View From Another Point

"Take it back!" Linda screamed. Bill's anger hit a high level and she knew he didn't care about her. (Linda's POV) "No, I won't!" Bill yelled back. Linda hated him. He knew she wanted to hit him. (Bill's POV)

Oh, bad... How do these characters know what each is thinking? No, it's not about telepathy! Maybe not a great example but I think the 'point' is clear.

The other day author Dayana Knight talked a bit about POV on her blog and got some good responses. That in turn prompted me to seek out articles I may have on POV to share on my own blog.

From my first fiction story, I started collecting information on writing. So I searched my files but didn't find much on POV. I think that's because I didn't have a big problem with POV or the dreaded head-hop. I've never liked seeing blatant head hopping within the stories I read or write. But I did find one interesting idea for correcting POV and other habits that need work:

METHOD WRITING

Have you heard your POV transitions are rough? That your POV head hops or your characters lack depth. If you have, you can correct these problems with a little practice.

Consider the Method Acting process. The actor wills himself to become the character he’s playing. Some actors/actresses meticulously research their role prior to filming or a stage appearance. Renee Zelweger worked two weeks in a London office to train for her role in the movie "Bridget Jones’ Diary." She became a London office worker in order to play one on screen.

What’s the point of this information for a writer? While writing, the author must practice Method Writing and become the character. Whether telling the scene from the POV of the hero, heroine, or even the villain, an author must relate the scene's experiences from that character’s body and mind. Therefore, the author should record only those things the POV character experiences.

In my example Linda cannot know what Bill is thinking, she can only guess from his facial expression and his body language. And the same is true for Bill, of course.

Head Hopping: It's true Nora Roberts head hops, and wouldn't we all like to be another Nora? However, it's a mistake to think that because she does it, everyone else can too. We lesser mortals have to follow the rules, at least until we're famous enough to break them.

That means no more than one or two POV changes per scene, and the fewer changes the better. If you master Method Writing, you'll eliminate head hopping because you'll be immersed in the POV character and record events as if you had become that character. More importantly, because you are deeply in the character’s POV, you'll pull the reader into the story as well. That's the goal--to make the reader lose himself/herself in our stories.

Transitions: When you change points of view, make a smooth way for the reader with a signal. At the first of the paragraph in the new POV, use a pronoun or noun to indicate the new POV. Don't cause the reader to back up and reread a paragraph to see who is speaking or internalizing. That takes the reader out of the story. Many editors and publishers don't like head hopping, especially line-to-line hopping from one character's head (POV) to another.

That's not to say you can't write in multiple POV. Especially including the hero's as well as the heroine's POV. But do it either chapter by chapter or at least with a good transition leading from one character to the other and in a different scene.

Life Experience: This determines a character’s thoughts, dialogue, and actions. The same is true for an internal dialogue—the character’s impressions reflect these experiences. For instance, if your heroine bakes pastry and bread to sell and she meets a brown-eyed man, she may think his eyes are the color of cinnamon. On the other hand, a painter might think brown eyes are the color burnt umber.

Don’t forget to surround the character with the senses. What does the character see, feel, taste, hear, smell, sense, and perceive as reactions from the others in the scene? Immerse the reader in the character’s impressions, but don't dump them all in one paragraph. Slip them in subtly as the scene progresses.

And that leads to another point! Don't miss my guest blogger, Helen Hardt as she talks about sensory detail... Coming this week!

As always, your comments and ideas are welcome. What do you think about the subject of head hopping and POV?

Kaye

Persistance Pays...

Are writers groups truly useful in getting you published? Now that’s a good question. I do think groups can be extremely helpful especially if you are a newbie. While the bloom is still on, an aspiring pre-published writer needs to connect with others for support and encouragement. Learning together can be a big asset. To critique each other’s work not only helps the giver learn skills but also the receiver too. Then there are links to publishers, online writing workshop/classes and contact with others who write. Members can share a bunch of knowledge with each other. Some do form lasting friendships.

