5 Ways Deep Point of View Delivers Punch To An Action Scene

June 22, 2018 by Lisa Hall-Wilson Leave a Comment

I’m working through some of the reader questions I’ve received, so this week we’re looking at writing action scenes in deep point of view. Here’s the question:

“I struggle most with action scenes. How deep is too deep POV where the reader loses a sense of what’s happening in the scene? And how do I balance the character’s inner dialogue and reactions with the action?” – Rabecka

Great question. Thanks for asking, Rabecka. Let’s dive in!

Know The Why Of The Action Scene

Just like in every other kind of scene written in deep point of view, know the why for your point of view character (POVC). Why are they fighting right now? Most people take quite a bit of nudging before they’re pushed far enough to take a swing at someone. The why must be specific to that character in that moment. That why should give the reader insight into the POVCs motives, their character, their priorities, their passion, etc. All fight/action scenes should move the story or the emotional plot ahead. If you can remove that scene without changing the story, it’s not essential. Only essential fight/action scenes get to stay.

Emotions In Action Scenes

What mix of primary emotions are at play? That mix will trigger fight, flight, or freeze which triggers a secondary emotion — where we have a thinking response TO DO something. In action sequences this must happen fast *snaps fingers* In most cases, you wouldn’t dwell on this. Let’s have a look at an example:

“Reacher chose the path of least resistance. He ducked his head and let the punch scythe through the empty air above it. Then he bounced back up, and launched to his feet, and twisted, and used his falling-backward momentum to jerk his elbow into the guy’s kidney, which was rotating around into position just in time. It was a good solid hit. The guy went down hard. Reacher fell back in his chair and sat there like absolutely nothing had happened.”

Lee Child, The Midnight Line, ch 3

So, we have Reacher in a situation that’s escalated to violence. I haven’t included the primary emotions here, but Reacher’s already placed his scarred giant-sized left fist on the table, and then the even bigger more-scarred right fist in a failed attempt to intimidate. He’s watching the guys around him for tension, for anything that tips him off to action about to happen. So, the primary emotions at play here would be anticipation – hyper vigilance, wariness plus maybe dread or suspicion that’s led him to seek the information to begin with.

So, the secondary emotion then isn’t anger. It colors more like frustration or irritation because they’re making him work harder than he thinks he should have to to get the information he needs, but he’s flexible. (Many primary emotions can also be secondary emotions depending on the context — if that emotion is a thinking reaction to a primary emotion.) “It was a good solid hit.” <- This is the internal dialogue in this sequence. This is his thinking reaction to the primary emotions he’s experiencing. He hasn’t even broken a sweat — he never felt out of control or in danger, he never exerts himself. His internal dialogue reflects this inner state.

Who your character is must dictate the action and the internal dialogue in any action/fight scene.

Internal Dialogue In Action Scenes

Internal dialogue is where we communicate/show secondary emotions. Let’s look at a writer whose POVC is a bit more… thoughty than Reacher.

“…George deliberately bumping against her. She [Anna] pulled back from him and instinctively wrapped her arms protectively around herself. He gave her a sneer he hid quickly from the others.

‘Illegitimis nil carborundum,’ she murmured. It was stupid. She knew it even before George’s fist struck out.

She ducked and dodged. Instead of a fist in her stomach, she took it in the shoulder and rolled with it. The small entryway didn’t give her much room to get away from a second blow.

There wasn’t one.

Boyd had George pinned on the ground with a knee in the middle of his back. George wasn’t fighting him, just talking fast…”

Patricia Briggs, Cry Wolf

So, the primary emotions are shown through Anna’s body language. She’s wary, afraid, jumpy, hyper-vigilant. So, how does she react to those emotions (the secondary emotion)? Defiance. “It was stupid.” That’s the internal dialogue here. This scene feels like it moves a little slower than the Reacher scene. Any romance subgenre tends to be more focused on relationships so that’s reflected here. There’s more internal dialogue, more description in this scene, because that’s Anna’s thinking response to the primary emotions. Fighting back with her fists would be useless, all she has to fight with is her wit and her mouth. Do you see the difference?

Blow By Blow Action Scenes

There are some action scenes that by necessity are stark in their lack of description and internal dialogue. The intention is to create this snap snap snap response to the violence. There’s no time to think, just survive.

The shot thundered across the beach, an echo of the waves. The lead bullet broke his bottom right incisor, tore through his palate, just above his upper teeth, punched through the lower bone of his eye socket, and broke through the skin just in front of his left ear. He staggered back, then dropped down into a sitting position. Pain shot through his head. The blood dripped warmly down his cheek. His left eye wouldn’t focus.

