Years ago, I wrote the same scene from two perspectives for a class assignment. Set in a farmhouse in the 1940s, a farmer’s wife loved her kitchen. The cast iron pump at the sink saved her from carrying buckets of water from the well. The freshly ironed, multi-colored chintz curtains fluttering at the window over the sink brightened her day as she worked.
A property developer tried to buy the farm. The kitchen window, framed by faded curtains, revealed an outhouse in the yard. If she sold, he told her, she’d have money to buy a house with indoor plumbing and flushing toilets. She refused, and he shook his head. He knew she didn’t have to live like that.
I write from the main character’s (MC’s) point of view, showing thoughts, feelings, and actions, but the secondary characters in my first drafts are often flat. As I develop secondary character depth, I keep the differing farmhouse kitchen perspectives in mind and add motivation and reaction to the scene’s conflict.
