Kristen Lamb

Author, Blogger, Social Media Jedi

Kristen Lamb — Photo

Posts Tagged: writing tips

If you’ve been writing fiction any length of time, you’ve probably experienced getting stuck. There are authors who firmly believe there is no such thing as writer’s block, that it is lack of discipline and I agree that can often be the case.

Often…but not always.

I feel our subconscious is an excellent writing partner if we can learn to listen and stay in tune with it. Frequently, when something is very wrong, our subconscious will simply slam the breaks and not let us move forward because it is warning us there is something that needs to be fixed.

But, if we are unaware of the role the subconscious can play in story creation, we don’t recognize what is going on and do one of three things: 1) Shelve the project 2) Start a new project 3) Keep writing ourselves deeper into that hole by sheer force of will.

Thus, today I want to give you some tricks that might help you when you find yourself stuck.

Change POV

Different stories require different POVs. And I would love to give you some step-by-step explanation but I don’t have one. They just DO. Take a plot problem and seriously, POV changes the whole thing. Lord of the Rings written in first-person present-tense would be a very different ride.

Often we get a story idea and we just take off writing in the POV we find most comfortable…but it simply doesn’t work with the story. I had this happen with my debut novel The Devil’s Dance. I started writing in third limited and it was just….meh. I had never written fiction in first-person so to get unstuck? I changed POV and? It worked!

And the thing is, maybe you don’t stay in that POV. Sometimes just taking a scene and shifting POV is enough to nudge the subconscious over the hump.

Change Perspective

Also, if a scene is bugging you, literally change POV. Not the third person to first-person way I just mentioned. But switch heads. Tell what is happening from another character’s perspective. Again, probably not something you will keep because not every character is a POV character, but this can help get the mojo flowing again.

Recast

Sorry I am mentioning my debut novel a lot, but it was a hell of a learning curve. Again, this happened with The Devil’s Dance. I had my plot idea, which was pretty cool *gets cramp patting self on back*. I knew I wanted a small town in Texas and people dying and it had to do with the town’s newfound prosperity and Mexican drug cartels. My imaginary town, Bisby, was a wide space in the road that suddenly went BOOM. Instead of trailer parks, there were wine bars and million-dollar homes.

Why? How?

But originally I cast a resident of this small town and she was an Army veteran home from Afghanistan who was working at her uncle’s gun range. Nothing per se wrong with it, but she just kept falling flat. She was a former soldier and all badass and…boring as hell. So, I kept the plot idea and went the complete opposite direction.

Instead of some female action hero, I cast a protagonist who would be completely out of her depth. She was a disgraced software salesperson who’d done everything to escape Bisby and the trailer park where she grew up…who was then forced to go home to her crazy-as-a-bag-of-cats family and becomes the only one who can save the town she’d spent most of her life running from. I patterned her character off Elle Woods from Legally Blonde.

And it ROCKED! The story flowed because the idea just worked better with an unlikely hero.

Skip Scenes

Again, our subconscious is our friend so let it work its magic. Recently I got onto my coauthor Cait about locking in her teeth and not letting go. We are writing a Western Horror and she’d had this scene she had been futzing with for weeks trying to get it perfect.

So first of all, perfect is the enemy of the good. On a first draft there is NO sense in perfecting anything because there is almost some hidden law that states the scenes most likely to be cut or completely rewritten are all the ones we spent far too much time fiddling with.

Sometimes, it helps to just write (in caps) what happens then move on.

Cait was tasked with killing a goat and apparently that was way tougher than either of us imagined it would be when plotting this goat’s demise. In our defense it is no average goat. It is a goat risen from the dead with a taste for human instead of petticoats. Now Cait messed with it and messed with it and finally got it to work but in fairness, if it had been my scene?

I would have written as much as I could then put AND THEY KILL GOAT IN SUPER SPECTACULAR WAY and then moved on and let my subconscious chew on it.

As you are writing, trust me, your subconscious is working on how to kill that goat D-E-A-D and often will come up with something FAR cooler than if we gut through it.

So my writing advice?

Sometimes the best way to kill a goat is to jump the goat.

Write Your Ending

A lot of writers cringe when we instructors mention doing this. You may be yelling, But I am not a plotter! I don’t outline! I am a pantser! And I will say, that is still no excuse. All stories must have a core story problem in need of being resolved. We should be able to say what our book is about in ONE sentence. Especially the pantsers. If all you know is the core problem in need of being solved? That is enough. And if you don’t know this, then prepare to spend months or years fixing a mess (if it can even be fixed).

As complex a story as Lord of the Rings is, I can fit it into ONE sentence.

A naive and innocent race of homebodies must traverse a dangerous realm to toss an evil ring in a particular volcano before a power-hungry necromancer takes over and destroys all they love.

How does this story end?

With a VOLCANO.

Say Tolkein got stuck somewhere in Rivendell. He could have theoretically skipped ahead to Mt. Doom and wrote that and then what is left are two defined points and a missing middle. It is often FAR easier to connect two defined points than to start from point A and keep going into infinity with no idea where it will end.

And again, you don’t have to keep that particular ending. It can be rewritten, but again, it gives the subconscious something to work with.

Ask yourself, How do I know when my story is over? And that is your ending. If you want help smooshing your tome into a single-sentence, I have a class coming up on that and I will help you do it and show you how you can do it yourself in the future (Your Story in a Sentence—Crafting Your Log-line).

What are your thoughts? And make sure to check out the upcoming classes below! Especially the Book Bootcamp! The bootcamp has all the instruction you need to write your novel AND to learn to plot and write QUICKLY. They key to making money in this business (even in legacy) is lots of titles.

I LOVE hearing from you guys!

****The site is new, and I am sorry you have to enter your information all over again to comment, but I am still working out the kinks. Also your comment won’t appear until I approve it, so don’t fret if it doesn’t appear right away.

Talk to me!

And to prove it and show my love, for the month of APRIL, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly.

I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

SIGN UP NOW FOR UPCOMING CLASSES!!! 

