: In so doing your narrator is suddenly thrust into a more personal relationship with the character, akin to the character with whom he is speaking. That is not necessarily bad, but it shifts

In so doing your narrator is suddenly thrust into a more personal relationship with the character, akin to the character with whom he is speaking.

That is not necessarily bad, but it shifts your narrator from a purely third person observer to something like a participant in the story. So just make sure that is what you intend.

Also calling some characters by a nick name and not others could have an editorial effect of favoring or warming to some more than others. Again, be sure that is what you want to do.

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: Adding to @Philipp 's answer: Know your plot and the consequences: If you describe the scene from POV of the victim, who provoked the action, you need a reason why she provoked it. If

: In so doing your narrator is suddenly thrust into a more personal relationship with the character, akin to the character with whom he is speaking. That is not necessarily bad, but it shifts

More posts by @Welton431

: Where's the line between coincidental similarity between a character and a person, vs. being uniquely identifiable? I'm trying to understand the verdict in Red Hat Club case. Vicki Stewart sued

: Changing main character within a trilogy, is a good idea? I am writing the first novel which will be part of a trilogy. For plot reasons, I am considering to change the main character in

: Children's Dialogue I'm having some trouble writing dialogue (and emotive responses) for children in the age bracket of roughly 10-13. They end up reading more like adults with limited vocabularies

: Adding to @Philipp 's answer: Know your plot and the consequences: If you describe the scene from POV of the victim, who provoked the action, you need a reason why she provoked it. If

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