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What's a POV?
by Brenna Zinn

A POV isn't some type of new vehicle, though the confusion any new author might have in trying to figure out just what the acronym stands for is understandable. POV stands for point of view. And just like the other rules of writing a romance novel, there are rules that apply to the point of view in a story. Before we get to these rules, let's look a little closer at what POV is.

One pair of eyes...one brain's video

Consider a point of view as one pair of eyes and the brain behind those eyes for one particular character in a story. The eyes can see everything in front of and beside the character. But, because the character does not have eyes on the back of her head, she cannot see what is behind her or what's happening in other rooms or other worlds.

Character Background Determines Reaction

How a character interprets what she sees is what makes a POV a powerful writing tool. What the character chooses to find important in what she sees and how the character relates to those things helps in the development of that character.

Take Cindy for instance...

For instance, imagine you are writing for a character who has lived in poverty as a servant for her entire life. Yet for one magical night, the character (we'll call her Cindy) gets to attend a huge ball wearing a beautiful white dress and glass slippers. When Cindy arrives at the ball, what is she thinking and feeling? What does she pick up with her five senses? The elements of thinking, feeling, sensing, and interpreting are major contributors to Cindy as a character, and come to the reader through her point of view.

As Cindy descends the stairs into the ballroom, she sees, senses, and interprets the scene before her. What she chooses to focus on marks her character. Perhaps Cindy sees a table laden with food. Because she's been on a low-carb diet for the last two months, the smell of roasted beef turns her stomach. But the aroma of chocolate cake has her eyes rolling to the back of her head.

Her reaction and the words used to show her reaction let the reader know if Cindy is funny, stoic, sad, uneducated, worldly, etc…

Before Cindy has an opportunity to eat the chocolate cake, a man taps her shoulder and asks her to dance. What does Cindy see, think, feel, or how does she interpret this situation? Does she find the man's aftershave to be repulsive? Does her heart skip a beat at finally being asked to dance? Does she reject the request for fear her two left feet will have her stepping on his toes while twirling around the dance floor?

Limit Head-hopping

One of the most important rules when using POV in your story is to use only one point of view per scene. Bring in others' points of view is often called "head hopping" and indicates we are literally hopping from one POV to another. Although knowing what every character in the room is thinking, feeling, sensing, and interpreting might be interesting, doing so is distracting and detracts from the overall story. At best, Cindy can guess or imagine what other characters are thinking and feeling, but she cannot know for certain unless another character tells her. But, because Cindy is Cindy, does she wonder if what the other character tells her is the truth?

A point of view change is generally accepted when the scene changes. Choosing which POV to use for any given scene is an important decision for the author to make. What information should be given to the reader as a result of the scene is one way of helping make this decision. Generally speaking, most romances should only use the POV of the hero or the heroine.

What the heck is third-person limited?

The standard for POV is the third-person limited. This means the character, who is referred to as the character's name or he/she, has limited access to or information about what's going on around him/her. With this in mind, the character cannot know what other people are doing or talking about unless the character sees and hears for herself, or is told by someone. In addition, the character cannot see what's behind her, though she might sense that something or someone is back there.

When used correctly, POV can help fully develop a character and make the character interesting and alive to the reader. If used incorrectly, the reader may become confused as to whose head they are currently in, pulling the reader out of the action, and most likely, causing the reader to put the story down.

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Novem Story Structure
by Delilah Devlin

 

Several years ago, Elle and I took a class that described the use of the "Novem Story Structure" to develop a plot for a romance book. We've never seen it mentioned since, but I think it's well worth airing here-as an alternative to Christopher Vogler's Hero's Journey.

We don't know who developed it. If anyone can pinpoint the author, we'd love to give him or her credit. Personally, I find it more intuitive than Vogler's structure.

Take a look, and maybe you'll want to give it a whirl the next time you sit down to "dream a little dream" of a new story!

 

The Novem Story Structure
Story Begins	Show the "main" protagonist in his/her ordinary world. This should be VERY short! You need to convey a very concise picture of who and where he/she is at the start of the story.
Idyll is Shattered	Also very short! This is the event that starts the main protagonist on the road to adventure and change
Introduce Hero/Heroine	This is either the first meet or the first time that they have really "seen" each other.
Three bumps & a push (what gets in the way of hero/heroine reaching his/her goal?)	First Bump - An incident that ups the ante in the adventure
	Second Bump - Another incident that ratchets up the consequences to the hero and heroine
	Third Bump - Another incident that ratchets up the consequences to the hero and heroine--each of the bumps up should be "more" than the one before--more danger, more to lose.
	Push - the final and most important obstacle. Your Big Black (external plot) Moment begins!
Commitment	This is relatively short! The hero/heroine sacrifice something for the other to get past the last push obstacle.
Plan "A"	The false goal - the main protagonist conquers the obstacle, achieves her/his mission
The Turnaround	The main protagonist realizes that the achievement of Plan A isn't enough or isn't what he/she really wanted or needed.
Plan "B"	A new goal - the main protagonist sets a new goal to achieve what his/her heart really desires
The Wrap Up	(Short) The happily-ever-after moment where the main protagonist gets what he/she really needed all along

