Create Emotional Connections With Readers Using Deep Point Of View

December 7, 2018 by Lisa Hall-Wilson 4 Comments

There are still many many fans of writers like Tolkien, Austen, and Dickens, but contemporary readers (particularly genre fiction readers) are looking for more than entertainment from a book — they want an emotional experience!

“By some curious chance one morning long ago in the quiet of the world, when there was less noise and more green, and the hobbits were still numerous and prosperous, and Bilbo Baggins was standing at his door after breakfast smoking an enormous long pipe that reached nearly down to his wooly toes (neatly brushed) — Gandalf came by. Gandalf! If you had heard only a quarter of what I have heard about him, and I have only heard very little of all there is to hear, you would be prepared for any sort of remarkable tale.” J.R.R. Tolkien, The Hobbit

First published in 1937, The Hobbit was a stellar example of storytelling for the time. The narrator voice is prevalent and the whole work is written in the omniscient POV (both of which were common at the time).

In the early 2000’s, (perhaps earlier) readers began craving work that let them feel closer and more involved in the story and so close third person POV evolved. Strike is the POV character below.

“When informed by telephone that her husband was not, after all, at the writer’s retreat, Leonora Quine sounded anxious.

‘Where is he, then?’ she asked, more of herself, it seemed, than Strike.”

Robert Galbraith (aka J.K. Rowling), The Silkworm

You can see with this closer third person style, the reader was drawn much closer into the story. The Silkworm was published in 2014 – hardly vintage. Still, readers want to be in the action of the story, they want an emotional journey — they want to be the main character.

How Does Deep Point of View Look/Feel Different?

“Chris pulled the phone away from his head and stared at it. The chill on his neck crept down his back. This guy couldn’t be for real. What he was saying about the dreams had to be a coincidence.

“He started down the sidewalk. He needed to get out of here, needed to find his dad, needed to figure out how to stop chasing his tail through life.” K.M. Weiland, Dreamlander

In this last example, the reader isn’t being “told” what’s going on, rather through what the main character sees, hears, knows, thinks, and feels, the reader must infer how the character feels to understand what’s going on. Readers have to care. They must engage and take the journey in the main character’s shoes.

Deep Point Of View Doesn’t Write For The Reader

In other less intimate POVs, the writer can insert information through a character’s internal dialogue, through dialogue tags (ie. he whispered, he wrung his hands anxiously), but in deep point of view everything is written as though the character is alone in their own heads. Beats are used instead of dialogue tags. Instead of writing a story, you’re recording a character’s journey as it happens.

No one else is privvy to the point of view character’s thoughts, feelings, and emotions. The reader and the writer are the main character, they’re not looking over their shoulder.

Using Deep Point of View Selectively

Not every writer who uses deep point of view uses it for their entire story. Some writers will use some aspects of deep point of view for just certain characters, or just certain scenes, to create intensity and intimacy for readers. It is possible to write an entire story in deep point of view, of course it is, but many writers come up with their own brand of deep point of view. They may continue to use italics for emphasis and dialogue tags for instance.

It’s important, as in anything else, to learn the rules first before breaking them. Strictly adhereing to the rules of deep point of view might be too restricting for you or the story you’re telling. Maybe you like the challenge and intensity and never waver from deep point of view.

In a shallower POV style (such as the Robert Galbraith example), deep POV is effective when used for selective scenes to deliver an emotional gut punch for reachers. For books written entirely in deep POV such as the K.M. Weiland example, using a shallower POV style in certain moments and situations will help keep the story moving and not get bogged down in the minutae of the everyday.

Deep Point Of View Isn’t Limited To First Person Or Third

Deep point of view is effective in either first person or third person styles. A story written in first person isn’t deep pov by default — there are many ways writers add distance between the main character and the reader even in first person stories. Deep POV is very popular among first person story writers, but there are many third person writers using deep POV as well.