But he was alive.

Deon Meyer, Dead Before Dying

This is a stylistic choice. There isn’t a right or wrong amount of internal dialogue or description as long as what you keep the pace moving, reveal character, and push the emotional/story arc ahead. This blow-by-blow account is visceral, it makes you want to wince. The only internal dialogue is, “But he was alive.” Where another writer using deep pov throughout the novel might widen the lens and use a shallower point of view to show an out-of-body experience or use a summary technique to force the reader to lean in, Deon Meyer has zoomed way in to create the same but opposite effect for readers.

Be intentional about this. What effect are you trying to create? I had a situation where I had two POVCs in an action scene. I had initially written the scene from the female perspective, the victim of the violence. But I rewrote it in the male POVCs voice as a sytlistic choice based on where I wanted to focus readers’ attention. If we were making movies, we might think of this in terms of which camera angle tells the story best in this scene?

What Tone Are You Creating?

The tone of the fight scene should dictate how deep the point of view is in an action/fight scene. Are you trying to create a feeling of raw shock and awe like the last example? Zoom in close and use cold, fast verbs (broke, tore, punch). Cold efficiency and proficiency like in the Reacher example? The action will be clean, fast-paced, and without a lot of description. The reader does most of the heavy lifting because the description is so sparse. The underdog facing a bully’s fists like in the Patricia Briggs example? There’s more internal dialogue, more description of what’s being felt – physically and emotionally.

Use similes and metaphors and descriptors that readers can relate to. Short, quick descriptions can be very powerful. Describing a character’s clothes as wet with blood for instance, not many of us will have been drenched with blood (thankfully) but we’ve all been thoroughly soaked while still clothed. This pairs an unfamiliar experience with a familiar physical sensation. In this way, we can write what we know even in action scenes.

Make sure you check out Method Acting For Writers: Learn Deep Point Of View Using Emotional Layers available July 1st.

Thanks for the question, Rabecka! Do you have a writing question you’d like to see me answer on the blog? Leave a comment below or on Facebook!

Do you have a favorite action/fight scene from a novel?

3 Reasons Deep Point Of View Might Not Be Working For Your Story

April 19, 2018 by Lisa Hall-Wilson Leave a Comment

When writing in deep point of view, even though this writing technique is visceral and delivers an emotional punch — sometimes it just doesn’t seem to be working. There’s no depth. Readers aren’t connecting with your characters. Assuming the story is well constructed and the characters well-conceived, does that mean Deep Point of View isn’t the right decision for your story?

Perhaps.

Maybe it means you have one of the problems below instead and just a simple tweak can turn a good story into a great story that readers tell all their friends about.

Voice

Deep Point of View is a great tool that almost by necessity forces you to create unique voices for your characters. However, if your characters all sound the same, or they just sound like you, that’s a problem. Often, the cause for this is that you either don’t know your character as well as you think you do, or you’re trying to artificially force a character into a plot event. Deep point of view works best for stories that are character driven, not plot driven.

As an exercise, pick a scene with high tension/emotion. Dig down into what I call the why. Why is your character behaving this way? What are they trying to accomplish by behaving this way? List three other ways your character could react to that exact situation and in point form explain the thinking/rationale that character would use to justify each of those actions. The actions don’t have to be rational, but they do need to make sense to that character. What does each of those reactions show readers about that character’s traits, motivations, goals, backstory, etc. Now, pick the action/reaction that is surprising, that forces the character into a situation or emotional state that leaves them uncomfortable.

Now that you know why your character is behaving the way they are and what they’re trying to accomplish in that scene, now write the scene as the character moves through the scene.

Filter

Every detail of the story that the reader knows about has to come to them through a point of view character, and that character has to have opinions, feelings, attitudes, prejudices, history, etc. that influence how they see the world and see themselves in the world. This filter is applied to every word you choose, every metaphor, all of it.

Sometimes this points to a confidence problem in the writer – either they don’t trust themselves or their reader. Sometimes it’s laziness because we don’t want to do the hard work of figuring out these kinds of details. Don’t take that personally. Every writer is guilty of lazy writing at least now and then.

