It's like a buffet, you go through once and get what catches your eye and when you return for a new plate, there's more of that food plus dishes you never noticed. The world of writing's like that.
And now we move on. Today's topic is that second most challenging (at least to me) aspect of quality writing: Deep Point of View (POV.)
Many of us have read books from an omniscient POV, meaning the reader is let in on everything and has a glimpse into all the characters perspective. It's like have a bird's eye view with the ability to float through walls and move from one place to another in a flash. There are some well written books that use this POV, but its not what today's editors and agents are looking for. They're looking for a deep POV.
So what does that mean? Simply put, the reader can only see, hear, smell, taste, and feel what the character who's perspective you're in does. The author can't intrude and tell you what that character's face looks like or assume what another character is thinking. If you want to show these things, a section break or new chapter is in order.
It also means if you have a character walk out of a room or they have their eyes closed, they can't see anything, so you don't want to write what else is going on in the area/room visually. This is a good opportunity us use the other senses, though. Is there something they can hear, smell, or feel?
There are some key words that take away from deep POV. Like with many aspects of writing, they're not completely out of the question, but should be used only when it's really the way someone would say/think something. These include, but aren't limited to: thought, considered, felt, pondered, suspected, wondered, etc. (For example, instead of writing, "I thought about what she said," you could say, "Did she mean what she said Surely she didn't believe Bo was guilty.")
The main transition for a writer is to not see a scene from the outside, but from within one of their characters.