Is "Head Hopping" Good or Bad?

[Naruzeldamaster]

To be clear, I am aware that in excess, any writing thing is terrible for a story. Particularly if it's used poorly.
I see a lot of folks say 'avoid it like the plague' when I google the phrase.

Personally compared to my high school writings, I don't do it as much. But especially in scenes with 4 + important Characters it tends to get a little 'busy'

When I tend to do it, I don't stick to one character for terribly long. Often I just have the character's internal thoughts on something that was just said.

I think this habit comes from video games and other media I watch/play. They tend to show what other characters are thinking/feeling at times who aren't the protagonist.

 

[Prince of Spires]

Head hopping isn't good or bad, it just is, in the same way that writing in first person isn't good or bad.

Head hopping is a specific style of POV you can use when writing your novel. It is a valid option with its own strengths and weaknesses. There are some amazing novels written with head hopping. The Hitchhiker's Guide to the Galaxy is an obvious one. Dune is another. The Lies of Locke Lamora is also omniscient, though it hops less than those two.

The reason why it gets a bad reputation is that people do it without realizing it or do it wrong. Like with all POV styles, you have to be consistent throught a novel, or you have to be very intentional when you break your POV style. If you do that, then you're fine. However, if you keep switching between styles, then readers get confused and annoyed and will feel cheated.

So don't head hop just because you get to a scene with 4 important characters. Or have one random character add in a thought. However, if you do it consistently throughout the novel, then go for it.

 

[Mad Swede]

Switching between points of view isn't in itself inherently bad. It's the way you do it as a writer which matters.

Switching points of view gets criticised because it sometimes stops readers getting immersed in the story and the characters. Sudden changes in POV, or too many changes in POV, can prevent reader immersion in the story. For this reason the advice often given to new writers is to stick with one POV.

Some writers (like GRR Martin) get around the problem by devoting complete chapters to one point of view, and heading the chapter with the characters name. That makes it very clear who the POV character is, but it also means the reader has to remember quite a bit of what has happened to follow the overall story across chapters. That can be a problem if the story is complex with a lot of POV characters.

With that written, you can have several POVs in a single chapter or in a short story. I write like this. However, as a story telling style this requires a lot more of me as the writer.

One things which matters is the way I lead the change from one characters point of view to another. The change in POV has to be done smoothly without disturbing the story flow whilst at the same time making it clear that the POV has changed. It's a subtle balance, and it's one I had to practise. Getting it right took time and quite a lot of writing.

Another important thing is that I can't swap POV too often, because that breaks the flow. So I have to think through how my chapters (or short stories) are structured, so that the changes in POV come at the right point in the chapter/story arc and so that I don't have too many POVs in the chapter or short story. Quite often more is less.

In my experience it is also important to restrict the number of POV characters I have in a story. Personally I think the story all the way through and then choose which characters will be the primary POV characters, which (if any) will be the secondary POV characters and which characters will only be seen through the eyes of other characters. That way I'm consistent and it makes it easier for my readers to follow POV changes.

 

[Incanus]

I'm not 100% clear on what 'head hopping' is, so if there is a clear definition provided at some point, that could be helpful.

It makes me think of two things. 1 - a derogatory term for a story written in an omniscient POV. 2 - A term to describe when an established POV is violated and a new POV is introduced at random.

I have no problem with item 1 above because POV is usually established on page 1 of a story.

The solution seems pretty clear and easy to me: establish your POV at the outset, and NEVER violate that POV under any circumstances. If you want to head-hop, establish an omniscient POV right away, and stick to it.

(BTW, just re-read Lies of Locke Lamora recently--it clearly establishes an omniscient POV on page 1.)

 

[Naruzeldamaster]

I'm not 100% clear on what 'head hopping' is, so if there is a clear definition provided at some point, that could be helpful.

It makes me think of two things. 1 - a derogatory term for a story written in an omniscient POV. 2 - A term to describe when an established POV is violated and a new POV is introduced at random.

I have no problem with item 1 above because POV is usually established on page 1 of a story.

The solution seems pretty clear and easy to me: establish your POV at the outset, and NEVER violate that POV under any circumstances. If you want to head-hop, establish an omniscient POV right away, and stick to it.

(BTW, just re-read Lies of Locke Lamora recently--it clearly establishes an omniscient POV on page 1.)

Head hopping is sometimes used as a derogatory way to define a writing style in which the Point of View is shifted (keyword too) often, most often when done poorly on top of that. Though as others here have said, if done well it's a fine tool in a writers kit. My concern is more that I'm doing it poorly or at minimum too often even when the intent is to do so properly.

It comes from the feeling that you're literally hopping between character's heads far too freely even in a writing style that establishes this on outset.