Remember that ALL CLASSES come with a FREE RECORDING so you can listen over and over. So even if you can’t make it in person? No excuses! All you need is an internet connection!

Be a Better Hooker (How to Write a Compelling Newsletter)

April 29th $45

In this class, learn how to compose a newsletter that is entertaining and compelling—and all without stealing most of your writing time. Learn how to get your hooks in your readers and keep them until the end.

With a mailing list of over 15K subscribers, mystery/thriller author Jack Patterson will share some of his tips that will spice up your newsletter and get your subscribers opening it up every time you send one out.

BUNDLE DEALS!!! 

Book Bootcamp  $99 ($130 VALUE)

Book Bootcamp GOLD $269 ($430 VALUE) This includes the log-line class, antagonist class, the character class AND a three-hour time slot working personally with ME. We will either plot your idea or, if your novel isn’t working? Fix it! Appointments are scheduled by email. Consults done by phone or in virtual classroom.

Individual Classes with MOI!!! 

Pitch Perfect—How to Write a Query Letter and Synopsis that SELLS! $45 May 25th, 2017

Blogging for Authors $50 April 27th, 2017

Your Story in a Sentence—Crafting Your Log-line $35 May 4th, 2017

Bullies & Baddies—Understanding the Antagonist $50/$200 (Gold) May11th, 2017

The Art of Character $45 May 18th, 2017

NEW CLASSES/INSTRUCTORS!!! 

Growing an Organic Platform on Facebook $40 May 6th, 2017 Lisa Hall-Wilson is BACK! She is an expert on Facebook so check out her class!

Method Acting for Writers: How to Write in Deep POV $85 for this TWO WEEK intensive workshop with editor and writing instructor Lisa Hall Wilson.

Shift Your Shifter Romance into HIGH Gear $35 May 19th with powerhouse editor Cait Reynolds.

Researching for Historical Romance (How to NOT Lost 6 Hours of Your Life on Pinterest) $35 May 20th

 

For those who need help building a platform and keeping it SIMPLE, pick up a copy of my latest social media/branding book Rise of the Machines—Human Authors in a Digital World on AMAZON, iBooks, or Nook

 

Baby Spawn….budding novelist.

Get it? You’re newbie is showing? Ah we are talking about the deeper stuff today 😀 .

Writing seems like it just shouldn’t be that hard, and yet? It’s deceptive. Seasoned storytellers make it look easy, and that does us no favors. Sort of like when I was four years old and, high off an episode of Wonder Woman, went flying out the back door and got the bright idea to do a handspring just like–OH SWEET EIGHT POUND SIX OUNCE BABY JESUS THAT HURT.

Many of us who eventually decide to become novelists did so because we grew up loving books. Then, probably just as many of us, thought we could also do that seamless triple front handspring (write a full length novel) with zero professional training, no practice and no falls.

Yeah about that.

After years of writing and working as an editor I’ve gotten better at articulating what differentiates the newbie writer from the pro, so I figured I would put together a checklist of some of the bigger offenders to help.

I’d love to say I’ve grown beyond ever making these oopses, and for the most part I have. But it took seventeen years of practice and I still have to make sure every now and again, that my newbie isn’t showing.

Beware of Low-Hanging Fruit

Many new writers will default to tropes and cliches and not-so-subtle ways of coaching a reader she is supposed to care. Every editor has their bugaboos. My mentor and friend Les Edgerton’s peeve is the single tear coursing down the cheek. Les is all, “What the hell is that? Does the character have a clogged tear duct or something?” Yeah Les is blunt and ruthless and that’s why he is damn good at teaching writing. He whipped my @$$ into shape.

***Grab his book Hooked. It is seriously one of the single best writing resources ever penned.

My peeve is when any character “weeps bitterly.”

See, instead of the writer actually developing character, she just inserts great weeping and gnashing of teeth—the shill (melodrama) for the gold (authentic drama). Making readers care is an art and is some seriously hard work, so coaching readers to care is lazy/newbie writing.

Another variety of low-hanging fruit is with description. My latest pet peeve is “emerald eyes.” In fact just any precious or semi-precious stone is going to make my left emerald eye twitch.

Not there there is anything inherently wrong with aquamarine, emerald, sapphire or ruby eyes (okay maybe ruby is interesting). Just that it is all too…easy. It doesn’t really take a wordsmith to come up with the jewel of “emerald eyes.”

Good description is more than just the physical makeup of another character. It is telling of who that character is (the person being described) and even more importantly? It is telling of the character who is doing the describing. Description, what that character notices and how she notices, tells a lot about that character’s paradigm (how she sees the world).

The example I love using the most is from Jessica Knoll’s brilliant book Luckiest Girl AliveTif-Ani (protagonist and anti-hero) is meeting her fiance at a bar where they are having drinks with his client and the client’s wife. Here is how Tif-Ani describes Whitney the wife.

The client and his wife, body mean with Equinox muscles, cheery blonde hair swept away from her face in a ninety-dollar blowout. I always eye the wife first; I like to know what I’m up against. She was wearing the typical Kate uniform: white jeans, nude wedges, and a silky sleeveless top. Hot pink, I’m sure she spent a few minutes debating it—was she tan enough, maybe the navy silky sleeveless top instead, can’t go wrong with navy—and over her shoulder, a cognac Prada the exact same shade as her shoes more age revealing than the skin starting to pucker in her neck. (Page 82)

Not only does this description tell us a lot about Whitney (she is fit, wealthy and older) but it also gives is an in depth view into Tif-Ani. How she sees the wife is extremely telling. She notices all the ways Whitney might be competition—she is fit with great hair and expensive clothes—but also shows us Tif-Ani is extremely insecure.

She spots the chinks, how Whitney’s neck is already aging. She also projects her insecurities onto Whitney and is likely correct. Whitney knew to wear NUDE wedges and a COGNAC purse because to matchy-matchy the two is what “old women” did. Tif-Ani knows the designer brands like Prada but also ties Equinox (a luxury fitness center) into her perception as well.

