importance of point of view in creative writing

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Point of View: The Ultimate Guide

Answer all your questions about how to write in first, second, and third person point of view. Every point of view is covered including how to use tense.

I’ve been staring at my screen for ten minutes trying to come up with a hook that somehow, someway will lead off an article about literary point of view. I’ve come to a definite conclusion: you can’t. To do so would subvert the laws of man, physics and God. It’s impossible. I defy you to try it.

Anyway, let’s talk about POV.  

If you’re a beginning writer you might not think much about point of view. But, you should.

All writers should spend significant time considering what POV they’ll use for a story, and why. POV is as important to a story as is your plot , characters , setting , etc.

What is point of view in writing?

Point of view tells your reader who is important in your story. It affects the relationship your reader builds with your characters. And, if done poorly, the point of view can ruin an otherwise perfect story.

You’d like to avoid that, wouldn’t you? Of course! So, for your consideration, I bring to you the ultimate guide to point of view.

(Is it really the ultimate guide to POV? Probably not, but it makes for a good title, right?)

In this article I will explain every type of POV you could possibly use in your writing, and when to use each one. I’ll also answer all your burning questions about POV. You know the ones you’ve always wondered about but didn’t want to ask.

More importantly, I’ll cover some of the common POV mistakes and how to avoid them.

But first, let’s start with the basics-

Point of view is the term used to describe who the author chooses to tell their story. But really, and more importantly, it’s who your reader is engaging with.

When we talk about point of view we’re talking about the narrator. An author might have the main character or a secondary character speak directly to the reader as if you are reading that character’s journal.

Or, the narrator might not be in the story at all, but a voice above the fray who can describe the action of a story.

The narrator may also know certain characters’ thoughts and feelings about the events unfolding. While some POVs will insert the reader directly into the action of the story.

The point is, point of view is an important consideration for any story, and mistakes in POV can ruin a story. So, it’s important to choose your POV carefully and avoid the common pitfalls.

With that said, let’s discuss the different types of POV, why they are used, and the common POV mistakes that you need to avoid.

What are the different types of point of view?

Point of view can be divided into three categories- first person, second person, and third person. Third person point of view can be broken down further into limited, omniscient, and objective.

All POVs can be written either in the past or present tense.

Let’s take a look at each of these individually.

First Person Point of View

What is First Person Point of View?

You’re the reader and the character is telling you the story. You and the character are like old friends; they’re very open with you about their thoughts and feelings. It’s as if you’re reading their journal. Usually, the perspective character is the main character of the story, but not always.

Take, for instance, The Great Gatsby which is written in the first person, but the perspective character is Nick Caraway. Nick takes part in the events of the story and relays them to the reader, but he is not the main character.

However, this is an exception, not the rule. Your point of view character should be the protagonist unless you have a good reason for them not to be.

You’ll know your reading a story in the first person when you see pronouns like I, me, or my. The character is the narrator, so they will be speaking directly to the reader.  

How to write First Person Point of View

Writing from a first person point of view is a solid choice if your beginning writer. It’s a straightforward perspective that isn’t too difficult to work with. Choose a character, like your protagonist, and write the story as if they are retelling the events to the reader.

If you choose the first person perspective you’ll need to know your character intimately. You want their personality to remain consistent throughout the narrative. That is unless they’re a dynamic character . Even then, changes in the character will need to have a cause that develops from your plot.

Interview your point of view character. Know their background, what their fears are, and what motivates them. The challenge of the first-person perspective is keeping your character’s voice, actions, and reactions consistent and believable.  

In other words, don’t change your character’s personality for the needs of the plot. What does that mean? If your character has been even-keeled and calm throughout the story don’t force them to blow up in anger because you need to inject some tension into a scene.

Know your perspective character, and don’t deviate from the personality that you’ve established, unless that change is earned through the narrative. Your reader will notice otherwise.  

When to use First Person Point of View

There are times when using the first person perspective is axiomatic like when writing a memoir or a personal essay. The first person POV is a good choice for writers who are just starting out. The limited nature of first person will help beginning writers avoid some common POV mistakes such as head-hopping. But, more on that later.

Because of its natural limits, the first person is a good choice if there are details of the plot that you want to hide from the reader. Take the example of an unreliable narrator who is lying about the events of the story. Discovering new information a narrator has kept hidden can be an exciting revelation for your reader.

Or, because your writing from the perspective of one character, the reader can discover story details as your character does. This works to great effect in the genres of mystery, horror, and romance. These genres require the character, and reader to work through the details of an event slowly to discover startling truths.

Lastly, the first person POV is a good choice if you’re writing a small, character-driven plot with a limited cast. However, it’s not the best choice for your epic, world-building fantasy.

Example of First Person Point of View

“I couldn’t forgive him or like him, but I saw that what he had done was, to him, entirely justified. It was all very careless and confused. They were careless people, Tom and Daisy—they smashed up things and creatures and then retreated back into their money or their vast carelessness, or whatever it was that kept them together, and let other people clean up the mess they had made.”

― F. Scott Fitzgerald, The Great Gatsby

Learn about first-person point of view here!

What is Second Person Point of View?

You, the reader, are now in the story. You are the protagonist. You’re taking part in the action. Not literally, obviously. Not yet anyway. Until some advances in VR second person will remain figurative.

The writer uses pronouns like you and your. In fiction, this is not a very common practice. But, you will find the second person POV a lot in non-fiction works. Instructional texts like cookbooks are written in second-person. Think, “You’ll need to preheat your oven to 450 degrees. ”

Why isn’t Second Person Point of View popular?

The limitation of the second person perspective is that you’re asking your readers to put themselves directly into the story. This takes considerable suspension of disbelief on their part. And, it may put your reader off as they’re not used to reading this kind of narrative.

The second person point of view tells your reader that they are someone they’re not. That the events of the story are happening to them, the reader. It’s a funky style, let’s be honest. Reserved, mostly, for those “choose your adventure” books we read as children.

However, when executed well, this funkiness is the secret strength of the second-person perspective. What better way to encourage your reader to empathize with a character and experience a new perspective.

While not traditional, a story written in the second-person perspective could be a great way to set your work apart from the pack. But, only if you put in the effort to make it work. Know that an editor will ask the question- “Why did you choose second person POV?” If you don’t have an obvious answer, revealed in the text, this may be a weakness.

When it comes to digital storytelling though, second person POV could be the dominant perspective. Maybe we should start practicing…  

Example of Second Person Point of View

“Things happen, people change,’ is what Amanda said. For her that covered it. You wanted an explanation, and ending that would assign blame and dish up justice. You considered violence and you considered reconciliation. But what you are left with is a premonition of the way your life will fade behind you, like a book you have read too quickly, leaving a dwindling trail of images and emotions, until all you can remember is a name.”

― Jay McInerney, Bright Lights, Big City

Third Person Limited Point of View

What is Third Person Limited Point of View?

Take one step above the story. The narrator is no longer in the fray and action. They are on the outside looking in, commenting on the action. The narrator tells the reader what is happening, and what the perspective character is thinking and feeling.

A third person limited perspective means that we are limited (get it?) to a single character at a time. So, it’s like the first person perspective, but rather than a character speaking directly to us, the narrator is telling us what the character is doing, thinking and feeling.

How to write Third Person Limited Point of View

The first thing you want to do is choose a character to limit yourself to. More than likely, this will be your protagonist. You may also switch to another perspective character in your story.

However, don’t switch character perspectives within the confines of a single scene, or even a chapter. In truth, you may want to keep your perspective limited to the same character throughout the narrative.

There are examples of rotating perspective when using third person limited. Authors who do this will change the perspective characters from one character to the next. For clarity, chapters are usually named after the point of view character in that chapter.

How to describe characters in Third Person Limited Point of View

This is a question that comes up when writing from a limited point of view. Character descriptions can be tricky because overtly describing a non-POV character’s emotions would count as a slip in POV. You don’t want that.

Rely on the old adage- show, don’t tell. If a non-POV character is upset then have them slam a door, throw a punch, or break a window. Demonstrate emotion through action, not through adverbs.  

Remember that your narration is limited physically, as well. Your narration can’t describe anything the point of view character isn’t able to see, touch, taste, hear or smell directly. The character’s eyes are your window into the world of the story. Keep this in mind when describing the different aspects of your story.

When to use Third Person Limited Point of View

Much like first person point of view, the third person is used when you want to limit the reader’s perspective. Use this POV when you want your readers to spend time with, and become very familiar with a character or cast of characters. When you want your reader to become attached to your protagonist(s). Third person POV is perfect for your character-driven story arcs.

Choose third person POV over first person when your story has several character arcs to explore. An example would be the Harry Potter series. Sure, Harry is important, but we care about Hermione and Ron too.  

Also, the third person limited POV works well in mysteries, horrors, and crime stories. This is because you can easily hide information from your reader like you can with first person POV.

Because of its versatility, third person limited is the most popular POV in modern fiction. Readers and editors are used to reading in third person limited POV. In most cases, third person limited POV will be a good choice for your story. .  

Example of Third Person Limited Point of View

“For the first time, he heard something that he knew to be music. He heard people singing. Behind him, across vast distances of space and time, from the place he had left, he thought he heard music too. But perhaps, it was only an echo.”

― Lois Lowry, The Giver

Third Person Omniscient Point of View

What is Third Person Omniscient Point of View?

You’re the reader, and the narrator is God. They can give you access to every character’s thoughts and feelings, at the same time. Third person omniscient is like third person limited in that the narrator is separate from the story.

However, the narrator is not limited to one character’s viewpoint when describing the story. The narrator has full knowledge of all the characters and has no preference for any single character. Common pronouns used with third person omniscient are “he,” and “she.”

How to write in Third Person Omniscient Point of View

Third person omniscient can be challenging as you have a lot of characters to keep up with. Each major character will need the same attention from the narrator. It can also be difficult to keep your narrative focused with the POV spread out like this.

Use this perspective to insert your own authorial voice into the narrative. As the narrator, you can comment on the action of the story, or the characters. But, beware that this is not a style of writing that is currently in vogue.

The third person omniscient POV does provide a lot of creative freedom, though. Because of the “God-like” presence of the narrator, you’re not hemmed in by a lot of rules. The author can describe anything that a character is thinking, wearing, doing, seeing, etc.

When to use Third Person Omniscient Point of View

Never. Just kidding, but keep this in mind:

The third person omniscient perspective, while once omnipresent, is not very popular anymore. It’s a good choice if you have a plethora of characters in your story. This is because this perspective gives you the ability to inhabit any character in the story. However, realize this will make developing any single character difficult.

Choose the third person omniscient POV when you have a very strong voice, and you want the narrative commentary to take the center stage of your story.

Example of Third Person Omniscient Point of View  

“A man’s at odds to know his mind cause his mind is aught he has to know it with. He can know his heart, but he don’t want to. Rightly so. Best not to look in there. It ain’t the heart of a creature that is bound in the way that God has set for it. You can find meanness in the least of creatures, but when God made man the devil was at his elbow. A creature that can do anything. Make a machine. And a machine to make the machine. And evil that can run itself a thousand years, no need to tend it.”

― Cormac McCarthy, Blood Meridian, or the Evening Redness in the West

Third Person Objective Point of View

What is Third Person Objective Point of View?

In the third person objective POV, the reader does not have access to any character’s thoughts or feelings. The narrator is completely objective.

How and when to use Third Person Objective POV

Again, show don’t tell.  

With third person objective, a writer will have to convey all the characters’ emotions through action alone. If you’re a beginning writer try and write at least one story in the third person objective POV. It’s good for practice.

In order to master this POV, a writer must be a keen observer of people in the real world. How do people show their emotions- on their face, in their body language, with words?

How does someone demonstrate they’re angry with their boss? A real person wouldn’t act out dramatically. They wouldn’t flip a table or punch a hole in the drywall (hopefully). Because acting like that would get them fired, probably arrested. They may, instead, make a snide remark, purse their lips, or cross their arms.

The point is, people can be very subtle in how they display their inward feelings. Many people do their best to mask emotions. Others act out for attention. As a writer, you should be able to identify these subtle tells and insert them into your story. Especially if you plan on using the third person objective.

Third person objective POV is also useful in non-fiction. A biographer can’t always comment on the thoughts of feelings of their subject. Especially if the subject has been dead for hundreds of years. In that case, they can only convey a sense of emotion through their subject’s words or actions.

Example of Third Person Objective POV

“When a friend of Abigail and John Adams was killed at Bunker Hill, Abigail’s response was to write a letter to her husband and include these words, “My bursting heart must find vent at my pen.”

― David McCullough, John Adams

Present Tense versus Past Tense in Writing

Most authors choose the past tense when writing fiction. However, some writers choose present tense for their stories. Why?  Immediacy is one reason. Like with second person POV, the use of the present tense can pull a reader into a story in a way that feels intimate. They are experiencing the story along with the narrator in real time.

The downside of writing in the present tense is that you’ll be working against the grain. Most stories are told in the past tense, so unless you have a good narrative purpose for using the present tense you should probably avoid it. Without a clear purpose, using the present tense will come off as gimmicky.

But, I’m no expert on this subject and you can find a very informative post on writing in the past tense here .

Example of Present Tense POV

“I can feel Peeta press his forehead into my temple and he asks, ‘So now that you’ve got me, what are you going to do with me?’ I turn into him. ‘Put you somewhere you can’t get hurt.”

― Suzanne Collins, The Hunger Games

Common Point of View mistakes

Head-hopping.

What is head hopping in writing?

Head-hopping is when a writer suddenly changes the viewpoint character without purpose. A story will be narrated from one character’s point of view then that point of view shifts to another character mid-paragraph, or worst mid-sentence.

Head-hopping will leave readers feeling confused and frustrated. It’s a mistake that signals your in the hands of a careless writer. As such, head-hopping should be avoided at all costs.

How to avoid head hopping.

The obvious way to avoid this is to stay in one character’s point of view throughout a story.

If you need to shift perspective wait until a logical point like a scene or chapter break. Think of your character’s viewpoint as a camera lens. The action is being recorded by that single lens. You cannot describe anything that isn’t within the view of that single lens.

When shifting perspective, be sure to establish the change by mentioning the character’s name and something about the setting in your narration. Do this immediately to establish the shift in your reader’s mind.

Here’s an example of how to open a scene that has shifted perspective to a new character:

“Paul glanced at his watch and realized he’d been waiting in the coffee shop for over an hour.”

Who’s the POV character? Paul. Where is he? A coffee shop. What is he doing? Waiting.

Only shift the POV if it serves your narrative. And, establish any shift in POV at the opening of the scene or chapter.

Inconsistent POV

What is an Inconsistent Point of View?

An inconsistent point of view means that the writer is switching point of view throughout the narrative. One scene may be told in the first person and the next scene’s narration switches to the third person omniscient. Like head-hopping, this will confuse your reader.

How to fix Inconsistent Point of View

Choose a point of view and stick to it. If your a first-time writer then the first person is the way to go. The first person point of view limits your opportunities to make mistakes like head-hopping.

Third person limited is the most widely used perspective and one that the modern reader is very comfortable with. Again, like the first person, you’re limited to a single character, and this will ensure a consistent POV.

Familiarize yourself with the rules of each of these POVs. Be mindful of what POV you’ve chosen. If your writing in the third person limited POV, don’t describe something that your POV character couldn’t possibly know.

These mistakes will probably occur in your early drafts and that’s okay. But, planning and outlining is key. As well as purposely choosing your POV. And, most importantly, find good editors! Preferably, fiction writers who are more experienced than you.

Also, don’t shift your point of view unless you have a very good narrative purpose behind the shift. I really can’t say that enough.

Choosing the wrong POV for your story

Choosing the right point of view is vital in effective storytelling. Each POV has its pros and cons. Do you want to tell a story that is an intimate character study? Use the first person. Don’t use the third person omniscient. But, if your book is an epic fantasy that spans multiple worlds or realms, then the third person is the way to go.

POV is also how you tell your reader who is important. If a writer is narrating from a single character’s point of view then the reader will assume that character is important. Using the POV of a character who is not essential to the plot will confuse your reader.

The point is, spend a lot of time thinking about what point of view you’ll use and how it will affect your reader’s experience. This should be part of your pre-writing. POV is not a decision to be taken lightly.

Too many POVs

Using more than one POV character can help give your reader a broad view of your story. It can also be used as a way of slowly revealing important plot points.

I once read a story where the author effectively used POV shifts to explain the same event four times. Each time the new character would have a different perspective on the event, like a game of telephone. It was a clever use of shifting POV.

However, if you’re shifting the POV every chapter or scene for no apparent reason than your reader will get annoyed. POV should indicate an important character. And, shifts in POV should have a narrative purpose behind them.

Choose POV characters for a reason. The reader will feel loyal to a POV character, intuitively. The POV character should have something at stake in the story, or a goal. They should be someone like, oh I don’t know, a protagonist! Or, someone equally important. Who could that be? Hmmm. Maybe, an antagonist ! Don’t give the POV to any old, schlub, though.  

Bottom line- don’t waste time using the POV of a character who isn’t important to your narrative. And, make sure that any shifts in POV are done for a specific narrative purpose. An example would be retelling an event of the story from a new perspective that adds new information the reader didn’t already know.

So, that’s everything I can think of when it comes to POV. Still, have questions? Drop them in the comments and I’ll do my best to answer them. Or check out some of these other great resources on POV!

All About Point of View: Which One Should You Choose?

How to Choose Your Novel’s Point of View

Published by John

View all posts by John

6 comments on “Point of View: The Ultimate Guide”

Excellent post!

Thanks, KM!

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Point of View: What Is It? (With 1st, 2nd, 3rd, and 4th POV Examples)

Hannah Yang

One of the most powerful tools in a writer’s toolkit is point of view.

So, what is point of view in literature, and why is it important?

The short answer is that point of view, also called POV, refers to the angle from which a story is told. It includes the specific character who’s telling the story, as well as the way the author filters the story through that character to the reader.

This article will discuss the different points of view you can use in writing, including their strengths, weaknesses, and examples from literature.

What Is Point of View in Writing and Literature?

The importance of point of view, summary of the different points of view, first person point of view, second person point of view, third person point of view, fourth person point of view, what about alternating point of view, conclusion on point of view.

Point of view refers to the perspective through which a story is told.

To understand point of view, try this quick exercise. Imagine you’re telling a story about a well-traveled stranger who enters a small, rural town.

What are all the different perspectives you could tell this story from?

You might tell it from the perspective of the stranger who has never seen this town before and views all of its buildings and streets through fresh eyes.

You might tell it from the collective perspective of the townspeople, who are curious about who this stranger is and why he’s come to this part of the world.

You might even tell it from the perspective of an all-seeing entity, who can see into the minds of both the stranger and the townspeople, all at the same time.

Each of these options centers a different point of view—a different angle for the reader to approach the same story.

Point of view is one of the most important aspects of your story that you must decide before putting pen to paper (or fingers to keyboard). It can have an enormous impact on the tone, style, and even plot of the story.

