We’ve learned that head-hopping should be avoided if we want to maintain a strong connection between the reader and the characters, and we’ve learned that just calling something omniscient doesn’t solve the head-hopping problem. This brings up the obvious question: How do we avoid head-hopping? The answer might be different for each story we write.
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Last time, Kristen Lamb guest blogged for me about how Twitter can be a writer’s BFF. And maybe some of you weren’t convinced. (Really, Jami, we know you’re just trying to justify your time on that thing. Of course a social media expert would say social media is important. Duh.) So I brought back-up with
In Part One, I proposed my Matrix theory for describing action and scenes in stories and talked about why it works. In this post, I’ll explain how to successfully use the technique to add details, both with narrative and dialogue—and how not to use it. So as I mentioned last time, readers’ minds are malleable.
Last time, I explained how to avoid dumping information into stories and how dialogue is often used incorrectly to convey details to readers—the “As you know, Bob” technique. It just so happened that my friend Simon C. Larter posted a related article with info dumps in dialogue that worked that same day. Great minds and
A quick note: Today’s the last day to leave a comment on my contest post to win a free book from the RWA registration bags. The deadline to enter is midnight, August 16th. Last week, a friend of mine, Simon C. Larter, interviewed Victoria Mixon, a freelance editor. He asked several great questions (and a
