Writers in the Storm

by Lori Freeland

Pitch out Visuals? Pass on Variety? Personalization of Villains? People of Value? Just what is POV, and why do you care?

Understanding POV

Point of View (POV) refers to the character telling the story in a particular scene or chapter of your book. And only one character should tell the story at a time.

Why? Having a clear picture of what’s happening keeps us from being confused—not only in a novel but in real life too.

Imagine that you and a few friends witness a car accident. The responding police officer asks what happened, and everyone describes the incident at once. There are a few reasons he’ll likely listen less than thirty seconds before he stops the chatter.

1. It’s hard to differentiate one voice from another when they’re mixed together.
2. People highlight separate points and share them in a different order.
3. Not everybody witnesses the event the same way. Bias kicks in. Each of us sees the world based on our own life experiences.
4. What sticks out to one person fades into the background for another.
5. We remember things differently, and not everyone’s data will match.

It’s much easier to interview each person who saw the accident and put the “big picture” together at the end using all the information. Your reader, like that police officer, can only process the world through one set of eyes at a time.

When we open a book as a reader, we “step into” the POV character’s head. In a way, we become that character. That means we can only:

• see what he sees
• hear what he hears
• feel what he feels
• know what he knows
• think the way he thinks
• react the way he reacts

If Paul is the POV (person telling the story), when he walks out of the kitchen and into the bedroom, he takes us with him. We can’t see his dog eating the hamburger he left out to thaw because Paul can’t see it. He’s no longer there. And neither are we.

However, if he’s in hearing range, he can describe the audio and let the reader “hear” it too.

Head-Hopping

Have you ever gotten a comment from a critique partner or an editor about your character head-hopping? Head Hopping means you’ve slipped out of the POV character’s head and into another character’s head. Sometimes writers will jump back and forth, and that can be confusing.

Think of head-hopping as God-like powers to peer into people’s minds to read their thoughts, intentions, and emotions. I can’t do it. You can’t do it. So, your POV character probably shouldn’t do it either—unless she’s psychic.

Types of POV

First and third person are the most common. First uses “I” and third uses the character’s name and “he” or “she.”

Example: I walked to the store and met Frank. / Karen walked to the store where she met Frank.

Let’s go a little deeper in point of view and talk about inviting readers inside your character’s head and keeping them there.

Deep POV

Point of View Versus Perspective

Point of view focuses on who’s telling the story. Perspective focuses on how that character sees the story.

Like with the car accident, characters can view the same event in different ways. How they view the event determines their reactions, actions, thoughts, and emotions. Think about this—a villain isn’t a villain in his own story.

Fact Versus Opinion

We can think of deep POV as fact versus opinion.

FACT: What the POV character actually sees, hears, or learns from first-hand experience and past knowledge about someone else. If it’s fact, the POV can make statements about what another character knows, feels, or thinks.

Example: At the kitchen island, David’s sorting documents. His symmetrical stacks are white cutouts on the black high-top table, and he’s brought us each two water bottles. As much as he drives me insane, if there ever is a zombie apocalypse, I’d pick him as my Walking-Dead wingman every single time. He thinks of everything.

(Statement made by our POV based on past, firsthand knowledge that’s supported by David’s current actions.)

OPINION: What the POV character perceives through non-verbal cues (body language, expressions, voice cues) or what she’s heard from another person. This refers back to perspective. If it’s opinion, the POV character can make an educated guess about what another character knows, feels, or thinks. 

Example: In one barbed look (expression), David manages to nail me with equal amounts of accusation and disappointment, reminding me once again that I’m not his favorite person (opinion formed by our POV based on that expression).

Side Note about perception: One character’s perception of another character can be wrong, but that’s okay. Misperception causes conflict, and we want conflict.

Going Undercover

We can think of deep POV as going undercover. An undercover agent has to stay in character 24/7. Sometimes his life depends on it.

Most people read for a chance to be someone else for a while. They like getting lost in someone else’s world. But how do we keep that world as real as possible so they don’t get yanked out in the middle of the journey?

Don’t Shatter Deep POV

Examples:

• I widened my blue eyes.
• Her brown hair fell over her shoulders.
• My face turned red.

If you’re not looking in a mirror, you don’t see those things about yourself. And neither does your character. We don’t think about ourselves that way either—unless it’s something we’re constantly aware of that either bugs us, like an obvious scar, or makes us proud. Conceited people will think about the way they look all the time.   

For ways POV characters can describe themselves, check out this WITS post Characters Are People Too.

Examples:

• “Hey, Joe, how are you?”
• “Joe, do you want to go for a drive?”
• “Joe, that’s a great jacket.”