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Top Ten Self-Editing Tips
by Shayla Kersten

Self-editing is a necessary evil in today's publishing world. Editors are deluged with far more manuscripts than they can possibly buy. While a great story will still sell, an author has to not only grab the editor's attention, she has to keep from disrupting it. Bad grammar, head-hopping points of view or excessive use of evil adverbs-my personal pet peeve-will pull the reader out of the story. And editors are first and foremost readers.

The list below contains the top ten self-editing issues I look for in my manuscripts. I usually work through a full read of the manuscript, searching for the items in each grouping rather than reviewing for all at once. If I'm looking for ten things in one pass, I usually miss six or seven of them.

Point of View:

1) Avoid "telling" words (feel, felt, watched, saw, heard)

2) Avoid words that switch the POV (watched, saw, thought).

Passive vs Active:

1) Avoid vague nouns: this, that, these, those, they, it.

2) Avoid passive beginnings: There was, it is.

3) Avoid overuse of adverbs ("ly" words).

Unnecessary or implied words:

1) Avoid "stall" phrases (started to, tried to, going to, thinking about).

2) Avoid vague words (somewhat, perhaps, uncomfortable, just).

Grammar:

1) Know personal grammar weaknesses.

2) In dialogue, give each speaker his own paragraph, even if they only react and don't speak.

Narrative, dialogue and description:

1) Balance narrative, dialogue and description. Too much straight narrative could be an info dump. Too much straight dialogue can result in talking heads. And too much description can end up boring.

The above items comprise my short list but each author has different strengths and weaknesses. Make your own list. Armed with a checklist of your particular issues helps maintain focus.

A brilliantly polished manuscript combined with a fabulous story could make some poor overworked editor buy you just because your writing would be low maintenance. So pull out your checklist and get to work.

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Building a Critique Partnership
by Betty Hanawa

Like any relationship, critique partners or a critique group needs to set boundaries and limits to work harmoniously. It's best to set up these guidelines at the beginning and adhere to them with an occasional deviation when necessary.

Timeliness

Whether you've decided to critique three pages or three chapters, make sure you return them within the time frame you've previously set up. Your critique partner may be under a deadline or just anxious for your opinion. Either way, timeliness is important.

Make Suggestions

If you find something you do not understand or needs clarification, say something more than "I don't understand this." Remember the wording makes perfect sense to the writer. Be specific as to what or why you're confused. Does it conflict with the character's previous actions? Is it a time line issue? Above all, do not rewrite the other person's work so it makes sense to you. This is their work, their voice, not yours. Make suggestions. Offer opinions. Do what you can to help the person make the story more coherent and interesting.

Opinions are opinions

Always remember your opinion is just that: your opinion. Your critique partner is not obligated to follow your suggestions. Consequently, neither should you blindly agree with every change your partner makes. This is your story. Take what you can use and what strengthens your story and ignore the rest.

Building a good partnership with another writer takes time and trust. Another writer's opinion can help you look at your book with a new eye and make it better.

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Betty Hanawa and her critique partners try to get together once a year for brainstorming, booze, and crème brûlée and try to avoid telling each other things like "this book sucks"…unless it really does.

This Passive Article was Written by
Eve Savage

This Passive Article was Written by Eve Savage OR
Eve Savage Wrote This Active Article? You tell me.
Have you ever entered a contest only to have the judge bleed all over your entry with "this is passive" and "change to active" comments?

But they NEVER give you any examples of how to change it? Well, today I'm giving those examples and a few reasons why you should pay attention. Here we go…

Filling in the Blanks
by Layla Chase

 

Goal, Motivation, Conflict
The Essence of a Novel

by Desiree Holt

 

Goal: The What

If you write a romance in which the hero and heroine wander from date to date, the reader will soon be bored. Where's the struggle? Who are we rooting for? What are the consequences? What's at stake? Suspense works well in many romances, but suspense is not the only way to create strong goals for characters. All that is required is that the character care about their goals. Shipwreck a single mother on an island. Your heroine will be focused on getting back to her daughter. She's got no time for a tropical romance. Falling in love should impact the characters original goals. Falling in love should require your hero and heroine to make choices.
Important points to remember:

1. Goals must be important and urgent. Failure will create consequences for the character.

2. Multi-layered characters have both external and internal goals.

3. The large central goal of a character is often accompanied by a series of smaller goals which drive the action of the book.

