Last month, we discussed how I see POV by levels, each one on a little deeper level than the previous. If you missed that post, you might want to go back and read what I said before going on.
This month, let’s talk about getting into the character’s head, actually becoming your character. In some ways, it’s a lot like being an actor. You are no longer “you”, but are someone else, with that person’s background, life experiences, education, prejudices all influencing character response.
Let me give you a real life example. Last weekend, I was at my local chapter meeting, i.e. Diamond State Romance Authors in Arkansas. We were sitting around chatting about how unusually heavy the traffic had been. Amy said, “It’s because of all the vets driving through town as they leave. It’s slowing everything down.” My reaction was, “Why are a bunch of veterinarians driving through town? Leaving after the racing season is over, I guess.” DD and Shayla’s responses were, “Why are there groups of military veterans driving through town?” What Amy was talking about was CORVETTES driving through town after a Corvette convention. My response was triggered by the fact I had just spend $200 on my dog at my vet’s office. DD and Shayla are both military veterans. Each of us had a different response backed on our personal experiences.
Writing from your character’s POV should be much the experience. Another example, a friend was writing from the POV of a physician. She (the author) has a non-medical background. She made a comment about the doctor’s heart “lurching” at the sight of the heroine, but we are in his POV. A medical person wouldn’t think “lurch.” We’re trained to think “skip a beat” or “palpitate”. A response is second nature, something that happens without thinking. So her doctor’s heart would probably “skip”, not lurch, although they mean the same thing.
If your character if a gardener, (s)he might think in terms of flowers or plants or dirt quality when analyzing. A chef might think in terms of flavors, or aromas, or spices, but a chef probably wouldn’t think in terms of dirt quality, as a gardener probably wouldn’t describe something in terms of flavors.
So can you think of any examples (good and bad) of where the author disappeared and the character’s POV really shown through?
Thanks for stopping by today. I hope my thoughts have helped with your Point of View problems.
Cynthia D’Alba
http://cynthiadalba.wordpress.com/
Great post!
Hey, Cynthia! Thanks for the fanstastic insight into POV. I even recognize one of your examples but, to protect the innocent (moi), I won’t point out which one. Grins. I missed your class from last month, but can I just say, “I want those boots!”
I’m going to go back over my manuscript today and I know your advice will help me out. It reminded me of a comment my editor/mentor wrote the other day on the way I described a couples tongues intertwining like “snakes”. She said, “Yuck! Not a nice image.” I changed it immediately. She thought it would take away the romanticism of the scene. And she’s right.
This is great info! Each profession has its own lingo, and since it becomes second nature to see or think in those terms, it really does reveal a lot about a person when we’re in their POV.
I also liked the “vets” description — it’s a great example of how we hear the same word but visualize completely different things based on our experiences and backgrounds.
Thanks everyone for dropping by and for making comments.
um., Leigh…yeah, you “might” have recognized one of my examples. LOL
Patti- I’m going to agree with the “ick” on the snake comments. Just the thought of snakes makes me shiver!
I love the vet example, Cyndi. Something like that would make interesting, asynchronous dialogue, too–no one quite sure what the other is talking about.
Thanks for your post!