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Topic : Re: Switching perspective in battle scenes? I have written a book with an ensemble cast. Prior to them meeting, I simply gave each character his/her own chapter. Once they met, I narrowed the - selfpublishingguru.com

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I have a somewhat similar situation in my piece. It is not a pitched battle, but a firefight that allows for an escape.

I switch between the target of this assault - my MC - his friends guarding him and the task force hunting him. I end up with four main POVs and switch between them when it feels right.

My MC flees with the Secondary Protagonist, the Tertiary Protagonist holds off pursuit, and then there is the Secondary Antagonist who leads the hunt.

The technique I use is, when there is a lull with one, I switch to the other. My main focus is on the pursued, but the others must be there or my MC is fleeing from shadows.

My characters tell me when it is time to shift focus. Later, when I read it aloud to check for flow, I listen to see if the shifts are jarring. If anything is amiss, I add a word or remove a phrase until flow is restored.

We all have our own process. I must recommend the book Bridge Too Far - a fascinating account of the battle or Arnheim and the disasters that occurred. While it is a historical account, it is valuable to show how some perceptions can be rather skewed in battle. For example, one British Major was noted for carrying an umbrella wherever he went - including when he checked the perimeter. Others thought him extremely brave and the perfect example of stiff upper lip. He carried the umbrella because he could not recall the call signs and needed to be recognized by his own men.


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