That thing in the book...

There's something in some books that bring you so far into the character and their world that you forget you're reading. When you have to put that book down all you can think about is what happens next. Some authors seem to do this easily, others...not so much. It has to be there and it has to be consistent throughout the entire book.
As I read and listen to books I try to figure out what this is. Is it the character's thoughts? Actions? Thoughts about their actions? It's something around that stuff.
In Meg Cabot's Insatiable she went into the main character's head a lot. We heard her thoughts and how she muddled through things happening to and around her. When other characters popped up it was inside the main character's head that we heard the discription.
Stephen King does this in The Dome. (Excellent book now available in paperback. I did the audio book.) We almost constantly see what's happening through the thoughts of the few main characters.
So is this the way you write? Omnipresent or inside a head? Which is better? Does one give us a more personal view of the world created?
This is my Edgar Allen Poe action figure. Every writer needs one.

Shelf life...

Since I haven't been writing much lately - which I attribute to stress - I've been bringing some of my dinosaurs down off the shelf. These are dino's I love, poured my heart into and bled on.
And now I can see they need more blood. It's time to tap a vein for them.
This led me to see how valuable that shelf time is. If I hadn't let this go and stuck it in that dark corner of my office I don't think I'd see what I see now.

One is a story I love and I basically tried tried to write from two heads. The heroine and the hero. And now, rereading it, I can see the error of my ways. I think this would definitely be better from the hero's head since it's really not a romance. (Although we do have a sexual interlude.) I can see hero being the driving force in what happens here, but there are times when we have to see the heroine's point of view because she's the only one in the room. So do I write as the omni presence in the room or do I go into her head?
Dilemma.
Help!
Any advice?
Do you shelve it for awhile before going back for the final draft? Does it help?

Fame and writing rules

Once upon a time a very nice editor told me that I was a head-hopper. Although it sucks to hear something like that after she requested a full it was probably the nicest thing she could have done. Now I keep a sharp eye out for that head-hopping stuff. It's so easy to fall into another character's head when he's not looking. After all, I know what he's thinking...why shouldn't everyone else?
But that's not good writing, is it? I think it was like a major deal breaker on the road to publication.
Enter Famous writer...
I have a 40 minute ride to work and listen to books on tape/CD. Right now I'm listening to a book on tape by a very famous romance novelist. She's a household name. Even if you never read romance or wouldn't even consider one of her books..you know her. She's top of the heap in her genre.
This book is a major head-hopper. I've even backed the CD up a few times to listen again. You know, to make sure I was paying attention and didn't miss some important scene change or something that would let me move to the new POV but uh-uh, this book bounces back and forth so much my ears ache. I want to snatch up my red pen and start editing.
I know this is on CD and therefore I can't see what I could see in print and that could make a difference. Like when there is a double space to indicate time change or some other way to move POV. But there would have to be a lot of white space in this book to make up for all the shifts.
My question is; Does fame make you impervious to the rules? Does there come a time when the editor stops editing if you're too famous?
Anyone else see this happen?