![]() Each scene has an emotionalīeginning, middle and end. Your character feels at the beginning of a scene. Identify what your character wants in any scene and filter all the details they notice, even the words they use to describe what they notice, through that focus or priority. If she was suspicious, or less distracted, or angry that he was late, she’d put more importance on or be more attuned to his body language or behavior. ![]() It’s human nature to miss what you’re not looking for. In either situation, she’s not stupid for missing the clues and it isn’t that she hasn’t registered or taken in the red flags, but her conclusions are filtered through her priorities. She’ll overlook the red flags, maybe even justify or dismiss clues because she trusts him and her priority at that moment is some peace and quiet. If she’s spent the day wrangling preschoolers and is exhausted and feeling frumpy, she might just sag with relief when he says he’s going for a shower and then bed after being out late because please-don’t-want-sex-tonight. She won’t notice the lipstick on his collar or the perfume on his shirt. If she’s neck-deep in work, maybe she’ll give him a kiss on the cheek and apologize that she’ll be up late again. What his wife notices or takes in will be a reflection of her priorities, experiences, etc. Opens the fridge and immediately searches the space where he last saw aĪ husband returns home to his wife after a late-night meetup with his lover. His nose will be attuned to any cooking smells. Is to get to the fridge to see what he can eat. Not notice if the walls have been painted or if anyone else is home, his goal Home from school at 4PM and hasn’t had lunch yet. Prioritize and filter everything they see, what they think, and how they That aside, here are some things I look for when critiquing student work to help them go deeper.Īnd can absolutely swing a scene from blah to bang! Identify what yourĬharacter desperately needs in the scene you’re working on. It’s easier to pick it out in a story I haven’t written lol. Part of it is simply having some emotional distance from the story. My students are always asking me how I know where to take the writing deeper. Step into the uncomfortable and messy bits! ![]() It’sīeen my observation that these writers instinctively know what the scene needed,īut hold back because they fear being melodramatic or of baring too much of Help point out places where the writer could “go deeper” with their writing. There does need to be consistency, but there’s a lot of flexibility here.ĭeep point of view applied too rigidly causes writing on the nose, navel gazing, slow pacing, and other problems.įor Writers Masterclass (and moreso in my Deep Dive Author Club Membership) I What you have to decide for yourself (once you know the “rules”) is where and when you’re going to employ or break those rules in any given scene to create a specific effect for readers. Hearing “go deeper” from crit partners and editors? Here are my 4 favorite tricks for digging deeper emotionally into a scene.ĭeep point of view is a powerful writing technique, but it’s a strategy and like any technique or strategy you need to know what effect you want to create so you understand where and when to break the rules.
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