So, going back to the exercise above, you’ve rewritten the scene as though your character is telling the story. Do your word choices reflect how your character feels about what’s going on? Katniss Everdeen in The Hunger Games describes her sister’s cat as the ugliest cat in the world and says it’s the color of rotting squash. It’s not an orange cat, or a marmalade-colored cat, it’s not the color of a Halloween pumpkin – it’s the color of rotting squash. How do you think Katniss feels about that cat? You find out that Katniss’ sister named the cat Buttercup. What do those two small pieces of information tell you about Katniss and her sister? About how they each see the world. That’s filter.

Change (Emotional Arc)

Does your character change over the course of the story? This might be why the deep point of view technique isn’t working. There is such a thing as a static character, a character who begins the story with all the tools/skills/knowledge they need to accomplish their goals. Usually, we see this in characters who are professional detectives, lawyers, etc. Lee Child’s Jack Reacher is perhaps one of my favorite static characters. Indiana Jones could arguably be considered a static character. However, most of the time your character will have to grow, change, learn, acquire new skills or thinking in order for them to have success by the end of the story. Will your readers see that change through the way your character experiences or tells the story? In the words they use, what they notice that they might’ve skipped or skimmed over before?

The emotional arc applies even to static characters. They have to care about something in order to put themselves at risk to accomplish the seemingly-impossible story goal. Emotional arcs are critical in deep point of view because the reader isn’t just inside your character’s head, they’re inside the character’s heart too. This journey then should include some emotional challenge to overcome. Is their pride getting in the way? Is it their prejudices or attitudes or assumptions tripping them up? These emotional obstacles need to be overcome. Remember, to build in this emotional journey for your character and readers too.

I LOVE getting emails from readers and I LOVE hearing how these posts are helping you create better stories. What topic(s) would you like to see covered here? Leave a comment or send me an email!

Want to learn more about deep point of view? Heard about it and don’t know what it’s really about? Been told readers struggle to connect with your characters emotionally? Know about deep point of view, but stumped trying to find intermediate-level resources? Registration is now open for Method Acting For Writers: Learn To Write In Deep Point Of View. Class begins May 7 and the cost is $165CDN (approx $130USD).

4 Times You Shouldn’t Write In Deep Point Of View

April 17, 2018 by Lisa Hall-Wilson Leave a Comment

Deep point of view is a popular writing technique and is recommended by editors and agents. The appeal of deep point of view is putting readers IN the action of the story — handing them a set of virtual reality goggles. Deep point of view is immersive, immediate, and emotionally compelling, but sometimes this style of storytelling won’t serve you well.

On The Nose Writing Slows The Pace

Strictly speaking, writing in deep point of view would have you describing in detail every step or action a character makes. This can really slow the pace of your story. When you’re trying to create an effect of anticipation, dread, foreboding, etc. then slowing the pace might be exactly what you want to do. However, unless it serves the story, just let your character open a door, go to work, make dinner… you get the idea.

Remember, the more time and attention you give something, the more significance the reader will attach to it. If you spend a lot of time describing that long walk to the front door, there had better be something significant behind it or the reader will feel cheated or manipulated.

Action Scenes With No Time For Internal Dialogue

While it’s often true that deep point of view uses a lot of internal dialogue, it doesn’t have to. However, there are times where the action of the story is moving at such a pace that the character doesn’t have time to think. You could remain in deep point of view in these scenes and just capture the physiology (what’s going on inside the body – heart rate, etc.) and body language. By omitting the internal dialogue, you can create a sense of no time to think. Or you could slip out of deep point of view to a more distant perspective for the same effect or as a contrast to the deep point of view to lend a feeling of the action moving fast. The character might simply report on what’s going on. This could also be effective in a situation where a character is forced to react instinctively to a threat or demonstrate a lack of self-control.

Deeply Emotional or Traumatic Scenes

When an entire novel is written in deep point of view, sometimes pulling back into a more distant perspective at a moment of extreme emotional upheaval (when done well) can pull the reader deeper into the story. Pulling back can give the sense of an out-of-body experience or a pain too deep to feel – going numb. This almost detached objective reporting can also show readers an unwillingness to deal with a trauma or emotional pain.

For me, this technique works a bit like when you cut yourself with a knife. A sharp knife. You’ve felt the blade slice through your skin, maybe you see the wound and maybe blood has some to the surface. It doesn’t hurt yet, but you know it will. It’s going to hurt a lot. For a brief moment, you have this detached ability to assess the injury before the pain hits you.

