The Privileged Class

Have you ever driven with a new teen driver in the car? Oh my, they are quick to say: You didn't come to a full stop, you didn't use your turn signal, your hands aren't at 10 and 2! 


And these aren't spoken, they're shouted.


Ah, yes, training in the hands of a newbie.




The writing journey has many newbie moments. As information/rules/guidelines are learned and opportunities to critique other's work grow, the writer is quick to see new "errors" in every written product from cereal boxes to famous published writers. Here is a slightly exaggerated sample :)  :

Adverbs Thou shalt avoid all adverbs , 

No Gerunds allowed (those "ing" words), 

Passive words Thou art a weak writer if even one passive word is used, 

and a myriad of other "no-nos" 

(Then again, all the good stuff gets missed
 when looking from the newbie side of the road
 toward what seems to be The Privileged Class)

Randy Ingermanson recently commented on this topic. He said:

"Since there are no actual 'rules,' in principle we could skip right over this idea. However, I won't, because it is hinting at a common but nonsensical notion that published authors are somehow a privileged class of people who don't have to write as well as other people.


"The fact is that published authors, as a class, are enormously better at the craft of writing than unpublished writers, as a class. Yes, there are some published authors who lack certain skills, and yes, there are some unpublished writers (generally those who are about to break in) who write extremely well. But looking at the average skill set for the two classes, they are well separated.


"The fact is that published authors who fail to improve their craft are damaging their careers. It's not about following or failing to follow some imaginary set of "rules." It's about writing well.


"The industry still prefers excellent writing to crap. Tragically, there is a very limited supply of truly excellent writing. There is a pretty good supply of good writing, which by definition is going to have some substandard parts. This should be good news.


"Be aware that your writing will never be perfect, even if you get published, and once you do get published, you'll be open to the usual sniping that comes at every published author. You'll survive this like everybody else does."




What can we do when we stretch our newbie wings after learning a new concept?

** Look for the qualities that can be learned from the book.

** Understand typos happen.

** Not everyone likes a certain story, this doesn't mean the book 

wasn't written well.

** Some "errors" are not errors at all. 

How about you? Chime in with kudos for published works


I'll start:. 

This week, a client of mine had a book in her hand when she came to her meeting. She was a native, single, young mother. I instantly recognized the book: Lynn Austin's Hidden Places. The young mom said she picked the book out from a bin at her college because she liked the cover. The bookmark showed she had read more than the first pages, yet she chose that book to have with her while waiting in the lobby! To think, she will be reading an award winning  Christian Fiction book. How cool is that?

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Quote used with permission
Randy Ingermanson
Publisher, Advanced Fiction Writing E-zine
http://www.AdvancedFictionWriting.com/blog

Image by: Freedigitalphotos.net

This blog post by Mary Vee.
Mary lives in Montana with her husband and loves to hear from her three college kids. She writes Christian young adult fiction (pirate tales, missionary and Bible adventure stories).

Her Tag: Stepping into Someone Else's World.

To learn more about Mary, 
visit her blog: http://www.mimaryvee.blogspot.com

Mentored: Answers to our Show Don't Tell Questions with Randy Ingermanson

I have had many question about the topic  Show Don't Tell. It's a complicated subject.


Seems to me Show Don't Tell rules make hiking up Mt. Everest look like a stroll on the beach.

Sometimes I feel like no matter how much I edit, I can't fully weed out the "tells." Ah--am I doomed to failure?


Recently the "Show Don't Tell" topic poked it's ugly head up in a loop discussion. Randy Ingermanson chimed in his great insights sprinkled with a dash of humor. I wrote Randy and asked if I could share those comments with you. He said yes:)

Randy Ingermanson thoughts on Show Don't Tell: 

Randy, there's a lot of information available on the topic of Show Don't Tell. I'm overwhelmed with all the rules.

There are absolutely no "rules" about "showing versus telling" (or anything else in fiction writing). The "rules" you are referring to are actually "rules of thumb". "Rules of thumb" differ from "rules" in the same way that good abs differ from corsets.

The whole purpose of writing fiction is to give your target audience a Powerful Emotional Experience. All rules of thumb are intended to suggest ways that you could improve things when a given scene fails to deliver on that pesky Powerful Emotional Experience.

Please remember that if you are delivering a sufficiently powerful set of emotions to your reader, then you don't need to fix your scene. So don't even think about the rules of thumb unless your scene is actually broken.

