I understand where you're coming from, Glenda. It can be tough to trust and follow our children rather than lead. But if we've done a good job developing them, they can take us to some interesting places.

It can be hard to do when you have equally weighted characters in a scene. If my MC is in the scene, I automatically go to them for deep POV, as the whole book is ultimately about them. If the MC isn't present, I look to see who is really driving the scene. One character may be more emotionally invested, but if another character is the one that drives the action and ultimately exposes what ever information needs to be established or exposed, then I will go with them. Think about what you're trying to accomplish with the scene and who is going to best accomplish it.

Great quote, Jeannen, I and think it totally applies in this case. If we approach building traits in our characters the same way we approach it in our own lives, we end up building deeper and more sympathetic characters. The deeper the character, the more real they become, and the more we are able to put them front and center.

As for editing, that's my favorite part. Writing the first draft is like digging out the clay; editing is where we sculpt it into the masterpiece it's meant to be.

No fooling, Eldred! Everyone should experience the critique groups we had, have still for you. Constructive criticism means makes an enormous difference. I truly appreciate those who not only saw the issues but gave alternatives.

Thanks, Mary. I'm glad it helped!

I had the same prob;em in the beginning as well. While there is a proper time and place for third person omniscient narration, I find it rarely works for me.