- if I manage to glean a new sliver of information that enables me to improve my craft or
- happen upon a revelation that deepens my understanding of story telling or
- experience affirmation of a belief or method I am already practising, then I feel I have gained something useful.
Deep Point of View (DPOV): What is it and How to Write It with Kathleen Ahrens
Kathleen encouraged us to first re investigate our Intention - why we write. Knowing that then allows us to engage with the readers' emotions and therefore establish, DPOV.
She introduced us to different POV Characters and the tenses and view points they can be portrayed in for example, first person, third person, second person etc.
- as narrator
- multiple viewpoints
- single major viewpoint
Deep Point of View
A way to connect with the main character through DPOV is to make them MOAN.
|Making your characters MOAN avoids POV violation (telling not showing)|
An immensely useful exercise for writers of every genre.
Painting with Lines and Language with Briony Stewart
I'm not the world's best drawer. I mean, some days even I find it difficult reading my own handwriting but Briony calmly described how I and others can improve our linguistic paintboxes with figurative language, examples of which can be found in her beautifully evocative, Kumiko and the Dragon Series.
Briony outlined how exciting language is what kids love best. Not only is it fun, it can add to the richness of the text and expand imagination and vocabulary in the same ways vivid, detail laden illustrations can enhance the emotional tone of a story.
As writers and illustrators, Briony's take away advice was to BE OBSERVANT. Create a Visual and Verbal Word Bank
Picture Books as Theatre: Creating Drama in Illustrations with James Mayhew
|James Mayhew paint-forming for the Opening Night Ceremony of the AFCC|
This was an entrancing session presented in theatrical style by a man who is not just a gifted illustrator but also a story teller with an innate sense of what works visually and viscerally for readers and viewers.
James married the art of stage building with picture book writing when seeking to create a sense of anticipation and entertainment, maintaining that authors (and illustrators) are in essence, set designers, scriptwriters and story borders all in one. In being so, they must consider and research details involving:
- lighting (mood / colouration)
- timing (when to hold things back and when to build momentum)
- fit (when less is more, utilising space to get the story told properly)
Afterwards, during a quiet spell in between book signings, I was fortunate enough to sit with James and chat in more detail about the various staging aspects of the much studied, Where the Wild Things Are? We poured over it's many nuances, announcing suppositions as to reasons for and why things appeared as they did in this book. Only one thing may have improved our vigorous discussion, Maurice Sendak himself.
Come back soon, for even more session round ups. I'll be highlighting moments from the Cross Media Platform conference.