But I've been taught "Showing" is always better than "Telling".

This is not true. Showing is generally better during the exciting parts of your character's life, but showing is absolutely the worst thing you can do during the boring parts of your character's life. I'm sure you can tell the difference.

Yes, but won't "Telling" or info dumps guarantee a manuscript's rejection in today's publishing field ? --let's leave out authors of days gone by who had pages and pages of info dumps published.

Info dumps at the start of your story will definitely do this, because info dumps are boring. Telling the exciting parts of your story will also get you tossed. You should be showing the exciting parts of your story and telling the unexciting parts. This is obvious enough that I won't bother to try to explain why.

OK, but I've heard in classes and read in books that "Telling" is a sign of weakness and muddies the story with information the reader doesn't need.  

Poorly done telling shows poor craftsmanship. Excellently done telling shows excellent craftsmanship. You can see any number of examples of well done telling in most literary novels. For some wretched examples of telling, go to any critique group on the planet and ask to read the work of the newest member of the group.

Whether you show or tell, if you do it well, it's like magic. Whenever you attempt a magic trick, there's an enormous difference between doing it well and doing it badly. If you disbelieve me, then don't try that trick with sawing your mother in half.

When you sit down to write, forget every rule you ever heard of. Just write. When you go to edit, don't fix what ain't broke; do use the rules of thumb to help you fix what is broke.


Randy Ingermanson
Publisher, Advanced Fiction Writing E-zine
http://www.AdvancedFictionWriting.com/blog

Thanks, Randy!




Have you been bogged down with the Show Don't Tell rules? Please share your thoughts and/or tips.


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Image by: Freedigitalphotos.net

This blog post by Mary Vee

Mary lives in Montana with her husband and loves to hear from her three college kids. She writes Christian young adult fiction (pirate tales, missionary and Bible adventure stories).

She thinks of writing as: Stepping into Someone Else's World.

To learn more about Mary, visit her blog http://www.mimaryvee.blogspot.com/

On Being Mentored: Fried Brains

I confess, I am not a NaNoWriMo participant this year. My confidence is not there--yet. I suppose I could blame my job, my house on the market and up-coming move, family, and a host of other excuses. The truth is, if I truly wanted to crank out a 50,000 word novel in 30 days I could--if I were ready. But I'm not.


Still, the idea of a magnanimous goal one month in the year is a fantastic idea. I thought--I can do that! So I joined a loop that let me set up my challenge. You can too!

So off we go-set our goal-writing every word which pops in our head to finish our book

Until a fried brain day arrives.

The first few days usually sail along. Then IT happens.


The words hit a snag, the brain is fried, unable to conjure even one more word. Hijacked, like a kite whisked into the one and only tree in a field by some random breeze.


What to do? The pressure to meet today's goal rises. Remnants of yesterday's missing goal had been shoved onto today. Can't do it again, but my brain is fried.


Who can save the day?


Here is an idea:  Loop Mentors.


Yes, goals can be met with--drum roll please------super loop mentor heroes!


I love the word loop-so different from the word clique. Think about it: A loop invites--a clique rejects.


Tracie Peterson mentioned the benefits she enjoyed from loops in our October Montana ACFW meeting. She asked other loop members for odd details, reactions to situations, and etc. The purpose: fresh ideas and perspective.


I belong to several loops, all of which provide encouragement in many ways. Well, they aren't all officially called "loops" but they all act like one.


A loop provides opportunity to report and cheer members for editing, completing a WIP, plotting, successfully completing any word count goal for the month in addition to help with  brainstorming, provide needed information, and so much more anti fried brain helps!


How many members are required to have a loop? The minimum: one more than is needed to put in a light bulb. Max: whatever the group feels they can handle. Gotta love the open, warmth in a loop--almost open house in nature. Come and go as you need and can give.


Loops members provide much more than encouragement and accountability. They provide ideas, answers, unique perspective, expertise, jump starts, grammar tips, and etc.


For example: One loop member hit a snag with a dance scene. After explaining a bit of her setting she asked for conflict ideas for the couple. Several chimed in their ideas. The determined author whittled and directed the dialogue until the perfect answer came. "Eureka!"


On another loop, a writer told the members her MC broke her leg! She needed to know the hospital process, recovery, and healing time--and she needed to know it quick. No time to do all the research. The answer appeared in a short time.


My family members have served as a loop in a way. I interrupt them at all times of the day to ask "what if" questions and siphon their expertise in a given subject. Sometimes I hear pret-ty interesting ideas!


