by Gloria G. Adams
As writers, we are often told that
one of the most important things, if not the most important thing, is to
keep your readers in the story so that they don’t close the book and never
To do this, we need to craft our story so that the readers relate to our characters.
There are many tools in the writer’s workshop by which to accomplish this: a strong hook, lots of sensory details, great descriptions (one of my favorites is Cynthia Rylant’s lost cat in her Henry and Mudge series who looks like “mashed prunes”), and, of course, “showing, not telling.”
Another tool that is used less frequently but can be quite effective, is Deep Point of View.
One way to accomplish this is to remove filter words like thought, wondered, saw, knew, realized that remove the reader from the intimacy of deep POV.
Instead of this:
I heard a dog barking in the distance and wondered if it might be Max.
A dog barked. Not close, but, could
it be Max?
I think Shelly looks so pretty in the new pink tutu. It makes her look as delicate as a rose petal. But I know she’s not really pretty or delicate. After what she said yesterday, I realized she was as hard and unforgiving as a thorn.
Shelly looks so pretty in the new pink tutu. Delicate. Like a rose. But she’s not pretty or delicate. The real Shelly is hard. Unforgiving. More like a thorn.
To see how others use this tool, check out these books that use DPOV:
The Hunger Games by Suzanne Collins
Wish by Barbara O’Connor
See You in the Cosmos by Jack Cheng
ROOM by Emma Donogue