Category Archives: Writing How-to

Best-selling Author Parlays BookBub Ad to Bigger Sales

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On March 8, 2017, book-promoter BookBub Partners featured a post by guest blogger Glynnis Campbell titled “How I Sold 100x More of My Book Series.”

For my writer friends, this post by the USA Today best-selling author is helpful for planning a promotion campaign to boost sales and add interest for a new-book launch. The article offers tips and, step-by-step, what Glynnis did to gain more mileage from a BookBub upcoming promotion. Here’s a teaser:

“I opted strictly for email blast–style promotions with a good ROI history. These included Bargain Booksy, Choosy Bookworm, Free Kindle Books and Tips, Friday Freebies, Fussy Librarian, Robin Reads, and The eReader Café.”

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Glynnis also offered her book and its description and buy links for publication in well-known newsletters such as that by historical author Lauren Royal, who generously features free and on-sale books by other authors as well as recipes, mini-stories, and promotions for her own novels.

RhysReprieve (3) FinalLast year Lauren featured my own Rye’s Reprieve when Amazon put the book on sale. I also had success with eReaderNewsToday and other email-blast entities. See my blog post “Making Ads and Amazon Rankings Work for You.”

So check out this easy-to-read and very helpful article by Glynnis Campbell: https://insights.bookbub.com/how-sold-100x-more-book-series/

For my readers, here is what BookBub is all about:

“BookBub is a free daily email that notifies you about deep discounts on acclaimed ebooks. You choose the types you’d like to get notified about — with categories ranging from mysteries to cookbooks — and we send great deals in those genres to your inbox. BookBub doesn’t actually sell books.”

Also check out eReaderNewsToday, another author-approved free service for book-lovers. To sign up, “Choose your genres, enter your email, and start reading your new books today.”

Authors feel it is prestigious to be selected for a BookBub or an eReaderNews promotion. In Glynnis’s case, she qualified by her status as a best-selling author and the many reviews she had already gained on the novel that BookBub was about to promote. In my case, it was my best-seller status as well as timing: eReaderNews had an opening, and I grabbed it, with very satisfactory results. I’m waiting for the stars to align for a BookBub ad to rocket my books into the arms of new readers.

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Art is Not a Thing. It is a Way.

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An Editorial by Louella Nelson

In February 2017, the New York Times cut many of its popular categories of best-seller lists—including the lists for mass market paperbacks, a bastion of the romance novel—upsetting many in the arenas of publishing and reading. “Among the lists that appear to have disappeared are the graphic novel/manga and the mass market paperback lists as well as the middle grade e-book and young adult e-book lists,” Publishers Weekly’s Calvin Reid reported on January 26.

I prefer to follow up with good news: I thought this comment by the editor and publishing manager of Romance Writers of American (RWA) based in Houston, Erin Fry, was a beacon to authors who strive so long and hard to reach a pinnacle in publishing. “Thankfully,” Fry writes, “there are a number of other ways members can achieve Honor Roll outside of the NYT list: appear on the Publishers Weekly Top Ten bestseller list or any other PW best-seller list based solely on format, genre, or region; appear in the top 50 of the USA Today bestseller list; or have sold at least 100,000 copies in a single language” (which is the category I fall into).

Fighting back, RWA National sent this open letter of objection to the Times and also posted the statement on its own website:

As a trade association representing more than 10,000 writers of romance fiction worldwide, Romance Writers of America (RWA) is deeply disappointed by the decision of the New York Times to change its bestseller criteria.

Romance authors, most of them women, have dominated the best-seller lists in mass market and e-books for years. To dismiss these authors and the millions of readers who buy their books is to ignore what “bestseller” truly means. Each year, consumers buy more than $1.3 billion worth of romance fiction. If the New York Times eliminates the mass market and e-book lists, they are proving that they are out of touch with what consumers actually buy. Further, the dismissal of two formats dominated by women can’t help but feel sexist.

RWA strongly urges the Times to reconsider its decision.

_____________

Reid doubts they will, and that’s a shame. Literally. Art–and there IS art evident in mass market fiction–is not a thing you can toss away on a whim or a concern about a bottom line. Art is the thread that binds a culture and makes it strong, vibrant.

I believe the move to cut back lists of popular fiction signifies the ongoing killing off of creative arts in favor of the flourishing of financial interests in our culture, if “cultural” we’d be when our arts dry up.