Each point of view has its own strengths and limitations. In order to choose the right POV, you have to know what you want your story to accomplish.

For example, if you choose first person POV, you’ll be able to immerse the reader in a single character’s voice, humor, and worldview. On the other hand, you also have to show the world with that character’s biases and flawed observations.

The right POV can also completely change the way the story feels. POV is a matter of choice, but one that affects every part of your story or novel.

F. Scott Fitzgerald had to rewrite The Great Gatsby because he initially wrote it in Gatsby’s voice. He decided it would be much more powerful coming from Nick’s more naïve point of view. Imagine that masterpiece with a different point of view—it wouldn’t have the same objective, reliable feeling that it has now.

There are four main points of view that we’ll be discussing in this article: first person, second person, third person (with two subtypes: limited and omniscient), and fourth person.

• First person (“ I pet the cat because I think it looks cute.”)
• Second person (“ You pet the cat because you think it looks cute.”)
• Third person limited (“ She pets the cat because she thinks it looks cute.”) and third person omniscient (“ She pets the cat because she thinks it looks cute. Little does she know, this cat is actually an alien in disguise.”)
• Fourth person (“ We pet the cat because we think it looks cute.”)

Read on to learn the strengths and weaknesses of each of these points of view.

With first person point of view, everything is told intimately from the viewpoint of a character, usually your protagonist. The author uses the first person pronouns I and me to show readers what this character sees and thinks.

First person is the best way to show the story from one person’s point of view because you have an individual person telling you her story directly in her own words. It’s also the easiest way to tell a story that uses a distinct, quirky voice.

The limitations of first person point of view, however, restrict you to only describing what this character sees, thinks, and feels, and sometimes that narrator can be unreliable.

First Person POV Examples

One great example of first person POV is The Bell Jar by Sylvia Plath. The narrator is a flawed character, but we see the world entirely through her eyes, complete with her own faults and sorrows. Here’s a short excerpt:

“I began to think vodka was my drink at last. It didn’t taste like anything, but it went straight down into my stomach like a sword swallowers’ sword and made me feel powerful and godlike.”

Compare that with the intimacy you get when reading Scout’s view of things in Harper Lee’s To Kill a Mockingbird . She speaks with a childlike innocence, giving the reader that same feeling, even if we understand the racism of her town better than she does herself.

“We lived on the main residential street in town—Atticus, Jem and I, plus Calpurnia our cook. Jem and I found our father satisfactory: he played with us, read to us, and treated us with courteous detachment.”

Second person point of view, which uses the pronoun you , is one of the least used POVs in literature because it places the reader in the hot seat and is hard to manage for a full-length novel. It’s used in experimental literature to try out new styles of writing.

In the wrong hands, it just feels gimmicky. But when done well, second person point of view can accomplish a range of wonderful effects.

Second Person POV Examples

“Story of Your Life” by Ted Chiang is a fantastic example of second person POV. It takes the form of a story a mother tells her daughter to explain the circumstances of the daughter’s life. Because the mother is speaking directly to the daughter, the story is imbued with an extra sense of intimacy.

“Right now your dad and I have been married for about two years, living on Ellis Avenue; when we move out you’ll still be too young to remember the house, but we’ll show you pictures of it, tell you stories about it.”

The Fifth Season by N.K. Jemisin is a Hugo-winning fantasy novel that uses many different POVs, including second person. The second person point of view serves to provide a feeling of disorientation, like the protagonist needs to talk to herself to remind herself what’s going on. Here’s a short excerpt from the very beginning of the story:

“You are she. She is you. You are Essun. Remember? The woman whose son is dead.”

Third person point of view uses pronouns like he , she , and it . This POV allows the reader to follow a character, or multiple characters, from a more distanced perspective than first or second person.

Third Person Limited vs Third Person Omniscient

There are two subtypes of third person point of view: limited and omniscient.

In third person limited, the story follows only one character’s viewpoint throughout the entire piece. This means your reader sees only what the third person narrator sees and learns things at the same time the third person narrator does.

You can show what your main character thinks, feels, and sees, which helps close the emotional distance between your reader and the main character.

This is an excellent POV to use when your story focuses on a single character. In many ways, third person limited is quite similar to first person, even though it involves different pronouns.

The drawback with third person limited POV is that you can only follow one character. Showing other characters’ thoughts and feelings is a no-no.

The other type of third person POV is third person omniscient. In this POV, the story is told from the perspective of an omniscient narrator, who can see inside the heads of all the characters in the story.

This is a great POV to use when you have multiple characters, each with their own plot line to follow, and you want your reader to see everything as it unfolds. It’s also useful for imparting universal messages and philosophies, since the narrator can draw conclusions that no character would be able to on its own.

The downside to third person omniscient is that it can be emotionally distant from the story. Because you’re constantly jumping around to different characters and their story arcs, it’s harder for your reader to get as emotionally involved with your characters.

Third Person POV Examples

Examples of the third person limited POV are the Harry Potter novels. The reader sees everything that’s going on, but is limited to Harry’s point of view. We’re surprised when Harry is surprised, and we find out the resolution at the ending when Harry does. Here’s a short excerpt from the seventh book, Harry Potter and the Deathly Hallows:

“Harry sat up and examined the jagged piece on which he had cut himself, seeing nothing but his own bright green eye reflected back at him.”

An excellent example of third person omniscient POV is Victor Hugo’s Les Miserables . The reader sees everything that is happening in the story and gets a vivid lesson in politics and society in France’s history.

“He was cunning, rapacious, indolent and shrewd, and by no means indifferent to maidservants, which was why his wife no longer kept any.”

Fourth person is a newer POV that only recently started to be recognized as a distinct POV. It involves a collective perspective, using the plural pronouns we and us .

This POV allows you to tell a story from the perspective of a group, rather than an individual. Since there’s no singular narrative, this option is great for critiquing larger institutions and social norms. Fourth person is even rarer than second person, but when it’s done well, it can be very powerful.

Fourth Person POV Examples

“A Rose for Emily” by William Faulkner is told from the perspective of an entire town.

“We did not say she was crazy then. We believed she had to do that. We remembered all the young men her father had driven away, and we knew that with nothing left, she would have to cling to that which had robbed her, as people will.”

The Virgin Suicides by Jeffrey Eugenides is told from the perspective of a group of teenage boys.

“They were short, round-buttocked in denim, with roundish cheeks that recalled that same dorsal softness. Whenever we got a glimpse, their faces looked indecently revealed, as though we were used to seeing women in veils.”

You might choose to write a novel or story with multiple different points of view.

Some books have two main characters and switch back and forth between their perspectives—this is very common in the romance genre, for instance. Others rotate between three or more characters.

Alternating POV is a great option if your story features multiple main characters, all of whom play an equally important role in the story. The biggest drawback is that you risk confusing your reader when you switch back and forth.

Make sure your reader knows when you’re switching POVs. One common solution is to include a chapter break each time the perspective changes. Some books change the font for each POV, or even the color of the typeface.

It’s also important to make sure each character has a distinct voice. For example, maybe one character writes with short, brusque sentences, while another writes with long, flowery sentences. Keeping the different POVs distinct is crucial for success.

There you have it—a complete guide to point of view and how to choose the right POV for your story.

Before you start experimenting with point of view, get comfortable with the basics first. Read works by authors who use these different POVs with great success to understand how each POV changes the narrative arc of the story.

Happy writing!

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Check every email, essay, or story for grammar mistakes. Fix them before you press send.

Hannah Yang is a speculative fiction writer who writes about all things strange and surreal. Her work has appeared in Analog Science Fiction, Apex Magazine, The Dark, and elsewhere, and two of her stories have been finalists for the Locus Award. Her favorite hobbies include watercolor painting, playing guitar, and rock climbing. You can follow her work on hannahyang.com, or subscribe to her newsletter for publication updates.

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Types of Point of View: The Ultimate Guide to First Person and Third Person POV

by Joe Bunting | 74 comments

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In my experience as an editor, point of view problems are among the top mistakes I see new writers make, and they instantly erode credibility and reader trust. Point of view isn't easy though, since there are so many to choose from: first person point of view, third person limited, third person omniscient, and second person.

What do those even mean? And how do you choose the right one for your story?

All stories are written from a point of view. However, when point of view goes wrong—and believe me, it goes wrong often—you threaten whatever trust you have with your reader. You also fracture their suspension of disbelief.

However, point of view is simple to master if you use common sense.

This post will define point of view, go over each of the major POVs, explain a few of the POV rules, and then point out the major pitfalls writers make when dealing with that point of view.

Table of Contents

Point of View Definition The 4 Types of Point of View The #1 POV Mistake First Person Point of View Second Person Point of View Third Person Limited Point of View Third Person Omniscient Point of View FAQ: Can you change POV in a Series? Practice Exercise

Point of View Definition

The point of view, or POV, in a story is the narrator's position in the description of events, and comes from the Latin word, punctum visus , which literally means point sight. The point of view is where a writer points the sight of the reader.

Note that point of view also has a second definition.

In a discussion, an argument, or nonfiction writing, a point of view is an opinion about a subject. This is not the type of point of view we're going to focus on in this article (although it is helpful for nonfiction writers, and for more information, I recommend checking out Wikipedia's neutral point of view policy ).

I especially like the German word for POV, which is Gesichtspunkt , translated “face point,” or where your face is pointed. Isn't that a good visual for what's involved in point of view? It's the limited perspective of what you show your reader.

Note too that point of view is sometimes called narrative mode or narrative perspective.

Why Point of View Is So Important

Why does point of view matter so much?

For a fiction writer, point of view filters everything in your story. Everything in your story must come from a point of view.

Which means if you get it wrong, your entire story is damaged.

For example, I've personally read and judged thousands of stories for literary contests, and I've found point of view mistakes in about twenty percent of them. Many of these stories would have placed much higher if only the writers hadn't made the mistakes we're going to talk about soon.

The worst part is these mistakes are easily avoidable if you're aware of them. But before we get into the common point of view mistakes, let's go over each of the four types of narrative perspective.

The Four Types of Point of View

Here are the four primary types of narration in fiction:

• First person point of view.  First person perspective is when “I” am telling the story. The character is in  the story, relating his or her experiences directly.
• Second person point of view. The story is told to “you.” This POV is not common in fiction, but it's still good to know (it is  common in nonfiction).
• Third person point of view, limited. The story is about “he” or “she.” This is the most common point of view in commercial fiction. The narrator is outside of the story and relating the experiences of a character.
• Third person point of view, omniscient. The story is still about “he” or “she,” but the narrator has full access to the thoughts and experiences of all  characters in the story. This is a much broader perspective.

I know you've seen and probably even used most of these point of views.

While these are the only types of POV, there are additional narrative techniques you can use to tell an interesting story. To learn how to use devices like epistolary and framing stories, check out our full narrative devices guide here .

Let's discuss each of the four types, using examples to see how they affect your story. We'll also go over the rules for each type, but first let me explain the big mistake you don't want to make with point of view.

The #1 POV Mistake

Do not begin your story with a first person narrator and then switch to a third person narrator. Do not start with third person limited and then abruptly give your narrator full omniscience. This is the most common type of error I see writers make with POV.

The guideline I learned in my first creative writing class in college is a good one:

Establish the point of view within the first two paragraphs of your story.

And above all, don't change your point of view . If you do, it creates a jarring experience for the reader and you'll threaten your reader's trust. You could even fracture the architecture of your story.

That being said, as long as you're consistent, you can sometimes get away with using multiple POV types. This isn't easy and isn't recommended, but for example, one of my favorite stories, a 7,000 page web serial called Worm ,  uses two point of views—first person with interludes of third-person limited—very effectively. (By the way, if you're looking for a novel to read over the next two to six months, I highly recommend it—here's the link to read for free online .) The first time the author switched point of views, he nearly lost my trust. However, he kept this dual-POV consistent over 7,000 pages and made it work.

Whatever point of view choices you make, be consistent. Your readers will thank you!

Now, let's go into detail on each of the four narrative perspective types, their best practices, and mistakes to avoid.

First Person Point of View

In first person point of view, the narrator is in the story and telling the events he or she is personally experiencing.

The simplest way to understand first person is that the narrative will use first-person pronouns like I, me, and my.

Here's a first person point of view example from Herman Melville's  Moby Dick :

Call me Ishmael. Some years ago—never mind how long precisely—having little or no money in my purse, and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world

First person narrative perspective is one of the most common POVs in fiction. If you haven't read a book in first person point of view, you haven't been reading.

What makes this point of view interesting, and challenging, is that all of the events in the story are filtered through the narrator and explained in his or her own unique narrative voice.

This means first person narrative is both biased and incomplete, but it can also deliver a level of intimacy other POVs can't.

Other first person point of view examples can be found in these popular novels :

• The Sun Also Rises  by Ernest Hemingway
• Twilight by Stephenie Meyer
• Ready Player One by Ernest Cline
• The Hunger Games  by Suzanne Collins
• The Great Gatsby by F. Scott Fitzgerald
• Jane Eyre by Charlotte Brönte

First Person Narrative is Unique to Writing

There's no such thing as first person in film or theater—although voiceovers and mockumentary interviews like the ones in The Office and Modern Family provide a level of first person narrative in third person perspective film and television.

In fact, the very first novels were written in first person, modeled after popular journals and autobiographies which were first-person stories of nonfiction..

First Person Point of View is Limited

First person narrators are narrated from a single character's perspective at a time. They cannot be everywhere at once and thus cannot get all sides of the story.

They are telling their  story, not necessarily the  story.

First Person Point of View is Biased

In first person novels, the reader almost always sympathizes with a first person narrator, even if the narrator is an anti-hero with major flaws.

Of course, this is why we love first person narrative, because it's imbued with the character's personality, their unique perspective on the world.

The most extreme use of this bias is called an unreliable narrator. Unreliable narration is a technique used by novelists to surprise the reader by capitalize on the limitations of first person narration to make the narrator's version of events extremely prejudicial to their side and/or highly separated from reality.

You'll notice this form of narration being used when you, as the reader or audience, discover that you can't trust the narrator.

For example, Gillian Flynn's Gone Girl  pits two unreliable narrators against one another. Each relates their conflicting version of events, one through typical narration and the other through journal entries. Another example is  Fight  Club , in which *SPOILER* the narrator has a split personality and imagines another character who drives the plot.

Other Interesting Uses of First Person Narrative:

• The classic novel Heart of Darkness is actually a first person narrative within a first person narrative. The narrator recounts verbatim the story Charles Marlow tells about his trip up the Congo river while they sit at port in England.
• William Faulkner's Absalom,  Absalom  is told from the first person point of view of Quentin Compson; however, most of the story is a third person account of Thomas Sutpen, his grandfather, as told to Quentin by Rosa Coldfield. Yes, it's just as complicated as it sounds!
• Salman Rushdie's award-winning  Midnight's Children  is told in first person, but spends most of the first several hundred pages giving a precise third person account of the narrator's ancestors. It's still first person, just a first person narrator telling a story about someone else.

Two Big Mistakes Writers Make with First Person Point of View

When writing in first person, there are two major mistakes writers make :

1. The narrator isn't  likable. Your protagonist doesn't have to be a cliché hero. She doesn't even need to be good. However, she must  be interesting .

The audience will not stick around for 300 pages  listening to a character they don't enjoy. This is one reason why anti-heroes make great first person narrators.

They may not be morally perfect, but they're almost always interesting. (Remember Holden Caulfield in The Catcher in the Rye ?)

2. The narrator tells but doesn't show. The danger with first person is that you could spend too much time in your character's head, explaining what he's thinking and how he feels about the situation.

You're allowed to mention the character's mood, but don't forget that your reader's trust and attention relies on what your character does , not what he thinks about doing.

Second Person Point of View

While not used often in fiction—it is used regularly in nonfiction, song lyrics, and even video games—second person POV is still helpful to understand.

In this point of view, the narrator relates the experiences using second person pronouns like you and your. Thus, you  become the protagonist, you  carry the plot, and your  fate determines the story.

We've written elsewhere about why you should try writing in second person , but in short we like second person because it:

• Pulls the reader into the action of the story
• Makes the story   personal
• Surprises the reader
• Stretches your skills as a writer

Here's an example from the breakout bestseller  Bright Lights, Big City by Jay Mclnerney (probably the most popular example that uses second person point of view):

You have friends who actually care about you and speak the language of the inner self. You have avoided them of late. Your soul is as disheveled as your apartment, and until you can clean it up a little you don't want to invite anyone inside.

Second person narration isn't used frequently, however there are some notable examples of it.

Some other novels that use second person point of view are:

• Remember the Choose Your Own Adventure series? If you've ever read one of these novels where you get to decide the fate of the character (I always killed my character, unfortunately), you've read second person narrative.
• The Fifth Season  by N.K. Jemison
• The opening of The Night Circus by Erin Morgenstern

There are also many experimental novels and short stories that use second person, and writers such as William Faulkner, Nathaniel Hawthorne, and Albert Camus played with the style.

Breaking the fourth wall:

In the plays of William Shakespeare, a character will sometimes turn toward the audience and speak directly to them. In  A Midsummer Night's Dream , Puck says:

If we shadows have offended, think but this, and all is mended, that you have but slumbered here while these visions did appear.

This narrative device of speaking directly to the audience or the reader is called breaking the fourth wall (the other three walls being the setting of the story).

To think of it another way, it's a way the writer can briefly use second person in a first or third person narrative.

It's a lot of fun! You should try it.

Third Person Point of View

In third person narration, the narrator is outside of the story and relating the experiences of a character.

The central character is not the narrator. In fact, the narrator is not present in the story at all.

The simplest way to understand third person narration is that it uses third-person pronouns, like he/she, his/hers, they/theirs.

There are two types of this point of view:

Third Person Omniscient

The all-knowing narrator has full access to all  the thoughts and experiences of all  the characters in the story.

Examples of Third Person Omniscient:

While much less common today, third person omniscient narration was once the predominant type, used by most classic authors. Here are some of the novels using omniscient perspective today.

• War and Peace  by Leo Tolstoy
• Middlemarch  by George Eliot
• Where the Crawdad's Sing by Delia Owens
• The Old Man and the Sea by Ernest Hemingway
• Still Life by Louise Penny (and all the Inspector Gamache series, which is amazing, by the way)
• Gossip Girl by Cecily von Ziegesar
• Strange the Dreamer by Laini Taylor
• Little Women by Louisa May Alcott
• Crazy Rich Asians by Kevin Kwan (one of my favorites!)
• A Wizard of Earthsea by Ursula Le Guin
• Pride and Prejudice by Jane Austen
• More third person omniscient examples can be found here

Third Person Limited

The narrator has only some, if any, access to the thoughts and experiences of the characters in the story, often just to one  character .