Deep POV isn’t limited to a present or past tense style either. It can be used effectively either way. You can use deep point of view for every POV character in your story, or just one. You can write in past tense and use present tense for all the internal dialogue in deep point of view. It’s very flexible, the challenge will be to use it consistently (in whatever way you’re using it) in order to prevent jerking the reader out of the story experience.

Avoid Adding Distance Between Readers And Protagonists

The key to effective deep point of view is removing any hint that the reader isn’t IN the story AS IT’S HAPPENING, or that they aren’t the main character in any given scene. Writers build in distance in all kinds of ways that’s acceptable in other POV styles but not in deep point of view. Setting and description are used to do more than tell the reader where the main character is or what’s around them. Instead, in deep point of view the main character must feel their way through the setting.

Do you enjoy reading deep point of view? Do you feel it’s better suited to some genres more than others?

Been told you should learn Deep Point Of View? Had an editor or critique partner tell you to “go deeper” with the emotions in your fiction? Looking for a community of writers seeking to create emotional connections with readers? Check out the Free Resource Hub and then join the Going Deeper With Emotions In Fiction Facebook group.

Do You Really Have Writer’s Block?

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

Is there such a thing as writer’s block? I don’t think it’s as common as writers would like to believe. I think we give the “writer’s block” label to a whole bunch of other things because we feel like we can’t do anything about writer’s block — so we’re off the hook.

Not so, my friends.

Do You Really Have Writer’s Block?

I think my experiences are fairly universal when it comes to the trouble of getting words down at a rate I find acceptable. But, I’ve also come to see that what I’ve classically labelled as “writer’s block” is in fact a host of other things I could do something about — if I put in enough effort or discipline.

Procrastination

There’s this myth that we should LOVE to write all the time. What job is like that? People get tired. They get distracted. There are sometimes other places we’d rather be, people we’d rather be with. Tasks we’d rather not do. If you have been given the impression that real writers love to write all the time and if you don’t you have writer’s block — that’s a lie. Sometimes it’s just plain old procrastination.

This could apply to a first draft, but for pantsers it most often applies to the seemingly endless revision process.

Poor Planning

This one goes hand in hand with procrastination. Sometimes, when we don’t know where the story is going next (talking to all my fellow pantsers out there), we feel stuck. We’re just not sure where to take the story next so we do nothing and call it writer’s block. In reality, if we’d take the time to sit down and do a bit of plotting (at least, this has been my way through it) or talking it out with a patient friend or partner, we can navigate our way out.

It isn’t that we don’t know what we could write or could take the story, we just want to minimize the rewriting we’ll have to do and so… We do nothing and call it writer’s block. It isn’t an inability to think creatively or write, it’s a reluctance to go the wrong direction.

Too Long In The Same Place

Get up and move around. Maybe that means moving to a new room to write or a new location. Maybe that means you pause every hour or so and do a bit of housework or go for a walk at lunch. Whatever works for you to reset your creativity and get those muscles working a bit.

When I feel stuck, I go for a walk or wash some dishes by hand. Often my best ideas come when I’m active and focused on something else that doesn’t require me to pay close attention. The shower is another place I am often able to think my way through a stuck place in a story.

Working Too Long

Did you know that most people only have 3-5 good creative hours in a day? If you’re one of those people who sit at a computer and expect to write non-stop (maybe pause for lunch) for 8 hours a day endlessly, I think you’re going to be frustrated. Make sure to incorporate other tasks into your day, either at the beginning (eat the frog) or at the end (reward).

Writers are observers. We take in life around us and then recreate what we see. If you do nothing but sit at a computer and stop actually observing and taking in life around you, how can you expect to write? Take a day off! Go for a hike. Try something small you’ve never tried before – take a cooking class, do a free gym trial, volunteer at an animal shelter. Do something small that scares you. You don’t have to jump out of a plane, but maybe that means talking to the new neighbour, trying a new class, or trying on clothes you’d never wear!

When Are You Most Creative?