This is far more revealing than, “She was stunning and fit with long blonde hair and expensive clothes and emerald eyes.” This description digs deep and gets to the marrow of storytelling, harnesses the essence of WHO Tif-Ani is and shows us her paradigm.

She is guided (or rather misguided) by status and achievement. Since Tif-Ani’s arc is to realize her worldview is flawed what we will eventually see his how her descriptions (impressions) of others shift as the plot problem forces her to face what she has become and change.

Pacing

Another way we can see if our newbie is showing is to pay attention to pacing. Often, when reading the work of emerging writers, it feels a lot like being stuck in a car with a teenager learning to drive a stick shift. With each “scene”, there isn’t a hook and then a steady build of pressure until some form of release. That is because, in actuality, there IS no scene…just filler.

See, a scene has very specific anatomy; it is a microcosm of plot. There is the hook, the problem, then rising tension, then then resolution (win, lose, draw). The character has a goal…but then. But since a lot of new writers don’t yet understand what a scene is and how it works, what they have is fluff.

Since there is no goal, there can be no setback. No setback? The writer is manufacturing drama, since drama is not happening organically.

What then manifests is usually one of two things. Either the reader will feel like a Fly on the Wall of NOTHING HAPPENING (lots of description), or the characters will seem like they need Xanax. Their emotions will be all over instead of inevitable, and there is a LOT of overkill.

For instance, maybe the writer is trying to create a strong badass heroine but instead? The character is really just kind of a bitch. She’s getting bent out of shape way too easily and thus quickly becomes unlikable.

I did this back in my first “novel.” It was like I could sense something needed to happen and so I just tossed in some kind of a ridiculous misunderstanding or fight. My protagonist didn’t need Xanax, she needed a frigging exorcism.

That is what I like to call Soap Opera Writing. See in soap operas, there is no overall plot, only “bad things happening” and thus a lot of new writing resembles Days of Our Lives. Lots of overacting and overreacting.

If the character is breaking down in sobs every three pages? It’s tedious. Same with physiology. We get so much heart pounding, and pulse racing, and blood hammering that we wonder how the hell the character didn’t suffer cardiac arrest two pages in.

Did I Mention Filler?

Again, this is often a result of a writer being weak at structure. If a writer doesn’t get the anatomy of a scene, odds are, they’re weak at how to structure the overall plot, too. This is why agents often only need a few pages of writing to know everything they need to.

Description can be filler. Lots of describing every detail of the room. Describing the weather. Description, though, should always be serving the plot and doing more than taking up space.

With every scene, first check and make sure it is a scene. What is the goal? If there are just pages with two characters talking about a third? Or rehashing stuff we already went through? CUT. Sure, all this fluff maybe helps us make a word count goal, but that’s all. It isn’t serving the story.

Even I have to go through my own work and look for this stuff. If a “scene” seems to be falling flat, I ask What does she want? Then What stands in the way? Since I tend to have a comedic writing style, I can often drift off into very funny dialogue that is highly entertaining on the surface….but is doing nothing to propel the plot.

Ah damn…CUT.

If you need help, that is what I am here for. I have a SUPER AWESOME DEAL to help you whip that WIP into fighting form! I put together a Book Bootcamp (3 craft classes—6+ hours of instruction with MOI—for $99 & RECORDINGS included in the purchase price) as well at a Book Bootcamp GOLD (also 3 craft classes for the price of two PLUS three hours with ME one-on-one plotting your novel OR repairing the plot for your novel). So make sure to check those out below along with all kinds of new classes!

Also before we go, check out the new classes below (including a two-week workshop on Deep POV by powerhouse editor Lisa Hall-Wilson). W.A.N.A. is also offering two NEW classes for romance authors, one on how to write shifters and the other on how to write great historical romance without needing a PhD in History.

Make sure you check out the newsletter class with Jack Patterson. He’s sold almost a quarter million books, so probably someone to listen to. Just sayin’…

What are your thoughts?

I LOVE hearing from you guys!

****The site is new, and I am sorry you have to enter your information all over again to comment, but I am still working out the kinks. Also your comment won’t appear until I approve it, so don’t fret if it doesn’t appear right away.

Also know I love suggestions! After almost 1,100 blog posts? I dig inspiration. So what would you like me to blog about?

Talk to me!

And to prove it and show my love, for the month of APRIL, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly.

I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

SIGN UP NOW FOR UPCOMING CLASSES!!! 

Remember that ALL CLASSES come with a FREE RECORDING so you can listen over and over. So even if you can’t make it in person? No excuses! All you need is an internet connection!

Be a Better Hooker (How to Write a Compelling Newsletter)

April 29th $45

In this class, learn how to compose a newsletter that is entertaining and compelling—and all without stealing most of your writing time. Learn how to get your hooks in your readers and keep them until the end.

With a mailing list of over 15K subscribers, mystery/thriller author Jack Patterson will share some of his tips that will spice up your newsletter and get your subscribers opening it up every time you send one out.

BUNDLE DEALS!!! 

Book Bootcamp  $99 ($130 VALUE)

Book Bootcamp GOLD $269 ($430 VALUE) This includes the log-line class, antagonist class, the character class AND a three-hour time slot working personally with ME. We will either plot your idea or, if your novel isn’t working? Fix it! Appointments are scheduled by email. Consults done by phone or in virtual classroom.

Individual Classes with MOI!!! 

Pitch Perfect—How to Write a Query Letter and Synopsis that SELLS! $45 May 25th, 2017

Blogging for Authors $50 April 27th, 2017

Your Story in a Sentence—Crafting Your Log-line $35 May 4th, 2017

Bullies & Baddies—Understanding the Antagonist $50/$200 (Gold) May11th, 2017

The Art of Character $45 May 18th, 2017

NEW CLASSES/INSTRUCTORS!!! 

Growing an Organic Platform on Facebook $40 May 6th, 2017 Lisa Hall-Wilson is BACK! She is an expert on Facebook so check out her class!

Method Acting for Writers: How to Write in Deep POV $85 for this TWO WEEK intensive workshop with editor and writing instructor Lisa Hall Wilson.

