“The story in this book is fantastic!” Rowlf exploded. “I can’t put it down.”
“Oh really?” Cyndy interrogated. “I found it annoying to read because of all of the oddball speaker attributions.”
“That’s because you have no vision,” Rowlf interjected. “This writer is being experimental.”
I’m proofediting a book right now for a publisher that is full of attributions just like these. It also has no discernible POV, switching within scenes to whatever character is most convenient at the time (head hopping)—or even to omniscient.
So why do I like the book? And what lessons can you learn from it? See my post today at Seriously Write, one of my favorite writer’s blogs.
Image courtesy of imagerymajestic / FreeDigitalPhotos.net__________________________________________
Michael Ehret, for Writing on the Fine Line
Michael loves to play with words and as editor of the ACFW Journal, he is enjoying his playground. He also plays with words as a freelance editor here at WritingOnTheFineLine.com, where he often takes a writer Into The Edit, pulling back the veil on the editing process. He has edited several nonfiction books, played with words as a corporate communicator, and reported for The Indianapolis Star.
Writing On The Fine Line 