At the end of January, one blog post on a site called The Passive Voice announced a snide headline: “Panicky NYT circles the wagons around 1%-ers, throwing the rest of traditionally published authors to the wolves.” The 1%-ers are the big-name authors who hit the best-seller lists every time they launch a new hardcover. Pretty much the entire reading world knows their name. If a publisher mostly publishes 1%-ers, they’re playing it safe and not trusting that an investment in a new author will pay off. That’s been going on for a while.

Thus, new authors flock to publish their own books. However, the NYT shut another door in their faces. If the new author does everything right and sells a ton of copies, expect no recognition from the NYT: The organization dropped e-book lists. Looks like the NYT is playing to the 1% market, cutting costs, risk, the hopes of new authors, and the pleasure of millions who seek a new voice to read.

Without data to back up my claim but with life-experience guiding my opinion, I suspect that, like other major papers, the NYT suffers its share of money woes. As is so often the case when the financial picture darkens for a corporation or a country, funding and notice for the arts get cut back. For example, following the 2008 financial meltdown, the University of California Extension in Irvine, where I was teaching beginning through advanced novel-writing courses, cut all arts classes from its catalogue. They kept the computer-related courses that filled to capacity every quarter and that strategy no doubt helped the Extension program survive the financial crisis.

The ivory tower creative writing degree program at UCI only allows in about 8-10 students from all over the world, each year. So the closing of the Extension writing courses meant a good deal of Orange County and beyond went without a place to learn to write, publish, or produce. That was 11 years ago.

Even though the economy has rebounded, not much has changed at my local Extension. A quick scan of the catalogue I checked today shows business management, instructional technology, process improvement, finance, law, leadership—a host of valuable courses that can earn my neighbors some cash flow working in the businesses in Orange County. But not one course is offered in creative writing, screen writing, play- or poetry- writing, never mind singing, painting, dance, and so on.

I try to stay positive. And most of the time I can rise above that tug of disillusion that stems from chaos at the national level, mayhem in countries that offer rich culture and rare antiquities, and a community institution that delivers “university-level learning solutions by leveraging the expertise of the  campus and community” but completely ignores the need of the human spirit to renew itself in its arts (quote from UCI website).

Instead of advertising “solutions” and “leveraging,” let’s hear them yell out loud, “Creativity encouraged here!” Creativity is a friendly animal who lives quite well alongside capitalism, as successful romance writers know well. Instead of cut-backs in national lists of the books people love, let’s add lists for the new genres birthed by creative minds. Let’s open the doors of learning once again to the singing of souls through literature, music, and art.

It’s not just the number-crunchers at the New York Times or the local college or university that pluck at my positivity, but also the surging mood in Washington to do away with funding for the arts. Greed is more ubiquitous now than it used to be. Greed kills art.

The grand opera singer Beverly Sills believed, “Art is the signature of civilizations.” In this age, what are we leaving to posterity? A narrower view of what books to read? A business-only agenda? I ask this not just as a published writer but also as a college writing teacher and as a sole proprietor, a businesswoman serving the editorial and mentoring needs of best-selling and aspiring writers. What will we teach the next generation, those fresh young minds who feel a soul-deep longing to create—not just in computer science, for example, but in computer-generated art? That their dreams are not valid? That financial and engineering professions are more important?

Let’s just stop. There is another way to live, a way that arrays our many-faceted talents like a rainbow fan.

Elbert Green Hubbard was an American writer, publisher, artist, and philosopher who was born before the Civil War and unfortunately went down with the RMS Lusitania in 1915. He said, “Art is not a thing; it is a way.”

Collaboration Between Writer Friends

In 2016 we wrote together, did speaking engagements, and supported one another through the loss of a beloved pet.

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New York Times best-selling author Debra Holland and I spoke on a panel in July 2016 at the Romance Writers of America National Conference. The topic was writing for Amazon’s Kindle Worlds. About 100 attendees asked questions about the financial and marketing side of writers developing stories in a famous author’s fictional “world.” In the case of Debra’s Montana Sky Kindle World, authors may have their own characters interact with Debra’s already created and established characters, they may link their World books to other series the authors have created via traditional or independent (self) publishing, and they may spin off new series within Debra’s Montana Sky towns, Sweetwater Springs and Morgan’s Crossing. Other World creators have their own rules for participation. Amazon must approve World books before they are released.

