Unlocking the Reader’s Heart: Masterclass on Deep Point of View Elevates Author-Reader Connection

ALBUQUERQUE, NM – In the dynamic world of literature, where captivating narratives and profound emotional resonance are paramount, authors constantly seek methods to forge an unbreakable bond with their readers. A recent workshop, spearheaded by acclaimed Young Adult and Middle Grade author Kimberley Griffiths Little, offered a deep dive into the intricacies of "Close Third Person," more commonly known as Deep Point of View (DPOV). This transformative technique, presented at a New Mexico Society of Children’s Book Writers and Illustrators (SCBWI) Regional event, promises to elevate storytelling by immersing readers directly into the heart and mind of the protagonist.

Kimberley Griffiths Little, author of popular Young Adult novels such as Forbidden and Banished, and Middle Grade titles like When the Butterflies Came and The Time of the Fireflies, shared her expertise on how DPOV can unlock a more intimate and impactful reading experience. Under her pen name Kimberley Montpetit, she has also achieved success with self-published works including The Executive’s Secret and Unbreak My Heart. Her workshop, titled "Close Third Person or Deep Point of View, DPOV," provided actionable strategies for writers across all genres to achieve this coveted connection.

The Essence of Deep Point of View: Beyond the Surface

At its core, DPOV is about transcending the role of an omniscient narrator and instead embodying the protagonist entirely. Kimberley Griffiths Little articulated this by stating, "DPOV is capturing your main character from the inside out. What she ‘knows, sees, hears, feels, experiences’ – filtered through her world. DPOV creates an immersive reading experience. In DPOV, we see more of who the character is." This fundamental shift from observation to participation is what allows a reader to truly become the character, experiencing the narrative not as an onlooker, but as a participant.

The workshop emphasized that DPOV is not merely a stylistic choice but a crucial tool for developing a distinct and compelling authorial "voice." This voice, often described as the unique fingerprint of an author’s storytelling, is significantly amplified when the narrative is filtered through the intimate lens of a character’s consciousness. As Little highlighted, "Add to that a writer’s greatest prize: DPOV is how you gain THE VOICE."

The Crucial First Step: Exiling the Intrusive Narrator

A common hurdle for many aspiring and even seasoned authors is the presence of an overly assertive narrator, one who explains rather than shows, and distances the reader from the character’s immediate experience. Linda Wilson, the contributor of this report and an author herself, shared a poignant anecdote about her own early writing struggles. "I received one of the first drafts of my first book back so fast from a beta reader it wasn’t funny," Wilson recounted. "There were few notes, few edits. But in huge letters on the first page, she wrote: ‘GET RID OF THE NARRATOR! Then send it back to me.’"

This blunt feedback underscores a universal challenge. The workshop stressed that banishing the narrator requires conscious effort and practice. "I think all authors would agree that finding that voice, showing and not telling the story, and nixing the narrator takes practice and experience," Wilson noted. She further elaborated that even in later stages of revision, the tendency for "telling" and the intrusive narrator can resurface, demanding vigilant editing.

The workshop provided clear examples of this distinction:

Narrator: "She wished she could whisk back in time and redo the last few minutes."
Without the Narrator (DPOV): "Too bad life didn’t come with an undo button."
Narrator: "He had to think hard about what to do next."
Without the Narrator (DPOV): "What should he do next?"

These simple transformations illustrate the power of allowing the character’s internal monologue or immediate reactions to convey information, rather than an external voice explaining it.

DPOV in Practice: Immersive Techniques for Writers

The core of Kimberley Griffiths Little’s presentation revolved around practical application, guiding writers to inhabit their characters’ psyches. "Become your character," she advised. "Live inside your character’s mind and heart. Immerse yourself by staying in your character’s point of view. Take your reader on a journey through your character’s experiences."

The workshop presented compelling "before and after" examples to demonstrate the impact of DPOV:

Shallow: "Desiree’s skin prickled with pleasant excitement."
Deep (DPOV): "Shadows loomed. The place reeked of ancient secrets. Desiree’s skin prickled."

In the "Deep" version, the reader is not just told Desiree is excited; they are exposed to the sensory details and internal unease that creates that prickling sensation, making it far more vivid and believable.

