Tag: deep POV

Categories
Writing for YA

Jumpstart Evocative Writing During the Holidays

Does your prose suffer from overly mechanical writing? Your story gets there, but the scenery is somewhat bland? Or maybe even though you’ve pulled out all the stops, using every technique you know of to employ deep point of view, you still want to add a bit of umph to your writing with sensory detail and emotion? Perhaps your fiction is immersive enough, but you feel you could delve just a little deeper. Here are a few ideas to help sharpen your skills by using the holiday season as a time of observation, research, and inspiration for your writing. 

Human Behavior

The best writers are careful observers of human behavior and make use of their knowledge in both fiction and nonfiction writing. During the holidays, we can’t help but notice exaggerated and intense human behavior, whether in line at the store, in a coffee shop, at church, or at home. Even the casual observer is sure to encounter some interactions during the holiday season that may not be seen at other times of the year, both the positive and the not-so-positive.

We mingle with people who we don’t normally interact with every day. Perhaps these are people we don’t know well, such people as at work parties, school events, or community happenings. This can also apply to people we share a history with, relatives and family friends.

In the young adult arena, change happens fast. What is true of the attitudes, thoughts, and needs of young adults today may be different that it was in the past. Take the opportunity to reexamine any preconceived ideas you may have and use the knowledge gleaned to apply to your teen characters, while at the same time noting the unchanging elements all young people have faced.

The holiday season is different from the regular day-to-day. People are stressed, thrown into unusual circumstances, and as a result, display the complicated human nature in all its glory. Stress brings out all sorts of emotion and behaviors, including in ourselves. It can bring out the best—and worst—in us.

Chronicling the actions around us and our own internal reactions and thoughts can be useful. (Just don’t write down anything you wouldn’t want people to read!)

Unique Settings

If you have trouble describing settings or integrating sensory detail into your work, the holidays are the perfect time to take special note of surroundings. Over the next two months, novel sights and sounds will be plentiful. Music, food, beautiful decorations, all of these things are a treat for the senses. It’s a perfect time to catalog what you are experiencing as you taste your pumpkin pie, experience the texture, temperature, and scent. And a perfect time to think about memories or feelings that bubble to the surface, which leads me to another component of evocative writing, emotions.

Intense Emotions

If you’re brave enough to peel back some layers during the holiday season, you might find a world of emotional experiences to draw on. I feel like I can’t make it through the holiday season without diving headfirst into a sensory and emotional smorgasbord. I’d be hard-pressed to make it through any holiday season without tears of happiness, gratefulness, and grief. Sometimes all three simultaneously. 

Pay attention to the things that put a tear in your eye. Sit in the moment for a little while. Ignore the busyness and listen to what your heart is telling you.

Nostalgia and Connectivity 

Every year I bring out the nativity set my grandmother made for me. Then I tell my children about my grandmother. My youngest daughter never got to meet her because she had already passed away before my daughter was born. Yet I tell her the story every year. This is a perfect example of how we often mine our own experiences, capture the feeling and emotion, and pass the story on. The family stories we tell foster connection, as do the memories we keep.

The holidays naturally lend themselves to digging into our own emotions and tender feelings (fond or not) toward the past. Writers can use personal or collective stories as a springboard to do a similar thing with the stories they write, getting in touch with emotion on a deep level. There’s a reason Christmas stories and movies strive to create a nostalgic mood. It helps connect the audience to the story. For writers of young adult novels, reconnecting to the experiences and feelings of our younger selves can help us write authentic characters in our fiction.

Immerse yourself in a highly emotional, sensory environment, observe others reactions and your own, and take notes. Allow yourself to be inspired. Just make sure that you are also living in the moment and treasure all you are blessed with. Remember, the best material for writing—and for a life well-lived—is to live in the moment fully.

Donna Jo Stone is an award-winning multi-genre author. She writes contemporary young adult, historical fiction, and southern fiction. Many of her novels are about tough issues, but she always ends her stories on a note of hope. Finding the faith to carry on through hard battles in a common theme in Donna Jo’s books.

Donna Jo’s Christian Southern Coming of Age, When the Wildflowers Bloom Again, releases November 15th.
 
Babies are a gift from God, a truth fourteen-year-old Marigold (Mary) Parker knows full well, but the one she carries is the result of assault by her cousin. This secret can destroy her family, and Mary isn’t sure how much of the truth to reveal—or what to do about the baby.

For the latest news on upcoming releases, including her contemporary young adult novel, Promise Me Tomorrow, scheduled for release in 2025, sign up for Donna Jo’s newsletter at  donnajostone.com.

Donna Jo’s Christian Southern Coming of Age, When the Wildflowers Bloom Again, releases November 15th.

Babies are a gift from God, a truth fourteen-year-old Marigold (Mary) Parker knows full well, but the one she carries is the result of assault by her cousin. This secret can destroy her family, and Mary isn’t sure how much of the truth to reveal—or what to do about the baby.