To Show Time Passing

There are transition scenes where your character needs to move from one place to another, and unless you’re writing sci-fi you can’t simply transport them there. You need a scene that shows them travelling from one place to another, but nothing actually happens in this scene to move the story forward. Don’t stay in deep point of view just because the rest of the novel is and irreparably slow the pace of your novel in these moments. These are great bookmark moments and it’s just best to avoid including bookmark scenes. It’s OK to say, Joe ran two red lights and cut off three cars on his way to the hospital.

I would encourage you to dig deeper in these nothing-happens scenes though. These transition scenes are really an opportunity for a character’s self-reflection. To show their emotional arc taking place in the lack of plot action to distract them. Ever had that moment where you’re just keeping busy to avoid thinking or feeling, and then you run out of things to do and you’re left alone with your thoughts finally? Donald Maass says these scenes are where a character’s unmet needs can really shine.

4 Ways Writers Cheat Reality With Internal Dialogue To Write Better Fiction

March 23, 2018 by Lisa Hall-Wilson Leave a Comment

Emotion In Internal Dialogue

Internal dialogue is the power horse of deep point of view. Because this style of writing is personal and intimate, the things we tell ourselves, our internal observations, opinions and biases makes up a significant part of the conflict in the story. Internal dialogue is often the vehicle through which setting, subtext, and often the emotional punch are delivered. There are a lot of things we think privately we’d never want to be known more widely, yet that’s where the reader lives for the duration of the story in deep point of view.

Deep point of view strives to bring as much realism as possible into our storytelling. We need to understand how our brains work in real life and where we sometimes have to cheat reality just a little to make a better reading experience. This is a great companion post to my free 5-day e course on Writing Emotions in Layers.

Compress

In real life, someone in emotional distress will chant, they might ramble on and repeat the same thing for ten minutes or more. You have to compress that in fiction. No one wants to read eight pages of a character chanting or repeating (internally or verbally) the same phrase out of shock. You have to compress what might be a realistic reaction. Give the impression a character is repeating herself without writing it out or just say it once or twice and move on. You can give the reader the idea they’ve been stuck like this, chanting, rocking – whatever, without bogging down the story pace.

Scale-able

Remember to keep the emotions scale-able. Whatever the inciting incident is, whatever sets your main character into conflict, this absolutely needs to be intense, but the general rule is it can’t eclipse the final conflict in emotional toll or impact. Make sure whatever emotion you start off with is scale-able. Now, if you’re writing for a Happy Ever After (HEA) ending, you’ll want to tie things up in a neat bow and leave everyone happy. If you’re looking for a more realistic ending, you’ll need to make sure your character loses something important at the end of the story.

Psychology

There are a lot of really great psychology books out there that will help your writing in BIG ways. One that’s a personal favorite is Brené Brown’s Rising Strong. Don’t shortchange your readers on the emotional journey however painful. Writers like Nicholas Sparks, George R. R. Martin, and Jodi Picoult are experts at torturing readers alongside their characters. Depending on your own preferences or those of your readers, you can choose how gritty this emotional journey will be, but it must have an emotional punch.

Where books like this are helpful to writers is breaking down the mental process of finding the root of problems. Go through this process of self-discovery personally as well as with your characters. Identify the problematic behavior and work backwards until you’ve landed on the unique mixture of coping and defense mechanisms behind the behavior. Those defense mechanism hide or compensate for an emotional hurt/wound. Determine what caused the hurt/wound. What blend of characteristics makes your character weak or vulnerable to this hurt? How does this wound continue to cause them pain?

And this is where you’ll have to break from reality. You’ll have to create perfect storm-like scenarios where your character’s original hurt/wound is exposed. This can feel artificial but your story has to fit inside your genre’s word count expectations. (Here’s a great post from Anne R. Allen on genre word count expectations.) Often, in real life, this process takes place over years, has a lot of false starts, missteps, and backtracking. In fiction, you are restricted to the narrow timeline of your story.

Time

The rule in deep point of view is to avoid naming emotions. There are exceptions to this depending on how much time has passed since the traumatic event. Emotions are processed by both the left and right parts of our brains. We FEEL with one half, and analyze and label with the other half of our brain and that transition takes time. Ever had that sense where you’re overwhelmed (shock, surprise, etc) and you aren’t able to articulate or express what or how you feel until hours later or the next day? This is why.

Some people get stuck at this stage and never learn enough self-awareness to label or work through how they feel. Instead, they self-medicate with alcohol, anger, perfectionism, drugs, workaholism, etc. They focus on not feeling anything. Typically though, the more time we’ve had to process an event the better able we are to think through how we feel. Some people need to talk this out, others will journal, others will need time alone just to think. How the emotions are processed is very individual, but the passage of time affects how we talk and think about emotional trauma.