The fun of looping is not taking-but giving. When I read about someone's word snag my brain hops into proactive solve mode. This exercise often solves my own word snag and jolts my fried brain. Another benefit is writing encouraging comments and reading other loopers ideas.

When we bless others, we will be blessed, too.

Don't be a hermit

Fried brains taste nasty.

How have you benefitted from loops?
Do you have any loops to recommend?

P.S. When you take a break from productive writing and notice a million loop emails don't leave the loop! PRESS the delete key! Highlight the whole group and delete them. You have permission.  Then when your brain is fried and you need help from the loop, or you have extra time to help others, click on the emails and enjoy the blessings.
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Image: FreeDigitalPhotos.net

This blog post by Mary Vee
Mary lives in Montana with her husband and loves to hear from her three college kids. She writes Christian young adult fiction, especially pirate tales, missionary and Bible adventure stories. 
Her tag: Stepping into Someone Else's World. 

To learn more about Mary, visit her blog http://www.mimaryvee.blogspot.com/

On Being Mentored-Our Responsibilities

As a young married person (several years ago), I decided to cook a fabulous dessert for my husband from scratch. I flipped open a cookbook and turned to a recipe which called for ingredients I already had in my kitchen. I chose banana bread. Yum

Ignorant and green as can be in the kitchen I followed every detail, assumming the outcome would be good, (c'mon the recipe was in a BIG cookbook!).

The sweet aroma filled our tiny apartment and made our stomachs growl. Yes! I AM CHEF.  After my creation cooled, I proudly presented my prize winning, delectible dessert.

My husband and I took one bite--wrinkled our noses, choked down the bite,and threw the rest away.  I think the powdered orange Kool-aid ingredient might have been the problem.

Duh, you say? Well, yeah, I know that now. But I didn't then. I assumed the expert who compiled the cookbook gave perfect advice. 

Lesson learned: Regarding advice, I must reseach, think, practice, not assume--the list trails for miles.

Have you ever had a well meaning friend, family member, or crit partner give you advice for your WIP? I have.


I have a world of mentors. Each, bless their hearts, has taken time to correct my novice mistakes and direct me back to the road of publication. I so appreciate them.  Unfortunately, not all advice is good. Let me repeate that--not all advice is good. (think orange Kool-aid in banana bread from a BIG cookbook)

This last month I talked with published writers, unpublished crit partners, family, co-workers, friends, online sites, anyone who would listen to my plethorea of questions regarding my WIP.  I felt like a little puppy excited to please each helper by implementing their advice into my work. Puppies can do crazy things when they want to please.

My mistake: choosing to please rather than do what is right. (sometimes right means to follow advice given even when you don't want to, FYI)

At the 2011 October ACFW Montana chapter meeting, Sharon Dunn, author of Night Prey (Love Inspired Suspense) and 2011 Carol winner, chatted with me about this topic. She said, "It's important to know the perspective each crit person brings to their comments. Perhaps one crit person's passion is description, another plot, yet another grammar. These same crit persons often add additional suggestions that may seem inappropriate. Thats when caution is wise."

Lesson learned: don't disregard a crit when incorrect advice is detected (add grammatically incorrect words, backstory components, and etc.) Instead, search each comment for possible golden nuggets which might enhance the product. One golden nugget could make a difference between publication and dust.

Contrary to my banana bread flop, let me share a FAB advice session:

 

At the 2011 ACFW conference my registration slip indicated my time slots for three mentor appointments would be Friday morning. I chose to start my morning at Jeff Gehrke's class "Plot vs Characters rather than figit in the waiting area.  

Thirty minutes into the class I left for my first mentor appointment. Gayle Roper, kind and gracious as can be, listened to my pitch, asked a few questions then tipped her head  and said, "Well, Mary, did you consider..." She found a hole in my story! I thanked her and went back to class.


Oddly enough, the next point Jeff discussed addressed the issue Gayle mentioned. He spent the next 30 minutes teaching the class how to solve the problem! I modified my pitch in time for my next mentor appointment.

A half hour later I met with Tracie Peterson, intuitive and compassionate as can be. Aha, I thought. I'm ready. The hole Gayle found has been filled. Tracie listened to my pitch, asked a few questions then folded her hands together and said, "Well, Mary, did you consider..." Really? Another issue?  I thanked her and returned to Jeff's class.