Shift Your Shifter Romance into HIGH Gear $35 May 19th with powerhouse editor Cait Reynolds.

Researching for Historical Romance (How to NOT Lost 6 Hours of Your Life on Pinterest) $35 May 20th

 

For those who need help building a platform and keeping it SIMPLE, pick up a copy of my latest social media/branding book Rise of the Machines—Human Authors in a Digital World on AMAZON, iBooks, or Nook

 

Image via Flickr Creative Commons courtesy of FromSandToGlass

So last time we introduced Deep POV. What is it and why do readers love it? Well, as I touched on last time, I think readers love it because it’s just clean, tight writing that pulls them into the story. I also think like all other POVs that have evolved in tandem with social changes, deep POV is a consequence of our world. We are a reality TV generation and we love that intimacy.

But after noodling it a couple days, I thought of yet another reason it behooves writers to learn deep POV. I think the reason readers love it is it hooks them. We live in a world chock full of millions of tiny distractions, which has made all of us more than a little ADD. A hundred years ago, readers weren’t distracted by emotionally distancing words.

They were an easier fish to catch, so to speak.

I think these days, writers really have a challenge. We are already competing with countless distractions, so why add more into our work? We need to hook early, hook hard and drag that reader under before he swims away.

Today is the HOW TO DO THIS.

To accomplish “deep POV” yes, there are style changes we can make, like removing as many tags as we can and ditching extraneous sensing and thinking words. But deep POV is more than just tight writing, it’s also strongly tethered to characterization. Good characterization.

It is essential to know our cast if we hope to successfully write “deep POV.”

KNOW Your Cast

There are all kinds of ways to get to know our characters. I often write detailed character backgrounds before starting a story so it doesn’t become a fish head.

Why we need to know our characters is that deep POV is a reflection of the inner self, how that character sees the world, responds, evades, processes, etc. It is also a reflection of personal history and relationship dynamics. It is his/her PARADIGM.

*cue brain cramp* *hands paper bag*

It’s okay. Breathe. We’re going to unpack this.

Reflection of the Character

Image via Flickr Creative Commons, courtesy of DualD Flip Flop

Back when I ran a weekly workshop, I had writers do a little exercise to help them learn POV and also strengthen character-building skills. I gave this scenario:

We have a family of four—Mom, Dad, a grandparent (either gender) and a teen (either gender) who has spent a year saving for a family vacation. On the way to their destination, the vehicle breaks down. What happens and tell it from the perspective of EACH family member.

Every week, writers showed with the perspective of one of the four. We had ASTONISHING creativity.

Who These Characters ARE Changes the Story AND Deep POV

When we layer in some background, the characters (and consequently the story, problems and conflict) all change drastically.

What if dad is finally home from his forth tour in Afghanistan and has terrible PTSD?

What if Mom is a closet alcoholic?

What if the teen is recently in remission from Leukemia?

What if Grandma is a tireless flirt who’s antics got her turned into a vampire and the family can’t understand why Granny wants to travel only at night?

What if the teen is an asthmatic and forgot his inhaler?

What if Granddad has early on-set Alzheimer’s?

What if the teen has been recruited for a mandatory deep space mission by the New Earth government and will never see the family again?

What if the teen was adopted and the purpose for the trip was to meet the child’s birth mother? How would this impact the emotions of those in the vehicle?

What if there used to be TWO children and one had died in an accident a year previously?

Do you see how by changing WHO these people are, this cannot HELP but affect everything else?

If Dad has PTSD, he might jump at every lump of roadkill because that’s how insurgents hide IEDs. If the family is stranded and Mom can’t get to a liquor stash, she might start getting belligerent or, left too long, start going through DTs. What would an addict notice? Likely nothing beyond how to get a fix.

While a kid in remission with a new lease on life might enjoy being broken down in the middle of nowhere (appreciating the little things in life) the addict would be hysterical.

All of this will impact Deep POV because we are in the HEAD and EMOTIONS of the character.

Let’s pick on Mom for an illustration. I’m riffing this, so the writing is just an illustration. Just roll with it.

Geiko Caveman.
Geiko Caveman.

Kidding! Lighten up. You seem tense.

Example One:

Fifi clutched the baby picture, the one she’d carried everywhere for fifteen years. She hated she was happy the old van had finally given out. Her husband stared, bewildered at the smoking engine. Other than car trouble, he seemed fine. Fine. How can he be fine?

She glanced back at her daughter, the living reflection her of all her dreams and failures. She’d wanted a baby more than life. Every night on a freezing floor. One miscarriage after another and then came a tiny bundle of everything she’d ever longed for.

That woman hadn’t wanted her. That woman had abandoned her. That woman was Gretchen’s real mother and now Gretchen wanted to meet her. Real mother, like hell. And I’m a real astronaut.

How had she failed? If she’d been a good mother, Gretchen would have forgotten that woman and they wouldn’t be here.

“You okay?” Her daughter bent between the seats and kissed her cheek. “You said this was okay, that we could do this. You’re sure, right?” A wary smile revealed new braces, the braces Fifi paid for with money she’d saved for a new van.

“I’m fine, Honey.” She crumpled the baby picture and opened the van door. She needed air.

***

Example Two:

Fifi clutched the baby picture, the one her daughter had given her a week ago for Mother’s Day when they picked her up from rehab. Ninety days clean. At least that was the lie she’d packed along with her swimsuit and the hairspray can with the secret compartment and the only pills they hadn’t found.

The pills that were now gone.

They should have already been at the resort, the one staffed with eager friends willing to help her out. Friends with first names only who took cash and asked no questions.

Fifi scratched at her arms. Millions of insects boiled beneath her skin, invaded her nerve endings and chewed them to bleeding bits. Pain like lightning struck her spine, the section crushed then reconstructed. Pain like lightning spidered her brain, frying her thoughts. She glanced again at the baby picture, then at the fine young woman in back. Her daughter Gretchen.

What am I doing?

Maybe she would be okay. Maybe she hadn’t had enough pills to completely undo her. Maybe she could ride this out. And maybe I’m the Queen of England.

