Writers do a lot of research and work to create the world in which their story is set. But a reader does NOT need to know all these details. They only need to know what’s important to the scene itself. And the key to that is asking why does the POV character notice this or that, or think about this or that? The single question of ‘why’ is very effective in editing down the most essential information in a scene.
Here’s an example from a work-in-progress of mine called ‘Not Enough Time’. In the very first scene I wanted to show the setting as I didn’t just want to put at the top of the page, Northeastern Colombia because readers wouldn’t know why I set the scene there. Instead, I wove in the details of that particular setting through my POV character Jake.
Jake continued to scan their surroundings without moving a muscle. The jungle threatened to overtake the dirt clearing and the only sounds cutting through the tense silence were the small birds flitting through the trees. But the oil fields of northeastern Colombia were hit on a regular basis and the two execs they’d been guarding were highly-lucrative targets. Yet… no sign of trouble at all the entire two weeks they’d been here.
What I wanted to create was an image of an oil field hacked out of a jungle, and the dangers surrounding it. It explained why my hero was there (guarding two oil company executives) and the conflict behind the setting (no sign of trouble despite the area getting ‘hit’ on a regular basis).
Another way to avoid info-dumping is not only weaving in the necessary details, but making sure those details advance the story. It’s all well and good to read description that looks great, but if it doesn’t advance the story then it’s pointless.
Here’s an example from a short story of mine. In this scene (the first one in the story), Emma meets Miguel, the man she’s come to write about. Except that she doesn’t recognize him when she sees him this way.
But as she raised her camera a man rose up out of the water in a huge rush like a god of the sea.
Slowly, she lowered her camera and felt her mouth fall open at the sight of the man now walking out of the water.
He was like a god- tall, broad-shouldered with washboard abs and dark curls of chest hair. He slicked back his thick black hair and smiled up at the sun, his black swim trunks clinging to his mid-section, outlining an impressive package.
Blushing hotly, she looked away from that part of him but it was too late. He was coming right towards her, towards the towel she stood right behind.
“Hello.” He called out with an accent.
And as he got closer, she realized with a huge blush of embarrassment this was the man she had come to write about.
Miguel Salvador, bad-boy chef and all-around hunk.
There’s a lovely shock to Emma upon seeing Miguel like this even as that shock turns to embarrassment when she realizes who he is. So not only do we have Emma’s observations and emotions in the scene, we also have the beginning of the story’s conflict.
Deep POV is about letting your characters tell the story and not about putting every little detail on the page because you want to show off your research and world-building. Remember, you have a story to tell and those details are just a part of the story.