For the latest news on upcoming releases, including her contemporary young adult novel, Promise Me Tomorrow, scheduled for release in 2025, sign up for Donna Jo’s newsletter at  donnajostone.com.

Categories
Writers Chat

Writers Chat Recap for September Part 2

Writers Chat Recap

Writers Chat, hosted by Jean Wise, Johnnie Alexander, and Brandy Brow, is the show where we talk about all things writing, by writers and for writers!

“Because talking about writing is more fun than actually doing it.”

Featuring…

How I Started Building a Rejection Proof Platform with Thomas Umstattd, Jr.

Do you struggle with building a platform and what that means? Well then this episode is for you. Thomas Umstattd, Jr. joins us today to share his expertise on this difficult, sometimes daunting task. Many writers think, I’m a writer or an author, I’m not a marketing person. However, we need to be both at times. Thomas asks an important question early on. Why do you write? He encourages us to dig deep, past the basic answers, to reach the real reason you write. And tells us, “Authorship is leadership,” as well as many tips and ideas that will keep you thinking for a while. Whether you struggle with building platform or you have numbers that make you happy, check out the replay of this episode.   

Watch the September 21st replay.

Thomas Umstattd, Jr is an award-winning speaker, who teaches creative people all over the world how to build their platforms, sell more books, and change the world with writing worth talking about. As a podcaster, he hosts the Novel Marketing Podcast, and Christian Publishing Show. He currently serves as the CEO of Author Media.

Understanding Deep POV with Eva Marie Everson

Bestselling author Eva Marie Everson shares how to write, as she says, “in such a way that the reader feels that: (nonfiction): you are talking directly to them; (fiction): they have become a part of the story. They are the characters. During her presentation, Eva Marie shared an example of how she changed “Some people walked into a room” (telling) into a scene (showing)–which was absolutely phenomenal! Then we took a ten-minute break to write our own scenes. A couple of these are shared and Eva Marie provided feedback.

Watch the September 28th replay.

Eva Marie Everson is the multiple award-winning, bestselling author of both fiction and nonfiction. She is the president of Word Weavers International, the director of Florida Christian Writers Conference, the managing editor of Firefly Southern Fiction, and the contest director for Blue Ridge Mountains CWC (the Selah Awards/The Foundations). Eva Marie and her husband make their home in Central Florida where they enjoy their children and grandchildren. They are owned by one sassy cat. You can contact Eva Marie on social media or at evamarieeversonauthor.com.

Writers Chat is hosted live each Tuesday for an hour starting at 10 AM CT / 11 AM ET
on Zoom. The permanent Zoom room link is: zoom.4074198133

Categories
Book Proposals

Deep Deep Deep Deep DEEP POV

What is it and why should we write this way?

One of the trends in writing today is the use of deep POV. As writers, we tend to use deep POV to get into a character’s head and stay there so that we can actually feel the character’s emotions as the story unfolds. We take away the things that remind the reader there is an author behind the story. Sounds easy, right?

There are many options to the technique. While one writer might use them all, another uses one or two of the techniques. And then, again, there are authors who don’t care for it one bit and stick to their method of simply letting the story evolve without considering deep POV. Let’s take a look at some of the ways we can incorporate it into our novels and up the level of reader takeaway. You know, the good stuff. The stuff that leaves your reader digging into a huge box of tissues.

So what are these techniques and how do we utilize them: removing a lot of unnecessary dialogue tags, telling … telling … telling, and filter words.

Each time we tell the reader, he said or she asked, we remind the reader there is an author behind the dialogue. “I love you,” Steve said. Okay, so we get that he loves her, and the reader is reminded that the author is telling you this. But if you show who’s talking using action instead of the tired old tags, you get: “I love you.” Steve nuzzled her neck as his words landed against her skin. Now we get that it’s Steve talking, but the author doesn’t intrude on the private moment by telling the reader that Steve is the one who said it. We let his actions show us.

Also, as authors we just love to tell our readers about how our characters feel, but can the reader get a true idea of the character’s emotion just from the tell? Cassie was cold. Okay, I get it … maybe. But what does that really mean? To someone from Alaska, it might mean it’s 50 degrees below 0. To someone in Florida, it might mean it’s 55 or 60 above. See how that can offer a different meaning to readers? So how about: Cassie shivered and rubbed her arms. If only she had a hot cup of coffee. Do we get a better grasp of how cold she is without ever using the word cold? Of course, we do.

