Note: This post was originally scheduled for 7/30/2013. It didn’t post to MailChimp, so I’m posting it again now. I’ve revised the original post so it’s up to date.
There’s been a great deal of talk in the past few months (when I wrote this) about a “new” technique called “deep point of view.” The truth is, deep POV is nothing new.
Most sources define it as a way to enable the reader to experience the scene as the character experiences it. In other words, don’t allow your narrator to keep the reader at arm’s distance by telling the reader what the character experienced. Instead, the narrator should simply describe the scene (that’s the narrator’s only job anyway) and then step out of the way so the reader can see, hear, taste, smell and feel the scene for himself.
In still other words, Show, Don’t Tell.
Yep, that’s right. Deep POV is precisely the same thing as Show, Don’t Tell.
Both of them mean “don’t tell the reader what’s going on; describe the scene and then get out of the way; let the reader experience it right along with the character.”
I hear your next question: Well, Mr. Man, how might one accomplish such a thing?
As you well know, I’m up to here with writing instructors who, when asked to explain “Show, don’t tell,” say something like “Well, I can’t really explain it, but I know it when I see it.” If you ever hear that from any writing instructor in response to a question about something he’s trying to teach you, run. And for goodness’ sake, stop giving him your money!
Okay, if you really want your stories to be more interesting and more engaging for the reader (for you practical types, this translates directly to more sales), use deep point of view or show, don’t tell or whatever other label you want to slap on it.
To accomplish that, first
Don’t allow your narrator to use the sense verbs: saw, could see; smelled, could smell; tasted, could taste; heard, could hear; and felt, could feel.
Are there exceptions? Times when it would be better to allow your narrator to use a sense verb?
Probably, but most of the time, no. You should be able to recast a sentence so you get rid of the sense verb. (Again, this is only for the narrator. Characters can say and do pretty much whatever they want.)
Again, just describe the scene. Here are some examples:
- She felt the ground tremble. (The ground trembled.)
- She heard an explosion rock the city. (An explosion rocked the city.)
- Second, don’t allow the narrator to tell the reader how a character feels about something or what the character “knew.” Instead, trust your reader. Let him infer from the character’s own dialogue or unspoken thought how the reader feels and what he knows:
- John felt an uneasiness growing inside him. (An uneasy feeling grew inside John or An uneasiness grew inside John.)
- John knew the sense of unease should be setting off alarms in his brain. (Just delete this pig of a sentence. Or get on with it: A sense of unease set off alarms in John’s brain.)
Third, when the characters are talking, don’t allow your narrator to step in and tell the reader what they’re saying:
Red walked into the room. “Hey, John. You wanna go to the movies later?”
John looked up. “Sure! What’s playing?”
Red told John Gone with the Wind was playing on the first screen and that Barbarosa was playing on the second screen. At that point, John reconsidered his options and told Red he’d rather not go because he had a lot of work to do.
Okay, this wasn’t a truly engaging conversation in the first place, but do you see how the narrator just stepped in between you and the characters and took over? That will tick off even the most loyal reader.
Using deep POV (or Show, Don’t Tell or whatever) really is just good manners. Just remember that every time your narrator speaks, he’s stepping between the reader and your story, the reader and your characters, the reader and whatever tension is going on. Therefore, when the narrator speaks it should be absolutely necessary.
For much more on this and other narrative tips, consider picking up my ebook, Narrative in Fiction: Whispers from the Background. I even more strongly recommend Notes from Writing the World. It contains the full text of the narrative book and five more writing how-tos from my writing seminars.
By the way, I’ve decided to revive my copyediting service. For details, or just to learn what comprises a good copy edit, please visit Copyediting.
‘Til next time, happy writing!
I am a professional fiction writer. If you’d like to get writing tips several times each week, pop over to my Daily Journal and sign up. In the alternative, you can also click the Daily Journal tab on the main website at HarveyStanbrough.com.
5 thoughts on “Deep POV?”
I received the following comments in an email from Sally Smith O’Rourke (Chawton1810@aol.com), one of my editing clients:
Thought you might like to know that your lecture on Show, Don’t Tell has been taken to heart by at least one lone soul. Here are a few of the comments the book has gotten:
“the reader feels as though they have stepped through time and are observers of the story as it unfolds.”
“I got to envision her world so vividly, watching her drink tea and practice her piano forte. I felt I was sitting by the fire listening to Aunt Jane telling a story.”
“I am not the reader who is holding the book; I am a guest who has been warmly invited into the story, to enjoy it up close without ever being noticed by its characters.”
“It was so vivid, well written and intriguing that I wished I could have found my own portal to join the characters.”
See folks? It doesn’t matter what you call it. If you rein-in your narrator and have him Just Describe the Scene (No Buts!) you too will get these sorts of comments on your efforts.
Excellent examples, Harvey. This is a topic that should be reviewed many, many times by all writers just to get it thoroughly entrenched in our subconscious writing minds. Thanks!
And Kudos to Ms. O’Rourke. Great comments on her book.
Terrific refresher, Harvey!
As always, a learning experience for me. Thank you, Harvey.
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