Don’t feel that you have conform to whatever schedule those around you stick to. Work when you’re most creative. If that’s first thing in the morning or late at night, it’s easier to work with your internal clock than against it. Me – I have no creativity in the afternoon. None. I try to leave my marketing work for the afternoons – scheduling social media, creating social images, tinkering with the website, etc. I write in the mornings and late at night.

Now, sometimes we have life circumstances that prevent us from doing this (family, day job, etc.), so I’ve found the writing is harder when I’m working against my internal clock so I have to give myself a bit of grace for working slower than I’d like.

Fear Of (fill in the blank)

Sometimes we label our fears as writer’s block. What are you afraid of? That no one will read your work? That people won’t like your work? That you can’t get an agent? That you never seem to have all the pieces? Listen, every writer deals with those fears. Really. Every writer faces moments or seasons where they’re convinced they’re going to be exposed as the frauds they’re sure they are.

If you want to write, sit down and write. Does having someone’s approval make you a writer? Does having an agent make you a writer? WRITING MAKES YOU A WRITER! So write.

When Is Writer’s Block Actually Writer’s Block?

Opinions vary, right. Some deny that it exists at all (and I might be in that camp – see the Stephen King quote above). That said, I’ve found there have been times when all the things I’ve mentioned above don’t really apply. In my experience, writer’s block can often more properly be labelled as burn out. I wrote about that here. Burnout is debilitating and devastating, and the only way out of it is to rest and take a break.

Our mental health is an often over-looked drain on our creative resources. When you’re struggling with anxiety, worry, grief, depression, stress – being creative takes a backseat. You have a finite energy supply, so be kind to yourself when there is a constant drain on that supply for things outside of your control.

Be kind to yourself.

What about you? Do you think you’ve called a writing snag writer’s block when it was really one of the things (or something else) above?

4 Ways To Create Unique Character Voice That Work For Any Novel

May 2, 2018 by Lisa Hall-Wilson 2 Comments

Creating unique character voice for your characters is essential for great fiction. Even classical writers like Tolkien writing in omniscient point of view were able to imbue their characters with enough uniqueness that you felt like they were an individual. Yes, precious.

In writing styles like deep point of view where the writer needs to become invisible and let the character tell the story entirely, creating unique voices for each pov character can be challenging.

Before I turned to writing and teaching writing full time, I worked as a freelancer which roughly translated to writing anything for practically anyone. I did quite a bit of ghostwriting, usually for a president or CEO or founder of a non-profit. Oh – you thought they actually sat down and personally wrote all those direct mail campaigns and emails? 0_0

I had to completely disappear and write a piece that read like it had come from someone else. The best compliment I could get was to have a client tell me people commented that they sounded just like their blog, newsletter, whatever. That was the job. So, what’s the key to creating a unique voice and disappearing as the writer? (You might find this post – 4 ways to become invisible with deep pov interesting.)

Catchphrases and Signature Exclamations

When ghostwriting, I listened for a turn of phrase — something they repeated. One client kept saying to me he was “neck deep in alligators.” These little snippets were amazing glimpses into personalities and priorities.

How does the way your character phrases things show their personality or priorities?

“You is kind. You is smart. You is important.”
Kathryn Stockett, The Help

Does your character have a signature phrase or exclamation? The phrase above tells us a lot about the character, doesn’t it. This character isn’t overly educated, but very kind and very wise.

“Jesus H. Roosevelt Christ!”
Claire Fraser — Outlander, Diana Gabaldon

Claire is a character familiar with faith but not a strict adherent and doesn’t care who knows that, nor is she particularly lady-like given the time-period, or conventionally feminine. It just says so much about her character.

“You got some ‘splainin to do, Lucy!”
Ricky Ricardo — I Love Lucy!

“I’m going to make him an offer he can’t refuse.”
The Godfather

“Bah! Humbug!”
Ebenezer Scrooge — A Christmas Carol, Charles Dickens

Each of these catchphrases signature exclamations gave audiences a good deal of insight into the character and how they saw the world.