There are also a lot of filter words we use that tell the story. He thought, she pondered, he knew, she wondered. Do we need them? If we are solidly in the head of our character, we rarely need to add them. I’d really like a hot cocoa, she thought. Well, if we’re in her head, of course, she’s the one thinking it. When the author adds on she thought, it’s merely a reminder that there is a writer behind the story. Let’s look at this one: She knew he’d be angry once he found out. She knew it? If we’re in her head, of course she’s the one who knows it. So let’s just say: He’d be angry when he found out. She thought the chair would look good pushed against the wall. Instead: The chair would look good pushed against the wall. We simply do not need she thought to introduce the sentence. We’re in her head. Naturally, she’s the one thinking this.

Each time we give the reader a reminder that there is an author writing the story for them, we pull them out of the character’s head. Out of his or her POINT OF VIEW. And the more we stay in it, the more emotion we feel from that character and pull from our reader.

Must we use deep POV? No. But you can see the advantages when we get into the feelings of our characters and stay there, taking the reader on an emotional roller coaster. Readers love to laugh and cry with the characters, and deep POV helps the tears flow, and the laughter reach deep into the belly.

Don’t think about whether you need to use deep POV, just ask yourself: What would you rather read?

Linda S. Glaz is an agent with Hartline Literary Agency, and also the author of eight novels and two novellas, so she “gets” writers. She represents authors in both the Christian and secular communities. She speaks at numerous conferences and workshops around the country each year. Married with three grown children and four grands, she lives in a small town where everyone is family.

Categories
Dear Young Scribes

What is Deep POV, and why is It Important?

Have you ever tried to tell your friends about an experience you had, but they didn’t give you the response you hoped for? Maybe they didn’t laugh when you gave the punchline of the story. You then tried to cover up your shame by saying, “You just had to be there.”

 

If we write our books in a shallow POV rather than in deep POV, we risk that same “cricket chirping” response from our audience. We’re narrating a story that could come across as much more powerful if we chose to instead invite the reader to experience it.

 

Deep POV is a way of showing rather than telling. It’s a writing technique that has grown in popularity over the past couple decades or so. When we write in deep POV, we’re giving our readers the opportunity to step into our protagonist’s shoes. They’ll walk through the pages of the story as if they themselves were the character.

 

If we can accomplish this, the setting will come to life. The journey that the protagonist takes will have more of an impact on the reader. Why? Because the reader wasn’t simply told about an experience our character had; they journeyed along with them.

 

Readers today–especially fans of YA fiction–search for these stories. They long to open a book and become transported into a different time and place. They want to forget about their surroundings, and even forget that they’re reading a book. They’re searching for stories that sweep them off their feet in an entertaining, thrilling, and emotional rollercoaster.

 

How can we, as authors, offer this kind of reading experience to our readers?

 

Avoid all traces of authorship. Resist the urge to tell the story. Engage all five senses. And when you write, step through the scene as if you are the character. This means you can only show the scene through their eyes. Everything must be filtered through your protagonist’s POV.

 

Here’s an example:

 

NOT Deep POV: Anna saw the bouquet of roses on the dining room table and smelled their sweet scent. Who brought these? she wondered.

 

Deep POV: Anna stepped into the kitchen, overtaken by a floral aroma. Where did that come from? The scent grew stronger as she peered into the dining room. A smile slid onto her lips. There it was. A bouquet of roses, tucked into a glass vase at the center of the table. Where could that have come from?

 

Notice how deep POV requires more words. If we want to offer this experience to our readers, it will require more work. Showing a scene almost always requires more words. But the payoff is worth it.

 

In the example that isn’t written in deep POV, the words “saw”, “smelled”, and “wondered” brings the reader out of Anna’s POV. It tells the audience what happened, yes—but it does so in a narrative form.

 

This is the difference between telling a friend about a scene from a movie and letting them watch it for themself.  

 

When writing in shallow POV, we risk the scene from coming to life in the reader’s imagination. We risk not giving our readers the opportunity to build a strong connection with our protagonist.

 

You might say, “Books weren’t always written in deep POV, yet people still enjoyed them. Why can’t I write my book in shallow POV, too?”

 

Think of it this way: Movies weren’t always filmed in color. Yet, the use of color in today’s films brings scenes to life. It provides an even deeper sense of realism and escapism. Why use tools of the past when we’ve been given far more powerful tools to tell our story?

 

If you want your book to resonate with today’s reader, and if you want to sell your book to an agent/publisher, I recommend utilizing this deep POV writing technique. Most agents and publishers today will reject or ask for a revision if a manuscript is written in shallow POV.

 

No, this isn’t an easy task to accomplish. It requires far more work. But you’re painting color to a black-and-white story. You’re adding “scratch and sniff” pages to your book. The result? Your readers will be brought deeper into the heart, mind, and emotions of your POV character.

 

The motivations of your protagonist will become more clear. The character ARC, more realistic. And when your protagonist reaches his/her “epiphany moment” at the end of the story, so will your reader. Thus, the theme of your story will have far more impact to your readers than if it were written in shallow POV.