I kid you not, Jeff's next point addressed the problem Tracie mentioned. He spent the next 30 minutes teaching the class how to solve the problem. Once again, I modified my pitch in time for my last mentor appointment.

Moments before Jeff's class ended, I went to my third appointment. Camy Tang, delightful encourager and passionate author listened to my modified pitch. Her eyes went wide and she laughed. "Mary, this is a great story."  She liked my one sheet, and couldn't stump me with any question. The conversation ended after five minutes. Well, I wanted to use up my whole fifteen minutes so I asked for suggestions. She taught me a new idea then we chatted.

Advice from mentors educated, experienced, enthusiastic,and enlightened in the writing craft coupled with a technique class sped me back to the road of publication--unlike orange koolaid advice.

Lesson learned: I am responsible to glean wise advice from those God sends my way.

So-how about you--share wise advice you've received--don't be shy, I don't want to learn it on my own:)

On Being Mentored: Featuring Lynn Austin-7 Time Christy Winner

Not all of us have the opportunity to invest one month to envelope ourselves in research for our story, yet we wish we could. Today seven-time Christy winner, Lynn Austin, tells about her exciting opportunity to research details for one of her book series.


Lynn was the keynote speaker at the Write to Publish Conference the first year I attended. She shared this story. Her messages were inspirational and engaging--I still remember what she said six years later! I've asked her to mentor us today.

Hi Mary,

     Thank you for inviting me to share my research process with your readers. The Chronicles of the Kings series was the first set of books I ever wrote. I was still learning how to research.


     Since this series about Hezekiah was set in Israel, I longed to see the setting for myself. Unfortunately, that wasn’t possible, at first. 


     I began poring over every book I could find on Israel using Jewish sources as well as Christian ones. Since Isaiah was a main character, I read commentaries on the book of Isaiah until I felt as if I knew the prophet thoroughly. I also subscribed to a magazine called Biblical Archaeological Review which gave a host of information on discoveries and ancient practices. The magazine also listed volunteer dig opportunities in Israel—I made up my mind to go on one.


     My kids came down with chicken pox a few days before I was scheduled to leave—and then my husband got them, too! He is my biggest encourager; he told me to GO to Israel! Our oldest son, who was 14 at the time, went with me even though he was still recovering from the chicken pox. Crazy!

     We spent 5 days eachh week on the site, digging from 4:30 am (!) until noon. We spent part of the afternoon with the archaeologists, learning about the culture and the discoveries. We traveled from one end of Israel to the other, listening to lectures at all the sites (and I asked a million questions). It was amazing!


     Of course I knew my research had to include a walk through Hezekiah’s tunnel, still intact beneath modern Jerusalem. I didn't particularly like dark, tight, cave-like spaces, the tunnel was all of those things—plus it still contained ice-cold, thigh-deep water! 


     I walked through the tunnel with only a tour guide and one flashlight. Midway through, the guide turned off the flashlight. “See how dark it is?” I nearly had a panic attack! That's when I decided one of my characters (Eliakim in Book II) would have to experience what I did.


    The best part of the trip for me was to live in Israel for a month and keep a record of the sights, sounds, smells. These sensory details and weather patterns bring a story to life.


    I always purchase books to take home and remind myself of what I learned. Pictures help me a lot. I decorate my work area with photographs and drawings that take me back to the original setting.

     I actually enjoy doing research. But after completely immersing myself in the facts of the story’s time period, it becomes very “tricky” not to start spewing them out in my fiction. I would say that of all the information I collect, only a very small percentage of it ever shows up in the novel. The rest is in my head and my heart, creating an “atmosphere” in which the story is allowed to breathe.


    It took me much longer to research this first series than it does for books I write now. 
    
    I still spend at least one to two months researching and visiting the site (if possible) before I start writing. And I don’t stop researching. It’s an on-going process throughout the year it takes to complete each novel.


Blessings,




Thank you, Lynn! 


Lynn then blended sights, sounds, textures, information, smells, and tastes from Israel into her story as a weaver would fashion a design into tapestry. When such works of art are completed, the well crafted intricacies go undetected unless pointed out by a guide. 


Here--take a look for yourself--


--from Lynn's book Among the Gods (book 5) p.339


Joshua held the oil lamp in his right hand, feeling along the clammy wall with his left as he slowly groped his way through the meandering tunnel. He had only been inside it once before, with his father, but the suffocating darkness, the weight of the rock closing in around him, the terrible heaviness bearing down on top of him, were all so familiar it was as if he had been inside this tunnel many times. The icy water grew deeper as he sloshed through it, the passageway narrower, like his lungs as he struggled to breathe.


