Contest Entries, Part 2: Understanding POV

Laura Threntham~ By Laura Trentham 

This is Part 2 of my observations from judging lots of RWA contests for unpublished manuscripts. I really love judging, not only to give back to a process that gave me my start in publishing, but by critiquing someone else’s writing, I discover weakness in my own.

Part 1 focused on the actual beginning of your story and the delicate balance of backstory in the first three chapters. Now, I’m going to discuss a craft item that affects not just your first chapters, but you entire book. Deep POV.

First, let me say, this is a very brief overview of the subject. There are craft books and blogs and courses that delve deep into the subject. (I really enjoyed Margie Lawson’s Empowering Characters’ Emotions.) But, what I learned from judges’ comments on my first contest entries was that I had a BIG POV problem. And, upwards 75% of the contest entries I judge have POV issues, some major, some minor.

POV=Point of View

Deep POV=Immersive storytelling

Generally, an author tells their story from one to three different characters’ POVs. Usually in a romance, it’s the hero, heroine, and/or maybe a villain. (Or H/H or h/h or H/h/H, whatever genre you’re writing. For simplicity, I’m going with H/h.) With Deep POV, your goal is to get the reader into the character’s skin. Your reader should see what the hero sees, feels, touches, hears, smells… You want to break down as many walls between the reader and the character as possible. Writing in Deep POV will help you do this.

Head Hopping

Old school romances were often written with one paragraph detailing the heroine’sinternal thoughts, then the next paragraph would jump into the hero’s head, all in the same conversation—back and forth, back and forth. Think 80’s and 90’s romances by Kathleen Woodiwiss or older Julie Garwood books like The Bride, which I love. That style has gone out of fashion with good reason. Nowadays, an author will spend an entire scene or half a scene in ONE character’s head and then switch.

(As an aside, I wrote THREE books (90k+ words each!) head hopping like a jackrabbit on crack. And, yes, I revised them all after learning about head hopping from a contest judge.)

But staying in a character’s head for a scene is only one aspect of mastering Deep POV. The other aspect is…becoming the character. That’s the only way I know how to put it. You should become your hero, heroine, or villain, and describe everything as it filters through your character’s senses.

Sense Words

You want your reader to feel, hear, see everything as your character does. This means most of the traditional ‘sense’ words—heard, saw, smelled, felt, thought, wondered, realized—are unnecessary.

For example: She heard the bell ring and startled.

Better: The bell rang. She startled.

In the first, you are removing the reader from the immediacy of the moment. In the second, the reader is experiencing the bell ringing right along with the heroine.

Let’s delve into the sense of sight for a moment. Unless you’re writing about a lumberjack, avoid using the word ‘saw’ or any of its derivatives. Assume anything you describe while in your character’s POV are things he/she can see.

For example: He saw the man creep out from behind the bush.

Better: The man crept out from behind the bush.

The reader understands that your POV character can see the man.

Internal sense words like thought, knew, wondered, and realized are often redundant.

For example: He knew he was falling in love.

view finderBetter:  He was falling in love.

For example: She wondered if the man would gather the courage to approach her.

Better: Would the man gather the courage to approach her?

The most frequent transgression I come across is overusing the word ‘felt’ as it pertains to feelings. In my opinion, the word ‘felt’ is often a cop-out.

For example: He felt angry.

Better: His hands curled into fists, and he shuffled into a fighter’s stance.

Instead of stating the feeling, like the first example, push yourself to find a more interesting way to depict the emotion. Using ‘felt’ does work beautifully sometimes, but really examine every single time you choose to use it and determine if you can make a stronger, more revealing sentence.

Authorial Intrusion and POV Slips

Beware authorial intrusion. This is when you describe something your POV can not see.

For example: Every man’s head in the room turned to watch the woman slink around the tables. Every man, but Jack, who stared into the brown dregs of his coffee.

Jack is looking at his coffee, not the approaching woman. This is a no-no, unless you’re going for an omniscient POV, which I’ve never attempted and is difficult to pull off convincingly.

More common than major authorial intrusions are simple POV slips, like the heroine describing something about herself she can’t see/know. An example from one of my WIPs:

Fire burned in her gut. As if nature itself felt her fury, a salty breeze lifted from the sea and plucked her auburn hair like tendrils of flame around her face.

I love that passage, but I knew when I wrote it that it was a POV slip. Do you see that in my heroine’s POV, she can’t describe her hair as ‘tendrils of flame’? Delete, delete, delete…

I read so many descriptions from a POV character about their own eyes. ‘Her eyes flashed with anger.’ Except a character cannot describe her own eyes this way. Better to write a physical reaction to the anger. Ditto with saying something like, Tears welled up in her brown eyes. A character is never going to think about the color of her eyes like this. Don’t use it as a shortcut for physical description.

This is by no means a comprehensive guide to writing Deep POV, but hope this post helps some budding writer to avoid the mistakes I made. If this made a lightbulb go off about your own writing, then go forth and learn and practice, practice, practice.

An award-winning author, Laura Trentham was born and raised in a small town in Tennessee. Although she loved English and reading in high school, she was convinced an English degree equated to starvation. She chose the next most logical major—Chemical Engineering—and worked in a hard hat and steel toed boots for several years.

She writes sexy, small town contemporaries and smoking hot Regency historicals. KISS ME THAT WAY, Cottonbloom Book 1, is a finalist for the Stiletto Contest and for the National Readers Choice Award. THEN HE KISSED ME, Cottonbloom Book 2, was named an Amazon Best Romance of 2016 and is a finalist for the National Excellence for Romance Fiction. TILL I KISSED YOU, Cottonbloom Book 3, is a finalist in the Maggie contest. When not lost in a cozy Southern town or Regency England, she’s shuttling kids to soccer, helping with homework, and avoiding the Mt. Everest-sized pile of laundry that is almost as big as the to-be-read pile of books on her nightstand.

Visit her at or connect on Twitter at @LauraTrentham or on Facebook or Pinterest.

Writing: POV

cory bio picture~ By Corrina Lawson Note: The post originally appeared here Yes, we can argue all day long about whether switching POV in the middle of a scene is a good idea or not. But here’s why POV is important: the way a reading is sucked into a story is that they’re seeing the world through a character’s eyes. If you swap to another pair of eyes, the reader will be disoriented and might *stop reading.* That’s bad. So feel free to head-hop as much as you want but be aware you run the risk of tossing a reader out of the story. Check your manuscript. Have you swapped POV because it’s just absolutely necessary? Or because it was a way to show what’s going on but there might be another way? Have you tried writing the scene without changing POV? Why not? I’ve found practicing staying in one POV makes me word harder as a writer and learn new storytelling techniques and burrow deeper into my POV character’s head. Lois McMaster Bujold is a master (mistress) at staying in one point of view but yet perfectly conveying what the non-POV characters are like. I love her Aral Vorkosigan. As a reader, I’ve never ever been in his head. Corrina is a former newspaper reporter with a degree in journalism from Boston University. A mom of four, she now works from home writing romance novels with a geeky twist and as the Content Director and co-founder of

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