Q: When using third person omniscient perspective, the narrative jumps around from person to person instead of following the thoughts, actions, and words of a single character. The narrator knows everything about each character and the world. The narrator can reveal or withhold any thoughts, feelings, or actions. For instance, a story may include four major characters: William, Bob, Erika, and Samantha. At various points throughout the story, the thoughts and actions of each character should be portrayed. These thoughts can occur within the same chapter or block of narration. Example: "William thought that Erika was lying, but he still wanted to believe that she had a good reason for doing so. On the other hand, Samantha believed that Erika was lying and felt jealous about the fact that Tony wanted to think well of the other girl at all." Writers of omniscient narratives should be conscious of "head-hopping" that is, shifting character perspectives within a scene. While this does not technically break the rules of Third Person Omniscience, it is widely considered a hallmark of narrative laziness. With third person omniscient view, the narration is not limited the inner thoughts and feelings of any character. Along with inner thoughts and feelings, third person omniscient point of view also permits the writer to reveal parts of the future or past within the story. The narrator can also hold an opinion, give a moral perspective, or discuss animals or nature scenes where the characters are not present. In a sense, the writer of a third person omniscient story is somewhat like the "god" of that story. The writer can observe the external actions of any character at any time, but unlike a limited human observer, the writer can also peek into the inner workings of that character at will, as well. Know when to hold back. Even though a writer can reveal any information he or she chooses to reveal, it may be more beneficial to reveal some things gradually. For instance, if one character is supposed to have a mysterious aura, it would be wise to limit access to that character's inner feelings for a while before revealing his or her true motives. Active dialog should be the only time that first person pronouns like "I" and "we" should appear. The same goes for second person pronouns like "you." Do not use first person and second person points of view in the narrative or descriptive portions of the text. Correct example: Bob said to Erika, "I think this is creepy. What do you think?" Incorrect example: I thought this was creepy, and Bob and Erika thought so, too. What do you think?
A: Shift your focus from character to character. Reveal any information you want. Avoid use of the first person and second person pronouns.

Q: These lures give you a very accurate feel on the line, and are one of the most effective lures. The common plastic skirting attracts bass all year round. Bass will usually hit a bait while it is falling, so after it has sat on the bottom for a bit give the rod tip a small twitch to see if anything has picked up your bait. To fish a jig cast out and give the line plenty of time to hit the bottom. Jigs and plastics are fished differently than other types of lures. Instead of reeling in to produce the "action", the bait is retrieved by moving the rod tip. After the bait has hit the bottom and you have given it a twitch, slowly lift the rod tip until it points straight up in the 12 o'clock position. Let it sit there for a moment and then drop it down to the 9 - 10 o'clock position and reel in the slack. Repeat these steps until your line is in. You'll have to have a good feel for your line to tell when a fish is biting so most people hold their finger against the line while lifting the rod tip. Look for sudden resistance or bumping on the line, a line that goes slack suddenly or veers sideways. To set the hook, drop the rod tip very quickly to the 3 o'clock position, and pull back hard to 12 o'clock. Jigs are most effective when employed in cover or closed to cover so be aware of the risk of getting snagged. Jigs are meant to imitate crawfish so try to make them scoot along the bottom. Both jigs and plastic worms are best used slowly. Use jigs around fallen trees where bass are hiding. Brush piles on a rocky bottom, standing timber, thick grass, and flats are all prime locations to employ a jig. Pitch or flip a jig around the angles where limbs connect to the trunks of fallen trees. Let the jig fall to the bottom with a semi-tight line. Drag or hop your jig down ledges or drops to mimic the movements of a crawfish. Use a ounce jig when fishing through thick grass. Jigs are also effective when fishing on docks and piers because they provide protection from predators. Jigs are meant to imitate crawfish so they should be light in clear water and dark in murky water.
A: Employ a short-range flipping and pitching techniques instead of casting out into the distance when using jigs. Employ proper technique. Examine the water conditions. Keep the colors simple.

Q: Measure your bicep line and divide it into 6 equally spaced points. Place 3 points on each side of the C point which is the center of the line. Then, mark the points from left to right using the letters D through I. This will make it easier to differentiate them. To evenly space your line, divide the total bicep measurement by 6. For example, if the bicep line is 24 inches (61cm), then your points on the line will need to be 4 inches (10cm) apart. Draw vertical lines extending upwards from points E and H to the level of point A. Use a ruler or straight edge to make the lines straight. These lines should be parallel to your central line that extends from points A to C. Next, use your ruler or straight edge to draw a diagonal line that extends from point A to D and another that extends from point A to I. These lines should only connect the points, and not extend beyond them. The shoulder curve will connect to the shoulder area of your bodice piece, and it requires some precise markings. Make a mark in the following places. Above point E 0.75 inches (1.9cm) below the diagonal line. Above point F 0.75 inches (1.9cm) above diagonal the line. Above point G 1 inch (2.5cm) above diagonal the line. At point H where diagonal the line crosses it. After you have marked all of the points for your armhole and shoulder curve, draw a curved line that goes from point D through all of the points you just marked, and that ends at point I. A French curve tool is helpful for creating this curving line. However, you can use another curved object or try to draw the line freehand if you do not have a French curve. Your sleeve pattern will be complete after you mark the curved line for the shoulder curve. Cut along the lines you traced onto the pattern paper, and then use your sleeve pattern to cut out sleeves for your project. After you have cut out the pattern piece for your sleeves, use it to trace the sleeve shape onto your fabric and cut out the shapes that you trace.
A:
Divide the bicep line with 6 points and mark the points. Create vertical lines going up from points E through H. Draw a diagonal line from points D to A and I to A. Mark your points for the armhole and shoulder curve. Draw curve that goes through all of the points starting at D and ending at I. Cut out the pattern you have traced.