Examples of Third Person Limited

Here's an example of a third person limited narrator from  Harry Potter and the Sorcerer's Stone  by J.K. Rowling:

A breeze ruffled the neat hedges of Privet Drive, which lay silent and tidy under the inky sky, the very last place you would expect astonishing things to happen. Harry Potter rolled over inside his blankets without waking up. One small hand closed on the letter beside him and he slept on, not knowing he was special, not knowing he was famous…. He couldn't know that at this very moment, people meeting in secret all over the country were holding up their glasses and saying in hushed voices: “To Harry Potter—the boy who lived!”

Some other examples of third person limited narration include:

• Game of Thrones s eries by George R.R. Martin (this has an ensemble cast, but Martin stays in one character's point of view at a time, making it a clear example of limited POV with multiple viewpoint characters, which we'll talk about in just a moment)
• For Whom the Bell Tolls by Ernest Hemingway
• ​The Way of Kings by Brandon Sanderson
• The Da Vinci Code  by Dan Brown
• The Girl with the Dragon Tattoo by Stieg Larsson
• Ulysses by James Joyce
• Love in the Time of Cholera  by Gabriel Garcia Marquez
• 1984  by   George Orwell
• Orphan Train by   Christina Baker Kline
• Fates and Furies by Lauren Groff

Should You Use Multiple Viewpoint Characters vs. a Single Perspective?

One feature of third person limited and first person narrative is that you have the option of having multiple viewpoint characters.

A viewpoint character is simply the character whose thoughts the reader has access to. This character become the focus of the perspective during the section of story or the story as a whole.

While it increases the difficulty, you can have multiple viewpoint characters for each narrative. For example,  Game of Thrones  has more than a dozen viewpoint characters throughout the series.  Fifth Season has three viewpoint characters. Most romance novels have at least two viewpoint characters.

The rule is to only focus on one viewpoint character at a time (or else it changes to third person omniscient).

Usually authors with multiple viewpoint characters will change viewpoints every chapter. Some will change after section breaks. However, make sure there is  some  kind of break before changing so as to prepare the reader for the shift.

Should You Use Third Person Omniscient or Third Person Limited

The distinction between third persons limited and omniscient is messy and somewhat artificial.

Full omniscience in novels is rare—it's almost always limited in some way—if only because the human mind isn't comfortable handling all the thoughts and emotions of multiple people at once.

The most important consideration in third person point of view is this:

How omniscient are you going to be? How deep are you going to go into your character's mind? Will you read their thoughts frequently and deeply at any chance? Or will you rarely, if ever, delve into their emotions?

To see this question in action, imagine a couple having an argument.

Tina wants Fred to go to the store to pickup the cilantro she forgot she needed for the meal she's cooking. Fred is frustrated that she didn't ask him to pick up the cilantro on the way home from the office, before he had changed into his “homey” clothes (AKA boxer shorts).

If the narrator is fully omniscient, do you parse both Fred and Tina's emotions during each back and forth?

“Do you want to eat ? If you do, then you need to get cilantro instead of acting like a lazy pig,” Tina said, thinking, I can't believe I married this jerk. At least back then he had a six pack, not this hairy potbelly . “Figure it out, Tina. I'm sick of rushing to the store every time you forget something,” said Fred. He felt the anger pulsing through his large belly.

Going back and forth between multiple characters' emotions like this can give a reader whiplash, especially if this pattern continued over several pages and with more than two characters. This is an example of an omniscient narrator who perhaps is a little too comfortable explaining the characters' inner workings.

“ Show, don't tell ,” we're told. Sharing all  the emotions of all  your characters can become distraction. It can even destroy any tension you've built.

Drama requires mystery. If the reader knows each character's emotions all the time, there will be no space for drama.

How do You Handle Third Person Omniscient Well?

The way many editors and many famous authors handle this is to show the thoughts and emotions of only one character per scene (or per chapter).

George R.R. Martin, for example, uses “ point of view characters ,” characters whom he always has full access to understanding. He will write a full chapter from their perspective before switching to the next point of view character.

For the rest of the cast, he stays out of their heads.

This is an effective guideline, if not a strict rule, and it's one I would suggest to any first-time author experimenting with third person narrative. Overall, though, the principle to show, don't tell should be your guide.

The Biggest Third Person Omniscient Point of View Mistake

The biggest mistake I see writers make constantly in third person is  head hopping .

When you switch point of view characters too quickly, or dive into the heads of too many characters at once, you could be in danger of what editors call “head hopping.”

When the narrator switches from one character’s thoughts to another’s  too quickly, it can jar the reader and break the intimacy with the scene’s main character.

We've written about how you can get away with head hopping elsewhere , but it's a good idea to try to avoid going into more than one character's thoughts per scene or per chapter.

Can You Change POV Between Books In a Series?

What if you're writing a novel series? Can you change point of view or even POV characters between books?

The answer is yes, you can, but whether you should or not is the big question.

In general, it's best to keep your POV consistent within the same series. However, there are many examples of series that have altered perspectives or POV characters between series, either because the character in the previous books has died, for other plot reasons, or simply because of author choice.

For more on this, watch this coaching video where we get into how and why to change POV characters between books in a series:

Which Point of View Will You Use?

Here's a helpful point of view infographic to help you decide which POV to use in your writing:

Note that these distances should be thought of as ranges, not precise calculations. A third person narrator could conceivably draw closer to the reader than a first person narrator.

Most importantly, there is no best point of view. All of these points of view are effective in various types of stories.

If you're just getting started, I would encourage you to use either first person or third person limited point of view because they're easy to understand.

However, that shouldn't stop you from experimenting. After all, you'll only get comfortable with other points of view by trying them!

Whatever you choose, be consistent. Avoid the mistakes I mentioned under each point of view.

And above all, have fun!

How about you? Which of the four points of view have you used in your writing? Why did you use it, and what did you like about it? Share in the comments .

Using a point of view you've never used before, write a brief story about a teenager who has just discovered he or she has superpowers.

Make sure to avoid the POV mistakes listed in the article above.

Write for fifteen minutes . When your time is up, post your practice in the Pro Practice Workshop (if you’re not a member yet, you can join here ). And if you post, please be sure to give feedback to your fellow writers.

We can gain just as much value giving feedback as we can writing our own books!

Happy writing!

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Joe Bunting

Joe Bunting is an author and the leader of The Write Practice community. He is also the author of the new book Crowdsourcing Paris , a real life adventure story set in France. It was a #1 New Release on Amazon. Follow him on Instagram (@jhbunting).

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74 Comments

My book is a memoir so first person is what I chose.

That was my choice for memoir, but am exploring other avenues for better character development.

I hate to be such a nag but isn’t the plural “points of view” and not “point of views”? As in brothers in law and not brother in laws

Joe, excellent post on POV. Probably the best I’ve read. Thanks!

I go for third person deep. In the PoV character’s head, using her unique voice, no author intrusion, no filter words. Am I doing it right? Far from it, but I’ve attended deep writing classes, an it’s easier to pinpoint slips.

Greetings from Greece!

Thanks for sharing this tit bit. I will be looking out for a deep writing class!

When deciding your POV, I strongly believe genre and tense should be considered as well.

Here is my first time ever uploading a “practice.” I chose to try second person, please be kind!

I couldn’t believe it when you called me, waking me from an intense fantasy dream, to tell me that you had been somehow magically transformed overnight into some type of superhero. You cannot blame me if my reaction appeared to be less than awe and more of disbelief and worry for your current state of mind. You will not want me to ask this, but have you started doing drugs? Remember, Freshman Health class, one of the signs to look for was if your friend suddenly changes or acts crazy. Well dude, you are acting more than just a little bit crazy.

Can you really fly? I have been waiting for 15 minutes for you to appear at my bedroom window, and so far nothing. I can envision you, at this very moment, running down the alley and between the houses. You will get to my back gate, jump over, and scurry behind the bushes; all bent over and believing that I can’t see you. When you are sure of your timing and that I have no idea at your mastery, you will jump out and try to convince me that you flew to your location. Please try to remember that I have known you since Kindergarten. Very little about you surprises me anymore, yet you are entertaining.

Although, you did sound different on the phone this morning, you voice had a quality I had never heard before. I would call it confidence. You weren’t trying to convince me that you had a special new talent. You were telling me, informing me.

You need new boots, I know this because I noticed the hole in the bottom of the left one as you slowly descended from the top of my window. Your smile was radiant, your arms crossed confidently across your puffed out chest. You are transformed.

Barbara! Thank you so much for your creativity. Keep sharing it with the world! The parts about the boots… wow!

Keep making lemonade from lemons, Barb. Be in touch.

You don’t look peaceful, but you look at peace. Morphine will do that to you. Your flaky, red eyes flutter in your sleep—do you dream, there? “The eyes are the windows to the soul,” so they say; with the curtains drawn, does your gaze turn inward? Do you dream of me amidst the pain, or are you cradled in the gentle embrace of the abyss?

This was your fault, you know; waving that gun in my face, pushing me around; what did you expect?

Certainly not this; no one could have expected this. Dazzling cords of fire springing from the fingertips of your would-be, should-be victim—perhaps it would’ve been wiser to hand over the money—but then, who next? Woudl you have let me go in the first place?

It wasn’t for anything venial, was it? Not for clothes or jewelry—not from what I can tell; you don’t seem the type. But it’s hard to tell. There’s not much left of your clothes, you know.

There’s not much left of you.

They’ll pour maggots over your chest and into your eyes, and flake off the blackness with gentle sponges, and alcohol over everything. That will hurt.

Your hair was so pretty. The doctor says most of it will grow back.

The cops are taking your side, you know. Figures. At least guns don’t burn. I wouldn’t be sticking around if they hadn’t cuffed me to the bed, and set it beside yours—someone in blue has a sick sense of irony.

There are birds fluttering by the windowpane, and whispers of white amidst pastels of blue. Your burns will heal. Mine have only just begun.

Yeah, having superpowers would actually be terrifying. Especially fire. Fire is bad.

I’ve used second-person before, but very rarely, so I went with it, since I’ve used all the points of view you mentioned.

Changing point of view is not only acceptable, it’s quite common. You just italicize it. I don’t know how to do that in a comment, but the general form would be something akin to: He felt around for the plot device. *Damn; I can’t find this thing. Woe is me, I am woe, woe unto me, woe betides me, etc.* He found it. *Huzzah!*

Further, your example for third-person POV includes a sputter of second-person: “the very last place *you* would expect astonishing things to happen.” This is the rhetorical “you,” not an actual pronoun—that is, “you” isn’t referring to anyone—but it still counts.

I think the argument shouldn’t be “never switch POV,” but, rather, “use the turn signal;” that is to say, give the reader an indication that the POV is changing, and why. Italics for brief periods, chapters for changing the individual narrator (you can have lots in one book), etc. Much like turning in traffic, problems generally arise not from the turn, but from the surprise. “Head hopping” is easy to avoid with, for instance, section separators—a vertical space, or a line of three little stars if the space breaks across a page, so that the reader knows a shift is happening. After familiarizing the reader with the mechanism, you can abuse it as much as you want.

Hemingway’s way works too, although I was never a big fan of Hemingway.

P.S. Give away an antique typewriter; brilliant—plenty of nostalgia; tangled ribbons, torn sheets, jammed keys; I can see why you want to inflict it on somebody else!

Wow, that was amazing descriptions. I loved your opening and closing lines as well. You did a great job of setting the dark mood of the story. Very well done.

Great post! It is quite thorough and engaging, and you offered plenty of terrific examples and practical tips.

I tend to write my stories more in the third person POV, I tend to focus on one main character but sometimes try to give some insight on another character’s perspective. The only reason I shy away from first person is because it can be emotionally exhausting to write. The funny thing is my most dramatic story was written in first person (though I did switch between two people) but I felt it would come off stonger in first person rather than third.

I’m not sure I qualify for this practice, because I’ve written in pretty much every POV: My novel is 3rd person deep, my short stories are first person, my articles are second, and my songs cover all of the above plus the others. 🙂 In my book I have several POVs, but I make sure to change the scene completely before changing the person. (Like Jerry Jenkins’/Tim Lahaye’s Left Behind.) I’m not breaking any rules like that, am I? This is a great and informative article that I’ll definitely reference in the future. Thanks for sharing your knowledge!

“Whatsoever ye do, do unto the Glory of God” Reagan

Nice post! Very helpful of keeping them strait. I tend to lean toward first person or third person limited, so I decided to try out second person for the prompt. I also used a dialogue prompt, which is the first line of the story. Here goes nothing!

“The last time I said yes to you, a lot of people died.” You say it low, under your breath, perhaps because you don’t really want him to hear you or perhaps because you don’t want to hear yourself, don’t want to remember that it happened.

“You know,” He reaches out to you, and you pull away, not wanting to touch his hands, hands that could have prevented the deaths of so many, but that have always been so gentle with you. He turns his face to the ground and, you realize, he is just as pained by the memory as you. “You know that I couldn’t have done it.”

“No.” The word comes out all wrong, because of your still upper lip, “You couldn’t have. I knew that then and I know that now.” You lock eyes with him, “Don’t you understand that’s what I’m saying? Don’t you understand that the answer is no?”

“But I can’t…” He grimaces, as though someone has twisted a knife in his gut, “I can’t just let you kill yourself.”

And now it’s your turn to grimace, to feel the pain twisting your stomach into knots. You don’t really know why you do it though. Are you afraid to die? No. That’s not it. You’re afraid for him. For the pain your death will cause him.

“You have to be strong.” You say, “For me.” This time it’s you that reaches out, to lay a hand gently on his shoulder, “You know if I don’t do this, a lot of people will die. Because I know, if I go berserk again, you won’t be able to pull the trigger. And it wouldn’t be fair to ask you to do that anyway. So the answer is no, I won’t let you be my safety net anymore.” His only response is a nod. You slide the hand gently off of his shoulder. That will be your only goodbye. It will be easier that way.

The cup that holds the poison looks normal. Just a regular coffee cup, containing your favorite blend of Colombian roast, and, of course, the substance that will kill you, quickly and painlessly, which is more then you deserve. You are not afraid. You are ready. You pick the cup up off the table and bring it close to your lips but then hesitate, because you see that shining in his eyes, the shining that means he’ll start crying. There is that twisting feeling in your stomach again. Seeing him in pain has always hurt the worst. But you can’t risk it anymore. You can’t let yourself live at the cost of more deaths.

Before you can hesitate, you take a gulp, the coffee burning your throat as it goes down. The room wobbles and you fall, but he catches you, like you knew he would, so that your head doesn’t crack open on the concrete floor.

You are paralyzed, but still conscious, and you know you only have a few seconds before the world grows dark.

He sinks to his knees, cradling you in his arms, like a child. He is no longer holding back his tears. Perhaps because he already thinks you dead.

“I wish,” He says, through sobs and tears and unbecoming bubbles of snot, “I wish you would have said yes.”

He puts his forehead to yours and you feel warm drops of moisture fall on your cheeks. In that moment you, too, wish you had said yes. That things could have been different. That you could have been alive and happy.

But you do not doubt your decision, not in the last seconds that you have breath. Because the last time you said yes to him, a lot of people died and this time, the death tole would be a single, solitary, one.

That was amazing and beautiful and very very emotional. You’ve used second person very effectively! I love it. Did this just come from the top of your head or is there a longer story behind it?

Thanks! It was a sort of top of my head thing. I used this writing prompt and also a dialogue prompt. Also, I’ve been thinking of werwolfs a lot lately for some odd reason (which is what the main character is). The rest of it kinda flowed from there. I’m glad you liked it!

Wonderful story

Not knowing much about POV, I believe I’ve been hedge hopping between them, but appear to prefer Third Person Omniscient, but will have to first discover what that last big word means? Then a re-write may well be called for!

The post is excellent, extending a warm hug of inspiration to the budding writers. I prefer ‘third person omniscient’ POV, with no room for any boredom in my narration.

Peter had his normal “I’m paying attention” look plastered on his face, but his mind was chasing super villains, decimating evil minions with mighty punches that laid ten low at one swipe.

One ear caught, “Good morning, we have a guest speaker this morning, the Rev. Charles Birch, from the 2nd Baptist Church. Rev. Birch will present the creationist side to what we have been studying in the physical sciences. Rev. Birch.”

“Blah … blah … blah,” Peter heard in his public ear but his private ear heard Dr. Daemon spewing his maleficent threats, “Capt. Magnificent, you have no hope of defeating my eco-destroying minions!” On and on it went, Birch preaching “let there be light … the dominion of man over all things … everything in it’s proper order … on the first day God created the second day … and on the third day blah blah blah,” and of course during all of this Dr. Daemon and Capt. Magnificent continued their mighty struggle on the farside of the moon, until Peters public ear heard, “of course the universe can only be 10,000 years old …”

What? What was that his public ear just heard? The Universe is a maximum of 10,000 years old? Peter was now attentive to what the pompous windbag in front of the class was saying.

A single hand raised itself amongst the sea of blank faces.

“Yes, young man?”

“Uh, Rev. Birch, how can the universe be 10,000 years old?”

“Easy uh huh,” Ms. Murphy whispered into the Reverends ear, “yes, Peter, we know the age of the universe from the generations that are recorded in the Bible.”

“But … I was at a dig in Colorado last summer and the rock strata around the fossils …”

“Humph, all conjecture. I believe God made the fossil and the rocks surrounding it ten thousand years ago.”

“All fossils are like that then?”

“Well of course. Given He made the fossils He made the surrounding rock. We only think that it took millions of years.”

Peter’s hand shot up again.

Rev. Birch tried to avoid him, but Peter was a persistent little son of… “Yes?”

“So God’s just a practical joker, creating false evidence to fool the sciences?”

The class was coming out it’s “guest speaker” lethargy, as Peter again had his hand up and spoke before acknowledged, “Does the Bible say what the speed of light is?”

“Well, now I think that has no bearing …”

Susan piped up, adding onto Peter’s question “How can Andromeda be millions of light-years away if the universe is only 10,000 years old?”

“Uh well … Andromeda?”

“No wonder He didn’t have time to save my baby sister if He wasted all that time making fossils look millions of years old,” came a loud, whispered, comment from the back of the room.

Ms. Murphy quickly ushered Rev. Birch from the classroom, and shook his hand in the hall, “Thank you so much for coming. We do appreciate all view points.”

“Who are those kids?” the Reverend asked.

“Oh, the Anderson District Scholars Program. Basically our high school geniuses in sciences and math. It’s required we allow all view points to be presented.”

Interesting. Uh, Gary, how could you have written the story in 15 minutes? Or did you dig up a fossil story you wrote millions of years ago…?

Does it matter?

It took a day and a half to percolate through my gray matter. I then took approximately 15 to 20 minutes to rough it out and get it into Draftin. Then another while, hours, lots of minutes, to get it to where I wanted to post it. Once posted, I’ve gone back and edited it, probably dozens of times, making changes as it has continued to peroclate.