I try not to do it too much, but as said, some scenes feel a little 'busy' and some point of view shifts feel unneeded. I think part of that is I get 'distracted' in scenes with many characters.

 

[Demesnedenoir]

IMO, it's a bit misunderstood, like Show Don't Tell™.

Here's my take: real HeadHopping™ isn't 3rd Omniscient like Dune, it is accidental and/or Omniscience being injected on purpose in such a sporadic way that it jars the reader. If you write in Third Intimate, say, GRRM in ASoIaF and you are in Ned's head, and suddenly he gives you Littlefinger's internal thought, that's bad. Poor writing.

Accidental hops often occur in dialogue tags or dialogue paragraphs where the non-POV character in Third Intimate/Limited says something and their internal feelings and thoughts are explained. This is a hard error.

 

[Naruzeldamaster]

IMO, it's a bit misunderstood, like Show Don't Tell™.

Here's my take: real HeadHopping™ isn't 3rd Omniscient like Dune, it is accidental and/or Omniscience being injected on purpose in such a sporadic way that it jars the reader. If you write in Third Intimate, say, GRRM in ASoIaF and you are in Ned's head, and suddenly he gives you Littlefinger's internal thought, that's bad. Poor writing.

Accidental hops often occur in dialogue tags or dialogue paragraphs where the non-POV character in Third Intimate/Limited says something and their internal feelings and thoughts are explained. This is a hard error.

I tend to do this a lot more often than I should, I don't know why but I feel the need to explain a character's emotions or thoughts on the scene even if they aren't the POV character.

 

[Demesnedenoir]

It's hard as hell to catch sometimes, most risky for me when writing one POV with another POV character in the scene, LMAO. That feels natural.

I tend to do this a lot more often than I should, I don't know why but I feel the need to explain a character's emotions or thoughts on the scene even if they aren't the POV character.

 

[Naruzeldamaster]

It's hard as hell to catch sometimes, most risky for me when writing one POV with another POV character in the scene, LMAO. That feels natural.

As I've said earlier in the thread, it's a little more controllable when it's only two/three main characters (Doesn't happen as often/hardly at all with 'minor' characters, unless they're important like MC's uncle or something)

But when the scene gets 'heavy' with like 4 + main characters, it does get a little jumpy. I'm not sure how to correct it so I just go with the flow and keep the non main POV character's thoughts/perspectives somewhat short. I do my best to wait until the new point of view character speaks before shifting perspective.

One of my projects I establish the head hopping between main characters on outset, so I THINK it's fine? but I feel like I'm doing it a bit much at points.
As I say in my signature, character interaction is my guilty pleasure haha.

 

[Demesnedenoir]

It's one of those things, it's hard to tell if it's working without seeing it.

As I've said earlier in the thread, it's a little more controllable when it's only two/three main characters (Doesn't happen as often/hardly at all with 'minor' characters, unless they're important like MC's uncle or something)

But when the scene gets 'heavy' with like 4 + main characters, it does get a little jumpy. I'm not sure how to correct it so I just go with the flow and keep the non main POV character's thoughts/perspectives somewhat short. I do my best to wait until the new point of view character speaks before shifting perspective.

One of my projects I establish the head hopping between main characters on outset, so I THINK it's fine? but I feel like I'm doing it a bit much at points.
As I say in my signature, character interaction is my guilty pleasure haha.

 

[Naruzeldamaster]

It's one of those things, it's hard to tell if it's working without seeing it.

Hmm, I could post the chapter once it's finished (It's a chapter with 4 of the main party involved in the story and there's a lot of POV switching but it's very brief.) either in the review forum or in this thread as a google doc link if you guys would like to see it.

 

[skip.knox]

I find it more useful for myself not to call it head hopping. The phrase is pejorative from the start. It's switching the point of view, and that can falter in more than one way.

Most often givers of advice will talk about switching the POV too frequently (without being very clear about what the "too" part means). That's one, certainly, but not the only one.

Another, fairly common mistake--in the sense of something that needs correcting, regardless--is switching the POV unintentionally. This is usually in the form of having something known or seen or thought that is outside the intended POV. Fixing that can be easy but can also lead to having to rewrite a whole passage.

Another might be a mistake and might not. It's when the change in POV causes the story pacing to falter--move too slowly or too slowly. Most times, you don't want to break the tension by cutting to another POV. That said, sometimes that's exactly what you want. One writing rule I have yet to find an exception for is this: everything in the story should be on purpose. If it was unintended, it bears consideration for revision.

Anyway, there are three modulations on the root chord. Anyone add to it?

 

[Demesnedenoir]

It's a pejorative for a reason, as it isn't simply switching POV. It's an error in switching POV.

I find it more useful for myself not to call it head hopping. The phrase is pejorative from the start. It's switching the point of view, and that can falter in more than one way.