How often do you actually say someone’s name during a conversation? Make it a point to notice next time you’re talking with other people.

For more on dialogue, check out this WITS post: Dive Deep into Dialogue.

Examples:

• I thought she looked beautiful. / She looked beautiful.
• She wondered if he liked her. / Did he like her?

In deep POV, everything is that character’s thought. You can cut “thought” and “wondered” 99.9% of the time. Especially avoid “he thought to himself.” We all “think” to ourselves. We can’t “think” to anyone else. And sometimes, we wouldn’t want to.

Examples:

• Filtered: I watched Ben swagger across the room and noticed Jane’s face fall.
• Unfiltered: Ben swaggered across the room, and Jane’s face fell.

Multiple Points of View

How NOT to Write Multiple POVs

1. Don’t confuse secondary characters with POV characters. Each POV character has to have his or her own complete story arc related to the overall story arc. This includes your villain.

This doesn’t mean you can’t tell a secondary character’s story. But it should be told through a POV character’s observations. In Harry Potter, Harry is telling the story, but we feel like we know the secondary characters just as well.

2. Don’t retell the same scene from a different character’s point of view—unless you’re telling that kind of story. The movie Vantage Point is told that way. One event. Multiple perspectives. Different versions of the truth. 

3. Don’t add new POV characters just to create subplots. If your story spans a large time period or has dual timelines, each of the POV characters you add needs to have their own complete story.

4. Don’t bring in POV characters because you feel you need to offer the reader information or explanations. There are more creative ways to do that. But that’s another post.

Changing POV

There are specific times in your story that allow you to change to a different point of view. When you...

• Start a new scene
• Start a new chapter
• Make an obvious scene break (use white space and #)

How do you pick a POV?

You’ve decided to go with two POV characters. Maybe you’re writing a romance with the hero and heroine’s points of view. They each have their own complete stories related to the overall story arc, and you’re good to go. How do you choose which character tells what part of the story? You might:

• swap out every other chapter or every other
  scene
• split a scene in half and show both points of
  view
• consider which character has the most to lose
  or gain during the scene

Whatever you go with, be consistent. Don’t give twenty chapters to the heroine and four to the hero. Don’t show us inside “his” head and never give us a glimpse of “hers.” In a dual POV situation like this, think of your novel like a movie with two co-stars. They both want equal time. 

When you’re working with multiple POV characters, it’s crucial to orient your reader. Make sure they know whose head they’re in. Readers don’t like to be confused. Open each scene with your POV character.

Try Using:

• Dialogue (the POV speaking)
• Action (the POV doing)
• Internal Thought (the POV thinking)

If you open with a “floating” question, no dialogue tag attached, your reader will assume it’s the POV character and jump into her head. And once you choose your POV, commit. No head-hopping for that portion of the story.  

As writers, why do we care about POV?

Because we care about our readers. Our job is to give them the smoothest read possible. They want to step into the world you’ve imagined through the characters you’ve created and stay there—without any glitches, blips, distractions.

Your turn. What are your strengths and weaknesses when it comes to POV as a writer? What are your biggest issues as a reader? Leave a comment! And I love examples. Please share yours.

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About Lori

An encourager at heart, author, editor, and writing coach Lori Freeland believes everyone has a story to tell. She’s presented multiple workshops at writer’s conferences across the country and writes everything from non-fiction to short stories to novels—YA to adult. When she’s not curled up with her husband drinking too much coffee and worrying about her kids, she loves to mess with the lives of the imaginary people living in her head.

You can find her young adult and contemporary romance at lorifreeland.com and her inspirational blog and writing tips at lafreeland.com. Her latest release, The Accidental Boyfriend, is currently free on the Radish app. 

Top photo credit:
Photo 113666910 © Monkey Business Images - Dreamstime.com

by Eldred "Bob" Bird

It’s springtime and we’re all stuck inside for the most part. Sure, you can step out into your own yard and do a little gardening, but I’ve also been using this time to tend a different garden that’s been sadly neglected—my author platform.

What is an Author Platform?

In simple terms, “Author Platform” is a way to describe your visibility, authority and ability to reach a target audience. It’s also the public face that represents who you are and you what want to say. In other words –

IT’S YOUR BRAND!

Like every writer, every author platform is be different. The first question you need to ask yourself is, “Who am I trying to reach?” Readers? Agents? Publishers? Hollywood producers? (Hey, it could happen!) Maybe you’re looking to book workshops or speaking engagements. Answering this question will help you focus your efforts in the right areas.