Gretchen bent between the seats and kissed her on the cheek. “I love you, Mom. You okay?”

Tears clotted her throat. She nodded. “Yes, I’m fine, Honey.”

“You mean it?”

She hesitated then smiled. “Yes. Yes I do.”

She tucked the baby picture in her shirt pocket, close to her heart and opened the van door. She needed air. She also needed to change their plans. Visit somewhere with no friends. With no one who took cash.

Do you see how changing WHO Fifi is changes everything? Everything she is sensing, feeling, thinking. Being in the emotions of a heartbroken mother who feels betrayed is a very different experience from being in the head of a sympathetic addict who’s struggling to get clean and stay clean.

***

Both women are impacted by the daughter. One Fifi is hurt by the daughter, the other Fifi finds hope in the daughter. Both women are conflicted. One is tormented with feelings of failure and betrayal and the other is tormented by failure, but very real physical problems of addiction that impact the story.

Deep POV has thrust us into the head and emotions of both women. We feel what they feel. The author is invisible because there are no tags. The sensations are raw and visceral because we have gotten rid of the coaching words.

Instead of:

Fifi felt millions of insects boiling beneath her skin….

We get right to it.

Millions of insects boiled beneath her skin…

The sensation is CLOSER. There is no psychic distance. She isn’t thinking she is going to lose it. She isn’t wondering if she can keep it together. She is experiencing everything real-time and up-close.

Instead of:

Fifi thought, What am I doing?

She just does. We KNOW Fifi is thinking because we are camped in her head.

Deep POV is Akin To Method Acting

Screen Shot 2015-05-20 at 9.49.06 AM
Couldn’t resist. I LOVE “Tropic Thunder”!

When we know our characters, who they are, how they came to be, the formative experiences, what they want from life, etc. we can then crawl in that skin and become that person. By us becoming that character, we then have the power to transport our reader into the skins we have fashioned.

I hope this helps you guys understand the magical, mystical deep POV and now you’re all excited about writing stronger characters. What are your thoughts?

Before we go, check out the new classes below (including a two-week workshop on Deep POV by powerhouse editor Lisa Hall-Wilson). W.A.N.A. is also offering two NEW classes for romance authors, one on how to write shifters and the other on how to write great historical romance without needing a PhD in History.

I also have a SUPER AWESOME DEAL to help you whip that WIP into fighting form! I put together a Book Bootcamp (3 craft classes—6+ hours of instruction with MOI—for $99 & RECORDINGS included in the purchase price) as well at a Book Bootcamp GOLD (also 3 craft classes for the price of two PLUS three hours with ME one-on-one plotting your novel OR repairing the plot for your novel). So make sure to check those out below along with all kinds of new classes!

Make sure you check out the newsletter class with Jack Patterson. He’s sold almost a quarter million books, so probably someone to listen to. Just sayin’…

What are your thoughts?

I LOVE hearing from you guys!

****The site is new, and I am sorry you have to enter your information all over again to comment, but I am still working out the kinks. Also your comment won’t appear until I approve it, so don’t fret if it doesn’t appear right away.

Also know I love suggestions! After almost 1,100 blog posts? I dig inspiration. So what would you like me to blog about?

Talk to me!

And to prove it and show my love, for the month of APRIL, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly.

I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

SIGN UP NOW FOR UPCOMING CLASSES!!! 

Remember that ALL CLASSES come with a FREE RECORDING so you can listen over and over. So even if you can’t make it in person? No excuses! All you need is an internet connection!

Be a Better Hooker (How to Write a Compelling Newsletter)

April 29th $45

In this class, learn how to compose a newsletter that is entertaining and compelling—and all without stealing most of your writing time. Learn how to get your hooks in your readers and keep them until the end.

With a mailing list of over 15K subscribers, mystery/thriller author Jack Patterson will share some of his tips that will spice up your newsletter and get your subscribers opening it up every time you send one out.

BUNDLE DEALS!!! 

Book Bootcamp  $99 ($130 VALUE)

Book Bootcamp GOLD $269 ($430 VALUE) This includes the log-line class, antagonist class, the character class AND a three-hour time slot working personally with ME. We will either plot your idea or, if your novel isn’t working? Fix it! Appointments are scheduled by email. Consults done by phone or in virtual classroom.

Individual Classes with MOI!!! 

Pitch Perfect—How to Write a Query Letter and Synopsis that SELLS! $45 April 13th, 2017

Blogging for Authors $50 April 27th, 2017

Your Story in a Sentence—Crafting Your Log-line $35 May 4th, 2017

Bullies & Baddies—Understanding the Antagonist $50/$200 (Gold) May11th, 2017

The Art of Character $45 May 18th, 2017

NEW CLASSES/INSTRUCTORS!!! 

Growing an Organic Platform on Facebook $40 May 6th, 2017 Lisa Hall-Wilson is BACK! She is an expert on Facebook so check out her class!

Method Acting for Writers: How to Write in Deep POV $85 for this TWO WEEK intensive workshop with editor and writing instructor Lisa Hall Wilson.

Shift Your Shifter Romance into HIGH Gear $35 May 19th with powerhouse editor Cait Reynolds.

Researching for Historical Romance (How to NOT Lost 6 Hours of Your Life on Pinterest) $35 May 20th

 

For those who need help building a platform and keeping it SIMPLE, pick up a copy of my latest social media/branding book Rise of the Machines—Human Authors in a Digital World on AMAZON, iBooks, or Nook

 

So maybe you’re bee-bopping along on the interwebs, clicking on blogs, checking out writing resources when you see it float across your tweet deck. Or perhaps you’re at a writing conference looking all intellectual and stuff, and in the conversations this phrase deep POV keeps floating past. Deep POV. Deep POV. You keep hearing it, seeing it…

And, if you are anything like me, you don’t want to look like an idiot so you don’t ask that question burning inside you.

Um, what the heck is deep POV?

***Note to self. Google Deep POV at home under cover of darkness.

So what the heck is it and why do we need some?