Another example showcased the shift in perspective:

Shallow: "He could see the tip of the dog’s nose peeking out of the closet."
Deep (DPOV): "Barry stepped through the door and entered the room. ‘Aha! There you are!’ The tip of the dog’s nose peeked out of the closet."

Here, the action of Barry entering the room and his exclamation directly precede the observation of the dog’s nose, grounding the reader in his immediate actions and dialogue, rather than a detached description.

A critical point addressed was the use of italics. Kimberley Griffiths Little asserted that italicizing thoughts, a common practice in some narrative styles, actually pulls the reader out of DPOV. She demonstrated this with an example:

With italics: "Jane looked out the window. Wow! Look at that sunshine and dew sparkling on the roses. What a perfect day for gardening. I’d better go get my tools. She went to the garage and scanned her shelves. Now where did I put my gloves and trowel?"
Without italics (DPOV): "Jane looked out the window. The dew on the roses sparkled in the morning sunlight. Wow! Would there ever be a better day for gardening? Humming, she hurried into the garage. Her gaze searched the wooden shelves. Where had she stored her gloves and trowel?"

The non-italicized version integrates Jane’s thoughts seamlessly into the narrative flow, making her internal musings feel like an organic part of her experience, rather than an interruption.

Navigating the "Pitfalls" of Narrative Distance

The workshop also delved into specific "pitfall words" that can create unnecessary distance between the reader and the character. Writers were encouraged to perform manuscript searches for terms like:

Think
Know
Feel
Realized
Caused
Made

Instead of relying on these summary words, the focus should shift to engaging the senses and depicting actions in the present moment. The workshop promoted an emphasis on:

Touch
Taste
Smell
Sight
Sound
Emotions (shown through physical reactions and thoughts)

Additional "word no-nos" that create narrative distance were identified, including:

Saw, considered, made, caused
She felt: watched, thought, realized, wished, decided, wondered
Avoid prepositional tells: with, of, in
Beware the IT Trap: The vagueness of "it" can dilute impact. Substituting specific nouns and descriptions is more dynamic.

The overarching advice was to choose "power words" that evoke stronger imagery and direct emotional engagement.

Workshop Takeaways: A Platter of Authorial Wisdom

Kimberley Griffiths Little provided a comprehensive list of actionable tips for writers aiming to master DPOV:

Avoid Overuse of "to be" Verbs: These can often lead to passive sentence structures and a less dynamic narrative.
Don’t Summarize: Write the Scene: Immerse the reader in the action as it unfolds.
Share from the Inside Out: Prioritize the character’s internal experience over an external, detached perspective.
Research Physiological Reactions: Understanding how emotions manifest physically can add authenticity to a character’s portrayal.
Write Moment-to-Moment: Capture the immediate flow of experience and thought.
Break Up Long Descriptions: Interweave action and internal dialogue with sensory details to maintain reader engagement.
Don’t Name the Feeling – Show It: Illustrate emotions through physical effects, internal thoughts, and the character’s reactions. Ask yourself, "How would my character truly react?"
Recognize When DPOV Isn’t Ideal: While powerful, there are instances where a slight narrative distance is necessary for reader relaxation, such as moments of character reflection or dialogue with friends.

Author Spotlight: Linda Wilson and Her Literary Journey

The report itself was contributed by Linda Wilson, an author whose own literary endeavors demonstrate a commitment to engaging storytelling. Wilson’s latest release, Secret in the Mist, is the second book in her Abi Wunder trilogy, showcasing her work in children’s literature. She has also seen success with award-winning Spanish translations of her books, including Botas Altas (the Spanish version of Tall Boots) and Cuna en la Naturaleza (the Spanish version of Cradle in the Wild). Her upcoming releases include The Pur-r-rfect Costume, a bilingual picture book, and A Home Run Friendship, a middle grade novel, further cementing her presence in the literary landscape.

The workshop on Deep Point of View, as presented by Kimberley Griffiths Little and highlighted by Linda Wilson, serves as a crucial reminder that the most profound literary experiences are born from a deep understanding and empathetic connection between author and reader. By mastering DPOV, writers can transform their narratives from mere stories into unforgettable journeys, etching themselves into the hearts and minds of their audience.

For those interested in learning more about Kimberley Griffiths Little’s work, her website is available at https://www.kimberlygriffithslittle.com.