Hope everyoneís having a good week.>>
This post is all about Point of View (POV) and Ithink itís one of the most important aspects of any story whether it be a shortstory or a 300 plus page saga. (In fact, I even teach a workshop on the topic).Why do I think it carries so much weight?>>
POV is interconnected with other elements of thestorytelling process, for example, voice, character and plot.>>
POV can turn a ho-hum story into a great read.>>
POV can affect the readerís experience.>>
POV can make a story more emotionalÖimportant forany story, essential for a romance.>>
POV can lessen the distance between the reader and yourcharacters, and therefore increases reader identification. >>
WhatPOV to Use?>>
So how do you decide whose POV your story should bewritten in? For the beginning writer, I suggest sticking with just one and lettingall the action take place in their head and through their eyes. However,sometimes a story needs another voice. It might be to add a sub-plot, or itcould be to shed some light on one of your main characters, so sometimes thePOV is story dependent.>>
And now onto a topic that was touched upon a fewdays ago on the forum, the dreadedHead-Hopping Syndrome>>
If youíre notfamiliar with it, itís when a writer abruptly switches from one point of viewto another in the space of a paragraph, or even a few sentences. One minute youíre in one characterís head andthen another, and then back, and then back again, and you end up confusing thereader. Itís the most common mistake I see in studentís work, and one thatunfortunately tells the editor or agent that youíre a beginning writer which issomething we never want to do even if itís true. Best news is itís easily fixedand here are a few of my tricks->>
Tell thestory from one personís POV. However,most romances need to be told from two POVs so my next my next tip is to keepone POV per scene, or if you can, one POV per chapter.>>
And finally remember this and youíll never go wrong.As youíre writing your story think about our five senses. Remember that acharacter can physically see what another oneís doing, assume what theyírethinking, but they canít feel, taste, see, hear or think what anotherísfeeling, tasting, seeing, hearing or thinking.>>
And finally for todayís post, Deep POV which I thinkreally kicks a story into top gear. Youíve heard of method acting, I like tothink of deep POV as the writerís equivalent.>>
You emerge yourself totally in that character,inside both the head and heart. Itís the element that can give your story thatemotional punch and set it apart from other writerís work.>>
One common reason for a manuscript being rejected isbecause an editor thinks youíre guilty of author intrusion which means you thewriter got in the way of the reader and the character. Itís the then he thoughthe heard sentences. With Deep POV, the writer leaves the scene and the readersees, hears, smells, and feels everything that characters is seeing, hearing,feeling. >>
Imagine if you will youíre the character and youíretelling your story, sharing with the reader everything thatís going on in yourlife, your head, and at the very moment of the scene.>>
Hereís something for you to check out. Look throughyour story and remember the five senses tip I gave you. Are you guilty ofhead-hopping in any of your scenes? And hereís one of the exercises I suggestin my POV workshop. Is there a scene in your story thatís not just working foryou? Sometimes all it needs is a change in POV. Try it and see what you think.>>
Next week, weíll move onto to the final topic of thefree seminar and thatís writing a synopsis. During the final week of March Iílltake questions you might have on any of the topics Iíve covered or any other writingrelated queries. Iíll also be holding a giveaway. One person will win my e-bookof How To Write A Romance Novel, and one other person will win a critique oftheir synopsis. >>
Havea good weekend, and Happy St. Patrickís Day. >>