Rebels Reading the Hobbit and Talking Heads Syndrome
Play • 26 min

A lot of time I’ll be reading scenes in books and it will be two characters talking and I’ll only have a vaguely general idea about where they are. Maybe I won’t have an idea at all. We call this evil beast the talking heads syndrome.

Cue scary music here.


No, it's not about the iconic 1980s group. Sorry!

It’s where there’s a lot of dialogue going on but there’s no actual anchor for the characters. It’s like they are floating in space blabbing at each other. There’s no physical world placement.

This happens a lot and it’s because some of us are writers who really hear our scenes rather than see our scenes or live in our scenes. It’s also because we sometimes forget to get those anchors in there.

How to Imagine Yourself in a Scene

To do this exercise you have to step away from the keyboard for a second and stand up. We know! We know! Writers are all about sitting down and putting their butts in the chair and getting the work done, right? Well, give yourself five minutes and stand up in a quiet place preferably not in Starbucks or anything.

Now close your eyes and think about your scene where there are talking heads.


There you are with your characters. Maybe you can even imagine yourself as one of the characters. Possess them like they’re Zac Bagans and you’re filming Ghost Adventures. Inhale. What kind of smells are you smelling? Remember that.


You’re still there with the characters standing in the setting. What do you hear? Remember that.


Your characters don’t stay completely still for the whole scene, do they? Have them move even if it’s to fidget. Let them touch things. What do those things feel like? Are they hot? Textured? Hands aren’t the only things that touch. Does their hair sweep over something? Does their foot kick against a table? Do their shoulders lean against the rough wood of the wall?


What does it feel like inside their mouth? Dry? Coppery? Do they need to brush their teeth? Please make them floss. Everyone should floss.


This is the fallback for most writers and it can have some issues. We want to be able to visualize the setting and where things are happening, but we don’t need the buffer of the character seeing what’s happening.

There are a lot of stories where it says,

“Shaun looked over and saw the cat dangling from the curtain.”

Don’t pad the details with distancing words. Don’t tell us that Shaun’s looking. Just have us see.

Instead write,

“The cat dangled from the curtain.”

It’s so much more powerful.


Have the characters move. Give them actions and objective correlatives to their emotional states.

What are the next steps to Banishing the talking heads?

No, it's not casting David Byrne to an isolated bunker in Nebraska. It's also not putting him on SNL. It has nothing to do with him! I promise.

The next step is incorporating what you imagined for tasting, smelling, hearing, seeing, movement into the actual scene. You have to have your characters’ perceptions of the outside world and setting incorporated into that dialogue and action. Don’t be afraid to dig deeper.

The rest of the notes are at


The music we’ve clipped and shortened in this podcast is awesome and is made available through the Creative Commons License. Here’s a link to that and the artist’s website. Who is this artist and what is this song?  It’s “Night Owl” by Broke For Free.

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