Tag Archives: POV

Select Your POV Character in 6 (or 7) Steps

You’re planning to write a story, but you don’t know whose point of view (POV) to tell it in. Author K.M. Weiland wrote a wonderful post on the subject, and I suggest you start there. I’ll wait here while you read that. The rest of my post supplements hers.

Credit to www.perchance.org for the images

List the Contenders

Weiland’s 6-step process starts with identifying the contenders. You could choose any character in your story, or even select an omniscient, god-like POV.

Winnow Down the List

Next, Weiland suggests you think about which contenders matter least to the story’s drama. For example, a servant or guard who rarely speaks and whom you’ve only included for authenticity—a ‘spear carrier’ in literary lingo—makes a less useful POV character.

Rate the Stakes

In the next step, you consider each character’s stakes. What do they lose if they don’t get what they want? You’ll get more dramatic impact from characters with the most to lose.

What Type of Narration?

Choose from among first person (I/me), second person (you), third person (she/he), and omniscient (god-like). I’ve written about these before.

Pitch Your Tense

Most writers chose past or present. In past tense, she ran, she sat, she said. In present tense, she runs, she sits, she says. More stories use past tense, but you may choose either one.

Final Auditions

After going through the above steps, you might still face a choice between more than one possible POV character. Weiland suggests you write a few paragraphs of the story in each of the remaining contenders’ POVs. They don’t know it, but they’re auditioning for the POV role. Choose the one with the most interesting voice, the one who tells your story best.

One More Consideration

The post by K.M. Weiland addresses all the above points better than I have, but I’ll add another thought. Nothing limits you to one POV for an entire story (though in flash fiction, you should restrict yourself to one).

You might choose a different POV for each chapter, or even each scene. As you do so, use the same six-step process mentioned above in selecting the appropriate character.

Also, make transitions between POV characters clear to the reader. In the first sentence of a section with a new POV character, include a thought, or a feeling, or both, from that character. That alerts the reader about the POV shift.

Of course, throughout the literary world, experts agree the very best point of view is that of—

Poseidon’s Scribe

October 27, 2024Permalink Leave a comment

Deep or Immersive POV

You may have read my previous posts about Point of View (POV) here and here where I listed several types of POV. Now there’s a new kid in town.

Known as Deep POV or Immersive POV, it forms a sub-category under close 3rd person POV. To refresh memories, an author writing in 3rd person refers to a character by name or a ‘him/her’ type of pronoun, not as ‘I’ or ‘you.’ In close 3rd person POV, the author shows the story’s world through one character’s eyes.

Deep POV shares these features, but goes, well, deeper. It attempts to convey the character’s overall experience, not just through the five senses alone, but also thoughts, feelings, insights, memories, and intuitions.

In normal 3rd person POV, I might write, “The reader read the blogpost entry written by Poseidon’s Scribe.” In Deep POV, I might write, “The blogpost’s words, so enlightening and educational, not only mesmerized but also evoked recollections of the best prose ever read. The reader recalled a third-grade teacher who spoke with equal clarity, from whom the reader gained, not just a passing grasp of the subject, but a profound understanding.”

Being so far within a character, so ‘one’ with a character and relating every impression, runs the risk of boring the audience. Therefore, the writer must select only the vital details. These details can serve as metaphors, as symbols, enhancing reader comprehension and appreciation.  

Think of Deep POV as a technique, not an end goal. Your choice of this method should serve the story. Telling the reader a good story—maximizing the reading experience—remains your prime goal.

For a better understanding of Deep, or Immersive, POV, read two posts by author and literary agent Donald Maass here and here, as well as this post by creative wellness coach Kristen Keiffer. She provides instructions about how you can write in Deep POV.

You may now emerge back into your normal world after your trip far inside the mind of—

Poseidon’s Scribe

February 12, 2023Permalink

Filtering Out Filter Words

Today I’ll add another set of things you should look for as you edit your writing—filter words.

What are filter words? Sometimes called ‘distancing words,’ filter words (or phrases) describe how your point-of-view character perceives and understands the world.

Suppose I wrote this:

Not bad use of senses, but this paragraph tells the reader how Cheryl perceives the world. It reminds the reader who the POV character is.

But what if I’ve already established that earlier? What if the reader knows we’re in Cheryl’s POV and doesn’t need reminding? In that case, the filter words just get in the way. The world’s out there. Plunge your reader into it, right beside Cheryl.

Stronger, bolder writing, it immerses the reader into Cheryl’s world without unnecessary signs stating we’re in Cheryl’s head.

Sure, there are times when filter words are appropriate. Often it’s necessary to inform the reader whose head we’re in, such as the point just after a POV shift. On occasion, the whole point of a given written sensation is to be clear about who’d experiencing it. Sometimes it just fits better to use a filter word. Like most things in writing, this isn’t a hard-and-fast rule.

You can read more about filter words at this post by Suzannah Windsor Freeman, this one by H. Duke, this one by editor Louise Harnby, this one by the staff at Invisible Ink Editing, and in the book The Author’s Checklist by Elizabeth K. Kracht.

For now, please excuse me. I’ve got to go hunt down and delete a bunch of filter words from the rough drafts of—

Poseidon’s Scribe

April 25, 2021Permalink

Connecting those Interesting Bits

Alfred Hitchcock said, “Drama is life with the dull bits cut out.” True, but you can’t just write the interesting bits and call that collection of scenes a story. You must connect those scenes in a smooth, seamless way. Today’s post is about these connections, called transitions.

