GMC

Question: What is GMC? Answer: Goal, Motivation, Conflict

What does he/she want? (goal)
Why does he/she want it? (motivation)
Why can't he/she get it? (conflict)

Answering these questions helps us clarify our story so we don't muddy it up with unnecessary information. It also helps us know our characters better and hopefully makes our writing tighter. Each main character should have a STRONG GMC.

Let's say our Hero is Tyler.
What does he want? Revenge for his parents murder by villain
Why does he want it? Because as a result, he grew up without love, homeless and penniless
Why can't he get it? The villain is a high-ranking government official. He's also the brother of the woman Tyler loves.

The character's goal gives a reason for the story to open. In the beginning, the reader should identify and understand this goal. If the reader personally agrees with this goal, all the better.

The character's motivation keeps him trying, getting in and out of scrapes and situations as he tries to reach his goal. By this time, the reader should care deeply about the character, care if he fails or succeeds. The reader wants him to attain his goal, not just because it's a worthy goal, but because they care about the character personally.

The conflict, or what keeps the character from succeeding, should be big enough that the reader can't imagine how the character could possibly succeed and they HAVE to read on to discover how it could possibly work out. (I'm talking about stories that have a HEA (happily ever after) ending, since those are the kind I like.)

Actually, since each minor character is the hero of their own story, try to give a nod to each character's own GMC. If there is a villain in your story, that person's GMC is just as important as the hero/heroine's GMC, especially because the villain's goal is usually in direct conflict with the hero's goal.

Full books have been written about this topic. I've merely scratched the surface here. But one of the best examples of strong, clear GMC is The Count of Monte Cristo by Alexandre Dumas, both the book and the movie. (The movie is, IMO (in my opinion), very well done.) If you are interested in seeing GMC in action, I would recommend watching it.

It's time to get a new agent

Writing royal court

I prefer to read fiction written in limited POV. That means that the POV is limited to one or two main characters. I find it helps me to really "get into" their heads, bond with them, feel I know them. When someone likes limited POV, or even singular POV (an entire story written from only one person's POV), they are considered POV purists. Part of me is one of THOSE people, but another part, the rebellious part, says do what's right for the story, no matter what, even if it means straying into the POV of other characters occasionally. This technique is called "multiple POV", which is different from head-hopping. It is deliberate and much attention is paid to staying in one POV for a while (at least several paragraphs). I DO NOT like head-hopping (switching POV every paragraph, sometimes every sentence) ever, ever, ever. In my opinion, there is no story that cannot be re-written or edited to be in limited or multiple POV, which (also in my opinion) would make it better. Those of us in the writing world have heard many times, "Story is King", but to that I add, "POV is queen." Well, lots of other things are important too, like GMC (goal, motivation, conflict), story arcs, turning points, first person vs. third person, grammar and sentence structure, overuse of certain words or dialog tags, pace, overuse of adverbs or gerunds, telling vs. showing, passive writing vs. active...well this list is endless. Since I like the analogy of all those things making up the royal "writing" court, I guess I'll use that. If anyone reads this blog, is there anything in what I've said that is unclear or that you don't understand? I'll answer if so.

POV - Omniscient

Omniscient POV is simply "being God" as the reader. It means that we, as the reader, are told the action as if we are looking at it from above or on a TV screen. It is not channeled through a character's senses or viewpoint.

POV - Head-hopping

Head-hopping means that when you read a scene, you hop from one character's thoughts and POV to another's, to another's.

Here's an example from multi-published author, Julie Garwood: (a few words have been omitted for length). This excerpt is from an older work of Ms. Garwood when this technique was more accepted. I added a character list so that you can easily tell who is who.