You really only have to sprinkle in a few of these signature phrases or turns of speech to give credibility to character voice. Used sparingly, as you might add spice, it can be effective.

Metaphors and Similes

Metaphors and similes are perhaps the most common literary devices fiction writers use. Metaphors are more precise than similes but both can be effective. A simile is a comparison using “like” or “as” whereas a metaphor is a comparison not using like or as.

“. . . she tried to get rid of the kitten which had scrambled up her back and stuck like a burr just out of reach.”
Little Women, Louisa May Alcott

“Elderly American ladies leaning on their canes listed toward me like towers of Pisa.”
Lolita, Vladimir Nabokov

An easy way to add character voice is have the character use those things they are most familiar with as metaphors and similes to describe things. She’s angrier than a hornet in a Coke can – what would that tell you about the character who said it?

“The café was like a battleship stripped for action.”
The Sun Also Rises, Ernest Hemingway

“The other was fair, as fair as can be, with great masses of golden hair and eyes like pale sapphires.” D
Dracula, Bram Stoker

Just remember to use metaphors and similes sparingly, for emphasis. In the quote from Stoker above, it would’ve been easy to slip in more than one simile there, but he’s only used one for punch. Love that.

Apply Filters

Everyone sees the world in their own unique way. One man’s junk is another man’s treasure and all that. What one person values has no value at all for another. What your character places value on shows readers what they care about, what they’re willing to fight for, die for, etc.

Your character’s perspective should color every word you use. Characters can show readers what they’re seeing by describing how they feel. Are they an optimist? Are they driven – what would they find annoying or ignore? Do they have an artist’s aesthetic appreciations or more of a soldier’s utilitarian focus?

Here’s an example of filters. Sarah is the point of view character in both bits below, but I’ll give Sarah two different “filters” that will affect how she describes what’s happening. Can you tell how Sarah feels in each example?

First Example

Catherine answered the door and invited Sarah to the back patio. She followed Catherine, tucking her elbows in and hunching her shoulders to avoid touching anything. If you-break-it-you-bought-it applies here, she’ll be broke before they get to the kitchen. Sarah asked questions about the different pieces of art and furniture, more questions than necessary to be polite. She pretended to brush dirt off the patio chair before sitting. Out of time.

Second Example

Sarah checked her watch again. Catherine opened the door finally and invited her to the back patio. Sarah could see the patio doors from the front entry, but Catherine insisted on taking the long way through the living room and kitchen. Catherine’s ability to decorate wasn’t going to get them out of this mess.

Remove Yourself

Some writing teachers place too much emphasis on developing their writer’s voice. I chased it for a good long time too, but I’ve come to learn that my author voice is simply which stories I choose to tell and how I choose to tell it.

Will you use profanity or not? Will your stories be fast-paced, dark, or always end happily-ever-after? Sometimes genre must dictate some of these choices, but please don’t mistake your writer’s voice for character voice.

Character voice will be distinct to one character and can and will change from novel to novel. How you tell a story and which stories you choose to tell, that will have more consistency between all your work.

Buffy vs Bella: Why Your Characters Need To Be Proactive

April 25, 2018 by Lisa Hall-Wilson Leave a Comment

Characters who make decisions that push the story forward are more engaging, more interesting, and more like-able than characters who are passive. This is a mistake I continue to make over and over. It doesn’t seem to matter how well I know this lesson, it still creeps into my writing.

Bella Swan Is Passive

Bella Swan from Twlight is a passive character in at least the first 1.5 books of that series. She decides to go to Forks to live with her father, and then the rest of the book is stuff happening to her. She doesn’t make very many decisions that influence the outcome of the next plot event. She’s nearly hit by a truck. Edward decides to date her even though his family doesn’t want him to. He decides to take her home to meet this family and play baseball. He’s the one who recognizes the danger she’s in and decides they have to leave. Over and over this happens where someone else decides what Bella will do, where she will go, etc. She makes proactive decisions here and there, but mostly she just lets life pummel her and does her best to survive.