I loved the flashing between reality and a story he is telling himself in his head. That’s me about 90% of the time. lol

I would also just like to add, that all creationists aren’t young earth creationists. There are a lot of different theories. Take the gap theory and theistic evolution for example. Then you have people who take it as a literal six days and others who don’t because of the bible verse that says “a day is like a thousand years and a thousand years is like a day”. Then, there are two different meanings to the word “day” if you look at the translation of the bible from Hebrew to English. So there is argument over which version of the word “day” is being used sense one can be taken literally and the other figuratively. There are literally of books written on these subjects, with Christians arguing amongst themselves over which is right. I have actually meet very few people who think the way the reverend in this story does, especially sense when you go to seminary they teach you how to not look like an idiot in these situations.

I think It’s important to remember when you’re writing Christians (or any group that often gets stereotyped) that they are not stereotypes. I’ve written atheists and it’s really easy just to make them injured people who are angry at God and dissatisfied with life, but that’s just not the reality. A lot of atheists know their stuff and have good reason for their beliefs. The same applies to Christians. If you still want to debunk the Christian in the end, I’m totally cool with it. I would just say, have the Christian have a better argument then “God put the fossils their like that”. Make it harder for your main character to debunk him, create more conflict, and make us cheer him on all the more when he wins.

Just thought that was worth mentioning. All in all, the piece is very well written.

Assumption: Pastors and or reverends have been to seminary. Not true. In the Southern Baptist Convention, at least when I was in the SBC, pastors were not assigned by the convention, nor was any kind of, pre or post graduate, pastoral education required. Pastors were called by the local church, without guidance from the convention, and could easily not even have finished high school. There are many churches that have no affiliation with any established denomination, and therefore call whomever they want as their pastor.

Oh, yes, you handled POV nicely. I’m just the kind of person that will comment on every part of the story. And I’m sorry if the comment was too much, or you didn’t find it helpful. I just tend to say what I think. But for the exercise you did a good job on the POV.

Oh the comment wasn’t too much. After 68 years my hide is pretty tough and criticism I tend to take in a constructive manner and/or with a grain of salt.

But you assumed something in your comment that, in my experience is simply not true. In my experience, the pastors that had graduated college, let alone ever attended seminary were zero. My denomination, at the time, was lucky to have pastors that finished high school.

68 years, wow that’s a lot of time and experience! You have the respect of a young Padawan.

You’re right. I was looking at it from a United Methodist view point (sense that’s the denomination I belong to). Our denomination is pretty strict with schooling and is very organized when it comes to chain of command. I discounted the fact that not all denominations and churches are like mine. My current pastor actually has a PhD and really knows what he’s talking about, so were lucky in that. I’ve also grown up in a home where ignorance isn’t tolerated. We learn about our religion (and everything else we can learn about) and are not victims of blind acceptance.

I’m sorry you had experiences with uneducated pastors. I hope they weren’t all as bad as the one in the story. If they were, then that stinks. And I do realize that there are, sadly, some pastors like the one from your story who don’t have very good arguments when it comes to the science of their faith. But I also hope that people know that all Christians aren’t, to put it frankly, stupid.

Again, assumptions. Christianity was never equated to stupidity, and above all else no attempt to equate uneducated to stupid was ever made. In all those 68 years I have seen incredibly educated people, read that doctorates, that were, above all else, stupid. I have also encountered uneducated people that could best be described as genius.

Birch was, at best, unprepared. His fault, Murphy’s fault, irrelevant, not what I was striving for. It was simply the vehicle used to convey POV switching from character to character. Birch could have been Islamic and quoting the Torah.

I wrote for 20 minutes before I realized it, so here’s what I got.

“Okay, calm down, calm down. You must get a hold of yourself” I murmured frantically to myself, I had to calm down before I blew another hole through the wall, or worse. I sat still on the hard floor, and I still couldn’t believe what had happened, it didn’t make sense at all, but there was evidence of it right before my eyes: a brick wall that now had a wide circle in its middle, still glowing hot from what I had done. Yet it was nothing compared to the silver glow that came from my hands, it felt strange, alien yet oddly comfortable, like I was wearing a glove while sparks coursed throug my arms.

I kept staring at my hands for a long time, trying to find some explanation for what had happened, it couldn’t have been me who did that, I wasn’t that special, I didn’t have some special blood, nor had I gone through any experiment, I didn’t even fit in any origin story of any Super. I was sure of that, I had even taken the tests at the Dome.

“This can’t be happening!” I screamed, letting loose all the emotions I had tried to hold back. “ARGGGHhhh!”

Then, it happened again, the room was bathed again in a silver hue as another silver beam left my hands and destroyed the wall a bit more, leaving behind only one third of what had been an sturdy wall once. That flash had confirmed my fears, this was the reality I had been the one to destroy the wall. I was angry, scared and happy at the same time, these emotions clashing one against the other as I witnessed the destruction I had wrecked in less than 10 minutes.

A grave sound pierced the old room I was in, it sounded like a lament, a sorrowful lament from a strange lonely monster. It only lasted a few seconds, and then, a piece of the roof fell about 5 meters from me. It was followed by another one, and another one bigger than the first two. Soon the whole roof was falling in, and fear once again took a hold of me. I was going to die, I knew I was going to die, buried beneath the rubis of the room.

“I, I don’t want to die” I screamed with all the force of my lungs while I tried to protect my head with my hands, I knew it wasn’t going to be enough, it wasn’t going to be enough if I wanted to live. I want to live. That thought was the last one I had before a surge of power coursed through my body, engulfing my vision in a white blanket before I passed out.

When I woke up, I felt groggy, moving my body was hard, and the air was packed with dust. But I didn’t hurt anywhere, not did I feel like I was buried under something. I slowly made my way to my knees, looking at myself for any sign of injuries, but there was none, in fact except for the dust my clothes were exactly the same as they had been before the fall in.

“This is impossible” I said out loud to no on, but how did this happen? I thought I was done for sure. It was only then that I looked around me and I was shocked for the fifth time that day.

There wasn’t any rubis near me, no for a meter around me. Was that possible? How?

Well done. There are a couple of times where the protagonist is thinking, not speaking. It would help to clarify that like using italics, or at least quoting.

Thanks for the advice- I usually use italics when it comes to thoughts, but I wasn’t sure if they were going to copy that way from writer. So I’ll try to use them next time.

I wrote one short story in the first person POV twenty five years ago. I never tried it again. Since I decided to face my fears, here I go again.

I had just opened my eyes and before I could see clearly, I was standing next to the bed jumping up and down. All of a sudden, i was standing next to the dresser drawer. did I run? I had so much energy. It seemed as if I had four cups of coffee and six energy pills. I looked across the room at the hamper. The hamper was empty and the clothes that were stuffed there were clean and folded. Last night the hamper was full of dirty clothes.. I head a soft voice that sounded like mine. “Esther, you now have super human power. The clothes were washed and folded last night. If you go to the kitchen, there is no longer a pile of dirty dishes. They have all be washed and put away. That’s all I have to say.” “What are you talking about? Who are you?” Suddenly, I was jumping up and down next to my dresser drawer.. I paused and looked into my mirror. I still looked the same. A long braid with a hair pin fastened to the left close to may ear. I did feel energized. At once I felt like I needed or wanted to run. I walked down the stairs toward the front door. The moment that i stepped out. I had dashed down the block, turned to the right and dashed down that block and Paused, standing in right in from of me was me. she looked exactly like me. She had a long braid that was pinned to the side like i did. She was wearing a light tan tee-shirt and black short shorts, blue gym shoes. Just like I am wearing. We both stood there, sweating, jumping up and down as though there were springs.under our shoes. ” Who are you?” ” I just you told you when we were in the house.” Then, she said “I’ll just tell you this much. Let’s race back to the house and up the stairs and stand next to the bed. Whoever get there first wins. “Win what,” “You’ll find out.” she dashed past me to the right. I spun back around so fast that I became dizzy. I dashed down the block and turned left. Before I knew it, I was in the kitchen. Mama was there. I was downstairs sitting at the table with her. “I am impressed. you have fixed breakfast and washed the dishes and I see you have been running.” Thanks mama, I said. Then in my mind and my ear I heard my own voice. There are two Esther. The one who procrastinate and don”t get things done and the one that get things done immediately without being told.. Then mama looked at me and smiled. She never smiles in the morning. but today, she did. She said, well today you cooked the breakfast and washed the dishes without waiting until you got home from school. I like this part of you, Esther. Then, I knew what had happened, KEN Well, there it is. Now, this means that I have used the first person again. I feel okay because, even if it’s terrible. I tried.

My go to POV is 3rd Person, limited.

Oops!! Just realized I completely blew the prompt.

Oh well … back to he drawing board (or computer).

This app helps me understand a lot about the 3d person

The first time it happened took me by surprise. It would anyone wouldn’t it? I was standing in line at the grocery store with my mom. I was tapping my foot to the beat of my own boredom, impatiently waiting for the guy ahead of us to move his cart; which if you ask me he didn’t even need. I added in some finger snaps. 1…2…and…3. The third snap brought with it an echo. When I looked around, I wasn’t in the grocery store anymore. I was in a cave.

I had waited for my eyes to adjust to the dark. The only light that was coming through was a small crack far ahead of me to my left side. I looked down at my feet for a path. Right in front of me the rock I was standing on dropped off into an abyss of black. Behind me stood the edge of the cave. I remember hyperventilating. I was so scared I couldn’t move. I started snapping my fingers again and said out loud, “think, think, think,” matching my snaps to the words in my head. On the third snap, I was back in the grocery store. Police were there talking with my mother. I had been gone a long time.

After that day I tried experimenting with my new formed ability. I started thinking of specific places that I wanted to visit; I wanted to see if I could control it. After a few failed attempts ending up in grungy basements, restaurant cooler storages, and an actor’s cottage, I got a hold of the pattern.

The success of my teleportation was contingent on my ability to breathe evenly. I needed to remain completely calm. When I realized that my ability was never going away, my excitement is what kept me from perfection. Failure after failure brought an increased frustration with myself.

It’s good. You haven’t overdone anything. You’ve shown what happened through your character really well. I particularly like the line “dropped off into an abyss of black.”

This was my attempt at using 2nd person. I rarely use it. Any advice would be appreciated. Thank you 🙂

“Now what can you tell me about God? Anybody? Yes, yes, um Alice?” “Alicia, Miss. God is often described with the three Os. He is omnipotent, all powerful, omnipresent, everywhere and omniscient, all knowing.” You suppress a groan. “Which textbook did she swallow to spew that out?” you whisper to your friend. She giggles quietly. “Shhhh,” she replies. You sigh and put your head on the table. You’ve been stuck in this stuffy classroom for half an hour and you really won’t last for another half. You can practically eat religion in this school.

“Hey you, you, sleepy child,” the teacher says. For a moment you’re confused but then your friend nudges you and you realise the woman is talking to you. ‘Can’t she learn our names?’ you think. “Yes, Miss?” you dare to risk saying. “What can you tell me about God?” she asks. ‘Oh for God’s sake,’ you think before realising the irony. “Um,” you reply. You could almost swear that time was slowing down. Everyone’s eyes turn towards you almost in slow motion before they stop as if frozen. You wish the ground would hurry up and swallow you. It takes you a moment to realise that no one is blinking. “Hello?” you say, hoping you don’t sound like an idiot. Nobody responds. ‘Okay, this is really creepy.’ You poke your friend but she doesn’t move. A bead of sweat trickles down your forehead that has nothing to do with the heat. What is going on? A cold feeling washes over you and you sit back in your seat feeling dizzy. You try to control your breathing but it is rapid and coming in gasps. You glance at the clock only to see that the second hand has stopped moving. Hands clammy, you glare at it willing it to move. Millimetre by millimetre it does. You sigh with relief when everybody’s movement resumes only to find yourself under the scrutiny of 30 pairs of eyes.

“Well?” asks the teacher. Suddenly desperate, you look at the clock and wonder if you can make time go faster.

Who’s point of view;

So there’s this guy, this one guy I never liked, he’s constantly stealing my ideas, getting credit for the success, or if the idea fails, that’s when he throws me under the bus. Oh it’s so aggravating when he takes the words right outta my mouth, when I try to participate in the discussion, he cuts me off, I swear he thinks he knows everything he’s talking about. Oh, yeah and he’s always making an ass out of me, no matter what it is, especially at every work party. This guy thinks he’s so slick, two steps ahead of everyone, but he’s not quick, I know every move he’s gonna make before he makes them. It’s also extremely embarrassing he always seems to wear what I have on, then to hear people say how good he looks, I swear his heads swelling from the compliments. Have you seen him? That car he’s driving, that watch he’s wearing, his house, and kids, and his wife, most people only dream of marrying. He has everything I ever wanted, yet he takes it all for granted, he won’t let anyone else enjoy the spot light, like it’s impossible for him to share it. He never talks to me, which makes it that much more awkward, because I always see him in the bathroom, and every time I wash my hands, there he is, just starring, blocking my reflection. When I try to move, he moves too, it’s so obvious he’s doing it on purpose, but I don’t like drama, quite frankly his demeanor makes me a little nervous. So I just ignore it, I’m starting to wonder if I should report him, but what if the boss thinks I’m jealous? I much rather prefer waiting until the day he quits, or who knows maybe he’ll get fired, I just hope he’s not still here up until the day that I retire.

Until the age of five almost six, I thought everyone could figure out how to walk through walls. The morning my mom was walking me to my first day of school she broke the news to me. Once we reached the first intersection, and we were standing at the corner waiting for the light to change, she first asked me, “Maddy, remember that I mentioned to you every person in the world is unique?” I nodded while I kept my eye on the street light. “and what did I say was so unique about you?” “That I have three freckles on my nose.” “Maddy! Not that but the one thing nobody can tell by looking at you.” I looked up at her and said, “That I am a smart kid and I figured out that walls don’t divide or separate?”

Chapbook 25

Last night I was scared, I had another bad dream I just wanted my mommy there but she was in another room asleep. It was a nightmare, the one I often have, about a monster, who’s over 6ft. He chases me down, grabs me by my hair, thrown me into walls, I don’t know why he’s so angry, he’s even kicked me down the stairs.

I woke up sweating, my eyes filled with tears, and what scared me the most was bruises had appeared. They covered me from head to toe, I couldn’t hide them underneath my clothes. Today I was supposed start my first day of school, but mommy said I couldn’t go.

Back to sleep, I don’t even remember getting ready for bed, I just blacked out, when I woke up a pain filled my head. My dream had some how become real, there was the monster, standing over my body, breathing, and grunting, where is my mommy. Why doesn’t she come and help, why isn’t she protecting me, can’t she hear me if I yell.

Can anyone hear me, why can’t anyone figure it out, I wish my daddy was here, but mommy won’t let him around. When will this nightmare finally end, what will it take for him to leave, one of us dead, or broken and bleeding?

Years have gone by, I’m learning to deal, he’s still in our lives, drinking his meal. He is always mad always drunk, never caring, incapable of feeling love. Beating satisfies a need inside him, one that reminds him he’s alive, he’s in control, that everyone’s beneath him, we do as were told.

My other siblings have dealt with it their own way, my oldest sibling has different personality traits. One minute he’s him, by the next someone else, he swears one day he’ll be free of this hell, and when he does he never wants to see any of us again, he disowns our family, he can’t be my friend. The pain is so much more than anyone should take, it won’t be long from now till one of us breaks.

It finally happened, as I began to prepare my food, cutting up vegetables, trying not to listen to them argue, but low and behold i couldnt ignore the thump, at that very moment I snapped into somebody else.

Someone stronger than who I thought I’d become, with a knife in one hand, and a plan in the other, I made my way to the second floor, and found the that thud was my mother. As the plaster in the wall shaped like her head, I looked for the monster, and seen him covered in red.

Like a bull I charged toward him, digging the knife in his gut, 1,2,3 times ain’t enough. Like the monster he’s always been, courage from his bottle, the pierces in his side didn’t stop him, he was numb from the booze, and like a mad man, he retaliated, nothing could keep him from trying to kill me.

I just woke up from a terrible dream, just to find myself in a worse reality. Laying at the bottom if the stair case, in a puddle of my own blood, flashing lights reassured me help had finally come, but I couldn’t move, my body paralyzed, what had I done? I see my mother screaming she is covered in blood, Then I seen the monster sitting up with tape across his abdomen arms crossed in cuffs, finally he will get what he deserves, but what does this mean or us?

The only girl out of eight kids, the second eldest of the bunch, I thought we stuck together this long, and through such hell, we’d most likely stay together, but only time could tell. If only the words for what’s felt could every truly be spoken, perhaps only then could anyone listening would know just what was dealt, but sometimes you can’t mutter out the words that would allow others to understand what kind of welt gets lashed across a tiny body when beaten with a belt.

Even after hundreds of beatings, thousands of black and blue marks, fractured bones like ribs and wrists, almost on a daily basis. I bet your thinking how the hell does this go on for so long, when a parent allows another adult to enter their home, use them for everything they own, get drunk and stands by as that person takes their angers and frustration out on the innocent lives they should be protecting. When a mother or father chooses a stranger over their own little ducklings. That is how monsters get away with it so long, because an active parent allows it to go on.

The truth is of all the afflictions none bare as much pain as the very thought that a mother could prefer a stranger, a monster, putting her babies in danger, actually acts like she doesn’t see what she did wrong. She won’t acknowledge her errors, and the ultimate worst, the day she would choose another guy over us, again, this guy just another monster, and yet he is her life, treats her like crap, calls her an asset, not as his wife. Let her keep him, and the life she’s made, I have my own daughter now, I will never allow her to grow up this way, I will be nothing like my momster, this is the ultimate promise I make, and would die before I’d ever let it break.

Great piece about a super villain, and how this kind of thing does not happen in a vacuum. Your POV was consistent, first person, but there are places where you need to highlight that these are the thoughts of the protagonist. Italics would work, or even quotes.

I only just came across this site today an I was immediately intrigued. I’ve always been self conscious about my writing but I like the idea of being about to just practice like this and get genuine feedback. Anyway I wrote mine in third person limited, I trying to practice how to use better descriptions without overdoing it and getting to fluffy. Here goes..

I remember the day Melissandra first told me she had superpowers. I would have laughed right then and there if I hadn’t learned to recognize the tension burrowed between her brows. Her pale youthful skin now sagged to that of a woman three times her age. The bags beneath her eyebrows had become so swollen and dark you would have thought she hadn’t slept in weeks. The dark shadows behind her eyes gave way to little life. She hunched over me, her body twitching like little jolts of electricity pulsed through her. In health classes we had often seen videos of the effects of hard drugs on addicts, the way they scratched and clawed, itching to escape their bodies. Could she had gotten herself into hard drugs? No, I definitely would have noticed. This was something worse, as a tenth grader living in the suburbs true terror had never struck me very hard, but the fear that gripped her eyes sent a chill through my spine.

“Mel, is everything okay?” I ask as we push our way through the crowded cafeteria.

Mel leans in close looking over her shoulder with unease checking to see that no one else is listening. She whispers, almost inaudibly.

