The Nuances of Deep POV – Part 4

Deep POV is truly all about voice. I pointed out in a previous post that there is a difference between the author’s writing style and each character’s voice. Voice isn’t just how a character speaks out loud—nor is it about their “inner voice” as they think specific thoughts. It’s every line of the scene.

I really want to drive this home because too many beginning writers—well, seasoned ones too—write every scene with the same style and vocabulary. In real life, hardly anyone talks like anyone else, and, while I can’t read minds, I’m guessing that no one thinks in the same manner as you—the way you form sentences and paragraphs, move from one thought to another.

There are certainly novels—many in the literary genre—that are written in a stylized narrator voice. We know there is a storyteller, whether we are told who that person is or not. That storytelling voice pervades the entire work, as expected.

Diane Setterfield’s Once upon a River is a magical tale told by such a storyteller. The opening lines set this up:

There was once an inn that sat peacefully on the bank of the Thames at Radcot, a day’s walk from the source. There were a great many inns along the upper reaches of the Thames at the time of this story and you could get drunk in all of them, but beyond the usual ale and cider each one had some particular pleasure to offer.

But with most commercial fiction, each scene’s “voice” is dictated by the POV character, and so the entire scene, experienced by the character, is conveyed by and through that character. Continue Reading…

10 Questions to Help Fiction Writers “Set the Stage”

One of the primary objectives and responsibilities of a fiction writer is to transport readers into the world of their story.

However, it’s easier said than done. You, the writer, must visualize your scene—where your characters are, what the place looks and feels like—with enough detail that you can play out the action in your head.

There are two potential problems here. First: if you don’t spend enough time truly bringing that stage to life, it isn’t going to come across to your readers. But, second, you have to decide how much detail to convey.

No reader wants six pages of furniture description. Yet, without some description, readers aren’t transported. So what’s a writer to do?

Only What She Notices

Here’s the best place to start when considering what to include in your setup of time and place: your POV character’s head.

Because every scene needs to be in POV—meaning shown only through the eyes and thoughts of one character who is “experiencing” and processing the action of the scene—it’s all about what she notices.

When you walk into a room, what do you notice? Continue Reading…

5 Creative Ways to Help You Get Writing

Anton Chekhov wrote: “My country house is full of people, they never leave me alone; if only they would go away I could be a good writer.”

I bet you have your own “if only …” sentence that tells why you haven’t reached your writing goals.

Mine change from time to time. “If only I was more knowledgeable about this topic, I would feel confident enough to finish this novel” (my present “if only”). “If only I wasn’t so easily distracted” … “If only I felt more motivated” …

I’ll tell you one thing that does help me break through my “if only” dilemma, and that’s working on something I’m really excited about.

Many prolific writers generate innumerable ideas, and my guess is they’re mostly great ones. Ideas for poems, short stories, plays, screenplays, novels. You have to generate a lot of ideas to get to a few truly great ones. Continue Reading…

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