Buffy Summers

Buffy of Buffy The Vampire Slayer is a proactive character. Buffy decides to fall in love with a vampire. Buffy decides to sneak out of class, to take on a vamp by herself, to lie to her mom, etc. Buffy gets herself into and out of trouble in every episode–all while wearing cute shoes.

Diagnosing A Passive Character

When you’re trying to diagnose whether a character is passive or not, for each new plot event ask yourself what that character did to get themselves in that predicament. The inciting incident, the problem that kicks off the story, happens to the character. They’re sucker punched and left for dead on the side of the story road – what are they going to do about it? They have to DO something to get the story started. I’m going to outline a story of mine that’s been sitting in a drawer for years that will probably never see the light of day.

Laurel loses her job, can’t pay her rent, and can’t find another job. (This is a story problem that’s happened TO Laurel. Almost every inciting incident forces the character into a passive role.)
Laurel reconciles with her estranged husband. (This is OK as long as Laurel is the one initiating the reconciliation. If the ex happens to come to her and offers her a place to live because he’s heard she lost her job – that makes her passive.)
Laurel finds out she’s pregnant. (This is OK as long as Laurel’s made the decision that put her in this predicament. If she’s pregnant because she got drunk and her ex took advantage of her, she’s passive.)
Laurel gets offered her dream job. (This is OK as long as Laurel has sought out this opportunity–she’s reached out to a friend, answered a job ad, secretively met with an old flame she knows has a connection – whatever. If this job opportunity falls out of the sky, Laurel is once again passive because she’s not directing the action of the story.)
Laurel chooses to keep baby and stay with ex, but has to give up her dream job. (She actively makes a decision, but the decision has to cost her something and it has to be directly related to the initial story problem. In this case, the job loss forced her to lose her independence so choosing to stay with her ex and give up her dream job — that would restore her independence, directly answers her initial story problem.)

This is pretty simplified. Credit to Les Edgerton for the process. (He runs a great 12 week critique class a few times a year that really hones in on these types of plot problems if you’re struggling.) Do you see how each story plot point could make a character passive/reactive or proactive? It’s all determined by whether the character put themselves in that predicament or it just happened to them. Be really objective about this. It’s crucial.

Why Do We Create Passive Characters?

When I’m stuck and can’t move ahead with a story, when I just can’t figure out where to go next or where to take my characters, passive characters creep in. Mostly, this is because I begin engineering the story instead of letting the characters lead the way. When I’m not sure where the character should go, what they should do, how they should react, I create plot events to keep the story moving and often that makes my character passive.

How well do you know your character? Like, really know them? Try interviewing them. When I get stuck, I drill down into the why. Why did you say that or act that way? What are you afraid will happen — what’s the worst case scenario here for you? What’s your goal for this scene/chapter? What would you rather say/do and why? Often, by the time I drill down through the why’s of a scene, it becomes clear that the character is reacting to events rather than causing them.

It’s A Setback, Not A Failure

Remember, learning that you have a passive character isn’t the end of the world. Depending on when your character became passive, it might require a serious rewrite but your story will be stronger, your character will be more engaging, and you’ll hook readers and keep them reading. Those are all wins. How you get there is just details. Keep going.

Dive Deep!

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 Point of View Breaks That Sneak In Even When You Know Better

April 13, 2018 by Lisa Hall-Wilson 1 Comment

Point of view errors break the fictive dream for readers. This is a problem in general, but in deep point of view where the aim is to create an immersive experience for a reader – this is equivalent of ripping off the virtual reality goggles without warning. A little jarring at best, enough to make you walk away from the story at worst.

What’s A POV Break?

You must remain in one character’s head at any given time unless you’re writing in omniscient pov. I don’t know of anyone writing in omniscient pov anymore, but you’ll commonly find it in the classic novels written 50+ years ago.