I Iike the way Jody Hedlund described transitions in her post, as tunnels for transporting readers from scene to scene. Without these tunnels, readers would feel disoriented and confused. However, the tunnel itself is boring, so it’s best not to linger there. Keep your transitions short.

In Beth Hill’s post on the subject, she cites the three usual types of transitions: (1) change in time, (2) change in location, and (3) change in point of view. She also discusses transitions as a way to show a (4) change in mood or frame of mind. You can also use these types in combination.

With time transitions, a subsequent scene takes place at a different time than the previous scene. You can separate your scenes by minutes, weeks, months, years, centuries, or millennia. In the case of flashbacks, you can even go backwards in time. It’s important to make clear to the reader how far in time, and in which temporal direction, the new scene is from the previous one.

Location transitions shift the new scene to a different place. Once again, make it obvious to the reader that the story has shifted elsewhere. Spend only as many words as you need to describe the new setting, so the reader feels she is there with the characters.

Point of View transitions can be tricky. It’s best to mention the name of the new POV character early in the scene, in the first sentence. Since no two characters think alike, start by having the new POV character think about something the previous scene’s POV character wouldn’t have, to make the transition more obvious to the reader.

You can combine mood transitions with the other types, and often a change in time or location explains the change of mood. If a character alters mood within a scene, you need to make reason for the change clear to the reader.

Some writers find transitions difficult to write. If that’s true for you, consider writing your scenes first and just skip the transitions. Then go back and write those transitions, focusing on helping the reader understand when the new scene is, where it is, and from whose point of view she’s seeing it. Make the change obvious and brief.

As you edit transitions, read the end of the previous scene, the transition, and the beginning of the following scene. Is the change clear? Is it too abrupt, or too long?

So, follow the advice of Alfred Hitchcock and cut out the dull bits, but make sure you transition well between the remaining dramatic scenes. Now, transitioning to my usual sign-off, I’m—

Poseidon’s Scribe

February 24, 2019Permalink

Avoid the Dreaded POV Wobble

What’s a POV Wobble? Why should you dread it? What happens if you encounter it? How can you avoid it?

POV WobbleFour vital and weighty questions. An average blogger would shrink from the challenge of answering them all in one short post. But you’ve surfed to no ordinary website. I laugh at such challenges, or at least chuckle in a menacing way.

I’ll assume you understand Point of View (POV) already, perhaps by having read this, or some lesser source. The phenomenon of POV Wobble is when the writer shifts to a different character’s POV without a break in the narration. Here’s a blatant example:

Jetta stared at Cliff over the breakfast table and wondered if he was still happy with their marriage. Cliff thought she must have forgotten he preferred grape juice over orange juice.

That’s not so much a POV wobble as a POV fall flat on your face. We shifted right from Jetta’s mind to Cliff’s mind in the same paragraph. Here’s another example:

Jetta looked up toward the window as she heard a loud, warbling sound from outside.   Neither she nor Cliff could have known an alien spaceship had landed in their back yard, nor understood then the consequences for the human race.

Not only did we leap from just Jetta’s mind to encompass both hers and Cliff’s, but that’s very poor foreshadowing, too. Here’s more:

Her heart pounded. Jetta heard the creak of the outside stairs and sensed the grip of the alien’s hand on the kitchen doorknob.

Sure, she knows when her heart is pounding, and she can hear noises. But she can’t sense anyone else’s hand on a doorknob. Another example:

Jetta and Cliff edged their way to the kitchen’s far side, afraid of making any noise. Flat against the wall, Jetta stood with her hand to her mouth, ready to scream, appearing as if posed for a horror movie role.

Here, the first sentence states they’re both afraid, but we shouldn’t know about Cliff’s fear since we’re not in his POV. In the second sentence, we’re seeing Jetta from the outside, posing, which she couldn’t see unless by reflection in a mirrored surface.

The trouble with POV wobbles is, they mark a shift from third-person limited to third-person omniscient. In other words, you’ve gotten the reader comfortable with being in one character’s head, and then suddenly you lift the veil and reveal stuff that character can’t know. You bounce the reader (maybe only briefly and with subtlety) into another character’s head.

It’s possible some readers won’t notice, or will notice but remain unbothered. Why take the chance? First of all, an editor may catch it and that POV wobble might be enough to get your story rejected before a paying reader even sees it.

You’re thinking, “This seems pretty basic stuff. The POV wobble thing will be easy to avoid. I’ll never fall in that trap.”

Good luck. POV wobble is a sneaky problem. As an author, your aim is to tell a story, to provide maximum emotional response in the reader. It’s too easy, as you’re writing along, with your godlike knowledge of the plot and all characters, to forget (even for a moment) that you’re conveying the story—or at least the chapter—from the limited POV of one character alone.

Someday you’ll want the reader to know something the POV character can’t know. Or you’ll need to describe something the POV character can’t sense.

Avoid POV wobble by (1) choosing your POV character wisely, (2) concentrating on staying in that character’s head. Really put yourself in that character’s mind, and (3) making it obvious as soon as you shift to a new character’s POV, at the beginning of a chapter or after a section break.

You’ll find more great info about the POV wobble phenomenon here, here, and here. That’s it, from a blogger who will never go wobbly on you—

Poseidon’s Scribe

July 27, 2014Permalink