Grey Eagle - Native American chief
Black Wolf - Native American warrior, son of the chief
White Eagle - six-year-old son of Black Wolf, grandson of the chief
Merry - wife of Black Wolf, mother of White Eagle, wants to adopt baby Christina
Christina - white baby rescued by Merry

In this scene, the tribe is deciding whether to allow the white baby to become part of the tribe

*(Chief's POV) Grey Eagle let the holy man have his way. He rested his hands on the folded skin and continued to mull over the problem while the warriors argued with one another.
*(omniscient POV) But in the end, it was Christina who solved the problem for everyone.
*(boy's POV) Black Wolf's son listened to the harsh debate over Christina's future. Though the boy was only six summers, he'd already shown streaks of his father's arrogant nature. He suddenly pulled Christina along with him as he faced his father.
*(omniscient POV) Christina hid behind her brother now, though she peeked out at the angry-looking man staring at her brother so ferociously.
*(chief's POV) The chief was the only one who saw the baby mimic Black Wolf's scowl before she pressed her face against White Eagle's knees.
*(POV is unclear) "Father," White Eagle announced, "a white woman saved my life so that I could return to my people." The boy's fervent words gained an immediate silence. "Christina is now my sister."
*(Black Wolf's POV) Black Wolf couldn't contain his surprise over the arrogant way his son dared to speak to him. Before he could form a reply, [words omitted for length], the little girl scooted to her brother's side. She pulled her thumb out of her mouth long enough to shout, "My brother." *(switch mid-paragraph into Christina's POV) Then she smiled up at him, waiting for him to continue this new game.
*(boy's POV) White Eagle nodded. He squeezed her hand to let her know he was pleased with her answer, then turned to face his father again. "My father," he announced in a firm voice, pointing to Black Eagle and giving Christina's hand another firm squeeze.
*(Christina's POV) "My papa," she bellowed, pointing her finger at Black Wolf. She then looked up at her brother to gain his approval.
*(boy's POV) White Eagle glanced over to look at his grandfather. When the leader nodded, Christina's brother nodded to her.
*(omniscient POV) It was all the approval the little girl needed. She let go of White Eagle's hand, turned, and scooted backwards. Without showing the least bit of fear, she fell into Black Wolf's lap.
Everyone watched the baby settle herself. Black Wolf visibly stiffened when Christina reached up and grabbed one of his braids. He didn't push her hand away, though, but turned to look at his chief.
*(POV unclear...could be Black Wolf's or the chief's) Grey Eagle was smiling with satisfaction.
*(Black Wolf's POV) Merry rushed over to kneel down in front of her husband. Black Wolf could see how his wife trembled. He sighed in acceptance. "Take our daughter to the tipi."
*(Merry's POV) Merry immediately reached out to take Christina into her arms. [words omitted for length] She really did try not to smile, but when she glanced up at her husband, she knew he could see her joy. And certainly her love.
Black Wolf acknowledged both with an arrogant nod.
*(Chief's POV) Grey Eagle waited until Merry had taken the children away. "Do I now have a granddaughter?" he asked Black Wolf.
"You do," Black Wolf answered.

There are different opinions about this technique. Today, the general preference is to stay in one POV per scene, or if there is two main characters, switch midway into the other's POV, where we remain for the rest of the scene. The reason being, it is hard to achieve deep connection with the character if we are always being pulled out of one head to go into another's, therefore making the character-connection with the reader more shallow.

That being said, some authors enjoy the freedom of being able to "see" the scene from multiple character's heads. The advantages are to be able to see every tiny thing in a scene, some of which are impossible for one character to observe; i.e. the author is not limited to one set of eyes and ears. For example, in the previous scene the chief was the only one who saw the child's expression before she hid behind her brother.

Unfortunately, this technique can be perceived as amateurish because most new authors write like this without knowing what POV is or what they are doing. The only way it really works is in the hands of an experienced author with a good grasp and understanding of POV. Even then, some people don't like it. After reading a scene like this, a woman I know described it as "giving the reader whip-lash". Personally, I prefer to read books that stay in one or two POVs per scene. But the story always trumps technique for me. This book of Ms. Garwood is on my keeper shelf because she crafts a great story that holds my attention to the end, regardless of POV.