Platform Basics

Your author platform is built on two main structures:

• Your online platform - websites, blogs,
  social media, podcasts, etc.
• Your offline platform – conferences,
  workshops, book signings, book fairs, etc.

Sadly, most of our offline options are on hold at the moment, so let’s talk about our online platform. We’ll save offline until we’re free to move about country.

The Three Legs of Your Platform

Visibility

Visibility relates to how easy you are to find. In the same way a physical platform lifts you up above the crowd, so does your author platform. Ask yourself these questions:

• Do you have a website?

Websites are a great home base for authors. When designed well and maintained, they give a clear picture of what you, the author, are all about. At the very least they should include a bio, links to your work, and contact information. You may also choose to include a blog, pictures, videos and links to your social media. Jane Friedman has a great article on how the build your author website.

• Do you use social media?

Social media is a great way to raise your visibility and connect with readers and other writers, but beware; it can also lead you down rabbit holes and suck up all of your time if you’re not careful. Cultivate your online community, but put a clock on it. Check out this WITS post for tips and tricks on using social media.

• Where do you rank on search engines?

One way to put your visibility to the test is to put your name into your favorite search engine. Are you on the first page? Third page? Can’t find yourself at all? It’s time to look at Search Engine Optimization (SEO). Check out Jenny Hansen’s post on SEO for Authors to learn how to improve your ranking.

Authority

The second leg on your author platform is authority. What is it that gives you credibility in your space? This is especially important if you write non-fiction. People want to know why they should read your book, rather than someone else’s. Here are some questions to help you decide what to include in your platform:

• Are you published?

Being a published author, traditional or self-published, shows you have what it takes to finish a project. If you’ve got good reviews, flaunt them. Anthologies, magazines, online journal and blogs (like WITS) count toward your publishing credits, too!

• Do you have any awards?

Awards go a long way toward establishing your authority and credibility. Don’t just include book awards, but also things like service and humanitarian awards as well. Community involvement shows strength of character.

• Do you teach workshops or speak?

If you’ve taught classes or been invited to speak to groups, play it up! Workshops and public speaking may appear to be off the table right now, but not so. Many authors and educators are turning to the web to deliver their content. Whether you chose live streaming over social media, video conferencing, or posting videos Youtube, there are alternative methods to bring your content to the masses. Hosting or guest spots on podcasts and vlogs can also increase you authority.

Reach

Reach is exactly what it sounds like—your ability to reach your target audience. It also includes whether or not that audience responds to your calls to action.

• Do you have an email list? How many subscribers?

Email addresses are like gold to publishers, but also to independent authors. Every address is a potential buyer for your next book. This is one part of our gardens we should all put time into cultivating. Ask for addresses any chance you get, and offer something in return. For example, if you sign up on my website, you get a free short story.

• Do you send out a newsletter?

What do you do with those addresses? Send out a newsletter. Even if you have nothing new to offer, you can keep potential readers up to date and build excitement for your next release. Encourage your subscribers to forward the email to friends who might enjoy what you have to offer.

• How many followers do you have on social media?

While not as valuable email addresses, don’t discount social media followers. Word of mouth, so to speak, spreads faster than wildfire on the web. Bad news does have a tendency to travel faster than good, so be mindful of your content. Keep control of your brand.

• How many impressions do your posts get? How many direct responses?

Most forms of social media have a way for you to track you stats. Pay close attention to what gains traction and what doesn’t. It does no good to shout into the void if no one hears you!

Some Final Thoughts

Check out the platforms of some of your favorite authors, especially if they are in your genre. What draws you in? What turns you off? Where are they focusing their efforts?

One thing to keep in mind is the focus of your author platform is to sell YOU, the author, not your books. Your marketing plan is about book sales. When used in harmony, the two platforms will raise each other up. The more your target audience learns about you, the author, the more likely they will be to respond to you marketing.

Like the proverbial garden, our author platforms need constant upkeep and attention. If we ignore them, they can become overgrown, out of control, or simple die on the vine.

If something’s not working, be willing to pull the weeds and replant. If you feed your author platform garden on a regular basis, you’ll be surprised at how it will flourish!

What parts of your author platform do you love working on? Which parts, if any, do you detest? What has made the most difference, either in the strength of your platform or in how you feel about it? Share with us down in the comments!

About Eldred

Eldred Bird writes contemporary fiction, short stories, and personal essays. He has spent a great deal of time exploring the deserts, forests, and deep canyons inside his home state of Arizona. His James McCarthy adventures, Killing Karma, Catching Karma, and the soon to be released Cold Karma, reflect this love of the Grand Canyon State even as his character solves mysteries amidst danger. Eldred explores the boundaries of short fiction in his stories, The Waking Room, Treble in Paradise: A Tale of Sax and Violins, and The Smell of Fear.