He inched his way forward, searching for nearly ten minutes before he found what he was looking for-Abba's inscription. He held the light close to read the words his father had chiseled into the stone, feeling them with his fingers. "Behold the tunnel..."


Those were the only words he managed to read before a spasm of coughing overwhelmed him. As he fought to catch his breath, the lamp jostled in his hand. The wick sputtered and sank beneath the oil. The flame died. Joshua plunged into total darkness.


"Abba!" he cried out in panic. But his father was dead, and his Heavenly Father was too far away to hear his cries. He knew that his own anger and forgiveness had separated him from God. They were the true source of his darkness, just as Miriam had said. When he'd turned his back on God, he had walked away from the only Source of light.


Joshua's limbs went numb with terror. He wanted to run from this terribly black void, but he was too dizzy and disoriented to move. He shivered, shaken to realize that Manasseh had lived in this eternal darkness, this midnight of the soul, for most of his life; now Joshua was lost in it too. How would he ever find his way out?
from Among the Gods (Book 5) p. 339, used by permission.




Have you visited the setting for your WIP/book in person or with a video media?
How has visiting the setting benefited your story?
How have you blended pages of facts smoothly into your book?


Lynn said she would stop by today to answer questions. What would you like to ask?

On Being Mentored: Siri Mitchell's Detailed Accuracy

I sat down at my computer, closed my eyes, and pictured the scene I was about to write. 

I saw______, 

I heard ________, 

I touched ________, 

I tasted _________, 

and I smelled________. 

I painted a picture, a 3-D picture with rich words. Yet for some reason my story seemed superficial.  

Master writers like Siri Mitchell nominated for this year's Christy Award and Lynn Austin 5 time winner of the Christy Award have conquered this problem by: 


**Investing hours, days, weeks, and even months researching their topic
**Filtering through pages of information to include only select valuable details
**Blending the information into the action/dialogue/setting/plot/theme with master craftsmanship

so that....

Readers 

Don't 

Notice 

their great investment.

Take a look at this scene from She Walks in Beauty by Siri Mitchell, page 34

     The corset had placed me in an unnatural position, and I could find no comfortable posture in which to sit. Moreover whenever I moved, at lest one of the corset's six hundred bones poked into my sides. I counted the hours until I would be able to take it off and sleep.

     But that night, after the maid had removed the corset cover, she handed me my nightgown.

     "But you've forgotten to remove the corset."

     She curtsied. "You're to wear it, miss."

     "I know, And I do. I will. But now it's time for sleep." Aunt had trouble finding maids that performed to her satisfaction. I was beginning to think this one's time, too, was limited.

     "You're to wear it while you sleep, miss."

     "While I sleep? But if I wear it, I will not seep!"

     The maid bowed her head and curtsied again. "Twas the missus's orders." 

     If I could have reached the laces, I would have untied them myself. I had tried, in fact, that very afternoon. But they were located at the back of the garment and tucked into the corset where I could not find them.

     "Your nightgown, miss?"

WOW!

I asked Siri to share her research information with us today.  

Mary –

Thanks so much for thinking of me for your series!

I research all of my books the same way. 

I try, first, to read broadly about the period, looking for books on the general historic era. 

After that, I search for social histories that give more insight into the way people thought about themselves and the world in general. 

At this point, I try also to find books that focus on the women’s history of the period. If I can find them, I try to read some biographies or journals kept by women or some books from that era as well. 

After reading generally, I turn toward specifics: books about food, furniture, clothing, professions (if applicable), etc.

I’ve found YouTube to be a great source for old-fashioned dances and sites like SnapFish and Shutterfly to be useful for photos taken of places like Plymoth Colony, Castles in Europe, or other tourist sites that are still in existence.

I usually end up with between 200 and 300 sources for each book. Most of these are from the internet (a great source for digitized primary documents and out-of-print books), but a fair number are books. 

I’m attaching my bibliography for She Walks In  Beauty so you can see the books I read through. 

She really sent me the list!  Unbelievable!

I usually spend a month or two reading up before I start writing. I prefer to have all the ‘big picture’ research in my head before I start so I can ‘feel’ the era. I don’t mind leaving some of the more specific research (food, clothes, hairstyles) for later drafts.

Let me know if you have further questions. I’d be happy to answer them. And thanks so much for supporting my books!

