Deep POV Lesson 5 Ditch Prepositional Tells
Jul 3, 2021 18:38:36 GMT -6
Post by ScienceGirl on Jul 3, 2021 18:38:36 GMT -6
Ditch Prepositional Tells and Rely on Context
According to Nelson, a prepositional tell is:
Some examples include: with pleasant excitement, with stubborn defiance, to stifle my anger, etc.
First, don't take this guidance to mean to never use prepositions in fiction. Prepositions are important! They give us a sense of direction, reason, and motive. However, what Nelson has found is that many of our telling phrases follow a preposition. It follows that you can easily spot them by doing a search for common prepositions throughout your manuscript.
To distinguish between prepositions that are worthy and those that are shallow writing, Nelson advises to "Rely on context."
So, let's have a brief look at context.
Consider then, how context can paint a picture that throws your character into a specific emotion. Suppose you have a five-year-old girl reciting a poem at her kindergarten graduation. You want to convey that she's nervous. You can up this emotion by planting certain things in the scene that will create nervous tension for her and make it more believable.
What if, for example, the previous student left the microphone cord in a jumble and the girl stumbled over it on the way to the mic? And then, she dropped her notecard with prompts, and she doesn't want to bend down and get it in front of all those eager watching folks. Let's put her in a dress, so she can play with the hem of it. Give her long hair that she can twirl absentmindedly. Have her rise up and down on her toes.
And what about that room? Let's completely fill it. So many people are trying to crowd in that they're lined up against the back wall. The girl hopes to find her mother, but she can't spot her amidst all those people.
Any of those things we just imagined are fair game to add to the story. Imagine, having all that in your head and just giving the readers something like "Andi bounced nervously on her heels." Context paints a richer picture.
What context really does for the reader is takes away the need for explanation as to why something is happening. And, if you've read the study on 20 Master Plots, you realize that knowing why is the heart of plot and story.
So, take a few moments before you sit down to write each scene and imagine your character as you want them to appear on the page. Notice what they are holding. Notice their attire and their location in the room. See who else is in the space with them. Feel the bustle or lack of bustle in that space. Take a deep breath and sense what they'd be smelling. Is it an old, dusty room, or might there be hints of cleaning chemicals in the air? Someone's perfume? Smells can be powerful for context.
Think about writing like planting clues for the reader to come to the conclusion that your characters are feeling the way they do. And then, you'll have truly mastered deep POV.
According to Nelson, a prepositional tell is:
A short phrase starting with a preposition that is used to "explain" the character's feelings.
First, don't take this guidance to mean to never use prepositions in fiction. Prepositions are important! They give us a sense of direction, reason, and motive. However, what Nelson has found is that many of our telling phrases follow a preposition. It follows that you can easily spot them by doing a search for common prepositions throughout your manuscript.
To distinguish between prepositions that are worthy and those that are shallow writing, Nelson advises to "Rely on context."
So, let's have a brief look at context.
Context clues are are hints found within a sentence, paragraph, or passage that a reader can use to understand the meanings of new or unfamiliar words.
Consider then, how context can paint a picture that throws your character into a specific emotion. Suppose you have a five-year-old girl reciting a poem at her kindergarten graduation. You want to convey that she's nervous. You can up this emotion by planting certain things in the scene that will create nervous tension for her and make it more believable.
What if, for example, the previous student left the microphone cord in a jumble and the girl stumbled over it on the way to the mic? And then, she dropped her notecard with prompts, and she doesn't want to bend down and get it in front of all those eager watching folks. Let's put her in a dress, so she can play with the hem of it. Give her long hair that she can twirl absentmindedly. Have her rise up and down on her toes.
And what about that room? Let's completely fill it. So many people are trying to crowd in that they're lined up against the back wall. The girl hopes to find her mother, but she can't spot her amidst all those people.
Any of those things we just imagined are fair game to add to the story. Imagine, having all that in your head and just giving the readers something like "Andi bounced nervously on her heels." Context paints a richer picture.
What context really does for the reader is takes away the need for explanation as to why something is happening. And, if you've read the study on 20 Master Plots, you realize that knowing why is the heart of plot and story.
So, take a few moments before you sit down to write each scene and imagine your character as you want them to appear on the page. Notice what they are holding. Notice their attire and their location in the room. See who else is in the space with them. Feel the bustle or lack of bustle in that space. Take a deep breath and sense what they'd be smelling. Is it an old, dusty room, or might there be hints of cleaning chemicals in the air? Someone's perfume? Smells can be powerful for context.
Think about writing like planting clues for the reader to come to the conclusion that your characters are feeling the way they do. And then, you'll have truly mastered deep POV.
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