It all sounds wonderful. But as several more experienced writers have discussed recently, there is usually a downside as well. One of the biggest problems I’ve encountered with new writers groups is many aspirers don’t persist. After a while, they lose interest in writing. Their every day life gets in the way of publishing dreams. Or they just don’t want to put out the effort, endure all the rejections and continue the persistence it takes to get there. It could take several years depending on the market you target. Instant publication is not the norm.

Any one who has remotely touched on the business side of this industry knows well that marketing plays a key role in the life of a writer. Some don’t enjoy this side and may be discouraged by it.

Face it-- there are hundreds, even thousands of distractions out there to discourage us from reaching our goals. Not to mention ye ole writers block! The adage ‘persistence pays’ should become the song of all writers.

When bestselling and oft-quoted Joe Konrath said, “There is a word for a writer who never gives up— published.” He wasn’t kidding. The man knows. He claims to have amassed some 400 rejections before he got his first yes. Now that’s top notch persistence!

Many of my friends who visit here are already successfully published authors. But there is always a new crop waiting for sage advice. With that said, here are some questions to ponder:

What advice would you more experienced writers give a newbie? For the aspiring among us, what would you like to ask those who have been where you are now?

Kaye

Reviews And Old Clues

Remember the very first story we finally finished writing? Remember how elated we were? It was such a great feeling to see all those words forming a real story. But soon after, the eye opener came--we had to take a good hard look at those sacred words. And sometimes it just wasn't as pretty as we first thought. But we started to study and learn and figure it out. And our writing got better and better with practice.

As I looked back at what I've learned along the way about writing fiction, I came across this old article buried deep inside my “How to” file. It’s still a gem and a good review of a few basics, so I figured I'd share it here.

EDITOR FAY THOMPSON’S SELF-EDITING TIPS
– Questions you need to ask before submitting your story

1. Does your story have dramatic unity? Is something happening on each page?

2. Is it obvious what is at stake? Your characters must want something desperately. Have you made it clear what this something is?

3. Have you given enough information so readers can see what you see? Remember readers know only what you tell them.

4. Is your story all there? Does it take too long to get started and is your first line a hook?

5. In Point of View, do you bounce between viewpoints (head hop) until your reader is dizzy and confused? Stay in one POV as much a possible. If you must change character heads, separate POV by space breaks or chapter breaks. Do keep POV changes to a minimum within a chapter.

6. Have you varied the length of your sentences? Some long? Some short? Some medium length? Long paragraphs will have your reader yawning. Too many short sentences will jar his senses. This goes for paragraphs, too.

7. Do you say no to your characters, or do they get what they want without a struggle? The reader wants the characters to almost get their heart's desire, only to have it snatched away from them at the last minute.

8. Have characters' names tripped you up? Don't use similar sounding names. Avoid giving characters names beginning with the same letter. Names should "fit" the characters. Example: Mitzi doesn't sound like a high-society matron.

9. In dialogue, do your characters talk like real people? Don't let them make speeches to each other. Use character names in dialogue just enough to keep readers from being confused as to who is speaking.

10. Have you been guilty of "reader feeder” This is where one character feeds information to another? Or do you ramble on about how this or that came to be? It’s much better to give back story or necessary information in small doses throughout the story.

11. Check punctuation, grammar, format and spelling. Okay, this includes fixing passive voice and ridding out those annoying 'ly' adverbs (softly, quickly) and pesky helping verbs like 'was' and 'had' as much as possible. (ate instead of was eating, etc.)

12. Now the tough one: Is it boring? If someone else wrote this, would you want to keep reading? Have your critique partner go over it. Insist on a tough critique and don't take it personally when they do just that.

Okay, so we’ve heard, read and studied this before. This is tried and true stuff and a basic review can’t hurt us, right?

Write well all.

Kaye