That means the reader sees the story solely from the character’s experience and with elements of “authorship” removed (I’ll get to that in a minute). I was trying to steer him towards using deeper POV (limited third in this case). We get to see those in their reactions and speech. So we should never know what’s going on in Nikki’s, Sam’s, Summer’s, or Cero’s heads. Me: Yeah, staying closer to one character is good. Him: When I write a scene, would you suggest I pick a head and just stay there? It got messy when he tried to jump to someone else’s POV when the MC was present. He’s mixing scenes featuring a primary POV MC with other “omniscient” scenes where she’s not on stage. But what is deeper POV, and why would it strengthen anything? Walking through my CP’s problem leads us to the answer, but if you’re already wanting to write in deeper POV and are here just for concrete steps, scroll to the bottom of this post.įirst, a little background on his project. I’m sharing the conversation with you because in many published and pre-published work I read, I believe a deeper POV would strengthen the emotional punch of the story. I want to invite you into a conversation, one in which a CP (critique partner) and I discussed a problem he was having with his WIP. I posed the dream questions as a way to understand how he sees the characters, because POV was the heart of the problem (check out this post for a basic description of the different POVs you can use for your story). If you were taken aback by that last question, hang on to that feeling because I’m coming back to it. When you dream, how do you experience the dream world? Are you yourself? Do you see things from your own eyes or from the outside? What kinds of dreams stick with you after you wake up?ĭo you jump out of your head and into someone else’s, mid-dream?
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