Article: 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?

What is a summary?
Shift your focus from character to character. Reveal any information you want. Avoid use of the first person and second person pronouns.