If you are a writer who has a goal of selling books it is wise to remember that audiences are not static. They change. Their tastes change with the times and we need to understand what is “trending” if we want to connect and entertain. Many new writers look to the classics for inspiration and there isn’t anything per se wrong with that, but we must reinvent the classics, not regurgitate them.

Even if you look at the fashion trends, sure some styles “come back around” but they are not exact replicas of the past. They are a modernized version. But keep in mind that some fashion styles never come back. They’ve outlived their usefulness and belong in the past. Same with fiction.

Story trends and fashions change along with the audience. For instance, Moby Dick spends an excruciatingly long time talking about whales, namely because the audience of the time probably had never seen one and never would. If we did this today? Sure, feel free to walk around in a literary gold-plated cod piece, but er…

Yes, awkward.

Epics were also very popular. Follow a character from the womb until death. FANTASTIC STUFF! Why? Because no one had HBO, Pinterest or Angry Birds. Books were a rare indulgence usually reserved for a handful of literate folks with the money or connections to get their hands on…a book.

Also, since writers were paid by the word, their works were padded more than a freshman term paper. Their motto? No modifier left behind. These days? We have to write leaner, meaner, faster and cleaner.

We’ve talked about POV before, and which one might be the best for your story. I can’t choose for any of you, but before we talk about deep POV, I want to mention that POV is also affected by audience and I believe is a direct reflection of how connected we are as a society.

You guys may or may not know that POV has changed along with communication and connectedness. Waaaaay back in the day, omniscient with a god-like narrator was all the rage. But people didn’t travel at all. Most humans lived and died in the place they were born and in isolation from other communities.

With the early epics, we often had a narrator who was separate from the events.

Dear Reader, come with me for a tale of AWESOME…

Later, after the Dark Ages, people got out more, traveled more, etc. We see the narrator merging into just general god-like presence. Then, after the printing press was invented, more and more people were reading and a lot of monks were out of a job and went off to start the first microbreweries.

Don’t argue. It’s history 😛 .

Screen Shot 2016-03-09 at 6.44.15 AM
Image via kcxd courtesy of Flickr Creative Commons.

With pamphlets and papers, people became more engaged and journalism eventually gives birth to this new-fangled invention…first-person. Third person and third-person shifting only became popular after audiences grew accustomed to radio programs (and later television) and could mentally process the idea of a cut-to scene.

As people became networked closer and closer, we see the psychic distance closing. Now that we are a culture of reality TV and social media? Omniscient is a tough sell. I am not telling any of you what POV to choose, but I will say that modern readers will shy away from these older forms of POV because they “feel cold.” Modern readers LOVE being as close as possible, ergo my little side-trip through history.

And this is where we get *drum roll* deep POV.

You hear this word flung around the writing world. Oooh, deep POV. That is deep POV. Deep, Man.

Everyone wants it. Readers love it. Uh, but what IS it? How do I do it? Can I order some off Amazon?

Deep POV is simply a technique that strips the author voice completely out of the prose. There is no author intrusion so we are left only with the characters. The reader is nice and snuggly in the “head” of the character.

Okay, clear as mud. Right? Right.

As an editor, I see the intrusion much more than authors. It is actually shocking how much you guys interrupt. In fact, you are like my mother chaperoning my first date who would swear she was quiet as a mouse.

NOT.

I actually like deep POV because I love tight prose. I loathe unnecessary words. Deep POV not only leans up the writing, it digs deeper into the mental state of the character. We probably aren’t going to stay completely in deep POV, but it’s a nice place to call “home.”

How do we do it? Today, for the sake of brevity, we are just going to talk about simple stylistic changes, not the actual writing. We will do that next time 😉 .

First, Ditch the Tags

Just using the word “said” tells the reader we (the author) are there.

Kristen’s Made-Up Example (don’t judge me, just roll with it)

“No, I always love it when you drop by,” she said. Fifi felt her hands start to shake. She glanced over Tom’s shoulder and saw that the street was deserted. She knew all of her neighbors had already gone out of town for Christmas and no one would hear her scream. She thought, He is going to kill me.

Okay, so we get that Fifi is in a bad spot. But just that little word said tells us the author is present. So in the next layer we are going to remove the said.

While We Are Here? Thought and Sense Words—Ditch Those, Too

If we really pause and think about it, thought and sense words are frequently redundant. If we are IN the character’s head? We KNOW she is thinking. Who else would be thinking?

We aren’t dumb. Yes, it is my personal opinion, but I feel sensing and thinking words often qualify as holding the reader’s brain. We don’t need to. Readers are pretty smart.

Let’s look at my made-up example.

“No, I always love it when you drop by.” Fifi felt her hands start to shake. She glanced over Tom’s shoulder and saw that the street was deserted. She knew all of her neighbors had already gone out of town for Christmas and no one would hear her scream. She thought, He is going to kill me.

So we ditched the said and that tightened it up. Did you notice how losing the tag tightened the psychic distance? Now let’s remove these stubborn stains  unnecessary sensing and thinking words.

***Also, try to ditch any “starting to”.  Do or do not, there is no try starting to.

“No, I always love it when you drop by.” Fifi’s hands shook. She glanced over Tom’s shoulder. The street was deserted. All of her neighbors had already gone out of town for Christmas and no one would hear her scream. He is going to kill me.

Do you see how just getting rid of those excess words upped the tension of this piece? We (the reader) go from being a distant observer to being in the potentially deadly situation. We don’t need to tell the reader Fifi is thinking or feeling or about to do something. The reader gets that and us putting in glowing directional arrows is a distraction.

Screen Shot 2015-06-09 at 5.19.06 PM

Fifi felt Tom’s hands clamp around her throat.

Just get to it already!

Tom’s hands clamped around her throat.

So I hope this helps clear up some of your “deep POV” questions. Remember that we live in a culture that is spoiled with intimacy and we can give them what they love. Next time, we will discuss characterization and how to write in deep POV beyond the stylistic choices.

