You can use this for creating your brand and you can use this for developing your characters. This is a…
As we’ve deepened our points of view (POVs) and heightened our ability to show instead of tell, we’ve waged a war on dialogue tags. He said and she said are victims in a battle where plain text is now treated as a waste of space.
Architects (introverted, intuitive, thinking, and judging) are thinkers and system designers. They believe in making choices based on facts and research rather than feelings. Their intuitive nature powers their imagination. They are highly creative individuals and usually have an abundance of ideas for implementation. They are curious, independent-minded, and believe in their problem-solving abilities. Hence, research comes to them easily. A huge advantage for authors with this personality type.
Sci-fi readers and historical romance readers both have higher expectations on the books they devour. So, I’m going to start the tropes and trends for this genre with the strengths and qualities authors of this genre need.
The Sentinels are conscientious, stable, and love routines. It’s not that they don’t like new experiences. They simply don’t want to waste time failing when someone else has already succeeded. They are careful and self-motivated. However, the Sentinels aren’t the most creative folks as far as productivity procedures. They believe in systems over spontaneity.
Fantasy is always a hot genre, but hitting it isn’t always easy.
Romance has had some pretty incredible trends and tropes in 2020. It’s time now to see what’s trending as we start the new year.
A personality is the combination of characteristics or qualities that make up a person. This can be everything from how a person meets and creates friends, or deals with family, or how they learn. What I’m most interested in is how their personalities affect their work.
Before we delve too deep into the techniques of successfully writing a deep POV, let’s first define what a deep POV is. It’s limited knowledge, immediate action and reaction, an inside-out POV, and it’s highly biased by the character’s opinions and interpretations. This works with first person and deep third person. But just because you’re writing in these two POV’s doesn’t mean that you’ve autmatically hit your deep POV mark.
Seems pretty obvious there. But what about if we want to make the scene more active? Well, you don’t use said. And what about PoV? That doesn’t change things much either. Why don’t we take a look at a couple of examples using the same sentence from above?