“In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit-hole, and that means comfort.” JRR Tolkien, The Hobbit

In deep point of view, the reader is wearing the virtual reality goggles and they become your main character. They know everything your character knows, but only what your character knows. This limited point of view writing style means there’s lots of little places where we can cheat and sneak in information that our character has no way of knowing. When we do this, we break the fictive dream for readers.

POV Character Labeling Their Own Emotions

Naming or labeling an emotion is a POV break. Avoid telling the reader how your character feels. How often do you pause and think to yourself – I’m sad. I’m angry. Probably not often, right. In deep point of view, the characters emotions are FELT rather than labeled usually. Now, your main character can identify an emotion in another character but this is a bit of a tight rope.

Shane walked with his hands in his pockets and kicked a can down the street. Depressed, he didn’t want to go home. “Nobody would miss me anyway.”

This is an example of a writer who knows to show not tell but doesn’t trust the reader to figure it out.

Depressed, Shane walked home. “Nobody’s going to miss me anyway.”

This is just telling. There’s no showing here at all.

Shane walked with his hands in his pockets and kicked a can down the street. “Nobody would miss me anyway.”

POV Character Knowing Other’s Emotions

Sometimes the pov break with emotions comes in through other characters. While we might remember that labeling the emotion of our point of view character is wrong, the emotions of other characters tend to slip in.

Jared looked at me and his grief was etched into the creases on his face.

How does my character KNOW the reason for that expression is grief? One way around it is to qualify it for readers.

Jared looked at me and it seemed like his grief was etched into the creases on his face.

As if, seems to, looked like… these types of phrases qualify to the reader that your character is making a guess. They are looking at externals and making an educated guess about how someone feels.

The other way to handle this is avoid naming the emotion and simply present observable details and let the reader decide what the other character is feeling – filtered through what your point of view character knows of the person or situation.

Jared stared at me, his eyes filling up with tears. Half a laugh seemed to erupt from him and he swiped at his eyes. “Look at me. You’d think my mother died not my dog.”

POV Characters Seeing Themselves

First, when your point of view character is describing themselves, can we do away with cataloging features common to every human – like two eyes, a nose, a mouth and so on? Just listing physical features tells the reader very little about your character. Second, most of the time, your point of view character can’t see themselves. They can’t see their faces turn red. They can’t see the smirk on their lips. They can’t see the glow of the fire on their face.

They can FEEL things. They can feel their face heat up from a blush. Instead of “a smirk crossed his lips” instead write “he smirked” or “his mouth pulled to one side” because he can feel those things. Your character might know they have blue eyes, but make sure there’s an organic reason for them to think about this. I can’t remember the last time I sat and thought about the color of my eyes, for instance. Although if you’re writing a self-conscious or beauty-preoccupied teen this might work.

POV Characters Knowing The Thoughts/Motivations Of Others

This one can sneak in if you’re not on the watch for it. In deep point of view, remember that the reader knows everything the main character does – but only what the main character knows.

Steve didn’t even pause to think about my request.

How does the point of view character know this? They can’t know what Steve is thinking. Instead, you could use a qualifying phrase – seems like, looks like, etc. Or you could let your main character observe Steve’s body language.

Steve grabbed my hand and shook on the deal before I could meet his handshake half way.

POV Characters Knowing Things They Can’t See

This happens when we (the writer) step in to make sure the reader knows about something going on that the point of view character doesn’t know. If our point of view character doesn’t know, the reader can’t know either in deep point of view.

Sarah turned to greet the latest guests and didn’t notice Martha slip a fork in her pocket.

If Sarah didn’t see it, wasn’t told about, she can’t share it with the reader. Sarah could turn back around and notice the fork missing and observe an odd expression on Martha’s face, or notice Martha suddenly leave.

My personal favorite are the buzzards circling above the house and the main character is still in bed with the bedroom curtains still closed.

Hope this was helpful. Where do POV breaks sneak into your work?