Writing DEEP POV — A Writer's Secret Weapon

by Joanne Wadsworth | Dec 9, 2013 | Author Blog

If there was ever a secret to writing, then mastering DEEP POV would be it. It certainly takes time to learn the techniques involved around getting this POV right, but I hear time and time again from editors and publishers that this is the most powerful tool in a writer’s arsenal. Study and delve into it, and ensure you have this secret weapon at the top of your toolbox. As a writer, going DEEP, means you have to go deep inside your character’s head when you tell your story. Every action, reaction, emotion and thought has to be shown as if the character was living and breathing the story, and not the author telling it.

Here are some tips and techniques to aid you in mastering your POV and going Deep.

• In order to keep things in perspective as you write, allow your POV character to guide you through their world.
• Use all the character’s senses to feel, hear, smell, see and taste things.
• Since the character is the guide, he or she can share all their emotions, reactions, thoughts, opinions, and decisions.
• This encourages showing instead of telling. Because when we tell, we’re explaining from an author’s perspective.
• We don’t want an author’s perspective when we go Deep. We want a character’s perspective.
• We need to be inside the character’s head and looking out of their eyes.
• Which means don’t allow your character to step in front of you. (This is hugely important. And I’m going to write this line again so it really sticks.)
• Don’t allow your character to step in front of you.
• No, you are not standing behind the character explaining their thoughts and actions.
• You are looking out of their eyes.

Did you all get that? Because that is the key to going Deep. You are looking out of their eyes. You are experiencing what is happening to them. Who just got goose bumps when that registered? Okay, now onward from that point.

• Now that you’re looking out of your character’s eyes, the things you notice or remark upon will drastically change. You’ll only mention things that matter to the character.
• This means your descriptions will tighten.
• For example, say your character is running for her life out of the house from a killer. She won’t bother to explain what the curtains look like, or how plush the carpet is. No. She is focused on the door, and not the exotic wood panelling, but the knob and yanking it open. Only bring to life on the page what the character is focused on. Tighten descriptions so the POV becomes more targeted.
• What happens next? You’re looking through the character’s eyes. You’re not going to describe the street and the flowers blossoming on the trees. No. She doesn’t have time to analyse those sorts of things. She’s looking for an escape path, and that’s it. For example: The black SUV parked outside the neighbor’s house. The door’s opening. It’s Jack. He’ll help her.
• Do you see where I’m heading? Tightening your descriptions and only showing what you are looking at out of your character’s eyes, will allow you to suddenly bring in her thoughts and reactions with ease. All your character’s senses come to roaring life and will enhance each and every scene. That’s what every author wants, to drag their reader right into their story.
• Which means your world of storytelling has changed, and all because you’re mastering your POV.

Fantastic, isn’t it?

So, the next time you’re having trouble with a scene and believe it’s become too flat, try this.

• Go back and see if you’re looking out of your character’s eyes.
• Check and see if you are honed into all your character’s senses.
• If you are living and breathing your character.
• That you are inside their head.

To aid you with this, if you’re interested in reading a book written entirely in Deep 3rd POV, then I’d highly recommend you grab a copy of my contemporary romantic suspense, WITNESS PURSUIT. When I was trying to master my POV, I was after books written in Deep, where I was dragged right into the story. Seeing Deep in action infuses it into our minds. There is no telling whatsoever in Witness Pursuit (eg, she watched, she heard, she noticed, she thought, etc, etc. And all the character’s senses are enhanced to the deepest degree.) The POV is tight and any character intrusion (eg, allowing my characters to step in front of me) doesn’t occur in the writing.

If you’re after a book written in Deep 1st, then I’d recommend WARRIOR for you. The same principles apply to Deep, no matter if you’re writing in 1st or 3rd. In fact apart from my debut novel, Protector, (where I was still mastering the technique,) all my books thereafter are written in Deep, so feel free to grab copies as new releases arrive. Get infused into the world of Deep storytelling. You’ll love it. The links for all my books are below should you have need of them.

Also, one last thing. I had some fun yesterday playing around with my website. I’ve created a new home page, all snazzy, or at least I hope so. If anyone has time to check it out, I’d love it. There’s even a Rafflecopter giveaway at the end, so feel free to click on that link and enter my super-duper giveaway. My website link is http://www.joannewadsworth.com. You’ll now find my blog under it’s own menu tab, although that won’t interfere with anyone receiving these posts via email. That’s all the same.

Happy Deep writing, and thanks for joining me this week.