“I think I have superpowers Suz.”

Laughter roars through my belly, which is quickly stifled by the lifeless expression on her face. I’ve never seen her so afraid.

“I’m sorry, did you say superpowers Mel?” I ask in disbelief.

Her eyes fix on me with a cold hard expression, there’s no laughter in her eyes, no punch line at the end of this story.

She lowers her voice as she begins to explain.

“Last night I went for a climb on Bears Peak. I must of got 150 feet when I lost my footing on the rocks. I was so sure I had all my ropes secured, but as I started to fall nothing caught. In that moment I thought I was going to die. Than, just before my body hit the ground I stopped. My body just suspended, hovering in mid air. It wasn’t long, only a moment, a few seconds at best, but enough time for my body to correct itself and find its footing on the ground.”

I stare at her in bewilderment, she’s not saying what I think she is, is she.

“Suzan!” she exclaims as her eyes show a flicker of light. “Last night I flew.”

I just discovered this site tonight, I like it already. I wrote mine in third person limited.

I remember the day Melissandra first told me she had superpowers. I would have laughed right then and there if I hadn’t learned to recognize the tension burrowed between her brows. Her pale youthful skin now sagged to that of a woman three times her age. The bags beneath her eyes had become so swollen and dark you would have thought she hadn’t slept in weeks. The dark shadows behind her eyes gave way to little life. She hunched over me, her body twitching like little jolts of electricity pulsed through her. In health classes we had often seen videos of the effects of hard drugs on addicts, the way they scratched and clawed, itching to escape their bodies. Could she had gotten herself into hard drugs? No, I definitely would have noticed. This was something worse, as a tenth grader living in the suburbs true terror had never struck me very hard, but the fear that gripped her eyes sent a chill through my spine.

Great article, Joe! I really appreciate the detail you went into. You made the different points of view so clear. The breadth of your knowledge of literature is awesome, and your two graphics were helpful and concise.

Katherine Rebekah, great story! You did the second-person POV seamlessly.

All the best, Deena

Well thanks, Deena. 🙂

My genre is romantic suspense, or romantic thrillers, if you will. I always write third person point of view, omniscient, and steer clear of first person for exactly the reasons you’ve stated above. I find first person too limited and stifling. When I read a novel written in first person I find myself distracted, wondering what the other main character(s) are thinking or feeling. Particuarly in a romance – I don’t want to spend my entire reading experience wondering: Is he feeling the same way way or she on her own here?

Granted, the authors that I habitually read do not typically write in first person, but when they do, I will admit, they’re pretty good at showing me the thoughts and feelings of the other party without actually going into their POV. But, I would say it is a tough thing to accomplish, and only the best writers do.

Any feedback would be nice, thanks!

There are no more villains to fight you. No more evil-doers who wish to challenge your right—the right the people gave you to defend their lives. The monument that watched over the city like an old father is the tribute they built for you. The responsibility that you now stand in. Watching over them. An extraterrestrial guardian.

You look up to see grey clouds swirling, forming some odd shape. You take flight, and burst through the glass pane, as people below begin to chant your name. The clouds merge with one another, swirling in and out of each other. With your vision you can see the faces of the ones you swore to protect, even at the cost of your life. Some are smiles, the faces of those that believe in you—the ones if they could would join you without a second thought. Others had grief-stricken eyes; doubt lined their faces. How could you protect them forever? Surely someone greater than you, stronger than you would destroy everything that you deemed worth saving. Maybe there was someone that could take your place, someone that made all this easier. Hopefully.

No. Your chest bursts out and the veins in your arms feel ready to explode. Your fists clench tighter with each breath. Your eyes narrow. Never will you doubt yourself ever again. A crash of lightning hit a nearby building, signifying your resolve. You charge into the vortex still swallowing the sky. The mass of clouds block your path and out the whirlwind a humanoid shape takes form. You. You face off against yourself. “Of course. A hero’s greatest challenge is his or herself,” you say.

How I hate head-hopping! This is a common mistake my students make – and an easy one that can slip into our drafts. Hence, the importance of revision and beta readers.

Thank you for this thorough discussion of such an important element of story!

The worst limitation I find writing in first person is exactly what Joe pointed out, that you cannot be everywhere at once. I find myself getting frustrated at having to switch POV’s between characters in order to be able to tell the story better and show how different characters are feeling because of certain situations; or in my story’s case: one very sinister character.

But since I’m using my past experiences as a means to write the way I do, I kind of need to stay in first person. It’s both a blessing and a curse.

How interesting that a man who has written a 7000-page story is the author of a bestselling book about writing a short story. 😉

“Tina, what the heck. Put me down.”

“Sorry Charlie, I just ate a spinach salad.”

“Clever, but not humorous. Popeye wouldn’t be so frivolous. What if mom and dad had seen you showing off, or worse, if one of the Dancings is spying on us.”

“You’re no fun, you’re boring and paranoid. Brother or not, I may look for another partner”

“Be my guest. I’ll find someone who takes our mission seriously. Who won’t jeopardize our friends and family out of boredom, and the childish need for attention. Grow up a little. You’re sixteen years old.”

“And, you’re eighteen going on eighty. It’s true what they say about friends and family.”

“Whose they?

“Idiot. They’re the consensus.”

“What does the consensus have to say on the subject?”

“Family is the luck of the draw. Friends are deliberate choices.”

“I’d mention a few of your choices but that won’t get this conversation on track. I, we, need to find out what the Dancings are up to. You need to get close enough to read their daughter’s mind. I’ve got a plan. It could work if you can augment your powers with a dash of maturity.”

My sister Tina and I were abducted a month ago while hiking in the Grand Canyon. If I had the words to describe the aliens or their vessel, I’d share them, but I don’t. They were spirits as much as anything and I may have been sedated somehow. They separated us. Apparently Tina was more qualified for mental and physical superpowers than I was. She can read minds and has the strength of The Hulk. My power is cooler though. My eyes shoot lasers when I squint and concentrate. If it was just a matter of squinting, the neighborhood would be ablaze. My vision is less than perfect. I’ve been squinting for years. Maybe that’s why I got this power? Whatever. If the Dancings are building a dirty bomb in their basement, I may need to set fire to them and their house. Soon maybe. First, I need to know that my suspicions are warranted.

Tina needed to befriend the Dancing’s daughter Tanya, an introvert who spoke to no one at school. If she couldn’t befriend her, Tina at least needed to sit by her at lunch, hopefully to learn something from her thoughts. My sister gets bored easily, so sitting near a person who won’t acknowledge her was going to be a challenge. That’s why I was so irritated with Tina and her circus tricks just now. I’m convinced our neighbors are terrorists. But I can’t just burn their house down. What if somebody died and I was wrong? It was time for my sister to step up and put her powers to good use.

Appreciate the write up Joe. Laura

I am having a lot of difficulty with point of view. For instance, Let’s say you have a Memoir or “Diary” type fiction. You want to it to be from the point of view of the person writing the diary; however, you need your reader to know facts about the characters the speaker interacts with that he couldn’t possible know. (perhaps he just met them, etc.) How can you give the reader information about a person that the speaker deosn’t know yet?

hey, I am in the same boat as you, and I uncovered something called First Person Omniscient, which is– if you are still not away after a year of writing the comment I am replying back to– the character is in first person, still uses “I” and “we” and such, but also knows information about other characters that he/she does not yet know, precisely as what you described in your comment. However, this type of first person is rare, as very few novels and authors decide to use this method. But whatever floats your boat! Hope I helped, even though I am clearly late!

Try second person

One question I have in regards to POV and which to choose, is suppose you’re writing a story about something that’s already happened. The story is being told by the main character in the story, years later after the story is “over” (kind of like in a journal of what happened, how it ended- to a certain point- leaving out what has happened to the main character due to his choices made). But, one of the unique situations is that the main character is not just one person, but a person literally divided into 3 separate selves. He himself is the Present self, the other two are what has already happened (past- alternate choice of reality) and the last one is “what could be if” situation” (future). The main (present) is part of the three, but only knows the whole story after it’s happened and how the other two responded to events as they occurred. How would the story be told in what point of view? Both first and third? I know it probably sounds confusing; so if you’re willing to give me advice and need some clarification I can do that. Thanks.

Amanda stared at herself in the mirror. She lifted her hands and gazed at all of the blood on them. “Why am I not dead?” she asked herself puzzled. “It was a head on collision…with a truck!” she exclaimed to herself in amazement. She turned on her heel and marched to her kitchen and grabbed a large knife. She waved the knife around in the air before placing it on her wrist. “If I can’t make it look like an accident, I guess my parents would have to deal with the fact I wanted to die.” Amanda spat. She winced as the blade dug deep into her delicate flesh and watched her blood flow. But the seconds later it stopped. Blinking, she brought her arm closer to her face and stared at her smooth skin -without a single scratch on it. In disbelief she dropped the knife and ran back into the bathroom and wiped her arm of its blood and confirmed there wasn’t a wound. Desperate, Amanda ran down into the basement and grabbed her father’s rifle. “Heal from this if you can.” Amanda put the point under her chin and pulled the trigger. Everything went black and she felt herself crash to the floor. Moments later, Amanda woke up with a huge headache. “What happened?” she groaned but then gasped when she remembered what she had tried to do. “What is happening to me?!” she cried. “I don’t want to be in this world anymore, let me die!” she screamed. Amanda got up from the floor and shuffled up stairs to take a warm shower. “Maybe drowning would work…”

You forgot deep pov; close third. >:(

Deep POV is still third person limited.

Great write-up! Worth sharing and bookmarking.

As for me, I prefer to write (and read) in either first person or third person limited.

Good article except that the plural of point of view is points of view and NOT point of views! C’mon!

Though I’ve only started writing in earnest this year, POV is a topic that has been pointed out to me again and again concerning my WIP. TODAY, as I go through the comments I received overnight POV is the stumbling block I inadvertently put in my story. I’m consciously employing the third person omniscient POV, but it’s not coming through to my readers. I’ve read this article before and anew and I still don’t get it… I’m doomed.

talented writer, Noddy, mentioned this article . is good read . reread since wanted to make the third person omniscient viewpoint cleaner without head hopping . soon peruse Italo Calvino book written in second person pov to see how a master wrote .

Write two pieces of 750 words. One will be from the point of view of a traveller travelling to a foreign country. The other will be from the point of view of a native of that country who receives that traveller which person do I write form the first person, second person or the third person please help

You know, i had a dream once… I wanted to redo my entire life, I’m getting a divorce from my wife, Scarlett. We have two children, Alex and Maggie, and they’e both seniors in the high school I used to attend. I was driving to Ned’s house one rainy night and saw a man on a bridge. I got out and ran after him. When I got there he jumped, i looked over the edge and then I fell off. I woke up in Ned’s house and looked in the mirror. I was my young self again… I was 17 again.

What about this post is actual, and what part’s a dream? It’s hard to distinguish what dialogue this follows, and what efforts are trying to be accomplished.

Everything about this was my dream… I woke up after i fell and thought, I need some pancakes.

Hi- I’m writing a novel in 3rd omniscient. I struggle with the point of view on a micro level, never dipping into 1st or second person. Here is an example of what I mean is this… ‘While Eunice and Barbara were in the nursery spending a few minutes with the baby boy, Margaret walked away from a group and then grabbed a quick nibble of cheese from the buffet. She continued on to the bar where she picked up a full glass of vodka with a twist of lemon. On her way out the door to the patio, she looked back over her shoulder directly to where Jules stood, as if she had known his position to the inch.’ Does ‘she looked back over her shoulder’ now put the reader in Margaret’s POV???

I could use some advice.

I have a novel focusing on the relationship of two people. This is entirely written in 3rd person limited with occasional internal dialogue.

Initially, this story was focused on one character (A); however, I realised the protagonist was the other character (B). I re-wrote the novel to be inside B’s head, and generally this works *much* better.

Here’s the problem. Although the entire novel is written in 3rd person limited for B, there are several action points within the novel that follows A, not B because there is not much going on with B during this time.

There’s no head hopping or reading of A’s mind in these few scenes, but nothing is happening to B at this point, so narrative-wise, it seems okay to follow A through action (not thought).

So, question 1) because there’s no head hopping, is following A occasionally too distracting for this story? And if so, 2) I’m open to suggestions on how to handle this, because it’s what happens to A in these scenes that changes things.

Very good article. Great examples.

Nice article

Understanding the difference between first person and third person point of view (POV) is crucial for any writer looking to master narrative technique. This “Ultimate Guide” promises to provide comprehensive insights into both POVs, which can significantly enhance storytelling skills. By delving into the nuances of each POV, writers can learn how to effectively convey characters’ perspectives, emotions, and experiences, ultimately enriching the reader’s engagement with the narrative. Whether you’re a beginner or seasoned writer, mastering these narrative techniques is essential for crafting compelling and immersive stories. Looking forward to exploring this guide and honing my storytelling skills further!

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Unleashing the Power of Point of View: A Writer’s Guide to Captivating Narratives

Table of Contents

Let’s look at the different types of point of view.

First Person: Immersing Yourself in the Narrator’s World

First person point of view is a narrative perspective that brings readers directly into the mind of the narrator. Through the use of pronouns like “I” and “me,” the story is told from the narrator’s personal vantage point, allowing for a deep exploration of their thoughts, emotions, and experiences. This intimate and engaging perspective creates a unique connection between the reader and the protagonist.

First person point of view invites readers into the narrator’s world, providing a personal and immersive storytelling experience. By adopting this perspective, authors can delve into the depths of their characters’ minds, allowing readers to see the story unfold through their eyes.

In first person point of view, the narrator becomes the central focus of the story. They recount events as they perceive them, offering insights into their inner thoughts, motivations, and observations. By adopting this perspective, authors can explore the narrator’s unique voice and provide a subjective lens through which the story unfolds.

“I wanted to become a Napoleon; that is why I killed her.” – Raskolnikov

In the above example from Fyodor Dostoevsky’s “Crime and Punishment,” the first-person point of view allows readers to intimately experience the psychological turmoil of the protagonist, Raskolnikov. Through his internal monologue, moral dilemmas, and inner conflicts, we gain profound insights into his troubled mind and the motivations behind his actions.

“I am no bird; and no net ensnares me: I am a free human being with an independent will.” – Jane Eyre

In “Jane Eyre,” the first-person narrative enables readers to connect intimately with the complex inner world of Jane Eyre. By sharing her thoughts, desires, and struggles, Brontë allows us to experience the story through the eyes of a strong-willed and independent woman navigating the societal constraints of her time.

First person point of view is commonly used in genres such as literary fiction, memoirs, and coming-of-age stories. It allows authors to create a strong connection between readers and the protagonist, immersing them in the character’s journey and emotional landscape. This perspective is particularly effective in stories that rely heavily on personal introspection, character growth, and the exploration of inner thoughts and emotions.

While first person point of view offers a powerful storytelling tool, it’s important for authors to exercise caution. One common pitfall is overusing the narrator’s internal monologue, which can bog down the narrative and hinder plot progression. Additionally, authors should be mindful of maintaining a consistent and authentic voice for the narrator throughout the story. Misusing first person point of view can result in a limited perspective that neglects the development of secondary characters or fails to provide a broader view of the story world.

• Misuse Example 1 : “I woke up and it was all a dream.” – Overreliance on dream sequences or using them as a cop-out ending can feel unsatisfying to readers.
• Misuse Example 2 : Inconsistencies in the narrator’s voice or tone can create confusion and disrupt the immersion for readers.

First person point of view offers readers a deeply personal and engaging storytelling experience. By stepping into the shoes of the narrator, readers become active participants in the narrative, intimately connecting with the protagonist’s thoughts, emotions, and experiences. When used effectively, first person point of view has the power to transport readers into the heart of the story and create lasting connections between readers and characters.

Second Person: Stepping into the Role of the Protagonist

Second person point of view is a narrative perspective that directly addresses the reader as the protagonist of the story. It employs the pronoun “you,” creating an immersive experience by placing readers directly in the shoes of the main character. This unique perspective allows for a sense of personal involvement and can make the story feel more interactive and engaging.

When using second person point of view, authors speak directly to the reader, making them an active participant in the narrative. This perspective creates a sense of immediacy and personal connection, drawing readers into the story and prompting them to envision themselves in the protagonist’s role.

In “Bright Lights, Big City” by Jay McInerney, the second person point of view immerses readers in the protagonist’s experience of New York City’s fast-paced and glamorous nightlife. The narrative directly addresses the reader as “you,” making them an integral part of the story’s unfolding events. This immersive technique allows readers to see the world through the eyes of the main character and experience the city’s allure and challenges firsthand.

You enter the dimly lit room, your heart pounding in your chest. The air is thick with tension as you confront the person who holds the key to the mystery. – Example from a suspense thriller.

The example above demonstrates how second person point of view can be used to create a thrilling and suspenseful narrative. By addressing the reader directly as “you,” the author places them in the heart of the action, heightening the sense of tension and making the story feel more personal and involving.

Authors often utilize second person point of view when they want to create a sense of immediacy and engage readers on a deeper level. It can be particularly effective in interactive fiction, choose-your-own-adventure stories, and experimental literary works. By directly involving the reader in the narrative, second person point of view allows for a more intimate connection between the protagonist and the reader.

However, it is essential to use second person point of view judiciously. Overusing this perspective can be overwhelming and tiresome for readers, as they may feel continuously addressed or dictated to. Authors should also ensure that the “you” being referred to is sufficiently relatable and does not alienate readers who may have different characteristics or experiences.

• Misuse Example 1 : “You run through the dark forest, your heart pounding, knowing that the danger is close behind.” – This example may be effective in a thriller or horror story, but if repeated excessively throughout the narrative, it can become repetitive and lose its impact.
• Misuse Example 2 : Inconsistently shifting between addressing the reader as “you” and using other pronouns can create confusion and disrupt the immersive experience for readers.

Second person point of view offers a unique and immersive storytelling experience by directly involving the reader as the protagonist. When used effectively, it can create a powerful connection between the reader and the narrative, allowing for a more personal and engaging reading experience. By stepping into the role of the main character, readers can explore different perspectives, navigate through challenges, and experience the story on a more intimate level.

Third Person Limited: Exploring the World Through a Single Character’s Perspective

Third person limited point of view is a narrative perspective that tells the story from an external vantage point, using pronouns such as “he” or “she” to refer to the characters. However, unlike the third person omniscient perspective, third person limited focuses on the thoughts, feelings, and experiences of a single character. This allows readers to delve into the depths of that character’s mind while maintaining an objective narrative voice.

In third person limited, the narrative is presented from an outsider’s perspective, observing the events of the story. However, the narrator provides insights into the thoughts, emotions, and perceptions of one character, offering readers a deeper understanding of their perspective. This selective viewpoint allows for a more intimate exploration of the protagonist’s inner world while still maintaining a degree of objectivity.

