{"id":7511,"date":"2013-01-17T12:21:02","date_gmt":"2013-01-17T20:21:02","guid":{"rendered":"http:\/\/writersfunzone.com\/blog\/?p=7511"},"modified":"2013-01-18T13:46:44","modified_gmt":"2013-01-18T21:46:44","slug":"deep-pov-plunging-off-the-cliff-by-kay-keppler","status":"publish","type":"post","link":"https:\/\/writersfunzone.com\/blog\/2013\/01\/17\/deep-pov-plunging-off-the-cliff-by-kay-keppler\/","title":{"rendered":"Deep POV: Plunging off the Cliff by Kay Keppler"},"content":{"rendered":"


\n<\/a>\"KK_ZeroGravityOutcasts\"<\/a>Welcome to the next installment of craft posts by monthly guest columnist, Kay Keppler. Today she\u2019ll share about setting and how to make them work for your story. As you dive into your NaNoWriMo book, keep these tips in mind.<\/p>\n

You can contact Kay through the \u00a0Writer\u2019s Fun Zone<\/strong>\u00a0or at kaykeppler AT yahoo DOT com to ask questions, suggest topics, or tell her she\u2019s off her rocker. (She let me say that!)<\/p>\n

***<\/p>\n

We\u2019ve all heard about POV \u2014 that\u2019s point of view, the angle of the character who\u2019s telling or seeing the scene. But for all you base-jumping, moto-crossing, ice-climbing literary extremists out there, now there\u2019s deep POV. Yeah, yeah, yeah, I hear you say. Deep POV. How much deeper can POV go? It\u2019s already POV. As in, so not omniscient.\u00a0<\/b><\/p>\n

Writers want to use deep POV for the same reason that daredevils want to fling themselves off cliffs grounded only by a rubber band attached to their big toes. It\u2019s about the rush. It\u2019s about digging down and finding the emotion. OK, I can find emotion digging down into a big bucket of popcorn at a Sandra Bullock movie, but we\u2019re not talking about me here. We\u2019re talking about people who want to strip it down to the grain. People like writers.<\/p>\n

So let\u2019s look at deep POV, what it is, and how we get it.<\/p>\n

No pronouns need apply<\/b><\/p>\n

For starters: deep POV is not about pronouns. Here\u2019s how it works.<\/p>\n

Every scene has a stimulus and a response, repeated until the scene ends. Take my example stimulus: I wrap a rubber band around my big toe and jump off a cliff. The response: I puke my guts out. Bounce up, repeat.<\/p>\n

Not the best example. Here\u2019s a better one. The stimulus: The killer pulls out his gun. What\u2019s the response? Our heroine, Sarah \u2014 our POV character \u2014 ducks behind the stone wall. This response (our heroine ducking) then stimulates the next action: what does the killer do next?<\/p>\n

Four parts = harmony<\/b><\/p>\n

Deep POV comes in when we show readers our heroine\u2019s (our POV character\u2019s) response \u2014 how and why she ducked and what she felt. A character\u2019s response to the stimulus has four parts:<\/p>\n

    \n
  1. emotion<\/li>\n
  2. thought<\/li>\n
  3. decision<\/li>\n
  4. action<\/li>\n<\/ol>\n

    and they happen in that order. She won\u2019t jump behind the wall (action) and then feel fear (emotion). She feels the fear first, she thinks what her options are, she decides ducking behind the wall is best, and then she moves. If you work with these four elements \u2014 and work them backwards \u2014 you\u2019ll find your way to deep POV.<\/p>\n

    Start with #4: action<\/b><\/p>\n

    Showing only the action component of the response essentially gives us an omniscient POV.<\/p>\n

    The killer pulled out his gun. (stimulus) Sarah jumped behind a stone wall. (response)<\/p>\n

    The killer crept forward. (stimulus) Sarah heard a twig snap, and she inched back toward the forest, searching the road for the police. (response)<\/p>\n

    Notice the use of the word \u201cheard.\u201d Sense words such as heard, felt, saw<\/em>, or smelled<\/em> distance the reader. They are not part of deep POV. We\u2019ll get to those in a sec.<\/p>\n

    Add #3 and #2: decision and thought<\/b><\/p>\n

    You might not always have one thought and one decision running in tandem. A character might have many thoughts and only one decision. Thoughts and decisions together are internalizations<\/em>.<\/p>\n