~ Joanne Wadsworth’s Books ~

Buy WITNESS PURSUIT (Bodyguards #1) at: Amazon Kindle / Amazon Paperback / B&N Nook & Paperback / iTunes / Kobo

Buy WARRIOR (Magio-Earth #2) at: Amazon Kindle / B&N Nook / iTunes / Kobo

Buy PROTECTOR (Magio-Earth #1) at: Amazon Kindle / B&N Nook / iTunes / Kobo

Buy FIRST FROST, A Lyrical Press Anthology (including Highlander’s Captive by Joanne Wadsworth): Amazon Kindle / All Romance Ebooks

TAKE CARE.

Writing Location Descriptions — Show, Don’t Tell.

by Joanne Wadsworth | Jun 17, 2013 | Author Blog

I hope you do too. 🙂

I love when I’m reading and a new location comes into play within a scene. The visual description the author brings to the reader is so important. And as writers we have ensure we cover all the elements we need for the reader to have the same image in their mind that we do in ours.

Each time I have to describe a new location, from a simple passageway, to a bedroom, or a sweeping panorama, I ask myself the following questions.

• What are 2 to 4 key components of this place? These are the items which stand out with clear emphasis. Use more if you need them.
• What are 1 to 3 small features that will take this description and make it something special? Examples of this are like the stitching in bedcovers, the fabrics used on furniture, or a cobweb in the corner of a room. Find something unique that will push your description in the direction you want it to go.
• Is this place important? What’s its history? (Sometimes, only the author needs to know this question, but there are times when this is shared with the reader during the description because it’s important to the storyline.)
• Remember the five senses. Sight, smell, taste, feel and speak.
• And ensure you show your reader what you’re seeing. This is so important.

Now, not all the answers will be used, but most of them will within the scene. Most importantly, these detailed descriptions I’m speaking of come when you show your location for the first time. When you bring this same location back in another scene, there will be less description needed because you have already drawn it. So, let’s jump to it and see some examples, because I find it’s so important to add a showing to my posts.

• Example one: To set this scene, the heroine is out riding in the outback.

We rode, our surroundings still beautiful in spite of the harsh drought. Brilliant colors shimmered around us, red the predominant, with the dusty landscape broken by the towering gum trees. Beyond the rocky hills, the Ridge rose steeply to meet the rich blue of the sky. The sight enthralled, because the Ridge was like a slab of stone appearing out of nowhere.

• Example two: To set this scene, the heroine is relaxing on the beach of a small private island with her brother. Here, her brother becomes part of the scene description to describe the relaxed feel of the location.

For miles either side, the land was all high, jagged cliff faces with only one single track leading inland through the jungle. Near the beginning of the track, her brother had slung a colorful hammock and rested, his straw hat drawn low over his head as he rocked in the gentle breeze.

• Example three: To set this scene, the heroine has never been to this place before. She’s walking down a passageway and into a bedroom that’s far more than what she’s used to seeing.

The passageway was wide, yet dimly lit with wall sconces holding candlelike bulbs. She didn’t slow since all the doors were closed, but at the fifth which she’d been told was hers, she halted. The ornate brass knob was curved, and she pushed it open. Wow. The room was three times the size of what she had back home. And from the size of that bed, she’d get lost in it.

She headed across the polished wooden flooring and gripped one of the four carved hardwood posts that rose high above the bed to support a canopy of sheer lace netting. She pushed one corner of the lace aside, and smoothed her hand over the violet silk covers. So pretty, with detailed stitching in mauve and gold thread.

• Example four: To set this scene, the heroine is standing on a rocky cliff face before a large palace.

She stood on the precipice and stared down its craggy side. The ocean was eerily beautiful, almost beyond magnificent in its violent splendor.

Turning on her heel, she saw the palace. Wind whipped her hair about as she gazed up. So unreal. It was four floors in height and constructed of large blocks of gray-black stone. From each of the many corners, a slender tower rose to double the height of the palace, at least a dozen towers visible from her position. This residence was a fortress, although a stunning one with light shining from behind stained glass from the largest of the windows.

So, in writing detailed location descriptions, your goal is to bring your reader into the location you’ve set. Have them standing there, touching, feeling and seeing what you do. I hope you enjoyed this post, and that it aided you in some way.

Have a fabulous week. If you want to drop a comment, make sure you do. I love hearing from you all.

PROTECTOR > BUY THE BOOK: Amazon / Barnes & Noble / Lyrical Press / iTunes / Kobo

First Five Pages — Tips And Techniques

by Joanne Wadsworth | Jun 3, 2013 | Author Blog

Random picture alert! Well, kinda.

Do you feel the cat’s conflict? The little mouse on his ear, I’m sure, went flying one second after this photo was taken. Anyway, keep reading, and check out exactly how we as writers, can create tension and conflict in our first five pages, thereby drawing the reader in. (Sorry about the “thereby.” I’m writing historical romance at the moment, and you might find the odd “aged” word appearing within the passages below.) *chuckles* 

Greetings my fellow writersHey everyone,

As writers we sometimes struggle with how our story should begin. We want to craft our first few pages in a way that draws the reader in. The last thing we want is for them to set our book down, to forget it, or to never pick it up again. So here, I’ve compiled a list of techniques to aid the writer in crafting a strong first five pages.