When he’s not writing, Eldred spends time cycling, hiking and juggling (yes, juggling…bowling balls and 21-inch knives). His passion for photography allows him to record his travels. He can be found on Twitter or Facebook, or at his website.

Top photo image by Jill Wellington from Pixabay

by John Peragine

The world seems to have changed overnight. Coronavirus has swept over the world, and humans have been forced into the safety of their own homes.

For writers, it can seem like any other day. We often spend our days isolated in a room, typing, and asking others to give us space and time to do our craft. Sounds like a writers dream.

Except writers can be perverse.

If you are like me, you really don't want to do something until someone tells you that you can't. I can't go out. I can't hang with people. I can't even touch my face!

As the world waits to see what happens with the pandemic, many people who always thought about writing, but always made the excuse they did not have enough time, are picking up their pens. There are so many words coming into being right now: poetry, short fiction, novels.

Writing can be a very therapeutic way to pass the time.

While we sit and toil over our notebooks and keyboards, the world of books is changing. They way we publish, print, and distribute is having a major shift. For many writers, this is a very exciting time, but for others it is a little scary. The business is changing, and it my prediction that some of those shifts will last well beyond the pandemic.

What will change?

Publishing

In the world of traditional publishing there are a number of changes. Some these changes began occurring prior to the pandemic such as the sale of Simon and Schuster. The big publishing houses are condensing, as Penguin and Random House have already merged.

Advances over the years have shrunk. Publishing deals now require that authors be more and more responsible for sales and marketing. Amazon has become the dominant force in book sales. All these items are related.

During the pandemic, publishing houses, big and small, have paused. Book deals have frozen, and book launches have been delayed. Scores of authors are unsure of what to do and how to proceed. (Don't worry there is more good news than bad).

Agents have become creative, and are shifting to editing, webinars and creating videos about book writing.

So is this a good time to pitch a book?

Some agents want to be ready when the ice thaws and business begins to ramp up again, and are taking this time to get book proposals ready. Others, who rely heavily on the sales of books to publishers, are going out of business.

If you are seeking an agent, check their website! A number of them post whether they are taking queries at this time.

There is talk that there will be a lot a babies born this coming December. This is also true of books. I would imagine the number of books about surviving a pandemic will be a like a tidal wave in the market.

Distribution and Printing

Many printers and distribution channels are drying up during the pandemic. Many authors with hybrid publishers are growing frustrated, as communication has dropped off and they are left adrift and unsure of their future.

Books are low on Amazon's shipping priority list, especially now. People are not getting books, and worse, many of the books have printing and binding issues. For authors trying to release their books, a shipping time of two or more weeks can be a nightmare.

Authors are adapting in surprising ways.

The mindset is shifting. Rather than work through distribution channels, like Amazon or a bookstore, authors are moving to a direct-to-consumer marketing approach. They are connecting with readers and selling directly, often through print-on-demand services and distributors like Ingram Spark. These avenues assure on-time, and allow authors to achieve more control of the process, rather than relying on someone else to do it for them.

Virtual Networking

Authors are utilizing new technology to connect with other writers, editors, readers, publishers and more. Writing conferences are on hold for the foreseeable future and so authors are trying new ways to connect.

For example, I have begun a Friday Night Cocktail party using Zoom. It allows me an outlet to speak to other writers, readers and industry professionals. People come and go, meet new people and chat. Not only is it fun and relaxing but it helps me build my network from home. It is not a total replacement for connecting to with people in person, but it does create an added way of networking.

An Exciting Time

There is a lot of loss and uncertainty in the world now, but it will eventually pass. But the publishing world will never be the same. I look forward to the inevitable shift. New technology, new marketing and selling strategies, new themes in books. We're all together in this new world of writing. Keep your heads up!

What changes do you expect to see? What changes have you noticed already? Have any of your important publishing dates changed?

About John

John Peragine has published 14 books and ghostwritten more than 100 others. He is a contributor for HuffPost, Reuters, and The Today Show. He covered the John Edwards trial exclusively for Bloomberg News and The New York Times. He has written for Wine Enthusiast, Grapevine Magazine, Realtor.com, WineMakermagazine, and Writer's Digest.

John began writing professionally in 2007, after working 13 years in social work and as the piccolo player for the Western Piedmont Symphony for over 25 years. Peragine is a member of the American Society of Journalists and Authors. His newest book, Max and the Spice Pirates, will be released in the Fall 2020.