Deep POV Tips Part 2

What is Needed – Part 1 5 “Be’s” for Twitter

Deep POV Tips Part 2

A few weeks ago I attended a webinar the subject of which was deep third person POV and wrote Part 1 of this series shortly after that time. As promised, here are more tips gleaned from the presentation that you may find helpful you as I know they will for me.

Editing for Deep POV

The effects of deep POV

The reader is inside the POV character’s mind which keeps the reader part of the action as opposed to being an outside observer.
Show vs. tell problems are eliminated by deep POV so the reader is closer to the action as a result.
Most writers have trouble with passive voice seeping into their writing. With deep POV this passivity is also eliminated in favor of the POV character’s ongoing action.
With deep POV the author’s voice intrudes far less and as a consequence brings the reader closer to the character so that they are fascinated with the motivations of even a repugnant antagonist.
Deep POV keeps the story moving ahead by being in the present, reducing the need for flashbacks (unless the character experiences such an event from trauma) and also reveals only the details the POV character is experiencing. For instance, the POV character cannot know what events and circumstances are affecting another character unless the POVC are informed in some way.
This make the writing tighter so the reader’s attention is more strongly fixed and energized so the reader’s focus wants to find out what happens next and turns pages.

That’s all I have for today. I’ll write more about what I’m learning concerning this writing technique in upcoming posts. Looking for more resources on the subject? Here are some related links you may find interesting:

The Emotion Thesaurus by Angela Akerman.

Rivet Your Readers with Deep Point of View by Jill Elizabeth Nelson

Writer’s Guide to Emotion: Fiction Writing Tools by Sherry Soule

Looking for more articles on POV? Check out Janice Hardy’s Fiction University.

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Thanks for reading!

PHS