Hitler's Furies: German Women in the Nazi Killing Fields by Wendy Lower

Hitler’s Furies is a remarkable story of German women whose participation in the Holocaust contributed to the deaths of millions on the Eastern Front. Wendy Lower follows the intriguing stories of twelve women whose loyalty to Adolf Hitler and desire for a better life propels them to commit atrocities to Jewish people.  The story Lower presents is one of normal, every day women who are products of their time. Lower beautifully demonstrates how their background as women coming of age after the defeat of World War I and the emergence of the Nazi party helped to cultivate them into being comfortable with racism, which in turned created an atmosphere where there is no question of morality when Jewish people are concerned. Lower’s research highlighted the atrocities committed by these women using interviews and documents found in Russian and German archives. Although some evidence has clearly been destroyed after the war either through warfare or the purposeful destruction of documents, Lower makes a good case against these women who got away with murder; however, the numbers she uses are not always substantiated by the evidence she presents in Hitler’s Furies. For example, her claim that over a half-million women are culpable and should be exposed and prosecuted is not convincing because of the lack of evidence. Lower admits that the documentation is not there to substantiate this overwhelming claim. 

Point of View

Lake Ouachita from the observation platform on Hickory Nut Mountain.

Point of view is the position from which we look at something and the consequences of looking at something from a particular position - the opinion, judgments, or attitudes that we form. Because of its fundamental nature, point of view affects everything a writer does. It is the key to the structure of the work and to the reader's response. The character "telling" the story is considered the viewpoint character (usually first or third person). This character's attitude will affect how the story is told and the details that are given to the audience. Put the scene in the viewpoint of the character with the most to lose. Here are a few notes I've collected over the years about viewpoint and how to use point of view to enhance your story:

Viewpoint and Emotional Intensity

First person: the story is told as if the narrator were the writer (uses "I").

Example: "I couldn't believe how hot the sun was." This is first person and gives the readers information; it also functions to show the reader how that information affects a character, but it is also the most limiting of viewpoints, because the reader only knows what one character sees, feels, hears, etc.

Third person: the story is told through the eyes of a third person who observes from inside the viewpoint character's mind.

Example: "She remembered the first time she saw the farm..." Third person frees the writer to choose a different viewpoint character for different parts of the book. Switch characters to show motivation. It is the most desired point of view in romances (uses "they," "he," "she," or "it").

"The sun felt like a warm caress on her shoulders." This point of view gives information to the reader, but it also functions to show the reader how that information affects a character.

Omnipotent: "God's" eyes, with the reader seeing into everyone's thought processes. It distances the reader from the characters.

Example: "The sun was shining." The sentence gives information to the reader, but we don't know who is speaking.

Author intrusion (or narrative point of view): sometimes the author slips personal comments into a scene: "What Amy did not know was that at that very moment Harry was sneaking into the Shady Motel with her sister, Joan." Author intrusion reminds the reader that he is reading a story. It jolts them out of the story. This should be avoided.

Example: "John couldn't know that the sun was going to shine next Tuesday." This sentence gives the reader information , but it is specifically information that the character does not know. It is the author stepping in to tell the reader what they are suppose to see, know, and think.

Guidelines for Viewpoint

1. Limit your viewpoint characters and shifts. At any point in your story, the character through whom the reader sees the story world is the viewpoint character. You want your reader to feel these emotions deeply. To achieve this, limit your viewpoint characters to those people who are most important to the story.
2. Limit your writing to what your viewpoint character can sense. Limit the information you give to what the character can see, hear, touch, taste, feel, and think.
3. Avoid head-hopping. If you frequently hop back and forth from one character's thoughts to another's, the reader may lose sense of involvement with your story.
4. Give clear signals when you change point of view. Be sure the reader know immediately when you have changed viewpoints. Give the reader a physical clue that you have changed, like chapter break, break in text, or ****. In the first sentence with the new viewpoint character give a clear clue by showing the reader something that can be seen only from the viewpoint and naming the viewpoint character.
5. Be careful of mirrors and physical inventories. It can be challenging to find a way to detail a person's physical appearance when in that person's viewpoint. If you use a mirror, use it to show something of the character's thoughts.
6. Through other eyes. When you show one character's observations of another, remember to be consistent with the character doing the observing.
7. Do not get between your characters and the reader. Sneak the background information in naturally.

Point of View Checklist

• Have I chosen the best character for this scene?Is the viewpoint absolutely clear to the reader at all times?
• Is the viewpoint logical? Is my character seeing and hearing things that are physically impossible?
• Is my viewpoint character a mind reader? Knows what another character is thinking or feeling.
• Is my viewpoint character a narcissist? Thinking about her own long, flowing blond hair, perky breasts, or slim figure?
• Does each character express him/herself in thought and dialogue in a way that is consistent with his/her frame of reference? (A cowboy, a doctor, and a movie star should view and describe the same experience in different terms).
• Did I change POV during this scene? How many times? Why?
• Do my descriptions and narrative section reflect my viewpoint character's personality and frame of reference?
• If I switch this scene from third person into first person does this character still sound like him/herself?

Author's Voice

Tips for developing your author's voice:

1. Read books by authors you like. Study their style, voice, etc.
2. Avoid authors who's style is no where close to your own while developing your voice.
3. Develop opinions about what is good writing.
4. Write regularly and often.
5. Read your work out loud.
6. Care about your story and characters. Be involved with them.