Deep POV is a powerful writing technic that adds emotional depth to your stories. Can you learn the technic? Of course.
1. Eliminate as many dialogue tags as possible.
2. Never jerk the reader out of the protagonist's head using author intrusion.
3. Only describe what your protagonist sees, hears, smells, tastes, and touches.
Here's a direct quote you can quote me on:-- ABSOLUTELY NOTHING ELSE --
"If your protagonist don't know it, you don't write it."
-- Joylene Nowell ButlerI know what you're thinking. If it's that easy, then why is writing in Deep POV difficult for so many writers?
Because writing in Deep POV requires a depth of emotion that scares the hell out of most of us. It makes us feel vulnerable. It's about reaching down and writing from the gut of your hero. And where are heroes born? In the minds of their authors, of course.
Despite those rejections piling up in your inbox, if you believe in your gut that your writing is good, then maybe, just maybe your writing is good. But is it gut-wrenching?
The Traveler by John Katzenbach:
She felt suddenly overcome by heat, as if one of the spotlights had singled her out, covering her with a solid beam of intense brightness. She gulped a great breath of air, then another, fighting a dizzying sensation. She remembered the moment years earlier when she'd realized that she was shot, that the warmth she felt was the lifeblood flowing from her, and she fought with the same intensity to prevent her eyes from rolling back, as if giving into the blackness of unconsciousness would be as fatal now as it would have been then.
The Big Sky by A.B. Guthrie:
Serena turned from Boone and all at once seemed to see the hen lying forgotten on the table. She picked it up and rolled it in a rag and handed it to Boone. Her eyes wouldn't come level with his; they fixed themselves on his chest. Of a sudden he saw that she looked like a tired, sad rabbit, her eyes round and watery and her nose twitching. He felt his face twist suddenly and his throat knot and the tears about to come. He said, "Goodbye."
Mr. Murder by Dean Koontz:
He looked around the office, where he had passed so many solitary hours in the concoction and solution of so many mysteries, where he had put uncounted characters through enormous travail and challenged them to find their way out of mortal danger. [...] He blotted his damp palms of his jeans. Having briefly lifted from him, dread settled again in the manner of Poe's mysterious raven perching above a chamber door. Walking from the trance, perceiving danger, he had expected to find the threat outside in the street or in the form of a burglar roaming through the rooms below. But it was worse than that. The threat was not external. Somehow, the wrongness was within him.
It starts with believing you have what it takes to be a powerhouse of a writer. Next, put yourself deep, deep, DEEP inside the body, mind, and soul of your protagonist, and write your scenes from that place.