4. Characters goals can change over the course of a book.

5. All the characters in your book should have a GMC.

6. Character decisions drive the plot.

7. Goals are not always achieved by the characters. But if you choose this structure, you must satisfy the reader in other ways

8. Multiple goals are like meteors. They should crash into each other and have impact on your character-forcing him to make decisions.

 

Motivation: The Why

Goal was the "what." Motivation is the "why." Why do your character want this? Why do they have to reach their goal? Why? Why? Why? Such a tiny word for such an essential element of fiction. Motivation is what drives your character to obtain or achieve his goal.
Important points to remember:

1. Motivation drives your characters.

2. First-time authors should keep motivations simple, strong, and focused.

3. Strong motivation helps the reader suspend his disbelief and immerse himself in your story world.

4. Motivation is usually expressed in a sentence containing the word "because."

5. Urgency is as important for motivation as it is for goals.

6. All the character's actions and decisions should be motivated.

7. Motivation can never be too strong.

8. Goals and motivations should be appropriate to the character and his/her background.

9. Internal motivation should create emotion within the character or relate to a clearly emotion issue.

10. There is no "right" or "wrong" GMC, as long as the author can sufficiently develop it.

11. Tinkering with the character's GMC components or tinkering with the character's background are both ways to get a book back on track.

12. Do not confuse coincidence with motivation.

13. Character choices involve the reader.

14. "Wounded heroes" can be understood by looking at their internal GMC. Emotional scars lend themselves beautifully to internal GMC.

15. Multiple motivations work to keep your character on task.

16. Characters can be both ally and enemy.

 

Conflict: The Why Not

Even in romance novels known for their happy endings, sufficient conflict must exist to make the reader doubt the happily-ever-after. Conflict is the reason your character can't have what he wants. If your character could have what he wanted, then you have no book! Conflict is the obstacle or impediment your character must face in obtaining or achieving his goal. Conflict is not an optional element. Conflict is required in commercial fiction. Think of conflict as your ticket to the major leagues. If you can master conflict, readers will stampede the bookstore. You'll keep them up at night. And you'll impress the heck out of most editors.
If the characters never face hardship…If they're never in danger…If they never struggle…Your book will be boring.

Conflict is not limited to outside interference. Sometimes the strongest conflicts to achieving a goal are the character's own emotional roadblocks. Internal conflict is what keeps the character from learning his life lesson. Internal conflict is emotional conflict.
Important points to remember:

1. Conflict is a struggle against someone or something in which the outcome is in doubt.

2. Conflict is bad things happening to good people.

3. Conflict is bad things happening to bad people.

4. Conflict is friction, tension, opposition.

5. Conflict is two dogs and one bone.

 

Lost in Translation
Dialogue
by Cerise DeLand

 

Much of what occurs in genre fiction happens in the dialogue. Yet, keeping the dialogue realistic and useful is an art. Here are five short rules that should help as you create scintillating dialogue for your characters.

Keep it simple

The word said is very simple, but definitely not memorable. Most writers use it sparingly when a tag is needed and when no other synonym can or should define the action of the speech.
The best way to not overuse the word is to find as many synonyms as you can for the word and use them. Use them, however, only when no other better way is available to allow the person to speak with an action that complements the quote.

Know Your Gender Differences

Know that men speak more succinctly than women. Men speak in shorter sentences and use more dynamic words. Women are more socially conscious and their speech patterns reflect their diplomacy and in many cases, literacy.

Spoken Dialogue vs Inner Dialogue

Learn the differences between the usefulness of spoken dialogue and inner dialogue. Spoken dialogue moves the plot forward. Inner dialogue (both in prose and in italics) gives complexity to the plot and the characterization, giving the writer an opportunity to show skills at artful prose.

Punctuation for Your Dialogue

For example: "James, you fool, kiss me," she pleaded.
" Open quotation marks/text/comma/close quotation marks/noun/verb.
OR
"James, you fool, kiss me!" She stomped her foot.
" Open quotation marks/text to end of sentence/end sentence with appropriate punctuation/close quotation marks
OR
"James, you fool," she criticized him as he gave her the keys to the safe, "kiss me."
" Open quotation marks/text to end of phrase/close quotation marks/noun/verb and modifiers, if needed/open quotation marks/text/end of sentence punctuation/close quotation marks

Following the rules keeps editors very happy and assures all that you have a command of the simple arts of manuscript development.

Read it aloud and edit to reality!

Nothing can be as instructive to a writer as reading the dialogue in your story aloud. Read it for style and grammar, length and logic. Then read it to another person and ask them to tell you how realistic it is.

Dramatic dialogue is just as useful to a story as the prose. Putting words in the mouths of your characters takes time and effort. But it pays off with a tight, realistic story filled with the words of people who are very real to you and to your readers.