In my case, as many of you know, I began a new series on a ranch  I created in the mining camp of Morgan’s Crossing. Rye’s Reprieve, set in 1886, features a doctor with a secret and a veterinarian who has come west with her sisters to make the family-owned Harper Ranch flourish. It was my first historical novel and rose in Amazon rankings to #7 in Historical Romance in August. The next in the series, due to release by Amazon December 15, 2016, features a suffragette being tracked by a federal agent and a miner with secret gift and a mysterious past–Rebel Love Song.

Debra and I will do a second panel discussion on Kindle Worlds, with other authors, at the March 24-26, 2017 California Dreamin’ Writers Conference at the Embassy Suites in Brea, CA.

On October 13 we spoke to Professor Karen Felts’ class on Sexuality and Gender at Orange Coast College and fielded questions about romance writing, the writer’s journey, publishing, and the link between imagination and life-experience in writing fiction.

These collaborations emerge from 15 years of working together.  Debra came to me in the late 90’s because she wanted to augment her work counseling stars in Hollywood; she wanted to become a published fiction writer.

I was already teaching writers through classes I developed at UCI Extension, and I was mentoring a women’s writers group on Fridays in my home. I took Debra on as a client.

After a series of one-on-one consults focused on the basics of scene and story design and character development, Debra joined the Friday group. Wild Montana Sky was the result of a prolonged association with this critique group; the book went on to win national awards and Debra spent the next ten years trying to be traditionally published. It was a disappointing ten years.

However, when she self-published Wild Montana Sky on Amazon for Kindle, over the next 11 months the book sold nearly 100,000 copies. Suddenly the big houses who had rejected her were calling to ask her to choose them to publish her Montana Sky series. She turned them down and went with Amazon, publishing several sweet historical novels in the series, self-publishing spin-off novels, collaborating with a sister romance author on a series, and releasing fantasy novels as well as a text on grief and grieving and a chapter in an anthology on self-publishing. For all her titles, visit her Amazon page: https://www.amazon.com/Debra-Holland/e/B004XXKZH8

I remain Debra’s developmental editor, making suggestions on the flow of the narrative in her fiction, on the consistency of characters, on logic, on dates and weather and opening hooks and all the myriad complexity that makes a successful piece of fiction.

In 2015, to help keep each other motivated (because writing is very hard, lonely, draining work even if exciting at times), Debra and I began to write together at my dining room table. We continue to do so. She just completed An Irish Blessing, book 2 of The O’Donnell Sisters Trilogy, related to the Montana Sky novellas. It releases this month. I have been working on book 2 of the Harper Ranch series, Rebel Love Song.

The collaboration goes beyond writing, though.

lou-n-tux-9-18-16-jLast month I had to put down my 18-year-old kitty pal, Tuxedo, who was approaching kidney failure, and Debra, as both friend and a doctor of psychology, was just the right kind of support: loving, expressing condolences, backing off on the writing regimen while I grieved, and checking on me. I was grateful–as I was for all the wonderful notes I received on Facebook from my followers.

I won’t go into details, but I was able to support Debra through a house-move and a personal challenge or two.

When I was ill this summer and unable to write, Debra graciously released me from a pending Montana Sky release date and kept in touch on a friend level.

That’s what we do as friends: encourage, support, guide. Communicate, even on the tough issues. Defend. And above all, create. We create both a friendship and our own rich life,  like close sisters.

Keeping the Love Alive (in your writing career)

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This article first appeared in the December 2015 issue of The Romance Insider. To subscribe, please scroll to the end of the article.

The hustle and bustle of the holiday season can stop creativity dead in its tracks. With such busy lives, how do writers keep the goal in front of them? How do they sustain momentum?

If you’re the writer’s bestie, a romance reader, I’m guessing you wonder, too. How do writers overcome injury, death of a loved one, switching careers, jobs, or passions, committing to a major project, moving house, or raising a family—all this to stay on track with the dream? My own writing went underground from my mother’s death in 1991 to about four or five years ago. I met my then-contract obligation to Harlequin Books in summer 1992, but it was a struggle. So I can talk about loss, trauma, staying the course (or not) and coming back to writing when the brain isn’t as young. But let’s be positive.

How do we overcome all hesitation and crisis to sustain that haunting dream of being a published writer?

“Learning to write in a world where I am the sole provider and have multiple demanding obligations is a huge challenge,” says Frances Amati (“Heart Hound” in the anthology Romancing the Pages).  “I had to learn to carve out niches of opportunity and to quiet my mind to listen when the universe speaks to me.  It’s about being organized and effective with the little time I have. I can’t feel guilty about what I didn’t do; it is a waste of energy. I need to focus on what I can/did do, no matter how small.”

