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Most of my writing experience has been with first person, nonfiction stories. Now I want to try some fiction. I'm working in third person, but I'm a little bit confused about how to pull something off.

Okay, say I'm telling the story from character A's POV and he's talking to character B, suddenly character A says something where I think it might be interesting if the reader were to know exactly what it is that character B is thinking and or feeling at that very moment in time that Character A said whatever he said.

Can I not just write a new sentence saying whatever it is I want the reader to know? Can I not just change the POV from sentence to sentence by simply indicating to the reader that Character A felt this. And then Character B felt this. And so on and so forth?

Is this not the purpose of the omniscient narrator?

I've been told I've got it wrong. I've heard the term "head popping." I guess my question is what is head popping. Is it a bad thing to do? If so, why is it bad? And by that I mean: How does it hurt the story?

Can anyone think of a good example of a popular book that uses this type of effect?

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Oh thank GOD this is a question about narrative perspective and not pimples. – Lauren Ipsum Sep 19 '12 at 1:04
It's where you squeeze someone so hard their head pops off – writingaddict Sep 19 '12 at 3:57
I've pointed this problem out to writers before, but never had a name for it; but I'm not sure I would want to tell a client they're guilty of "head popping". – Neil Fein Sep 20 '12 at 18:22
Yeah, I usually call it "changing POV." – Lauren Ipsum Sep 21 '12 at 0:33
Head popping is a silly name, but changing POV doesn't actually describe the problem I'm seeking help with. For example, you can change POV without running into the "head popping" problems described in the answers to this question. – Tim Elhajj Sep 22 '12 at 8:12

I would find it annoying, or annoyingly convenient, to be switching POVs repeatedly, particularly just for one sentence.

I think even when you have an omniscient narrator, you need to stick with one person per scene, or per beat. When you read a story, you are kind of sitting on the shoulder of whoever is the focus of a scene, and if the POV jumps from A to B repeatedly, as the reader you don't know who you're supposed to be traveling with.

If you want the reader to know what Character B is thinking at that moment, either Character B has to display it (expression, body language), say it out loud, or communicate it somehow (write it down, sign it, text it). Otherwise you have to wait for the next scene or the next beat for the focus to switch to Character B.

The purpose of the omniscient narrator may be to give us access to the thoughts of all the characters... but not necessarily all at once.

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Hey, how could you then pull of, in a written form, something similar to Death Note "thinking/strategy stream of thoughts" where Light and L Lawliet battle each other mentally. Example: youtube.com/watch?v=B7Jq9SNZMtw – Fabián H. jr. Sep 25 '12 at 23:54

It's a good question. It is something I have seen done - for instance, I have recently been re-reading some of David Weber's Honor Harrington series. He uses this occasionally to show the reaction of a character to events. Sometimes it's quite satisfying - but if not used very carefully, it can make the reader confused. A lot of what your omniscient narrator tells the reader will not necessarily have come from the PoV of any character, so if you chop backwards and forwards between two characters' heads the reader can end up uncertain of which thoughts and feeling came from which character. And that can be pure death to your story, because it will dilute the impact of it substantially.

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