Some folks are POV purists, preaching that each scene should be from one POV and only one POV. Fine. I’m not going to argue. I’m not a POV purist. Powerful writing pulls the reader in and doesn’t let her up for air. I’ve read many books that shift POV in a scene, sometimes more than…
Tag: close POV
Deep POV Lesson 8 – Anchoring Words
One inherent problem with DEEP POV is the possible awkwardness of being deep in Scarlett’s POV and having to add what’s going on in Rhett’s head. Of course, Scarlett is not omniscient, and neither is your book’s POV. So Scarlett can only interpret Rhett’s thoughts through her five senses: Scarlett knew Rhett was angry. His…
DEEP POV Lesson 7 – Deixis (Pointing Words)
When we’re writing in DEEP POV, we are inside the head of the character. That character is in the center of his own world. This is where this deixis (pronounced DIKE-SIS) stuff comes in. By the way, if you want to get really confused, Google deixis and skim through the first few links. OY! I…
DEEP POV Lesson 5 – Using Internalization on Purpose
DEEP POV uses internalization purposefully. As you’re studying DEEP POV, you may think there’s an awful lot of internalization. You may be right. And as writers, we need to make sure our internalization – our DEEP POV – is not all over the place. Every thought the POV character has in a scene should be…
DEEP POV Lesson 4 – Filtering Words
Filtering words? What’s that? Michael R. Emmert, on the Scribophile blog, says, “To picture what filtering is, picture sea sand being poured through a screen into a bucket. The screen removes any larger objects as the sand is poured. Filtering eliminates pieces, and leaves an altered product. In fiction, the concept of filtering is similar:…