Here’s a list of focus aids (must be done regularly to keep up the spirit):

  • Frequent walks on the beach or in the woods, prayer, or listening to music.
  • Luxurious weekly bubble baths, with or without the drinkable bubbly.
  • Writing daily positive statements such as “I’m writing and loving it every day!” “I’m paying for my house on the Pacific with my writing!” “I’m expressing my misery through my writing—and loving it!” or “I’m writing. How can it get better than this?”
  • Counseling therapy. Chocolate therapy. Shopping therapy. All three, once a week!
  • Writing out your woes in a diary or to a fictitious person; mine is a letter to grandma, though both grandmas are gone.
  • Long showers. Meditation. Creative cooking. Working with animals.
  • Setting an “easy” writing schedule. A realistic one, even if it’s a half-hour a week.
  • Doing timed writings, sequential 15-minute blaze-writing sessions to get the juices flowing.
  • Allowing yourself to write crap. Every day. Thanks for the tip, Anne Lamott.

Although there’s no sure answer, the most powerful insider trick to staying motivated is to belong to a positive, driven, professionally-oriented support or critique group, even it’s one other writer. Although I was teaching and mentoring authors back in ’91-92, I did not have a critique group that I could go to for criticism, support, and encouragement. If I had, perhaps I’d be onto my 40th book instead of my 7th.

Thankfully today I have best-selling author Debra Holland (the Montana Sky series and others) as well as several other of my brightest students available for feedback. The Brontë sisters, Charles Dickens, in fact many in the literary cannon had critique groups—letter-writing, home visits, luncheons in London, and periodic discussion/critiquing get-togethers. Famously, the Algonquin Roundtable in New York in the 1920s featured meetings with writers, artists, and critics who played cribbage and poker and enjoyed daily luncheons and discussions. We have an offshoot today called the writer’s conference, where we learn craft techniques, stay up on market trends, and network with our fellows.

In year-round writing courses and critique groups, I do as much as humanly possible to keep writers motivated, but ultimately the drive has to come from within. “The support will help but the drive must be there no matter what,” asserts Alexis Montgomery (Seducing Susan). “I always think back to Karen Robards saying she wrote her first book during bathroom breaks at work, balancing a yellow legal pad on her lap…it doesn’t get more driven than that.”

One of my Wednesday-night-group writers has been in the group since the 1990’s; Dennis Phinney has written six books, has a top agent, and hasn’t sold. A full-time engineer, he’s still producing amazing work, coming to meetings, and submitting his novels and stories to criticism. It keeps him motivated; it keeps him constantly improving.

There are lots of ways to stay on course. Setting butt in chair is the first step. But like Frances Amati and so many of us, quitting the day job isn’t an option. “Thomas Hardy was an architect,” Phinney points out. “Herman Melville worked in a customs office. Today many work as teachers.” As babysitters, physicians, homemakers, scientists, therapists. As pilots, stage directors, managers, and singers. As explorers and tinkerers.

“So the dream becomes to share epiphanies and to create a work or two of excellence, or maybe even just one really great short story,” Phinney adds. “The goal is to help [readers] to think, to ask questions, to laugh, to love, to see the miracles in everyday existence; it’s also to set forth your own truth in all its damnable ambiguity.”

I couldn’t say it better.

Two closing pieces of advice: 1) Don’t do it for the money. (It may well come.)  2) Quitting is not an option.


Best-selling author Louella Nelson is an award-winning writing instructor in Orange County, CA. Her next novel, Rye’s Reprieve, will release in February 2016. www.LouellaNelson.com Graphic image by the author.

This article first appeared in the December 2015 issue of The Romance Insider.

Romance Insider MastheadTo subscribe to The Romance Insider, click here: http://lararwa.us9.list-manage.com/subscribe?u=29cb9d556d4c84408d2f70843&id=7d8372aba9

 

2014 November 01 Sale: 20 books at 99 cents each

I’m reposting this to alert my friends and fans that there are a few more hours of the 99 cent book sale; some prices go back up at midnight tonight while mine and others have a few days to run. You can get your copy of Emerald Fortune with its more interesting new cover art at http://amzn.com/B008S4PH1W
Happy reading! Lou

Michelle Knowlden writes...

JACKE FELL DOWN COVER 4500 X 2820)I’m starting November 2014 with something special. I’m adding 20 fabulous books to my digital library.