Open with a strong hook.

• The first line of your book is crucial.

• The first paragraph even more so.

• And the first scene has to truly pack a punch.

• So, how do we do this? Consider the main point of tension within your first chapter, and ideally try to work your first paragraph around that issue. The key is to captivate your reader into needing to know more. That means don’t go laying out all the facts, but aim to entice.

• To aid you with this, a great way to open your first page is with dialogue. It’s a method which allows you to introduce your main character and highlight the point of tension all in one go. If the dialogue isn’t in the first line, then try to incorporate it in the first paragraph.

Don’t give me thirty characters in the first few pages.

• If there’s one way to turn off a reader, it’s by confusion. Keep it simple. Spotlight your main characters right away so your reader becomes grounded from the start. Allow your reader to focus on them, to form a bond with them, to be invested in them.

• Never forget that when a writer gives a character a name, the reader will automatically store that name, and expect that character to be someone of importance. That means, don’t go naming your non-important characters, and that goes for the entire book. As an example, the waitress who serves you coffee in the café, can just be the waitress.

You have a clever reader.

• This is something I tell myself all the time, but continuously as I write the first few pages. “I have a clever reader.” It means as writers, we need to allow our reader to piece together the story without our continual input. Sure, give small hints, but don’t tell them everything. That way they’ll have a more fulfilling experience as they read right from the very first page.

Reflections.

• Reflections in the first few pages should rarely be written in. This is where the main characters reflect on their life or past situations. They’re getting deep and meaningful, when really you need to highlight the actual tension and conflict of your story.

• Save the reflections for where they’re needed.

Remember most readers will judge a book by its first few pages.

• Generally readers will peek at the first few pages of a book, and based on what they read, decide whether or not to buy it. That means no grammar mistakes are allowed from the very first line. Proofread thoroughly.

I hope you’ve found these tips and techniques helpful. You may even have your own special tip or technique you’d like to add. Drop me a comment and let me know. I love hearing from you guys.

Take care, and I’ll catch ya next week.

PROTECTOR > BUY THE BOOK: Amazon / Barnes & Noble / Lyrical Press / iTunes / Kobo

How Important Is Editing To You?

by Joanne Wadsworth | May 20, 2013 | Author Blog

🙂

I love to read, but when I begin a new book, the last thing I want is to be jerked out of the story by continuous grammar, spelling or punctuation mistakes. It’s the first sign that perhaps the book may suffer from other issues, like weak plot or character development.

In the past few years, the need for writers to edit our own work has become more crucial than ever before. Online review sites are taking off, and readers love to share what they enjoyed or didn’t enjoy. Many reviews I’ve read get down to the tiniest detail, and if there’s poor editing, then  that becomes a major turnoff. We can certainly edit ourselves until we believe we’ve nailed our book, but there’s nothing quite like a second set of eyes.

Many writers join writers’ groups, have critique partners or request a beta reader to give them solid feedback. There’re also some wonderful freelance editors available. Proofreaders and line editors are another great option.

Which brings me to the reason for this post. Last week, a writer friend said to me she’d like to self-publish her first book. She’s tried getting an agent, but rejection letter after rejection letter keeps coming in. She’s in a writers’ group, but they’re all unpublished authors learning and growing together. She asked me what I thought she should do? Wow, as writers, our journey to publication can be quite different. Self-publishing might be the road she takes, although one thing remains the same for all of us. Our books should be soundly edited before publication, no matter which avenue we choose to take. Her future reputation as a writer is at stake if she doesn’t put her very best forward. I certainly understand her frustration of trying to get that first “yes.” It certainly feels like we’re climbing a mountain, dragging our way uphill, and through hail and snow to get there. But it’s so important not to forget that every published author out there, was unpublished at some point. That makes it feel real. Anything is possible.

So, how important is editing to you? Do you have a critique partner, beta readers or someone else? Who helps you ready your manuscript for submission or publication? For me, my second set of eyes before submission is my sister. She isn’t a writer, but an avid reader. She’s great at providing feedback, although if not for her, I’d certainly team up with a CP. Drop me a comment and let me know what works for you.

Lastly, yay, I finally wrapped up book three in my YA fantasy series and began the submission process on it. Now, I’m crossing my fingers and toes and hoping I did everything I could to make it a fabulous read. I can certainly say it’s well-edited. 🙂

Take care, and I’ll catch ya next week.

PROTECTOR > BUY THE BOOK: Amazon / Barnes & Noble / Lyrical Press / iTunes / Kobo