-Siri
author of A Heart Most Worthy,
She Walks in Beauty, Love’s Pursuit,
A Constant Heart, & Chateau of Echoes

Thanks for the great insights, Siri.

Well, I have more to say on this topic. AND I simply must tell you about Lynn Austin's modeling.
So, I will continue this topic in my next post, September 14th.

Do you have questions for Siri regarding her detailed accuracy craftsmanship?
Have you mastered this skill and are you willing to share tips or examples?
What research did you do prior for your WIP?
How have you changed boring details into exciting text?


Siri not only modeled how to let her reader see and touch the corset--Siri modeled how to let the reader wear the corset

**from She Walks in Beauty by Siri Mitchell, used with permission

On Being Mentored-Point of View

The point of view (POV) we chose for our WIP/manuscript can make or break our story's success.

Master writers select a character to tell a compelling story. The chosen one has the most obstacles, the most to lose, the greatest need, and the reason to move forward.

Consider The Three Little Pigs. This short story, told from the pigs' POV, compels readers to side with the pigs and disapprove/fear the wolf. Many children and adults have enjoyed re-readings of this story.

But on March 1, 1996, Lane Smith authored The True Story of the Three Little Pigs from the Wolf's point of view.  This book has earned high reviews and possibly is as well known to children today as The Three Little Pigs. I must admit--I liked this book more.

As I sat down to write this post, I realized The True Story of the Three Little Pigs would not have grabbed my vote had The Three Little Pigs not been written first. So I asked myself, would I have enjoyed the Wolf's POV had I not known the Little Pig's POV?  Probably not.

Let's look at a few works by master writers to examine why he/she chose their character's POV:

Gone With the Wind by Margaret Mitchell - POV chosen:  Scarlett O'Hara - Civil War romance novel


Does Scarlet really prove to be the best choice for POV? 
Here is the test, (feel free to add your comments at the end of the post)




Reason to Move Forward: Survive affects of the war, find true love
Needs: Romance, wealth, attention, status, security
Losses: home, husbands, child, stability, wealth, 
Obstacles:  ego, Ashley married Melanie, Brett's true love, Civil War


Contenders for POV:
1. Ashley:  NO! His story would be boring, whimpy, whiney
2. Rhett:     No. Life came to easy for him. He had everything he wanted and few if any obstacles
3. Melanie: NO! Melanie's story would be too sweet, gushy, positive
4. Mammy: Perhaps, but her POV would write a different story. I think I'd like to read it.
5. Scarlett: Yes. Only Scarlett could tell this story.

The Husband Tree by Mary Connealy - POV: Belle Tanner
Western historical romance

Here is Belle's test:

Reason to move forward: Move surplus cattle to auction before winter, protect ranch, no more lazy-money grabbing husbands
Needs: true companion, honesty, trust, ranch hand
Losses: ranch, cattle, home, access to way home, daughter, ranch help
Obstacles: handsome lazy-money grabbing men, winter, too many cattle, needed major repairs for home


Contenders for POV:
1. Lindsey (Belle's daughter): No. She did not return home which would have changed the ending. While she had some of the needs, losses, reasons to move forward, she did not have the greatest.
2. Silas: Possible. Most humor material would be lost, his character would tell a gruffer story, may not lasso readers into the story.
3. Belle: Yes. Humor, rugged spirit, gooey heart, independent, in need of help more than she realized.

Redeeming Love by Francine Rivers - POV:  Angel (aka Sarah) A retelling of the Bible book, Hosea

Here is Angel's test:

Reason to Move forward: survival 
Needs:  escape from evil, a reason for hope, commitment, saving, home, security, true love, dependability
Losses: home, parents, respect, freedom, love, choice
Obstacles: money, captors, imprisonment, lack of life skills, anger


Contenders for POV:
1. Duke or Duchess: NO. Both caused serious problems and neither wanted to move away from their negative setting.
2. Michael: possible, but essential beginning story line would be lost, did not have greatest needs/obstacles, would be told from hero's POV
3. Angel: YES. Her story yanks every emotion into play.

Let's also consider a true reporting of this event: 

Consider your answers for David, or for your own POV

David and Goliath by God - POV: David
Historical battle

Here is David's test

Reason to move forward:
Needs:
Losses:
Obstacles:.


Contenders for POV:

What if you chose a different character for your WIP? 

Could this change bring spice, sassy, salt, suspense, page turning interest?