It’s a privilege to join these writers by adding my first novella in a new mystery series about finding missing children. JACK FELL DOWN was released July 2014. In case you missed it, November 1st would be a good time to pick it up. If you already have it, consider giving it to someone as an affordable but oh-so-thoughtful gift: an early Thanksgiving gift, a birthday gift, a thank you gift or “just thinking of you” gift.

Below are the books I’ll be buying November 1st. This list has books of all sizes including popular genres like romance, mystery, fantasy, suspense, paranormal, and historical. Wow. Not only will I be buying these books for my own reading pleasure, but at this price, I can gift several to my reading friends.

Yes, you got it. This diverse list includes books I know will score…

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Launch Your Next Book From NaNoWriMo

M81 Galaxy is Pretty in Pink

M81 Galaxy is Pretty in Pink

Update to my earlier post: I’m entered in Nanowrimo again this November. If you are too, please find me and be my writing buddy. My project this time around is Mail-Order Mom: Serena.

Nanowrimo sounds like a navigational command from StarTrek but it’s actually code for Sit Butt In Chair and Write With a Vengeance. Beginning November 1, writers from all over the world gather electronically and challenge themselves to write a novel, 50,000 words,  in 30 days.  The gathering spot: http://www.nanowrimo.org/.  There are chat rooms if you get down on yourself, and a whole cheerleading squad in The Office.* You can even buy a Nanowrimo coffee mug and fill it with your fave java so you can launch yourself into fictional orbit.  It’s totally zen. Is it odd that my maiden project for NaNoWriMo will be a writing text instead of a novel?  To answer your question—no.  It’s not odd because for a published author to use NaNoWriMo to get up and running on a long-overdue project simply means NaNoWriMo is working.  It’s working to get me motivated; it’s working to get me organized for the Big Day, the first day in November.  I have the flutter in my gut writers get from time to time when they are eager to begin.  It’s been a long time since I felt that flutter (about writing, anyway), and it’s all good. Too many years have gone by in which my students have reminded, hounded, and bullied me about writing a book they can share with their writing friends and peruse for any nitpicky trick or tip their tired-from-sitting-in-the-chair-writing-all-day brains cannot recall.  I feel duty-bound to get the danged text written so they will quit pestering me; and so aspiring writers will have something to lean on in the scary predawn hours of their novel-writing career. Courage is an illusive thing.  I used to see a poster that fascinated me in the cafeteria at Chapman University.  It pictured a sailboat and featured a misquoted quotation by Andre Gide, winner of the Nobel Prize in Literature in 1947, which I adapt here: You cannot discover new galaxies unless you have the courage to lose sight of the earth. Do you dream of being published?  Does that goal seem a far galaxy?  Why not carpe-diem yourself on over to the Nanowrimo website and, Hey-oh!  We will do this together, all you princes of prose, and it will not be odd.

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To show you that the all-volunteer launch team at The Office of Letters and Light (Support & HQ for Nanowrimo) is behind you all the way, I give you my own personal message from Captain Kim: Hi again Louella, Thanks so much for sharing your story! I am totally invigorated. I’m so glad that you are taking on this challenge of writing a guidebook this November. You are a NaNo Rebel of the highest order: you’re giving back to the writers who are coming after you. We’re rooting you on. Best of luck this November! Tim Kim Office Captain *The Office of Letters and Light You can make a tax-deductible donation to the Office of Letters and Light at http://store.lettersandlight.org

Point of View: Vision of Writer & Character

 

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“There is an inside to experience as well as an outside.”
–Aldous Huxley

The way a character (or author or other narrator) perceives the world and interprets it is called point of view. We are in Sally’s head and heart when we read,

Sally couldn’t wait to get into the classroom and confront the students about their cheating ways. She felt her stomach clench; she was so angry she could spit.

This is an example of Sally’s point of view (POV). We are in her head (she can’t wait to confront the students), in her body (feels her stomach clench) and in her emotions or heart (so angry she could spit). This is an example of “deep-penetration” or “close” point of view, or point of view that goes deeply inside a character and reveals their attitudes, emotions, and motivations. Nothing is held back, as it is in a more distant, omniscient, god-like point of view. Deep-penetration is not the only type of POV used today, but it is by far the most common and, some would argue, the most satisfying to readers.