In J.K. Rowling’s “Harry Potter” series, the story is predominantly told from a third person limited perspective, following Harry Potter’s journey through the wizarding world. While the narrative remains focused on Harry’s experiences, readers are granted access to his thoughts, fears, and motivations, providing a rich and immersive reading experience.

The Sorting Hat hesitated. “Not Slytherin, eh?” it said in a crackling voice. “Are you sure? You could be great, you know, it’s all here in your head, and Slytherin will help you on the way to greatness, no doubt about that—no? Well, if you’re sure—better be GRYFFINDOR!”

The example from “Harry Potter and the Sorcerer’s Stone” showcases the third person limited perspective, allowing readers to witness the Sorting Hat scene through Harry’s eyes. By providing glimpses into Harry’s thoughts and internal conflict, the narrative deepens the connection between the reader and the protagonist.

This narrative approach offers authors the opportunity to develop a character’s psychology, motivations, and growth while maintaining an overall objective perspective. By focusing on a single character’s thoughts and experiences, authors can create a sense of empathy and emotional resonance with readers.

Third person limited point of view is commonly employed in various genres, including contemporary fiction, fantasy, and mystery. It provides a balance between intimacy and objectivity, allowing authors to explore the protagonist’s inner world while also maintaining a broader perspective on the story.

However, authors should be cautious of potential pitfalls when utilizing third person limited. It’s crucial to establish a consistent narrative voice and avoid head-hopping, where the perspective abruptly shifts between different characters without clear transitions. This can lead to confusion and disrupt the reader’s immersion in the story.

• Misuse Example 1 : “She felt a pang of jealousy as he walked hand-in-hand with someone else. Little did she know that he had a surprise waiting for her.” – This example exhibits head-hopping, shifting between the thoughts of multiple characters within a single paragraph, which can confuse readers.
• Misuse Example 2 : Inconsistently maintaining the limited perspective by providing excessive insights into the thoughts and feelings of secondary characters can dilute the impact of the protagonist’s perspective.

Third person limited point of view offers a compelling narrative perspective that allows readers to delve into the inner world of a single character while maintaining an objective narrative voice. By providing insights into the protagonist’s thoughts and emotions, authors can create a deep connection between readers and the main character, fostering empathy and engagement. When used effectively, third person limited allows for a nuanced exploration of a character’s journey, motivations, and growth within the context of a larger story.

Third Person Omniscient: The All-Seeing Narrator

Third person omniscient point of view is a narrative perspective that provides an all-knowing and unbiased view of the story. Unlike third person limited, which focuses on a single character’s thoughts and experiences, third person omniscient grants the narrator access to the thoughts, emotions, and perspectives of multiple characters. This allows for a comprehensive understanding of the story’s events, as well as insights into the inner workings of various characters.

In third person omniscient, the narrator possesses a panoramic view of the story, able to traverse different settings, time periods, and character perspectives. This omniscient perspective provides a broad scope and a deep understanding of the story’s intricacies, motivations, and relationships.

“It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.”

The Bennet family, with their five unmarried daughters, resided at Longbourn, a modest estate in Hertfordshire. Mrs. Bennet, a woman of lively spirit and limited means, had made it her mission to marry off her daughters to eligible suitors. Elizabeth Bennet, the second eldest daughter, possessed a quick wit and independent spirit that set her apart from her sisters. Mr. Darcy, a wealthy and reserved gentleman, entered their lives, sparking a series of misunderstandings and misjudgments that would ultimately lead to self-discovery, love, and social upheaval.

The example from “Pride and Prejudice” illustrates the third person omniscient perspective by offering insights into the thoughts, feelings, and circumstances of multiple characters. The narrator provides a comprehensive view of the story’s social dynamics, enabling readers to understand the motivations and complexities of the characters involved.

Third person omniscient point of view allows authors to delve into the minds and perspectives of multiple characters, providing a rich tapestry of thoughts, emotions, and actions. This narrative approach offers a broader understanding of the story’s themes, character interactions, and plot developments.

Authors commonly employ third person omniscient point of view in epic fantasy, classic literature, and multi-character narratives. This perspective allows for a panoramic exploration of a complex story world, intricate subplots, and a multitude of characters’ thoughts and experiences.

However, authors should exercise caution when utilizing third person omniscient. The omniscient perspective can create a narrative distance between readers and characters, making it challenging to establish a deep emotional connection. Authors must also maintain clarity in transitions between character perspectives to prevent confusion or disjointed storytelling.

• Misuse Example 1 : Abruptly shifting between character perspectives without clear indications can confuse readers and disrupt the narrative flow.
• Misuse Example 2 : Overindulging in excessive character thoughts and observations without relevance to the plot or character development can lead to a disjointed and overwhelming reading experience.

Third person omniscient point of view provides an all-seeing and comprehensive perspective on the story, allowing readers to witness the thoughts, emotions, and experiences of multiple characters. This narrative approach offers a panoramic view of the story’s world, themes, and character dynamics. When utilized effectively, third person omniscient allows authors to craft intricate narratives that weave together the lives and perspectives of various characters, offering readers a multi-layered and insightful reading experience.

Shifting Points of View: Adding Dimension to Narratives

In certain cases, writers may choose to shift points of view within a story, transitioning between different characters or perspectives. This technique adds depth and complexity to the narrative, offering multiple angles through which the story unfolds.

In George R.R. Martin’s “A Song of Ice and Fire” series, the author employs multiple point of view characters, each with their own chapters. This shifting perspective allows readers to experience the story from various characters’ viewpoints, creating a tapestry of interconnected narratives and revealing different facets of the world Martin has created.

When shifting points of view, it is important to establish clear transitions and maintain consistency to avoid confusion. Each shift should serve a purpose, providing fresh insights, building suspense, or enriching the reader’s understanding of the story’s complexities.

Head Hopping: The Pitfall to Avoid

Head hopping refers to frequent and abrupt shifts in point of view within a scene or paragraph. It can confuse readers and disrupt the narrative flow, making it difficult to establish a strong connection with characters. To maintain clarity and reader engagement, it is generally advisable to limit point of view shifts to distinct sections or chapters.

The Pitfalls of Inconsistent Points of View

Inconsistency in point of view can create confusion and disrupt the reader’s immersion in the story. It’s important to establish and maintain a consistent point of view throughout a scene or chapter, ensuring a cohesive and engaging narrative. Sudden switches between perspectives without clear transitions can leave readers disoriented and disconnected from the story.

Creating and Utilizing Point of View

As a writer, understanding the nuances of different points of view empowers you to make deliberate choices that align with your storytelling goals. Consider the genre, tone, and desired level of reader intimacy when selecting the most appropriate point of view.

Exploring Point of View in Literature

Understanding different points of view in literature is essential for writers and readers alike. By examining how authors employ various narrative perspectives, we can gain insights into storytelling techniques and the impact they have on the reader’s experience. Below are five remarkable books that exemplify the effective use of different points of view in their narratives. (Note these are affiliate links).

• “ To Kill a Mockingbird ” by Harper Lee: Set in the racially charged atmosphere of the American South, “To Kill a Mockingbird” offers a profound exploration of societal injustices through the eyes of Scout Finch, a young girl growing up in the 1930s. Lee’s masterful use of first-person point of view allows readers to witness the complexities of race, prejudice, and moral integrity through Scout’s innocent and perceptive lens.
• “ The Great Gatsby” by F. Scott Fitzgerald : Fitzgerald’s timeless classic, “The Great Gatsby,” unfolds through the eyes of Nick Carraway, a young man navigating the opulent and enigmatic world of the Jazz Age. With its exquisite third person limited perspective, the novel reveals the tragic allure of the American Dream, capturing the emotional intricacies of love, ambition, and disillusionment.
• “ Beloved ” by Toni Morrison: In “Beloved,” Morrison employs a unique narrative approach, shifting between various points of view to unveil the haunting tale of Sethe, a former slave haunted by the past. Through the omniscient perspective, Morrison reveals the collective trauma and resilience of the characters, immersing readers in a rich exploration of history, memory, and the power of human connection.
• “ Gone Girl ” by Gillian Flynn: Gillian Flynn’s psychological thriller “Gone Girl” captivates readers with its clever use of alternating first-person perspectives. By delving into the minds of Nick and Amy Dunne, the novel navigates a suspenseful tale of love, betrayal, and deception. Flynn’s strategic manipulation of point of view keeps readers on the edge of their seats, questioning the reliability of the narrators and unraveling the intricate web of secrets.
• “ The Catcher in the Rye ” by J.D. Salinger: Salinger’s iconic novel, “The Catcher in the Rye,” immerses readers in the rebellious world of Holden Caulfield through his candid first-person narrative. By embodying the voice of an alienated teenager, Salinger captures the essence of youthful angst, disillusionment, and the search for authenticity. This groundbreaking work continues to resonate with readers of all generations.

These five exceptional books exemplify the power of different narrative perspectives in literature. From the intimate first-person point of view in “To Kill a Mockingbird” and “The Catcher in the Rye” to the astute third person limited perspective in “The Great Gatsby,” each novel showcases the unique ways in which authors employ point of view to enhance their storytelling.

Whether it’s the profound insights gained through first-person narration, the nuanced understanding of characters’ inner worlds in third person limited, or the panoramic view of multiple perspectives in omniscient narration, these books demonstrate the versatility and impact of point of view in literature.

By exploring these works and studying how authors effectively utilize point of view, writers can expand their own storytelling techniques and create narratives that engage readers on a deep and immersive level.

Book Recommendations

To delve deeper into the nuances of point of view, consider exploring the following books (these are affiliate links):

• “ Steering the Craft: A Twenty-First-Century Guide to Sailing the Sea of Story ” by Ursula K. Le Guin.
• “ Writing Fiction: A Guide to Narrative Craft ” by Janet Burroway.
• “ The Art of Fiction: Notes on Craft for Young Writers ” by John Gardner.
• “ Characters and Viewpoint ” by Orson Scott Card.

Remember, mastering point of view allows you to craft compelling narratives that resonate with readers, drawing them into your story world. Explore the possibilities, experiment with different perspectives, and find the point of view that best serves your unique storytelling vision.

Point of View FAQ

What is 1st 2nd and 3rd person point of view.

The 1st, 2nd, and 3rd person point of view refer to the perspectives from which a story is told. First-person point of view uses "I" or "we" and allows the reader to see the story through the narrator's personal perspective. Second-person point of view uses "you", creating a unique, interactive experience where the reader feels as if they're part of the story. Third-person point of view uses "he", "she", "it", or "they" and can be divided into third-person limited, where the narrator only knows the thoughts and feelings of one character, and third-person omniscient, where the narrator knows the thoughts and feelings of all characters.

What is its point of view?

"Its point of view" generally refers to the perspective from which a particular story is told. This could be from the viewpoint of a specific character, an all-knowing narrator, or even from an unusual perspective such as an object or an animal in the story. It is the lens through which the reader experiences the narrative.

What is point of view examples?

Point of view examples can be seen in different works of literature. For instance, "The Catcher in the Rye" by J.D. Salinger is a classic example of first-person point of view, where the protagonist, Holden Caulfield, tells his story directly to the reader. A classic example of the second-person point of view is "Bright Lights, Big City" by Jay McInerney. "Harry Potter" by J.K. Rowling, on the other hand, is written in the third-person limited point of view, closely following Harry's experiences.

What are the 4 types of point of view?

There are typically four types of point of view in literature: first person, second person, third-person limited, and third-person omniscient. Each point of view offers a different level of intimacy with the main character(s) and a unique way for the author to convey the narrative to the readers.

When should you use point of view in writing?

Choosing a point of view in writing depends largely on the story you want to tell and how you want to connect with your readers. For instance, if you want your readers to deeply relate to your main character's thoughts and feelings, you might use the first-person point of view. Alternatively, if you want to explore multiple characters' thoughts and perspectives, the third-person omniscient point of view could be a good choice. The point of view should ultimately serve your story and your narrative goals.

Please note, as an Amazon Associate, I earn from qualifying purchases made through the book links provided in this article.

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12 thoughts on “ Unleashing the Power of Point of View: A Writer’s Guide to Captivating Narratives ”

This is an interesting read! I just realized most of my favorite books are based on a third person limited point of view. I agree with you the having insights, emotions of a character makes us a little more “connected” with them.

I need to work on engaging readers. I feel like I have lost some of my spark when it comes to writing and drawing readers in. This was interesting to read, and good points to consider in writing.

This was interesting to read. Different view points really help to tell a story.

So interesting! As a freelance writer, some sites want first person and others want second or third. It’s an art for sure.

You’ve provided so much information in this post highlighting different ways to get an author’s point of view to his/her readers. And the books that I found engaging and interesting to read are exactly the ones who knew how to strike a balance between storytelling and making sure that the point of view is still intact. I also like that you provided examples of what not to do. Sometimes it’s hard to know what you are doing wrong but with your examples, it’s easy to see why it should be written differently.

Maureen | http://www.littlemisscasual.com

This is a great way to create a story with a holistic perspective. I think this is very similar to seeing both sides of the story and not just once facet in order to better understand a situation.

This was an interesting read. You have such a creative mind and so well spoken. I enjoy your work and learn so much from your writings.

I found your article on point of view in writing really insightful! It’s such an important aspect of storytelling, yet it’s often overlooked. Your explanation of the different types of point of view and how they impact the reader’s experience was very clear and easy to understand. I especially appreciated your examples and tips for choosing the right point of view for different types of stories. Keep up the great work!

I enjoyed reading this so much. I’ve always found the different points of view in writing to be confusing. I mean, I understand them when I’m reading them, but it’s the implementation aspect for me.

This is amazing, and I have to share it with my son. He’s currently in the process of trying to write a book, and I have him reading The Wheel of Time series because I think Robert Jordan is an amazing fantasy writer. His use of a third-person limited perspective is unlike any I’ve ever read in any other book.

i love the quotes emmeshed in the article – I have never thought of this perspective when writing. Another great tip to implement into my blogging!

This blog post offers a compelling exploration of the role of point of view in storytelling, highlighting its power to shape narratives and engage readers. Thanks for sharing!

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Point of view: a complete guide

Jessica Malnik

Whether you’re writing a blog post, a novel, an academic report, or a simple email to a colleague, you have a decision to make. 

What point of view should you use? 

Each POV has its benefits, but you’ll need to have an understanding of how they work before you can decide which one is right for your story. That’s why we’ve put together this guide. 

Here, we’ll cover everything you need to know about points of view, including what they are, why they’re important, and a breakdown of the three main types. We’ll also include examples of each type of point of view so you can see the differences.

1. What is point of view? 

Point of view (POV) applies when you’re talking or writing, but you’ll most likely see it referred to in fiction writing. The point of view you choose will greatly affect the storytelling process and narrative.

Point of view is essentially the perspective from which the story or narrative is being told. It answers the question of “who” is telling the story. Another way to look at it is the position from which someone or something like a scene or narrative, is being observed.

Point of view can be told from three different POVs: first-person, second-person, or third-person. We’ll dive into the specifics of these later in this post, but for now, just know there are three to choose from.

2. Why is POV important? 

As mentioned above, the point of view you pick determines how a story unfolds. What do you want your audience to know? Should they “hear” what’s going on inside the heads of the characters, or should they be viewing it from an outsider’s perspective? The point of view you choose determines this.

Point of view can be used as a tool to help express feelings and thoughts. You can use it to reveal someone’s motivations or experiences. Don’t think of it as a box to check in your list of story elements; rather, consider point of view a literary device that can help your story shine.

3. Types of POV 

There are three distinct points of view that you should be aware of. Each one has the potential to change the angle of your story. Here’s a bit on each POV so you can understand how they work and know when to use them in your writing.

First-person point of view

If you notice the narrator using first-person pronouns like I , me , mine , or myself , then you’re likely dealing with a story written in the first-person narrative. The first-person point of view helps the reader vicariously live out the story through the eyes of the narrator. When someone tells you a story verbally, they’ll often use this point of view to describe something they’ve witnessed themselves.

In this POV, you may have the protagonist as the main character. Meaning whoever I is — that’s who the story is about. When   the protagonist is written in first-person voice, the audience gets an insight into the main character’s mind or thoughts. Sometimes this point of view is achieved through the use of journals, diaries, or letters.

Note that the first-person point of view can be used without making the story entirely about the person speaking. For instance, the narrator may tell the story in the first person, but they aren’t the ones witnessing what’s happening. They may appear to have an omniscient presence in the story or book. The person speaking may also be a minor character or unreliable in their perspective. You should never assume the person speaking in first-person voice knows everything that’s going on.

Second-person point of view

If you notice the storyteller using the pronoun you, then you’re likely reading a second-person account. This isn’t commonly used in fiction, but it can be done. One benefit to using the second-person point of view is that you can pull the reader right into the action. You don’t necessarily have to set a stage.

Keep in mind that, of the three POVs, the second-person point of view can be the most challenging to use for storytelling or fiction. This is mainly because it can feel like a gimmick or repetitive with the use of the word you . However, some stories or formats lend well to the second-person point of view. For instance, if you were writing a how-to story or “choose your own adventure” book, it absolutely makes sense to employ the second-person point of view. 

Third-person point of view

If you notice the narrator utilizing pronouns like she , they , he , or it , then you’re probably reading a story written in third-person voice. This POV is often the most commonly used of the three. This is because it gives the writer more flexibility when they don’t have to write from a singular perspective. It essentially broadens the horizons of the story.

However, that’s not always the case. When writing in third-person limited, the point of view does have to be written from one character’s perspective. Often with this POV, that character is the protagonist.

On the other hand, writing in third-person multiple lets the narrator follow the perspectives of more than one character. This is where that flexibility piece plays in. The writer can switch between the different characters in the story. Even less restrictive is third-person omniscient, which allows the author to tell the story from anyone’s point of view.

4. Point of view examples

In this section, we’ll share examples of all three points of view, so you can learn to identify each.

First-person examples

Remember, first-person POV uses these pronouns:

I, my, our, we, me , us

Here are a few examples of what first person looks like:

Second-person examples

Second-person POV relies on the following pronouns:

you, your, yours

Here are some examples of second-person POV in use:

Third-person examples

You’ll see the following pronouns used for third-person POV:

she, they, he, it

Here are a couple examples of third-person POV:

Let’s practice: One fun way to exercise your POV writing skills is to look at a common story and picture it from the three different points of view. Let’s take Cinderella, for example.

First person: I left my glass slipper at the ball last night.

Second person: You see her step out of her glass slipper and leave it at the ball.

Third person: She seemed flustered as she ran away from her glass slipper.

If you’re just getting started with storytelling or writing fiction, it helps to begin with first- or third-person voice. These offer more flexibility and are easier to work with. However, there’s no rule telling you which point of view you have to use. Consider what makes sense for your unique story. But most of all, have fun with it!

