 Drama: March 02, 2022 Issue [#11227] |
This week: On Writing a Deep POV story Edited by: Joy  
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“We disconnected. And I wondered if we had ever truly connected.”
Eric Jerome Dickey, Dying for Revenge
“The next thing I knew, I was falling. I dreamed I was being thrown into an open grave, but jerked awake and landed on a bed.”
Eric Jerome Dickey, Finding Gideon
“Out of the corner of her eye she thought she saw Jace shoot her a look of white rage - but when she glanced at him, he looked as he always did: easy, confident, slightly bored."
Cassandra Clare, City of Bones
Hello, I am Joy , this week's drama editor. This issue is about writing fiction in Deep POV.
Thank you for reading our newsletters and for supplying the editors with feedback and encouragement.
Please, note that there are no rules in writing, but there are methods that work for most of us most of the time.
The ideas and suggestions in my articles and editorials have to do with those methods. You are always free to find your own way and alter the methods to your liking.
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Deep POV or Deep Point of View is a style of writing that creates a profound emotional impact in the readers as it gets rid of all the distance between a certain character and the readers, making the readers feel as if they are the ones living in the story. Some claim that Deep POV is another version of first-point-of-view narration.
That is not fully the truth about Deep POV. While many authors use the first point of view, using different characters in possibly different chapters, the Deep POV writer usually sticks to one character and eliminates all the distance between the readers and the character by removing, even, the author/narrator voice.
As each style of writing has its way, writing in Deep POV needs the omission of some details and the usage of precise others. In general, it is the depth the author takes a reader into that other styles may rarely accomplish, as all the curiosity, suspense and surprise elements are achieved through every word coming through the character’s point of view, without the author’s or any other character’s input.
Here is an example of a Deep POV usage: “She had the perpetual sense, as she watched the taxi cabs, of being out, out, far out to sea and alone; she always had the feeling that it was very, very, dangerous to live even one day.” by Virginia Woolf, Mrs. Dalloway
In fact, the entire Mrs. Dalloway story can be considered as Deep POV fiction. Some authors, on the other hand, choose to use the Deep POV, in specific parts and general third person view-point in others.
If you are going to write an entire novel in Deep POV, here are a few pointers.
 Get to know your character really well before you begin writing in his or her voice. This also means removing your writer’s voice totally. You’ll write and think in the exact words as your character.
Whatever your POV character has opinions on, thinks, says or wants to say but cannot say has to come through. If the POV character has an opinion about another character or what the other character has said has to come through as that will have an effect on the thinking and the feelings of the POV character as well their sensory details involving the five senses.
From The Scarecrow by Michael Connely:
“We represent the cream of the crop of St. Louis,” he said. “The integrity of our files and our client list is paramount to all we do. That’s why I came here personally.”
That and the strip club McGinnis took you to, Carver thought but didn’t say. He smiled instead but there was no warmth in it. He was glad McGinnis had reminded him of the suit’s name.
Details: The POV character’s voice, the way they move and react to certain situations, details with symbolism for the character, and other specific, emotional, or opinionated details that they notice. (Refer to the word “suit” in the above example, as the POV character sees and names another character.)
Consistency: Then, while some types of POV Character responses and backlashes can be out-of-character just to further the story or draw attention to a specific area or thought, it is a good idea to keep these in check in order to make the readers feel as if they are the character versus reading about the character. In other words, the writer may (has to) know the character inside out, but the readers has to feel the character through the character’s own words.
As to the craft of writing a Deep POV story, use the character’s voice instead of the narrative voice as much as you can; use internal dialogue; show don’t tell; use active voice; get rid of dialogue tags when you can; and above all, avoid head-hopping like the plague, unless for pointing out what the POV character thinks about other characters.
If you haven't already tried writing in the Deep POV style, partly or fully, I hope you can give it a go, just for the fun of it, if not for anything else.
Until next time...  |
 Enjoy!
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This Issue's Tip: Deep POV means, you’re writing as the character instead of about them. Every word written comes from the POV character’s perspective.
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Feedback for "From Ideas into Fiction"
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Mini Mango#Cereal Mister 
I'm impressed with the work.
Thank you very much.
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graybabe
Great ideas. I'll keep these in mind.
Thank you. I'm glad you appreciate them.
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