It’s important to understand primary and secondary emotions and how they should affect our storytelling.

The more time that passes between a traumatic emotional event and the memory of it, the more realistic it is to label the emotions that were felt. I’ve written before about writing a traumatic backstory for your characters. But, remember that the power of Deep POV is immediacy, so this should be the exception to how emotions are expressed not the norm.

Resist the temptation to use a heavy hand and bluntly label an emotion just because it’s a historical event. How ready are you to talk about the death of someone you loved very deeply? Even years later, you’ll likely be willing to talk about the person but not go into detail about the death itself especially if it was traumatic for you in some way.

When my father and grandfather get together, they’ll reminisce about the years when my dad was young and the various escapades and adventures that took place. However, there was a messy divorce and separation when my dad was a teen, so these trips down memory lane rarely include any mention of the teen years or my grandmother. It’s acknowledged she was around but little more.

We have a way of talking around the things that are still a bit raw, but with internal dialogue in ficiton we can bypass this tendency. Your character may be able to fool everyone around them that this past event doesn’t affect them anymore, but the reader needs to know how much it still hurts.

Want to learn more about deep point of view? Heard about it and don’t know what it’s really about? Been told readers struggle to connect with your characters emotionally? Know about deep point of view, but stumped trying to find intermediate-level resources? Registration is now open for Method Acting For Writers: Learn To Write In Deep Point Of View. Class begins May 7 and the cost is $165CDN (approx $130USD).

5 Quick Hacks To Gear Up Your Setting and Description Into Deep Point Of View

February 28, 2018 by Lisa Hall-Wilson Leave a Comment

One aspect of writing in Deep Point Of View (POV) that’s often overlooked or downplayed is the importance of filtering setting and description through your point of view character (POVC). Remember, in Deep POV you want to avoid drawing conclusions for readers. Don’t tell readers what to think, give them your POVCs raw data and let readers come to their own verdict about how the POVC feels, what they’re observing, and the world they live in. This puts the reader IN the story and keeps them out of the theater seats.

To that end, filtering the story setting and description through your POVC is critical. Here are five tips to writing setting and description in Deep POV that will take your writing to the next level:

Observe Don’t Report

When you imagine your setting, avoid the temptation to have your POVC label what they see. It’s a rectangular room with a bay window and upscale furniture in artful arrangement. A Persian rug I’m afraid to walk on covers the floor. Sure, there’s no POV violation here, but the reader’s learned little about the setting or the POVCs feelings about it.

Instead, let your POVC share their impression of the room in a way that reveals character. I stepped where Caroline stepped and gathered close all the loose bits and flaps of my clothing. If ‘you break it you bought it’ applies here, I’ll be broke before we get to the dining room.

This is an excerpt of a guest post. Read the whole post here.

5 Pro Tips You Need To Write Deep Point of View Effectively

January 19, 2018 by Lisa Hall-Wilson 2 Comments

Deep Point of View (POV) is like giving your reader a virtual reality headset. That’s how immersive, intense, and personal readers want to be with your story and point of view characters.

The problem with learning deep point of view is getting beyond the basics. Many blogs will tell you to eliminate distance, write with immediacy, ditch speech tags, and write tight. These basics will get you started, but it’s really hard finding help on the more advanced techniques and strategies required to really make deep point of view work for you and your story.

So let’s go Beyond Basics. Here are some Pro Tips you need to master to write Deep point of view well.

Subtext

Subtext is a topic I’ve written about here and here and here. So what is it? K.M. Weiland calls learning subtext the “black belt” of writing fiction: “Subtext is about what isn’t said.”

Ever had a conversation where what you’re saying doesn’t match what’s being spoken about? Hubs didn’t call to tell you he would be late and miss dinner. He arrives home bearing a bouquet of flowers. What do you do? If all is forgiven, you might take a moment to smell his offering and lean in for a kiss. If you’re still mad but will get over it, you might accept the flowers but make sure your fingers don’t touch his in the gift exchange. If you’re still mad you might just talk over the television and tell him there’s a vase in the cupboard.

Subtext is gestures, glances, and body language and how that’s interpreted. It’s veiled conversations, innuendos, and shared experiences. This is a HUGE component of real life communication you need to incorporate into your fiction. But there’s art to it. The reader has to know what’s really being communicated.