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Point of View

Point of View Definition

What is point of view? Here’s a quick and simple definition:

Point of view refers to the perspective that the narrator holds in relation to the events of the story. The three primary points of view are  first person , in which the narrator tells a story from their own perspective ("I went to the store");  second person , in which the narrator tells a story about you, the reader or viewer ("You went to the store"); and third person , in which the narrator tells a story about other people ("He went to the store"). Each point of view creates a different experience for the reader, because, in each point of view, different types and amounts of information are available to the reader about the story's events and characters.

Some additional key details about point of view:

• Each different point of view has its own specific qualities that influence the narrative. It's up to the author to choose which point of view is best for narrating the story he or she is writing.
• Second person point of view is extremely rare in literature. The vast majority of stories are written in either the first or third person. 
• You may hear "point of view" referred to simply as "perspective." This isn't wrong, it's just another way of referring to the same thing.

The Three "Modes" of Point of View

Stories can be told from one of three main points of view: first person, second person, or third person. Each of the different modes offers an author particular options and benefits, and the point of view that an author chooses will have a tremendous impact on the way that a reader engages with a story.  

First Person Point of View

In first person point of view, the narrator tells the story from his or her own perspective. You can easily recognize first person by its use of the pronouns "I" or "We." First person offers the author a great way to give the reader direct access to a particular character's thoughts, emotions, voice, and way of seeing the world—their  point of view  about the main events of the story. The choice of which  character gets to have first person point of view can dramatically change a story, as shown in this simple scenario of a thief snatching a lady's purse

• Thief's POV: "I was desperate for something to eat. Judging by her expensive-looking shoes, I figured she could afford to part with her purse."
• Victim's POV: "He came out of nowhere! Too bad for him, though: I only had five dollars in my bag."

Consider also one of the most famous examples of first person point of view, the very first line of Herman Melville's  Moby-Dick :

Call me Ishmael.

Melville uses first person here because he wants to establish a confessional tone for the protagonist. He wants the reader to feel like Ishmael has just sat down next to him on a bar stool, and is about to tell him his life's story. Only first person can have this colloquial and intimate effect. Saying, "His name was Ishmael," for instance, would insert more distance between the reader and the character Ishmael, because the third person narrator would sit between  the reader and Ishmael. First person, in this way, can have the effect of connecting the reader directly with the story.

First Person Point of View and the Protagonist

In a story told in the first person, the character who acts as narrator will often also be the protagonist of the story. However, some stories told from the first person do  not  make the narrator the protagonist:

• First person in which the narrator is the protagonist: In The Catcher in the Rye , the first person narrator Holden Caulfield is the clear protagonist of the story. His voice dominates the story, and the story he tells is his own.
• First person in which the narrator is  not  the protagonist:  The novel The Great Gatsby is narrated by Nick Carraway, but the protagonist of the novel is Jay Gatsby. Nick Carraway tells the story, and the reader is limited to understanding the story through what Nick himself sees, knows, and thinks, but nevertheless the story that Nick tells is not his own but rather Gatsby's.

Second Person Point of View

Second person point of view uses the pronoun "you" to immerse the reader in the experience of being the protagonist. It's important to remember that second person point of view is different from simply addressing the reader. Rather, the second person point of view places the reader "on the playing field" by putting them in the position of the protagonist—the one to whom the action occurs. Few stories are appropriate for such a perspective, but occasionally it is quite successful, as in Jay McInerney's  Bright Lights, Big City , a novel in which the reader is taken on a wild night through Manhattan.

Eventually you ascend the stairs to the street. You think of Plato's pilgrims climbing out of the cave, from the shadow world of appearances toward things as they really are, and you wonder if it is possible to change in this life. Being with a philosopher makes you think.

Of the three points of view, second person is the most rarely used, primarily because it doesn't allow the narrator as much freedom as first person and third person, so it's hard to sustain this style of narration for very long.

Third Person Point of View

In third person point of view, the narrator is someone (or some entity) who is  not  a character in the story being told. Third person point of view uses the pronouns "he," "she," and "they," to refer to all the characters. It is the most common point of view in writing, as it gives the writer a considerable amount of freedom to focus on different people, events, and places without being limited within the consciousness of a single character. Below is an example of dialogue written in third person by Joseph Heller in his novel  Catch-22 :

"What are you doing?" Yossarian asked guardedly when he entered the tent, although he saw at once. "There's a leak here," Orr said. "I'm trying to fix it." "Please stop it," said Yossarian. "You're making me nervous."

The exchange above is narrated by a narrator who is outside the interaction between Yossarian and Orr; such distance is the hallmark of third person point of view.

Third Person and Degree of Distance

The third person mode is unique from first and second person in another way as well: third person has different variants. These variants depend on how far removed the narrator is from the events of the story, and how much the narrator knows about each character:

• Third Person Omniscient Point of View: "Third person omniscient" means that the narrator knows all the thoughts and feelings of every character and can dip in and out of the the internal life of anyone, as needed. Omniscient just means "all-knowing." This type of narrator is more god-like than human, in the sense that their perspective is un limited.
• A story like Young Goodman Brown , which follows one character closely and reports on that character's thoughts and feelings (but not the thoughts and feelings of others), is an example of third person limited point of view. This type of story gives the reader the feeling that they are inside one person's head  without  using first person pronouns like "I."

Alternating Point of View

Many stories are told from alternating points of view—switching between different characters, or even between different modes of storytelling.

• Stories can switch between third person points of view: Many novels switch between different third person points of view. For instance, the chapters of George R.R. Martin's The Song of Ice and Fire books are all named after characters, and each chapter is told from the limited third person point of view of the named character. 
• Stories can switch between first person points of view: William Faulkner's novel As I Lay Dying is structurally similar to the Song of Ice and Fire books in the sense that each chapter is named after a character. However, each chapter is told in the first person by the named character. The Darl chapters are told in the first person by Darl, the Cash chapter are narrated by Cash, the Vardamon chapters by Vardamon, and so on. 
• Stories can even switch between modes of storytelling:  Though less common than other sorts of alternating points of view, some stories can shift not only between different character's points of view, but between actual modes of storytelling. For example, Faulkner's The Sound and the Fury has four parts. The first three parts are all narrated in the first person, with the first part narrated by Benjy, the second part by Quentin, and the third part by Jason. But the fourth part is told in the third person omniscient and follows a bunch of different characters at different times.

Point of View Examples

Every work of literature has a point of view, and so there are essentially endless examples of point of view in literature. The examples below were chosen because they are good examples of the different modes, and in the case of The Metamorphosis the the subtle shift in the nature of the narrator's point of view also shows how an author can play with point of view to suit the themes and ideas of a story.  

Third Person Point of View in Kafka's  Metamorphosis

A great example of third person point of view in literature is the first line from Kafka's  The Metamorphosis . 

As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into a gigantic insect.

For the remainder of the book, Kafka follows the protagonist, Gregor Samsa, in a limited third person point of view as he struggles to come to terms with his sudden transformation into an insect. For as long as Gregor remains alive, the third person narrator remains limited by Gregor's own consciousness—the story is told in the third person, but the narrator never knows or sees any more than Gregor himself does. 

However, in the few pages of the story that continue after Gregor dies, the narrator shifts into a third person omniscient point of view , almost as if Gregor's death has freed the narrator in a way not so dissimilar to how his death tragically relieves a burden on his family. 

Point of View in Tolstoy's  Anna Karenina

Leo Tolstoy's  Anna Karenina   is a great example of the omniscient third person point of view. In the novel, the narrator sees and knows all, and moves around between the lives of the different characters, dipping into their internal lives and thoughts, and commenting on the narrative as a whole. In Part 5, Chapter 6, the internal lives of two characters are commented on at once, in the moment of their marriage to one another:

Often and much as they had both heard about the belief that whoever is first to step on the rug will be the head in the family, neither Levin nor Kitty could recall it as they made those few steps. Nor did they hear the loud remarks and disputes that, in the observation of some, he had been the first, or, in the opinion of others, they had stepped on it together.

Point of View in Thoreau's  Walden

Henry David Thoreau's transcendental meditations on isolation were based on his actual lived experience. It makes sense, then, that  Walden  (his account of time spent alone in the woods) is written in the first person point of view :

When I wrote the following pages, or rather the bulk of them, I lived alone, in the woods, a mile away from any neighbor, in a house which I had built myself, on the shore of Walden Pond, in Concord, Massachusetts, and earned my living by the labor of my hands only. I lived there two years and two months. At present I am a sojourner in civilized life again.

What's the Function of Point of View in Literature?

Point of view is the means by which an author relays either one or a multiplicity of perspectives about the events of their story. It is the lens crafted by the writer that allows the reader to see a story or argument unfold. Depending on how much information the writer wants to give the reader, this lens will be constructed differently—or in other words, a different mode of point of view will be chosen:

• If the writer wants the reader to have full access to a particular character's internal life, then they might choose either first person or a closely limited third person point of view.
• If the writer wants the reader to know select bits and pieces about every character, they might choose an omniscient third person point of view.
• If the writer wants the reader to know about the rich internal lives of multiple characters, they might choose an alternating first person point of view.
• Lastly, if the writer wants the reader to feel like they themselves are in the center of the action, they might choose a second person point of view.

Other Helpful Point of View Resources

• The Wikipedia Page on Point of View:  An overview of narration with a focus on literary point of view.
• The Dictionary Definition of Point of View:   A very basic definition of the term point of view.
• Examples of Second Person:  A page with some examples of writing in the less common second person point of view.

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Point of View

In creative nonfiction, especially in personal narratives, we can easily begin to feel imprisoned by the bars of “I, I, I” that tend to pepper our prose.

Obi-Wan: So what I told you was TRUE…from a certain point of view.

Luke: A certain point of view?

Obi-Wan: Luke, you’re going to find that many of the truths we cling to… depend greatly on our own points of view.

—“Star Wars: Episode VI—Return of the Jedi”

I think that I have discovered a possible form for these notes. That is, to make them include the present—at least enough of the present to serve as a platform to stand upon. It would be interesting to make the two people—I now, I then—come out in contrast. And further, this past is much affected by the present moment. What I write today I should not write in a year’s time.

—Virginia Woolf, “A Sketch of the Past”

In creative nonfiction, especially in personal narratives, we can easily begin to feel imprisoned by the bars of “I, I, I” that tend to pepper our prose. Our points of view can feel limited, isolated or small. But if, as Virginia Woolf suggests, we perch on a platform for viewing the past, why not invite a multiplicity of spectators to join us on the veranda? The variables of point of view in creative nonfiction can be just as numerous and just as effective as those used in fiction and poetry, perhaps even more so since the point (or points) of view in which we choose to tell our stories could, in fact, be the point of the story as well. As the wise Obi-Wan so succinctly tells us, truth is not a fixed adage but a concept that shifts under our gaze, multifaceted, determined by whatever self or persona happens to be in charge at the moment.

In fact, when we think of the term point of view in all its implications, we can see that it’s really an essential aspect of creative nonfiction’s groundwork. “Try to see it from MY point of view,” we often say in heated conversation or, “It’s MY point of view,” when we’re trying to put forth an argument or an opinion. But these phrases often make it seem as though a point of view is a fixed thing, immutable, easily ascertained. The joy of writing and reading creative nonfiction can be precisely that we come to have a multidimensional apprehension of the “truth” of experience. Sometimes this approach means that we will employ literal point-of-view digressions, such as second or third person, but we might consider variables of the I-narrator as different points of view as well.

Often we assume that if we speak in an I-voice, it is always the same “I.” But this “I” is shaped by time, by experience and by mood. There’s the “I” with a sense of humor about the whole thing, the “I” who is still puzzled, the “I” who has wisdom to impart, the “I” who has an ax to grind. There is also what we might call the “Lyric I”: the “I” who is silent; the “I” who speaks through fragmentation, through pure observation, through white space—the “I” who disappears into the gaps, eclipsed by language and metaphor.

We can also think of point of view as donning a pair of binoculars: How far can we see across time and space? Tense and time are just as much a part of point of view as the use of first, second or third person. When we speak from a child’s point of view in the present tense, it is obviously not the child writing the prose, but we imagine ourselves into her point of view for a while, and the present tense lends itself to the immediacy of such childlike encounters. And when we look back on that child from the adult point of view, we are pretending to be a wiser adult, but it’s still a mere persona, or point of view, we’re assuming and trying to make credible. When we imagine a time before we were born—imagining the points of view of our parents or grandparents, say—we are assuming a high-powered pair of binoculars. Here we are stretching the boundaries of creative nonfiction but still staying in that realm since we give clues that this is not a literal truth but an imaginative one. We are exercising our facilities of empathy.

Bernard Cooper, author of “Truth Serum,” often uses the future tense, looking ahead into the future beyond the moment he’s describing, using key phrases such as “I don’t yet know that…” or “I can’t know it at the time, but. …” These kinds of phrases automatically elicit a complex sense of point of view: The narrator is consciously positioned in a place where he knows both the past and the future; therefore, the point of view is not necessarily the author’s but that of a persona he has created to afford the best view of both.

So these issues of point of view really point to one of the most fundamental skills in creative nonfiction: writing not as the “author” but from a constructed persona, even if that persona is taking on the “I” to tell the story. That persona is formed by time, mood and distance from the events that are being narrated. And if we decide to literally foreground the artifice of this construction by using more stylized points of view, such as second and third person, we create even more of a relationship between the narrator and the narrated, a high awareness that we are engaged in the reconstruction of experience and not pretending to be mere transcribers of that experience.

Some Variables You (or I/One/We/She/He/They) Might Consider When Thinking About Point of View in Creative Nonfiction

The “I” point of view (First person, singular and/or plural: How far can “I” see?)

• First person, present, childlike

• First person, present, adult

• First person, past, looking back (into the distance or just to yesterday)

• First person, future (looking ahead)

• First person, moody: variables of the “I” that determine voice— funny, rueful, nostalgic, earnest, sad, etc.

• The Lyric I: speaking through silence, through poetic devices or through other forms/voices (For example: use of the fragmented braided essay form or the collage essay, where white space implies silence, and meaning is created through oblique connections of images and metaphors rather than through a straightforward narrative story)

• The “I” who is “We” or “One” (From Virginia Woolf’s “Street Haunting”: “No one perhaps has ever felt passionately toward a lead pencil. But there are circumstances in which it can become supremely desirable to possess one; moments when we are set upon having an object, an excuse for walking half across London between tea and dinner. … The hour should be the evening and the season winter. …”)

The “You” point of view

(Second person, singular and/or plural)

• The commanding “You” (as in “how to” pieces): the “You” that is kind of the “I” but could also be “You.” (From Brenda Miller’s “How to Meditate”: “On arrival, huddle in the Volkswagen with your friends and eat all the chocolate in the car. Chocolate chips, old KitKats, the tag end of a Hershey’s bar—do not discriminate.”)

• The “You” who is definitely the “I”: talking to yourself, about yourself, by way of talking to the reader. (From Nick Flynn’s “Another Bullshit Night in Suck City”: “If you had been raised in a village 200 years ago, somewhere in Eastern Europe, say, or even on the coast of Massachusetts, and your father was a drunk, or a little off, or both, then everyone in the village, those you grew up with and those who knew you only from a distance, they would all know that the town drunk or the village idiot was your father. …They would look into your eyes to see if they were his eyes, they would notice if you were to stumble slightly as you stepped into a shop, they would remember that your father, too, had started with promise, like you.”)

• The “You”who is definitely “You”: direct address to another character (implies an “I” is speaking). (From Abigail Thomas’s “Safekeeping”: “Before I met you I played my music on a child’s Victrola. …I am remembering this time just before I knew you, and then I knew you, and then you died. It makes the parentheses within which I lived most of my life. Not knowing you, knowing you, and then you died.”)

• The “You” who is all of us: “You do this. You do that. …”

The “She/He/They” point of view

(Third person, omniscient or another character’s perspective altogether)

• The “She” that is “I”: speaking of the self in the third person (From Abigail Thomas’ “Safekeeping”: “A middle-aged teacher is walking down Broadway in her big white sneakers and her yellow socks, her too long skirt (stained where three drops of hair-tinting stuff fell on it); she is wearing her daughter’s jacket, a new red velvet scarf and her two haircuts, both bad, and she is thinking about desire. …”)

• The “She” that is “She” told by an “I”: describing events you can’t really know about, but maintaining a subtle “I” (from Paisley Rekdal’s “The Night My Mother Met Bruce Lee”: “Age 16, my mother loads up red tubs of noodles, teacups chipped and white-gray as teeth, rice clumps that glue themselves to the plastic tub sides or dissolve and turn papery in the weak tea sloshing around the bottom.”)

• The “He” that is really “He”: inhabiting someone else’s point of view entirely (from Nick Flynn’s “Another Bullshit Night in Suck City”: “My father lifts the receiver in the night, speaks into it, asks Where’s the money? asks Why can’t I sleep? asks Who left me outside? The phone rings on a desk when he lifts it, the desk somewhere in Texas, someone is always supposed to be at that desk but no one ever is, not at night. A machine speaks while my father tries to speak, it doesn’t listen, it only speaks, my father’s face reflected dimly on the screen.”)

All of these variables are artistic constructions, but if a particular technique is used too self-consciously, it may feel shallow, like a gimmick. There must be some deeper reason to shift point of view, and ideally the right point of view will find its way to the writer, not the other way around. For instance, if we need physical distance from the self in order to speak about the self truthfully, then the third-person point of view will enhance that distance and help bolster the meaning of the essay. If we feel we are writing a universal experience, not just a private one, the second-person point of view may come in handy. Point of view is innately tied to voice, and a strong, well-executed point of view will also lead to a strong voice, one that will be clearly heard above the mayhem of the world.

Understanding Point of View in Literature

• M.Ed., Education Administration, University of Georgia
• B.A., History, Armstrong State University

When you read a story, have you ever thought about who is telling it? That component of story-telling is called the point of view (often abbreviated as POV) of a book is the method and perspective an author uses for conveying the story. Writers use point of view as a way to connect with the reader, and there are various ways in which a point of view can impact the experience of the reader. Read on to learn more about this aspect of storytelling and how it can enhance the emotional impact of the narrative. 

First-Person POV

A "first-person" point of view comes from the narrator of the story, which may be the writer or the main character. The storyline will use personal pronouns, like "I" and "me,"  and can sometimes sound a little bit like reading a personal journal or listening to someone talk. The narrator witnesses events first hand and expresses how it looks and feels from his or her experience. The first-person point of view can also be more than one person and will use "we" when referencing the group. 

Check out this example from " Huckleberry Finn " -

"Tom's most well now, and got his bullet around his neck on a watch-guard for a watch, and is always seeing what time it is, and so there ain't nothing more to write about, and I am rotten glad of it, because if I'd a knowed what a trouble it was to make a book I wouldn't a tackled it, and ain't a-going to no more."

Second Person POV

A second person point of view is seldom used when it comes to novels, which makes sense if you think about it. In second person, the writer speaks directly to the reader. This would be awkward and confusing in that format! But, it's popular in business writing, self-help articles and books, speeches, advertising and even song lyrics. If you are talking to someone about changing careers and giving advice for writing a resume, you might address the reader directly. In fact, this article is written in second person point of view. Check out the introductory sentence of this article, which addresses the reader: "When you read a story, have you ever thought about who is telling it?" 