Point of view is a filtered perspective on two levels. First, Sally is made up of a set of values and ethics, traits, background, economic situation, old injuries—physical, spiritual, and emotional influences—the various factors that the writer fabricated to bring her to life in the story. Second, Sally is also created from the writer’s memories, world-view, and emotions. It is difficult to separate the fabricated Sally from the writer’s world-view; the two levels blend without our notice; we almost can’t stop ourselves from imbuing Sally with some of our personal hopes and fears. That’s okay; go there. It takes courage to reveal our deepest selves—and doing so creates great characters, memorable stories.

The influence of the writer’s essence happens automatically, behind the scenes, and influences not only Sally’s persona but also the decision about who will narrate her story. There are many choices: the author, termed “authorial point of view”; the character Sally herself, as in the example above that utilizes the “deep-penetration point of view”; Sally plus a cast of other characters, called “multiple point of view” or “multiple deep-penetration point of view”; a made-up “voice” who drops into her story like a visiting aunt to explain things called simply a “narrator” (which gives “narrator” two meanings); or a god-like presence who sees into every room and every mind and dictates or comments on the action of the story, called “omniscient point of view.”

Note: Memoir is often written from the omniscient point of view but in recent years is trending toward the deep-penetration single or even multiple point of view story with omniscient passages.

As you gain knowledge about the craft of writing, you will encounter other experts who hold a variety of opinions about which point of view is best, or best for a given type of work. The varying opinions bewilder. However, the wide array of memoirs utilizing multi-character points of view, first-person or third-person authorial point of view, and a host of other combinations suggests that there is no one right way to master or to deliver point of view. That’s true whether you’re writing fiction or nonfiction.

What do I recommend for new writers? I’m always suggesting the first-time student write a deep-penetration work because (a) I know a majority of readers like it and (b) the new writer tends to hold back from revealing emotions and this form encourages the opposite. The deep-penetration book is flexible; it can be written in first person (“I”) or third person (“he/she/they”) and still be an effective read.

I also recommend that writers working in a deep-penetration third-person point of view stick to one point of view per scene. Doing so develops reader loyalty to the character, makes the reading experience more satisfying than the head-hopping variety, and staves off confusion.

Ultimately the read has to be satisfying to the reader or the book may never get read let alone adopted as a favorite.

So here’s a definition:

The way a character (or author or other narrator) perceives the world and interprets it for the reader is called point of view.

The Big Two Points of View:

  1. First, omniscient point of view is found in classical literature, notably in the noir writings of the 1920’s through 50’s, and in some of today’s good fiction and memoir. Utilizing the he, she, they pronouns, the omniscient narrator is rather like a mastermind moving chess pieces on a board. In addition to masterminding the action in entire books, bits of omniscient narration appear in many third-person narratives, particularly to open the book or a chapter set in a new location.Omniscient passages are often characterized by exposition, by “telling” rather than “showing” in cinematic fashion. We “tell” children a story at bedtime, often opening with “Once upon a time.”
    Authorial omniscient utilizes the author’s opinions and perspective about the characters, their activities, their feelings, and their plans; many first-time writers cannot avoid being intrusive—a condition sometimes termed “author intrusion.”
    The omniscient narrator typically can delve into several characters’ feelings or avoid feelings altogether and report actions and reactions. The distance narrator floats above to watch and report on several characters’ activities.
  2. Second, the deeper, or deepest, reader access to character is called deep-penetration point of view. There are two types:
  • First-person narration, using the pronoun I, is both classical and used widely these days; it’s easier to learn than the other types; and most of all, it’s the most facile when you’re trying to learn how to include character emotion in your writing. Because the reader is unavoidably inside the head and heart of the central character for the entire book, and there is no omniscient presence to narrate, the writer pretty much has to devote attention to “feelings” and “motivations.” The feelings and motivations can be “reliable” (the character never lies to the reader) or “unreliable” (character lies on purpose or due to some illness or incorrect thinking or bad information).
  • The second type of deep-penetration narration is close third person point of view; it’s what huge numbers of readers enjoy reading, and the technique gives the writer a great deal of flexibility and depth. One option is to write the entire book in third-person deep-penetration point of view, revealing a central character’s mind, heart, motivations, and reactions. Another is to write it using one dominant point of view, supplementing with one or more supporting points of view that reveal other characters’ inner emotions and motivations. The pronouns he, she, and they populate this viewpoint.

In a nutshell, point of view is all about perspective–whose? It’s about seeing the world through a unique set of perceptions, senses, and attitudes. You are the god of your story: you have to decide how best to tell it. By understanding and mastering point of view, you have the power to create worlds with unique visions and perspectives.