In this episode Clark Chamberlain and Peter Turley have a point of view discussion with editor Rebecca Blevins.
They discuss the elements of 1st, 2nd and 3rd, go into detail on 1st person protagonist description, delve into deep POV and help you pick the best POV for each scene.
Show Notes on Episode 001 Point of View
First, I wanted to thank our guest editor Rebecca Blevins for being on our point of view episode. She is a wealth of knowledge and a wonderful educator. You can find her at http://rebeccablevinswrites.blogspot.com/p/about-me.html
She is currently accepting new authors.
Second, as you can imagine point of view is an immense subject. There are so many different POVs to choose from and master. You could spend an entire year and still not learn it all. Here a few spots to start with:
I’d recommend this book to anyone starting out with learning POV. I’ve read and found that it improved my early work by bounding leaps.
On deep POV I was able to find an article by Melissa James that has some interesting ideas to dig a little deeper:
A skill that leads straight into strong, emotive writing is Deep Point Of View. And I mean deep. This is often a very hard skill to conquer, but it’s so effective I felt it needed a whole day’s work. Deep Point of View is an art, because it’s putting yourself so totally into the character you basically don’t appear (and by this, I mean what is commonly known as “author intrusion”); it’s all the character. What also disappears in deep Point of View to a great extent is “tags” — the “he said, she thought/ pondered/ wondered” that jerk readers out of the character’s head, reminding them that they are not the hero or heroine — and that’s what we, as writers, don’t want!
What this is, is adding depth of emotion while stuff is happening, not apart from it in patches, which can be boring if it goes on too long — but weaving emotion through the scene right through the action and dialogue. Because, no matter how great or innovative your plot, it won’t get past the full ms stage to that elusive contract — the magical “call”, without that punch, that kick — the true, rich, strong EMOTIONAL PUNCH that deep Point of View can provide. Deep Point of View, with all its jam-packed emotion, grabs you with hard-hitting emotional punch! In this way, our writing is never tame. It has the fire and guts and spirit — the life all its own — to succeed in this crazy industry we’re in. So what we need to do is live the story so deeply that emotion will flow. It’s still hard work, but it will be wrung from you like tears during Titanic.
To do deep Point of Viewright, there are certain things we’re all fond of that have to be left behind, and that’s tags. Tags — “he said, she screamed/whispered/wondered/thought/cried” are what I call necessary evils — things that are occasionally needed, but jerk readers out of the story. Sometimes they must be used for clarity, and I do use them; but rarely when I’m in deep Point of View. This works equally for comedy as suspense or straight romance — any genre — and it also does one other wonderful thing for us: it automatically cuts down on adverbs. Deep Point of View involves using signature actions to identify characters, using only one person’s thought, but never saying “he thought”. Weaving emotion right through dialogue and action is the key to this emotional punch. The only way to show this, again, is to give a working example — and if this doesn’t work, someone please tell me!
To read more click below…
Lastly I’ve included this Point of View playlist of helpful YouTube videos on editing. The first video in the playlist is the show you just watched so you can skip it or get the info you missed by watching it again 🙂