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This post is brought to you by Procrastination Inc

So. I'm curious. For those out there who write/draw/a combination of the both, what artistic device do you struggle with using or are suspicious of, even though you've seen it used well in the past? Mine would be internal narration in a comic book/graphic novel, even though I've seen it used magnificently in books like Skim and The Last Frontier (and horribly in many many many many many other books). But it's weird because I don't feel like internal narration by the main character (or any character) should be considered wrong or a cheat, I'm just very ... suspicious of it. And resistant to it.

I tend to think of internal narration as something that is very good at laying out information quickly and painlessly, in situations where the author may not have the page count to otherwise convey it, but at the same time, I sometimes feel that when a character does that, I'm being talked at. Which, while I understand it fine, is ... I don't know, somewhat artificial feeling? Maybe it makes me feel like I can see the workman-like supports of the story, as the author lines up the players and explains how they relate to each other. Which, again, there's nothing wrong with that ... maybe I'm too aware of the device and it tends to remove me (as a reader) from the story for a moment.

Anyway. I see the usefulness of internal narration, but it also bothers me some times. What literary/artistic device do you struggle with using in your own work, even if it's not a device you outright dislike?

Re: This post is brought to you by Procrastination Inc

I really struggle with changing camera angles. I usually find myself coming up with one Point of View and then unconsciously stiking with it throughout the remainder of the strip. I'm still undecided as to whether this helps or hinders the storyline.

Re: This post is brought to you by Procrastination Inc

Hiding plot elements in conversation. In an ongoing story, some characters have insight into a part of the plot, but their discussion of these elements will create spoilers for the readers. Excluding these elements from their conversation, however, creates a kind of "horror movie" atmosphere because it's far more realistic that one character in the know would straight out inform one of their friends about a plot point instead of keeping it a secret from them. GUY A: "Why didn't you tell me you already dropped off the bomb and the bad guys will be distracted at the right time?" GUY B: "Well, I didn't want you to worry about it." Awful, unrealistic, and completely unavoidable if you want to keep your readers on their toes.