Before we go, I have a SUPER AWESOME DEAL to help you whip that WIP into fighting form! I put together a Book Bootcamp (3 craft classes for the price of two & RECORDINGS included in the purchase price) as well at a Book Bootcamp GOLD (3 craft classes for the price of two PLUS three hours with ME one-on-one plotting your novel OR repairing the plot for your novel). So make sure to check those out below along with all kinds of new classes!

Make sure you check out the newsletter class with Jack Patterson. He’s sold almost a quarter million books, so probably someone to listen to. Just sayin’…

What are your thoughts?

I LOVE hearing from you guys!

****The site is new, and I am sorry you have to enter your information all over again to comment, but I am still working out the kinks. Also your comment won’t appear until I approve it, so don’t fret if it doesn’t appear right away.

Also know I love suggestions! After almost 1,100 blog posts? I dig inspiration. So what would you like me to blog about?

Talk to me!

And to prove it and show my love, for the month of APRIL, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly.

I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

SIGN UP NOW FOR UPCOMING CLASSES!!! 

Remember that ALL CLASSES come with a FREE RECORDING so you can listen over and over. So even if you can’t make it in person? No excuses! All you need is an internet connection!

Be a Better Hooker (How to Write a Compelling Newsletter)

April 29th $45

In this class, learn how to compose a newsletter that is entertaining and compelling—and all without stealing most of your writing time. Learn how to get your hooks in your readers and keep them until the end.

With a mailing list of over 15K subscribers, mystery/thriller author Jack Patterson will share some of his tips that will spice up your newsletter and get your subscribers opening it up every time you send one out.

BUNDLE DEALS!!! 

Book Bootcamp  $99 ($130 VALUE)

Book Bootcamp GOLD $269 ($430 VALUE) This includes the log-line class, antagonist class, the character class AND a three-hour time slot working personally with ME. We will either plot your idea or, if your novel isn’t working? Fix it! Appointments are scheduled by email. Consults done by phone or in virtual classroom.

Individual Classes with MOI!!! 

Pitch Perfect—How to Write a Query Letter and Synopsis that SELLS! $45 April 13th, 2017

Blogging for Authors $50 April 27th, 2017

Your Story in a Sentence—Crafting Your Log-line $35 May 4th, 2017

Bullies & Baddies—Understanding the Antagonist $50/$200 (Gold) May11th, 2017

The Art of Character $45 May 18th, 2017

NEW CLASSES/INSTRUCTORS!!! 

Growing an Organic Platform on Facebook $40 May 6th, 2017 Lisa Hall-Wilson is BACK! She is an expert on Facebook so check out her class!

Method Acting for Writers: How to Write in Deep POV $85 for this TWO WEEK intensive workshop with editor and writing instructor Lisa Hall Wilson.

For those who need help building a platform and keeping it SIMPLE, pick up a copy of my latest social media/branding book Rise of the Machines—Human Authors in a Digital World on AMAZON, iBooks, or Nook

 

You know you’re jealous, LOL.

This blog focuses mainly on those writers who desire to make a living writing fiction. Last post, The Single Best Way to Become a Mega-Author garnered an interesting comment, though not an unusual one.

Anytime I write one of my posts regarding success or sales or being a best-seller, inevitably I get the “What about just enjoying writing?” comment.

And the observation is a valid one, though one I don’t always think about because, to me, writing never feels like work, though in truth, it is REALLY hard work. I work longer and harder now than I ever did in my years in sales.

It just never seems that way.

Hobbyist Versus Pro

This blog, at least when we are referring to craft, applies to anyone who wants to write good stories. The hobbyist, however, is different. This person is not creating a commodity.

The work produced is solely for the personal enjoyment of the creator and if it fulfills that purpose, it really doesn’t matter if there is no plot, 42 different POVs and so much purple prose one might choke on all the metaphors.

Yet, the second we want to command time and money from another person to read our work, our job description changes. Sure at home we might have a habit of drowning a hamburger in weird condiments, but if we were serving that to others (I.e. our restaurant)? We’d need to be mindful that maybe other people don’t want Nutella on a burger (yes, people eat that, I googled it).

Additionally someone who whips off fan fiction or stories in their free time is not beholden to the business end of what we do. They don’t need to know about branding or social media or marketing or newsletters. Since this blog caters to those who wish to make money at this? All of that is vital.

Go Big or GO HOME

Now I will admit that I have big, okay, mega dreams. I am not Type A, rather Type A+ because I did the extra credit assignments.

Slackers.

In my mind if I shoot for the stars I might just hit the moon. I always aim big because I imagine that if I adopt the habits of a mega-author that can only turn out well. This means I read tons of books, I study, I inhale craft books and blogs.

I study other authors and I write and write and write. I write every day. I adopt good habits and self-discipline and in some way—even if I fall short of every being Nora Roberts—it’s still a pretty solid formula to do well at my craft and business.

Additionally, notice how much of my hard work incorporates things I already enjoy (ergo WHY I left sales and became a writer). As a writer, I should enjoy reading and watching movies and studying story. I should enjoy writing and revising and getting better and if I don’t? Houston, we have a problem.

Yet, your dreams are your dreams and not everyone wants to break records or re-imagine entire genres. Not everyone has the want or ability to write four books a year.

So…don’t 😀 .

Take what applies and scale the rest. Only YOU know your goals and dreams.

But About ENJOYING Writing

Image courtesy of Frank Selmo via Flickr Creative Commons

As I mentioned earlier, most of what we do as professional authors should already be enjoyable. Not to be a b%$#, but if you hate reading and never read? I don’t want to read your books. As wise woman once said…

Ain’t nobody got time for that.

I know that many writers groan and mention social media. Again, if social media is a chore, perhaps what is flawed is the approach not the medium. Social media done the way I teach it at least, should be very much in tune with the creative personality.

I left sales (actually ran away screaming) so when I wrote a social media book for authors, I deliberately crafted an approach that harnessed the creative personality.

