

K2
 
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Hi Joe Zebedee,

I like the image that conjures in my head. Clearly something calamatous has happened that has brought this motley crew to the emerald isle. There's a dark and foreboding air to it, but something else rings through - hope - by merits of the fact that these desperate people are cooperating. So, I can't wait to find out what is going on. That ticks my 'curiosity' button which of course is a must for the 1st page.

I'm with K2 on this that it might help to let the reader learn about the circumstances and some of the character traits/experience through dialogue.

There's more telling vs showing too. I agree with Harebrain on this when they used this example :

Jean changes direction without telling me, heading for Jose, and in the process nearly wrenches my arm from its shoulder.

It doesn't paint emotion, nor do I care much when its phrased this way about the person's pain. I think you might try using dialgue and imagery to bring it out. Something like :

'Oooowww!' I recoiled in pain and barked a guttural curse at Jean. "Watch it Mister!" Jean glared at me, eyes narrowed, as if I was the guilty party. I planted my feet firmly on the ground, shook my fist and said, "I'm not clairvoyant."

"What're you talking about?" He said with an air of indifference, gaze and cart now pointed directly at Jose. That was Jean. Some called him a man of single-minded purpose. I called him stubborn.

"Well, for starters - you almost took my shoulder out when you changed direction so quickly."


***

So, yes, its a rough first draft to be sure but my thinking here is that the dialogue pulls you into the scene, portrays some emotion, and lets you learn a bit about the characters. For example, the person talking is no push-over. Jean is self-interested and perhaps stubborn.

Just my two cents and I hope this helps. If not, just discard!

Bren G
 
Hi Joe Zebedee,

I like the image that conjures in my head. Clearly something calamatous has happened that has brought this motley crew to the emerald isle. There's a dark and foreboding air to it, but something else rings through - hope - by merits of the fact that these desperate people are cooperating. So, I can't wait to find out what is going on. That ticks my 'curiosity' button which of course is a must for the 1st page.

I'm with K2 on this that it might help to let the reader learn about the circumstances and some of the character traits/experience through dialogue.

There's more telling vs showing too. I agree with Harebrain on this when they used this example :

Jean changes direction without telling me, heading for Jose, and in the process nearly wrenches my arm from its shoulder.

It doesn't paint emotion, nor do I care much when its phrased this way about the person's pain. I think you might try using dialgue and imagery to bring it out. Something like :

'Oooowww!' I recoiled in pain and barked a guttural curse at Jean. "Watch it Mister!" Jean glared at me, eyes narrowed, as if I was the guilty party. I planted my feet firmly on the ground, shook my fist and said, "I'm not clairvoyant."

"What're you talking about?" He said with an air of indifference, gaze and cart now pointed directly at Jose. That was Jean. Some called him a man of single-minded purpose. I called him stubborn.

"Well, for starters - you almost took my shoulder out when you changed direction so quickly."


***

So, yes, its a rough first draft to be sure but my thinking here is that the dialogue pulls you into the scene, portrays some emotion, and lets you learn a bit about the characters. For example, the person talking is no push-over. Jean is self-interested and perhaps stubborn.

Just my two cents and I hope this helps. If not, just discard!

Bren G
Thank you! A consensus is emerging. The POV does get stronger but I need to look at this earlier section :)
 
Okay, let's see if this is any better. If I haven't changed something specific you've mentioned, especially if there is a style element, that's been a deliberate choice. It's not that I didn't like the comments, or they didn't matter, just that they don't support either what I want to do with the character, or the voice who is talking in my head.

 
Hey - I just read this after first reading your later pass, and honestly I think you could consider trying to 'fix' this a different way.

When I critiqued the later version, I recommended paring it down to better suit the first person present tense. Reading this, I actually like it - it just needs to be first person past tense to give the narrator room to expand on all these details.

Yes, first person present tense will be a lot more stark and immediate, and if that's what you're shooting for, great. But don't dismiss the option of a more savoured, nuanced take on past events.
 
Hey - I just read this after first reading your later pass, and honestly I think you could consider trying to 'fix' this a different way.

When I critiqued the later version, I recommended paring it down to better suit the first person present tense. Reading this, I actually like it - it just needs to be first person past tense to give the narrator room to expand on all these details.

Yes, first person present tense will be a lot more stark and immediate, and if that's what you're shooting for, great. But don't dismiss the option of a more savoured, nuanced take on past events.

Thank you! I think the other POV is better in first present, so I’ll keep it in that.

:)
 
hi,
The story sounds as it should. There is a lot of usage of too many words in the sentences. If there is too many it slows the pace of the story. You do not wish to bog the reader down. It was good, just try and remove the words that should not be there. I have the same problem. Cut back on your adjectives and adverbs. You want to allow us to know these things. The mud is making it difficult to move. The car is sinking in the mud. They had been stuck in the mud. They are trying to shift the car to allow it drive more carefully.
 

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