Author Intrusion

Deep point of view is about eliminating distance between the reader and the point of view character (POVC) and the beginner guides will tell you to look for words like watched, thought, heard, felt, etc. Remove the dialogue tags and use beats instead. Write with immediacy instead of recalling the action. These are all great starting places and are necessary, but there are so many ways you (as the writer) insert yourself into the story and break the fictive dream for readers. Learning to recognize these and eliminate them takes practice and objectivity.

Here’s one my editor called me on.

“Can’t sleep.” Aralyn yawned. “I don’t like this place.”

The Black Forest was known for its gnarled trees, bogs, and unpredictable pits. “It’s not a nice place.” Edric couldn’t suppress the body shiver that rattled his spine.

“I can feel eyes on me. Like I’m being watched.”

“You are being watched.” Edric widened his eyes and leaned in closer.

The bit in italics is just flat out author intrusion. The POVC wouldn’t think this – who talks to themselves like that? I am inserting myself into the narrative to give the reader information which needs to be avoided in deep point of view. Here’s how I fixed it.

“Can’t sleep.” Aralyn yawned. “I don’t like this place.”

“What, you don’t like gnarled trees, stinking bogs, and unpredictable pits? What’s wrong with you?” Edric couldn’t suppress the body shiver that rattled his spine.

“I can feel eyes on me. Like I’m being watched.”

“You are being watched.” Edric widened his eyes and leaned in closer.

Character Voice

This is one of those subtle bits of art that writers do that make characters come alive. This is more than dialect, accents, or slang – though those are part of it. Everything the character knows, sees, thinks and feels is filtered and interpreted through their personal history, biases, social and economic status, etc. Telling or drawing conclusions for the reader about how a character is feeling, their morals, or hang ups shut down the virtual reality goggles and put the reader back on the sofa observing the story. Instead, you have to become the character and tell the story the way they would. The way actors get into character almost.

What a character notices (what they find ordinary, routine or out of place) gives the reader a lot of information. A city kid and a country kid walk down to the pond in the back field. The city kid is going to notice things the country kid who’s taken that walk a thousand times will take for granted. The country kid’s desires might come through in what he’s tired of looking at, scoffing at the city kid’s wonder.

Here’s a boring story:

Matt sits alone in a bar with a beer. He notices a girl he doesn’t recognize walk in and decides to ask her out.

This is not a very interesting story is it? There are distance words in there (notices, recognize, decides) which force the reader into the armchair to watch the story instead of putting them IN the story. There’s no tension is there? Despite this bit being in present tense, there’s no immediacy. We don’t know how Matt feels about the woman, what his impression is, this narrative simply reports what’s happening. That’s not deep point of view. Instead, let’s add some character voice here.

The jukebox went silent for a moment and a pair of feminine heels clacked on the linoleum behind him. The bar stool squeaked a protest at his swivel. She wore long dark hair braided over one shoulder and snug jeans hugged her hips. He let her see his gaze wander lower. With that buckle and those boots, she must be in town for the rodeo. And she walked in alone … He reached back for his beer and grabbed air. Heat flushed his cheeks.

The side of her mouth pulled to the side. She seemed to size him up, her gaze lingered on his face and then wandered down to his chest. She took the stool next to him and looked his way. He tipped his hat.

This is not a great example, but there’s lots of information to be gleaned from this about Matt. However, I haven’t TOLD you anything. I haven’t drawn any conclusions for readers. I haven’t inserted myself into the story at all.

Internal Dialogue

Mastering internal dialogue is KEY to writing deep point of view well. Incorporating physical obstacles and barriers for your POVC is vital for your story to work, but sometimes the biggest obstacles are internal and this is where deep point of view shines. A character at war with themselves, their values, their upbringing can be very compelling and that all comes through internal dialogue. Let your POVC act one way and think another. Let their thoughts betray their real motivations and fears to the reader. Subtext and character voice incorporated into internal dialogue will ratchet up the tension.

Strategy

There are many times where breaking the basic rules of deep point of view enhance the story, like telling, but you must be strategic and intentional about it. Telling used strategically can convey extreme tension or upheaval. Summarizing can prevent boring lulls or writing on the nose that slows or bogs down a good story.

Interested in going deeper with deep point of view? Consider my 4 week online intensive called Method Acting For Writers: Learning To Write In Deep Point of View. This class begins May 7, 2018. Registration opens in April. Get on the waiting list to be the first to hear about early bird discounts.

A BIG component of writing well in deep point of view is being able to layer emotions. Check out my FREE 5-day e-course on writing emotions in layers.