It is your creativity and imagination that sells books, not acting like an Amway rep genetically crossed with a Jehovah’s Witness. Additionally, if your social media is leaving no TIME left for the most important aspect of the job—writing MORE BOOKS—then it is flawed. If you’re hating your social media, treat yourself to a copy of Rise of the Machines—Human Authors in a Digital World 😉 .

But moving on…

Two Truths About Enjoyment

#1 Choose Your Pain

Life is pain. Yeah I am just a bundle of sunshine, but seriously, it is. Every aspect of life has pain. For instance, there is the pain of having children. My house is messy all the time. I cannot sit down without nearly ending up with a Hot Wheels suppository *checks couch before plopping down*. LEGOS? O….M…G.

Instead of having frou frou soaps, you know, like this…

Image via Ross Elliot at Flikr Creative Commons

I use THIS….

Though admittedly, I do prefer Coconut Force over the Hyperspace Apple.

I have to stop my writing to answer questions like, “Can a porcupine kill you?” or “How long can you go without peeing before you die?” or “How many people die in a day?”

****Yes, Spawn is morbid. He’s a born writer.

Before being a mother, I can honestly say no one asked me these things. I could eat without having to guard my French fries prison style, holding my fork like a shiv.

But, before I was a mother, though I had an immaculate home and could take off traveling any time I wanted…I was lonely. And all in all the pain of having Spawn is light years better than the pain of NOT having him.

Same with writing. I could go get a “real job” where I clocked in and clocked out and had a regular paycheck and benefits but to me? I prefer MY pain. I prefer the pain of blogging and branding and editing and marketing and spreadsheets to the little death of every day in a cube farm. The pain of NOT writing is far worse than the pain of the business of writing.

So whenever we choose to do ANYTHING regarding writing, we simply need to choose our pain. And know there will always be SOME pain. We can’t choose ANY profession that is ALL kittens and unicorns.

#2 Being GOOD is WAY More Enjoyable than SUCKING

When I was six I wanted to learn to play the guitar. My grandparents—not really thinking this through—bought me a guitar, but then provided no lessons. I don’t know what my six-year-old brain was thinking….ok, I lie. I know what I was thinking. I was thinking that somehow when I put my fingers on the strings that it magically would sound like all those Dolly Parton songs I loved.

Yeah no.

And don’t get me wrong, I belted out plenty of bad renditions of Jolene (MY POOR PARENTS! Though I imagine any six year old begging a mistress not to take her man is amusing at some level) eventually I grew bored. The guitar then became a light saber and eventually was forgotten.

Because I wasn’t any GOOD, it lost its luster and I could never be as adorable as THIS…

Same with writing in many ways. Sure in the beginning there is the creative abandon of words flowing onto the page and as a pro, it would be nice to have that wild carefree spirit of the blissfully ignorant. But there comes a point that one gets tired of not being able to finish. Of coming up with a great idea for a story and it petering out.

Now? After years and years and YEARS of study and practice? I LOVE WRITING MORE THAN EVER!!!! Why? Because I can finish and when I finish, it is actually GOOD!

Seriously, if you are struggling to finish, invest $35 and two hours and take my Plotting for Dummies (listed below). Even if you never sell books, wouldn’t it be nice to FINISH them?

Getting good at the business is rewarding because selling lots of books…

Wait for it….

Is way more fun than selling NO BOOKS. If you need help, I have super successful best-selling author Jack Patterson who’s making a KILLING off his newsletter teaching a WANA class on how to create a newsletter that actually SELLS books.

So I challenge anyone who reads this blog, even if you don’t ever want to sell books or break records…LEARN YOUR CRAFT. Even if you never sell anything, it will make the hobby so much more enjoyable. And for those who want to sell books? Yeah learning the craft is—or should be—a given.

In the end, if you are not enjoying writing? Either suck it up and admit it is the pain you’ve chosen or reexamine and make sure you’ve chosen the right pain. Maybe we are setting our bar too low and we aren’t happy because we need the challenge of trying to be a mega-author. Maybe we are trying to be a mega-author and it’s just no fun and we’d do better writing novellas or for fun or for just side money.

And remember GOALS CHANGE. My goal was to be a mega-author but the last four years with 12 deaths in the family and all kinds of personal/family troubles, I would (did) make myself sick. I had to ramp it down. Now? Ramping it back up. That is what is cool about goals. We can CHANGE them 😀 .

What are your thoughts? Have you found that NOT sucking is way more fun than sucking? Are you tired of sucking? What kind of pain do you enjoy? Hell you are writers, so by definition—> masochists. So I KNOW you dig pain 😀 .

I LOVE hearing from you guys!

****The site is new, and I am sorry you have to enter your information all over again to comment, but I am still working out the kinks. Also your comment won’t appear until I approve it, so don’t fret if it doesn’t appear right away.

Also know I love suggestions! After almost 1,100 blog posts? I dig inspiration. So what would you like me to blog about?

Talk to me!

And to prove it and show my love, for the month of APRIL, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly.

I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

I will announce March’s Winner Next Post.  I was supposed to do it this post, but I lied. I am still catching up from the storm drama.

SIGN UP NOW FOR UPCOMING CLASSES!!! 

Remember that ALL CLASSES come with a FREE RECORDING so you can listen over and over. So even if you can’t make it in person? No excuses! All you need is an internet connection!

Be a Better Hooker (How to Write a Compelling Newsletter)

April 29th $45

In this class, learn how to compose a newsletter that is entertaining and compelling—and all without stealing most of your writing time. Learn how to get your hooks in your readers and keep them until the end.

With a mailing list of over 15K subscribers, mystery/thriller author Jack Patterson will share some of his tips that will spice up your newsletter and get your subscribers opening it up every time you send one out.

Individual Classes with MOI!

Blogging for Authors $50 April 27th, 2017

Plotting for Dummies $35 April 7th, 2017

Pitch Perfect—How to Write a Query Letter and Synopsis that SELLS! $45 April 13th, 2017

For those who need help building a platform and keeping it SIMPLE, pick up a copy of my latest social media/branding book Rise of the Machines—Human Authors in a Digital World on AMAZON, iBooks, or Nook