    The killer pulled out his gun. (stimulus) He\u2019d been hunting her since sunrise, and she didn\u2019t know how much longer she could run. (thought) But maybe she could hide until help came. (decision) Sarah jumped behind a stone wall. (response)<\/p>\n

    The killer crept forward. (stimulus) Sarah heard a twig snap. She had to stay focused<\/em>, she thought. (thought) She inched back toward the forest, searching the road for the police. (response)<\/p>\n

    Finally, add #1: emotion<\/b>\u00a0<\/b><\/p>\n

    How much emotion you add probably depends on what kind of book you\u2019re writing, as well as what scene you\u2019re in.<\/p>\n

    The killer pulled out his gun. (stimulus) She sobbed, gasping for breath. (emotion) He\u2019d been hunting her since sunrise, and she didn\u2019t know how much longer she could run. (thought) But maybe she could hide until help came. (decision) Sarah jumped behind a stone wall. (response)<\/p>\n

    The killer crept forward. (stimulus) Sarah heard a twig snap. He was relentless\u2014she\u2019d never get away! (emotion) She had to stay focused<\/em>, she thought. (thought) She inched back toward the forest, searching the road for the police. (response)<\/p>\n

    No telling!<\/b><\/p>\n

    Next we strip out anything that\u2019s \u201ctelling\u201d\u2014anything that distances the character from the reader. These include the heard, felt, saw<\/em>, or smelled<\/em> words, but also words such as thought<\/em> or\u00a0 recalled<\/em> that have readers watching Sarah\u2019s responses rather than feeling them.<\/p>\n

    The killer pulled out his gun. (stimulus) She sobbed, gasping for breath. (emotion) He\u2019d been hunting her since sunrise. How much longer could she run<\/span>?<\/em> (thought) Could she hide until help came<\/span>? (decision) Sarah jumped behind a stone wall. (response)<\/p>\n

    The killer crept forward. (stimulus) A twig snapped<\/span>. He was relentless\u2014she\u2019d never get away. (emotion) Just stay focused<\/span><\/em>. (thought) She inched back toward the forest, searching the road for the police. (response)<\/p>\n

    Add some personality<\/b><\/p>\n

    That\u2019s basically it as the process to get to deep POV\u2014but we should still give this section one more pass to add a little bit of Sarah\u2019s personality to her dilemma.<\/p>\n

    The killer pulled out his gun. She sobbed, gasping for breath. He\u2019d been hunting her since sunrise. How much longer could she run?<\/em> If only she\u2019d gone to the gym more often! Regrets wouldn\u2019t help her now, but could she hide until the cops came? Sarah jumped behind a stone wall.<\/p>\n

    The killer crept forward. A twig snapped. He was relentless\u2014she\u2019d never get away. Just stay focused<\/em>. Just stay alive, minute by minute. She inched back toward the forest, searching the road for the police.<\/p>\n

    Going deeper<\/b><\/p>\n

    This simple example is just to demonstrate how deep POV works. Of course, nothing is ever absolute, and deep POV can get much deeper than this when you\u2019re working in your own scenes. But this example should help you see how you can use deep POV to strengthen your story, improve your pacing, and help readers engage with your characters.<\/p>\n

    But let me warn you, you daredevil you, if you\u2019ve got a rubber band wrapped around your big toe, stay away from the cliffs. There\u2019s no POV down there. You can trust me on this.<\/p>\n

    Thanks to Liz Pelletier for the expanding example format, Jack Bickham for explaining four-part harmony so well, and Suzanne Brockmann for being so awesome with deep POV.<\/em><\/p>\n

    ***<\/p>\n

    \"Kay<\/a>Kay Keppler\u00a0(www.kaykeppler.com<\/a>) is an author (Zero Gravity Outcasts<\/a>,\u00a0Betting on Hope<\/a><\/em>) and editor of fiction and nonfiction (Angel\u2019s Kiss, Outsource It!<\/em>) who lives in northern California. Contact her here or at kaykeppler@yahoo.com to ask questions, suggest topics, or if you prefer, complain.<\/p>\n","protected":false},"excerpt":{"rendered":"

    This simple example is just to demonstrate how deep POV works. 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