 

So if you can accomplish this—if you write your story in deep POV—you won’t have to risk the “cricket chirping” response. You won’t have to tell your readers, “You just had to be there.”

 

Because they were there. They lived it. You wrote a book that entertained, provided escapism, tapped into emotions.

 

And as writers, shouldn’t that be our ultimate goal of storytelling anyway?

 

 

What’s your opinion of deep POV? Have you tried to write a story that utilizes this technique? Share your thoughts in the comments!

 

[bctt tweet=”What is Deep POV, and why is It Important? @TessaEmilyHall #amwriting #writerslife” via=”no”]

Categories
The Efficiency Addict

Problem Solve POV with Color

Use colored text to help you problem solve POV issues.

Welcome to The Efficiency Addict column, helping writers work more effectively every single day. For the next few months, I’ll be taking a break from posting here, but until I return, I’ve lined up some great guest bloggers to share their best writing tips with you!

This month we’ll hear from Kathleen Neely, a retired educator who wrote and sold her first book in just 9 months. To read about her experience from start to sold, visit her website at KathleenNeelyAuthor.com, but first see below where Kathleen shares a simple method to problem solve POV with color.

Happy Writing! ~ Cynthia Owens, The Efficiency Addict

****

Point of view (POV) problems have a way of sneaking into my writing. I begin a solid scene, identify my character, and write the action through his or her mind. Then when I re-read the passage, I discover POV gone amuck.

Types of POV Problems

First there are the omniscient POV errors.

  • She can’t know he was thinking about baseball.
  • He couldn’t know that she was deliberately tuning him out.

POV characters can observe another character’s demeanor, body language, or expression. POV characters can make inferences, but they can’t know.

Then there is the issue of author intrusion. My opinion on the beauty of a floral arrangement is irrelevant and interrupts the flow. Everything must be told through the eyes and ears of the character.

Another POV fault is found by allowing your POV character to narrate. When we speak, we don’t announce that we think, we feel, we said, we asked or we wondered. Remove dialogue tags and telling words. Turn this sentence – “He felt the pain when the baseball bounced off his shoulder.” Into this sentence – “Pain shot through his shoulder when the baseball made contact.”

How to Problem Solve POV

As a former teacher, I coached my students to be problem solvers.

“Mrs. Neely, I don’t have a pencil.”
“That’s a problem. Be a problem solver. “

“I forgot to write down the pages we need to read.”
“That’s a problem. Be a problem solver.”

(A little author intrusion right now—parents and teachers, never stop doing that. It moves dependent students to become independent thinkers.)

So now, faced with a dilemma, I needed to be a problem solver. I created a visual memory aide to help me keep on track – Color Coded POV’s.

The idea is simple. I choose a color for each of my POV characters. When I write a scene from his or her point of view, I turn my font into their designated color.

Will this technique avoid POV problems? Definitely not. They’ll still squirrel their way into your writing. But now they’ll be easier to locate. They should shout, jump, and wave their arms at you, begging to be seen. No longer will you have to wonder whose POV you’re supposed to be in.

Making Your Colors Count

Color coding not only provides a visual reminder, it can also reflect the nature of your character.

Red – power, energy, passion, intensity

Green – nature, outdoors, generosity

Yellow – joy, optimism, idealism, hope

Blue – loyalty, truthful, security

Purple – royalty, wisdom, noble

Orange – enthusiasm, flamboyant, warmth

Gray – age, maturity, grief

White – reverence, virginity, cleanliness

Black – formal, elegant, sophisticated

When you change scenes and font colors, stop to re-read what was just written. Do all elements of the scene match the correct POV? When you log-off for the day, let the words rest, but revisit them fresh when you log on the next day. Reviewing them will help you catch intrusions as well as prepare your mind to pick up where you left off. And when you finally say “The End,” a simple click, click, click will change the brilliant, colorful text back to its automatic boring black. Now all the brilliance will be in your story not the font.

Sharables – Because sharing is fun!

[bctt tweet=”Problem solve your POV issues with color-coded characters. #HowTo” username=”EfficiencyADict”]

[bctt tweet=”A simple trick to write in deep POV. #WritersLife #AmWriting” username=”EfficiencyADict”]

Bio: Kathleen Neely is an award winning author, receiving first place for her debut novel, The Least of These, in the Almost an Author Fresh Voices Contest. She won second place in a short story contest through the Virginia Chapter of the American Christian Fiction Writers . You can read two of her short stories in A Bit of Christmas – 6 Christian Short Stories Celebrating the Season, available on Amazon. Along with numerous guest blog appearances, Kathleen is a regular contributor to ChristianDevotions.us. She lives in Greenville, SC with her husband, Vaughn, and enjoys time with family, reading, and traveling.

You can contact Kathleen through:
KathleenNeelyAuthor.com
@NeelyKNeely3628