Most often givers of advice will talk about switching the POV too frequently (without being very clear about what the "too" part means). That's one, certainly, but not the only one.

Another, fairly common mistake--in the sense of something that needs correcting, regardless--is switching the POV unintentionally. This is usually in the form of having something known or seen or thought that is outside the intended POV. Fixing that can be easy but can also lead to having to rewrite a whole passage.

Another might be a mistake and might not. It's when the change in POV causes the story pacing to falter--move too slowly or too slowly. Most times, you don't want to break the tension by cutting to another POV. That said, sometimes that's exactly what you want. One writing rule I have yet to find an exception for is this: everything in the story should be on purpose. If it was unintended, it bears consideration for revision.

Anyway, there are three modulations on the root chord. Anyone add to it?

 

[Demesnedenoir]

I don't do google links. Just post a snippet or email it to me for a brief review. My gut tells me: If you are in classical 3rd Om narrative mode, you're better off than if trying to write in a more modern Limited 3rd and trying to stretch the POV.

Hmm, I could post the chapter once it's finished (It's a chapter with 4 of the main party involved in the story and there's a lot of POV switching but it's very brief.) either in the review forum or in this thread as a google doc link if you guys would like to see it.

 

[Incanus]

IMO, it's a bit misunderstood, like Show Don't Tell™.

Here's my take: real HeadHopping™ isn't 3rd Omniscient like Dune, it is accidental and/or Omniscience being injected on purpose in such a sporadic way that it jars the reader. If you write in Third Intimate, say, GRRM in ASoIaF and you are in Ned's head, and suddenly he gives you Littlefinger's internal thought, that's bad. Poor writing.

Accidental hops often occur in dialogue tags or dialogue paragraphs where the non-POV character in Third Intimate/Limited says something and their internal feelings and thoughts are explained. This is a hard error.

Yes, this all makes sense.

One reason I was a little unclear about this is that I've never written in omniscient POV, and I adhere to POV as strictly as I know how (something I recommend).

To the best of my knowledge, I have never written any head-hopping, and no comments from any workshopping session have ever called me out on it. So my experience with it has been rather limited.

 

[Naruzeldamaster]

Yes, this all makes sense.

One reason I was a little unclear about this is that I've never written in omniscient POV, and I adhere to POV as strictly as I know how (something I recommend).

To the best of my knowledge, I have never written any head-hopping, and no comments from any workshopping session have ever called me out on it. So my experience with it has been rather limited.

My writing style is somewhere in-between omniscient and "singular" POV.
I generally try to keep the POV between the 'main' characters (typically male lead and female lead) but occasionally shift to other characters when it feels relevant.

Really hard to control that 'feels relevant' part because of how much I like character interaction period. Especially when I'm writing energetic characters.

The only time this doesn't feel like an issue is when a scene is occurring where the main POV characters are not in the scene. (For example a meeting of villains)

 

[Incanus]

My writing style is somewhere in-between omniscient and "singular" POV.
I generally try to keep the POV between the 'main' characters (typically male lead and female lead) but occasionally shift to other characters when it feels relevant.

Really hard to control that 'feels relevant' part because of how much I like character interaction period. Especially when I'm writing energetic characters.

The only time this doesn't feel like an issue is when a scene is occurring where the main POV characters are not in the scene. (For example a meeting of villains)

In my view, there is no such thing as an 'in-between' POV--much in the same way that one cannot be wet and dry at the same time.

If your novel or story cannot be described as a single POV trait, I would submit that there is a problem with it that needs to be fixed.

That said, there are other interpretations available, apparently.

When I hear descriptions of POV that say things like, "it's sometimes this kind of POV, but sometimes this other POV," I just consider it a confused or poorly done omniscient POV.

 

[Mad Swede]

My writing style is somewhere in-between omniscient and "singular" POV.
I generally try to keep the POV between the 'main' characters (typically male lead and female lead) but occasionally shift to other characters when it feels relevant.

Really hard to control that 'feels relevant' part because of how much I like character interaction period. Especially when I'm writing energetic characters.

The only time this doesn't feel like an issue is when a scene is occurring where the main POV characters are not in the scene. (For example a meeting of villains)

Right, then you're NOT head hopping. What you are guilty of is not choosing a point of view style and then sticking to it. In your case, my advice is very simple. Choose a POV style: either omniscient or close third POV (what you call singular POV). Then re-write in that one style and stick to it.

 

[Naruzeldamaster]

Right, then you're NOT head hopping. What you are guilty of is not choosing a point of view style and then sticking to it. In your case, my advice is very simple. Choose a POV style: either omniscient or close third POV (what you call singular POV). Then re-write in that one style and stick to it.

Roger, I feel like Close third is too close so I might go omniscient but then I'll have to look up some good examples of that to get me started.