Deep P.O.V. Part One—What IS It? How Do We DO It?

Welcome to Twitter Treasure Thursday! A couple of weeks ago, I had dinner with a friend. As we ate, we fell into a conversation about POV. Specifically, deep POV. Now, to be honest, up until that conversation, I’d only heard of this term, I’d never truly understood it (which is funny, because now that I do understand it, I see that most of my stories are written in deep POV–doh).

 So, what is deep POV? Well, I’d sit here and explain it to you, but why should I when author, Kristen Lamb, has already done such an fantastic job in her article, Deep P.O.V. Part One—What IS It? How Do We DO It?

Deep POV is simply a technique that strips the author voice completely out of the prose. There is no author intrusion so we are left only with the characters. The reader is nice and snuggly in the “head” of the character.

Okay, clear as mud. Right? Right.

As an editor, I see the intrusion much more than authors. It is actually shocking how much you guys interrupt. In fact, you are like my mother chaperoning my first date who would swear she was quiet as a mouse.

NOT.

To read the entire article, click here. And for more useful advice, follow Kristen Lamb on Twitter!

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7 Methods for Handling Point-of-View Changes

Welcome to Twitter Treasure Thursday! In most of my stories, I tend to keep a narrow focus by using only one character’s point of view. However, when I began rewriting my novel last fall, I decided to make a huge change and use multiple POV’s.

AHHH!

Yeah, it’s not the easiest thing to divide a story amongst multiple characters. Not only do you need to make sure you’re maintaining each of their unique voices, but you need to make sure you’re not confusing the reader by making sudden POV leaps.

POV 2

Today’s gem, courtesy of Rhonda Ryde, addresses this topic. In an article written by Jami Gold, we’re offered great tips on how to handle POV transitions, and how to avoid pitfalls that hurt your story and confuse the reader.

7 Methods for Handling Point-of-View Changes

Paragraph Break
The vast majority of agents and editors consider a paragraph break to be an insufficient transition for a POV change, especially for a character-focused story.

In contrast to plot-driven stories, character-focused stories are page-turners because the reader cares about what will happen to the characters. It’s harder to create a sympathetic/empathetic relationship between the reader and characters in one-paragraph chunks. If the characters don’t matter, they might seem little more than puppets to the plot.

To read the entire article, click here!

And for more useful advice, follow Rhonda Ryde on Twitter!

Related Articles

How to choose a point of view for your novel

5 Tips for Writing Multiple POVs

Deadly Sin of Writing #5–P.O.V. Prostitution

Point of View: Choosing Whose Head To Be In

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http://lydiakang.blogspot.com/2011/03/pov-privately-owned-vehicle.html

How to choose a point of view for your novel

Welcome to Twitter Treasure Thursday! I don’t know about you, but every time I begin a new story/revise an old one, I ponder which POV I want/need to write in. Limited? Omniscient? First? Second? Third? What? Well, today’s gem–discovered via Chuck Sambuchino–should help me from now on. And perhaps it’ll help you too?

How to Choose a Point of View for your Novel

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When it comes to writing a book and picking a point of view in which to tell it, there are several different options: first person point of view, second person point of view, third person limited point of view, etc. Two of the most popular and telling, though, are the omniscient and limited points of view. Choosing one of these paths can not only alter the course of your story, it can also make or break the tone of your book. But how can you tell if writing in the omniscient is a mistake and that your manuscript would be much better if you were writing in the limited third person?

As an added bonus, there’s a free download included with even more information/details about this topic. Check it out!

Read the entire article here.