Third Person POV

The third person is the most common type of narration when it comes to novels. In this point of view, there is an external narrator who is telling the story. The narrator will use pronouns like "he" or "she" or even "they" if they are talking about a group. The omniscient narrator provides an insight to the thoughts, feelings, and impressions of all the characters and events, not just one. We receive information from an all-knowing vantage point—and we even know what’s going on when nobody is around to experience it.

But the narrator can also provide a more objective or dramatic point of view, in which we are told events and allowed to react and have feelings as an observer. In this format, we are not provided the emotions, we experience emotions, based on the events we read about. While this may sound impersonal, it is just the opposite. This is much like observing a film or a play—and we know how powerful that can be!

Which point of view is best?

When determining which of the three points of view to use, it's important to consider what type of story you're writing. If you're telling a story from a personal perspective, such as that of your main character or of your own perspective, you'll want to use the first person. This is the most intimate type of writing, as it is quite personal. If what you're writing about is more informational and is providing the reader with information or instructions, then second-person is best. This is great for cookbooks, self-help books, and educational articles, like this one! If you want to tell a story from a broader point of view, knowing everything about everyone, then the third person is the way to go.  

The importance of point of view

A well-executed point of view is a crucial foundation for any piece of writing. Naturally, the point of view provides the context and backstory you need for the audience to understand the scene, and helps your audience best see your characters and interpret the material in the way you intend. But what some writers don't always realize, is that a solid point of view can actually help drive the crafting of the story. When you take narration and point of view into account, you can decide what details need to be included (an omniscient narrator knows everything, but a first-person narrator is limited to just those experiences) and can bring inspiration for creating drama and emotion. All of which are crucial to creating a quality creative work. 

Article edited by  Stacy Jagodowski

• 5 Easy Activities for Teaching Point of View
• Definition and Examples of Narratives in Writing
• Point of View in Grammar and Composition
• Third-Person Point of View
• First-Person Point of View
• What is Second-Person Point of View in Literature?
• A Guide to All Types of Narration, With Examples
• A Guide to Goethe's "The Sorrows of Young Werther"
• What Are the Parts of a Short Story? (How to Write Them)
• What Is a Novel? Definition and Characteristics
• Didacticism: Definition and Examples in Literature
• How to Write a Great Book Report
• Top 10 Must-Read Books of the 1920s
• The Writer's Voice in Literature and Rhetoric
• How to Find the Theme of a Book or Short Story

Understanding Point of View

Taught by: Gabriela Pereira

Point of view (or POV) is one of those tricky, technical elements in writing that can be a challenge for many writers. Together with voice, point of view helps establish the narration for your writing, and narration is the crucial link between you (the writer) and your readers.

In this course from DIY MFA's Gabriela Pereira, you will become intimately familiar with each of the major viewpoints. With the help of practical writing exercises in each lesson, you'll understand what it takes to become a master of POVs!

What you'll learn in this course

• How to write in the 1st Person
• The differences between 3rd Person Limited and Omniscient
• The strengths (and dangers) of 2nd Person
• How to wrangle multiple POVs
• Epistolary and Journal forms

Brought to you by:

Learn more at DIYMFA.com

What are people saying about this course?

"I immersed myself into this class. I learned a lot. It also surprised me because I thought I already knew all of the points of view. Great class!"

—  Tracey L.

"So well written and informative. I really looked forward to each lesson. Made a dry topic interesting with relevant writing tasks."

"I thought this was one of the best short courses I've done! [...] Will definitely recommend to writer friends!"

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Mastering Point Of View In Writing: A Comprehensive Guide

Table of Contents

Introduction

What is point of view, first person, second person, third person, multiple perspectives, stream of consciousness, considerations for choosing, examples of effective point of view, establishing point of view, maintaining point of view, switching point of view, point of view and narrative distance, point of view and character development, point of view in different genres, common mistakes to avoid, frequently asked questions, further reading.

Point of view is a crucial element of storytelling that can greatly affect how readers experience and interpret a story. In literature, point of view refers to the perspective from which a story is narrated or presented to the reader. It encompasses a wide range of factors, including the narrator's identity, their relationship to the characters and events of the story, and the degree of knowledge and insight they possess.

Point of view can have a profound impact on the overall tone, mood, and theme of a story, as well as on the reader's emotional engagement and understanding of the characters and plot. It can influence the level of intimacy and distance between the reader and the story, and shape the reader's perceptions of the characters' motivations, thoughts, and feelings.

Point of view is therefore an essential tool for writers to master if they want to create compelling and effective stories that resonate with readers. Whether writing in first-person, second-person, or third-person, or using multiple perspectives, writers must carefully consider the implications of their point of view choices and use them to their advantage.

In this comprehensive guide, we will explore the different types of point of view, their strengths and weaknesses, and how to choose the right one for your story. We will also discuss strategies for establishing and maintaining point of view, avoiding common pitfalls, and using point of view to develop characters and narrative distance. By the end of this guide, you will have a solid understanding of point of view and how to use it to enhance your writing.

Point of view refers to the perspective from which a story is narrated or presented to the reader. It encompasses a wide range of factors, including the narrator's identity, their relationship to the characters and events of the story, and the degree of knowledge and insight they possess. Essentially, point of view determines who is telling the story, and how the reader experiences and interprets it.

Point of view plays a crucial role in shaping a story, as it can affect the reader's emotional engagement, understanding of the characters and plot, and interpretation of the theme and message. For example, a story told from a first-person point of view can create a sense of intimacy and immediacy, as the reader experiences the events of the story through the eyes and thoughts of the narrator. In contrast, a story told from a third-person point of view can create a sense of distance and objectivity, allowing the reader to observe the characters and events from a more detached perspective.

Point of view can also influence the degree of ambiguity or clarity in a story, depending on how much the narrator knows or reveals to the reader. A first-person narrator, for instance, may be an unreliable or biased source of information, while a third-person omniscient narrator may have access to all the characters' thoughts and feelings, providing a more comprehensive understanding of the story.

Overall, point of view is a fundamental element of storytelling that writers must carefully consider and manipulate to achieve their desired effect. By choosing the right point of view for their story, writers can create memorable, engaging, and impactful narratives that resonate with readers.

Types of Point of View

Point of view in literature refers to the perspective from which a story is narrated or presented to the reader. There are several types of point of view commonly used in literature, each with its own strengths and weaknesses. The choice of point of view can greatly affect the reader's emotional engagement, understanding of the characters and plot, and interpretation of the theme and message.

First-person point of view is a popular and widely-used narrative technique in literature. It is characterized by the use of the pronouns "I," "me," and "my" to refer to the narrator, who is also a character in the story. The first-person narrator is typically the protagonist or a witness to the events of the story, and the story is told from their perspective. This point of view creates a sense of intimacy and immediacy, as the reader experiences the events of the story through the eyes and thoughts of the narrator.

One of the main advantages of first-person point of view is that it allows the writer to create a strong and distinctive narrative voice. The reader can get a clear sense of the narrator's personality, worldview, and emotions, which can make the story more engaging and memorable. First-person point of view also allows writers to explore the inner thoughts and feelings of the narrator in depth, providing insight into their motivations and decisions.

However, first-person point of view can also be limiting. The narrator's perspective may be biased or unreliable, and the reader may only have access to their version of events. The narrator's personality can also overshadow the other characters in the story, making them less fully-developed. In addition, the first-person point of view may not be suitable for certain types of stories, such as those that require a broader perspective or a more objective view of events.

First-person point of view is often used in memoirs, autobiographical works, and personal essays, as well as in fiction. It is particularly effective in stories that involve introspection, self-discovery, or a deep exploration of the human psyche. First-person point of view is also commonly used in genres such as mystery, thriller, and horror, where the narrator's perception of events can create suspense and tension for the reader.

Examples of first-person point of view in literature include The Catcher in the Rye by J.D. Salinger, which is narrated by the teenage protagonist Holden Caulfield; The Great Gatsby by F. Scott Fitzgerald, which is narrated by the outsider Nick Carraway; and To Kill a Mockingbird by Harper Lee, which is narrated by the young Scout Finch.

If you're interested in learning more about first-person point of view, this detailed article is a good resource.

Second-person point of view is characterized by the use of the pronoun "you" to refer to the reader or an imaginary character. This point of view is rare in literature, as it can be difficult to sustain for an entire story. However, it can be effective in certain types of writing, such as interactive fiction or instructional manuals.

Using second-person point of view in literature can create a sense of intimacy and immediacy, as the reader feels like they are a part of the story. This can help the reader to become more emotionally engaged with the characters and events of the story. It can also create a sense of tension or unease, as the reader is forced to confront their own thoughts and actions in the narrative.

One of the challenges of using second-person point of view is avoiding the feeling of being lectured or instructed. Writers must carefully balance the use of "you" with descriptive language and character development to create a compelling and engaging story.

It is important to note that second-person point of view is not commonly used in traditional literature, as it can be difficult to sustain over a long narrative. However, it is frequently used in other forms of media, such as video games, where the player or user takes on the role of the protagonist.

For example, the game Bioshock uses second-person point of view to immerse the player in the narrative and create a sense of agency and responsibility. The player takes on the role of a character named Jack, and the game is presented as a series of instructions and prompts addressed directly to the player. This creates a sense of immersion and urgency, as the player feels like they are a part of the story and have a personal stake in the outcome.

Examples of second-person point of view in literature include Bright Lights, Big City by Jay McInerney and If on a winter's night a traveler by Italo Calvino. In Bright Lights, Big City , the narrator addresses the reader directly as "you," creating a sense of intimacy and vulnerability. The reader feels like they are a part of the narrator's world, and the use of second-person point of view helps to reinforce this connection.

In If on a winter's night a traveler , Calvino uses second-person point of view to create a sense of disorientation and playfulness. The reader is addressed as "you" throughout the book, but the identity of the narrator and protagonist is constantly shifting and uncertain. This creates a sense of ambiguity and unpredictability, as the reader is never quite sure who they are supposed to be or what role they are supposed to play in the narrative.

For more information about second-person point of view, see Second-person narrative on Wikipedia.

Third-person point of view is characterized by the use of third-person pronouns, such as "he," "she," or "they," to refer to the characters in a story. This point of view is the most common in literature, as it allows for a greater degree of objectivity and distance between the reader and the characters.

There are several different types of third-person point of view, each with its own strengths and weaknesses:

• Third-person limited: This type of point of view is characterized by a narrative voice that is limited to the thoughts and feelings of a single character. The reader is only given access to the thoughts and feelings of this character, which creates a sense of intimacy and immersion. However, this can also limit the reader's understanding of other characters and events in the story. Examples of third-person limited point of view include Great Expectations by Charles Dickens, The Sound and the Fury by William Faulkner, and Pride and Prejudice by Jane Austen. For more information about third-person limited point of view, see Third-person narrative - Third-person limited on Wikipedia.
• Third-person omniscient: This type of point of view is characterized by a narrative voice that has access to the thoughts and feelings of multiple characters. The reader is given a broader understanding of the story and the characters' motivations, but this can also create a sense of detachment and objectivity. Examples of third-person omniscient point of view include War and Peace by Leo Tolstoy, The Lord of the Rings by J.R.R. Tolkien, and Anna Karenina by Leo Tolstoy. For more information about third-person omniscient point of view, see Third-person narrative - Third-person omniscient on Wikipedia.
• Third-person objective: This type of point of view is characterized by a narrative voice that is entirely objective and impartial. The reader is not given access to any character's thoughts or feelings, and must interpret the story based solely on the characters' actions and dialogue. Examples of third-person objective point of view include The Sun Also Rises by Ernest Hemingway, The Old Man and the Sea by Ernest Hemingway, and The Postman Always Rings Twice by James M. Cain. For more information about third-person objective point of view, see Third-person narrative - Third-person objective on Wikipedia.

Each type of third-person point of view has its strengths and weaknesses, and choosing the right one depends on the specific needs and goals of the story. Some writers may experiment with multiple points of view within the same story, using different narrators or perspectives to create a more complex and nuanced narrative.

Check out this extensive article for a detailed examination of third person point of view .

For more information about the different types of third-person point of view in literature, see Narration on Wikipedia.

Multiple perspectives point of view is characterized by the use of multiple narrators or points of view in a story. This point of view allows for a variety of insights and interpretations, as the reader is exposed to different characters' thoughts and feelings. Multiple perspectives can also create a sense of complexity and richness in the story, as different characters' experiences and perspectives are woven together.

Multiple perspectives point of view is often used in contemporary literature, as it reflects the diverse and fragmented nature of modern society. Examples of multiple perspectives point of view in literature include The Joy Luck Club by Amy Tan, As I Lay Dying by William Faulkner, and Cloud Atlas by David Mitchell. For more information about multiple perspectives point of view, see Multiple narrative on Wikipedia.

Stream of consciousness point of view is characterized by the use of a narrative technique that attempts to represent the flow of a character's thoughts, emotions, and sensations in a continuous and unbroken sequence. This point of view creates a sense of immediacy and immersion, as the reader experiences the character's consciousness in real time.

Stream of consciousness point of view is often used in modernist and postmodernist literature, as it reflects the subjective and fragmented nature of human experience. Examples of stream of consciousness point of view in literature include Ulysses by James Joyce, To the Lighthouse by Virginia Woolf, and The Sound and the Fury by William Faulkner. For more information about stream of consciousness point of view, see Stream of consciousness (narrative mode) on Wikipedia.

Objective point of view is characterized by the use of a neutral and detached narrative voice that does not reveal the thoughts or feelings of the characters. This point of view creates a sense of objectivity and impartiality, allowing the reader to form their own interpretations and opinions.

Objective point of view is often used in journalism, historical writing, and other forms of non-fiction, as it emphasizes factual accuracy and avoids subjective bias. It can also be used in fiction, particularly in genres such as detective fiction or courtroom drama, where the focus is on the investigation and resolution of a problem rather than on the characters' emotions or perspectives. Examples of objective point of view in literature include The Trial by Franz Kafka, The Maltese Falcon by Dashiell Hammett, and The Remains of the Day by Kazuo Ishiguro. For more information about objective point of view, see Objectivity (journalism) on Wikipedia.

Each type of point of view has its own strengths and weaknesses, and choosing the right one depends on the specific needs and goals of the story. Some writers may experiment with multiple points of view within the same story, using different narrators or perspectives to create a more complex and nuanced narrative.

For more information about the different types of point of view in literature, see Narration on Wikipedia.

Choosing the Right Point of View

Choosing the right point of view for a story is a crucial decision for any writer. The point of view can shape the entire narrative, affecting the reader's understanding of the characters, events, and themes of the story. Here are some factors to consider when choosing a point of view:

• Characterization: The point of view can affect the reader's understanding of the characters in a story. First-person point of view can create a sense of intimacy and immediacy, as the reader is given direct access to the thoughts and feelings of the protagonist. Third-person point of view can create a sense of objectivity and distance, allowing the reader to form their own opinions about the characters.
• Plot: The point of view can affect the pacing and structure of the plot. First-person point of view can create a sense of urgency and immediacy, as the reader is experiencing the events of the story in real time. Third-person point of view can allow for a broader perspective on the plot, allowing the reader to see events from multiple angles.
• Theme: The point of view can affect the reader's understanding of the themes and motifs of the story. First-person point of view can create a sense of subjectivity and personal experience, allowing the reader to see the world through the eyes of the protagonist. Third-person point of view can create a sense of universality and objectivity, allowing the reader to see the story as a reflection of broader human experience.
• Tone: The point of view can affect the tone and mood of the story. First-person point of view can create a sense of intimacy and vulnerability, allowing the reader to connect with the protagonist on a personal level. Third-person point of view can create a sense of detachment and objectivity, allowing the reader to see the story from a more analytical perspective.

Ultimately, the choice of point of view depends on the specific needs and goals of the story. Some writers may experiment with multiple points of view within the same story, using different narrators or perspectives to create a more complex and nuanced narrative. However, it is important to choose a point of view that is appropriate for the story and that enhances the reader's understanding and engagement with the text.

Choosing the right point of view is an important decision for any writer, and there are several factors to consider when making this choice. Here are some considerations that writers should keep in mind:

• Story's purpose: The purpose of the story can affect the choice of point of view. If the story is intended to explore the inner thoughts and emotions of a single character, first-person point of view may be the best choice. If the story is intended to provide a broad perspective on a complex social issue, third-person omniscient point of view may be more appropriate.
• Intended audience: The intended audience can also affect the choice of point of view. If the story is intended for children, a simpler and more straightforward point of view may be necessary. If the story is intended for adults, a more complex and nuanced point of view may be appropriate.
• Author's style: The author's writing style and voice can also influence the choice of point of view. Some writers may prefer the intimacy and immediacy of first-person point of view, while others may prefer the objectivity and distance of third-person point of view.
• Characterization: The point of view can also affect the reader's understanding of the characters in a story. The writer should consider whether they want to provide a broad perspective on multiple characters or focus on the experiences of a single character.
• Plot: The plot of the story can also affect the choice of point of view. The writer should consider whether they want to provide a clear and straightforward narrative or a more complex and nuanced one.
• Theme: The themes and motifs of the story can also affect the choice of point of view. The writer should consider whether they want to provide a personal and subjective perspective or a broader and more objective one.

Ultimately, the choice of point of view depends on the specific needs and goals of the story. The writer should consider all of these factors when making their choice, and should experiment with different points of view if necessary.

Effective use of point of view can be seen in a wide range of literature, across different genres and historical periods. Here are some examples of successful use of point of view:

• The Great Gatsby by F. Scott Fitzgerald - This classic novel is told from the first-person point of view of Nick Carraway, who provides a personal and intimate perspective on the events of the story. Nick's limited point of view allows for a gradual reveal of the character of Jay Gatsby, and provides a sense of intimacy and immediacy that enhances the reader's engagement with the text.
• To Kill a Mockingbird by Harper Lee - This novel is told from the first-person point of view of Scout Finch, a young girl living in a small southern town during the 1930s. Scout's innocent and naïve perspective allows for a powerful exploration of issues of race, class, and justice, and provides a sense of empathy and connection between the reader and the characters.
• Pride and Prejudice by Jane Austen - This novel is told from the third-person omniscient point of view, which allows for a broader perspective on the events of the story. The point of view allows the reader to see events from the perspectives of multiple characters, providing a complex and nuanced exploration of themes of love, class, and social conventions.
• The Sound and the Fury by William Faulkner - This novel is told from multiple first-person and third-person points of view, allowing for a fragmented and complex narrative structure. The use of different points of view allows for a deep exploration of the characters' inner thoughts and emotions, and provides a sense of psychological realism that is characteristic of Faulkner's style.
• The Hunger Games by Suzanne Collins - This novel is told from the first-person point of view of Katniss Everdeen, a teenage girl living in a dystopian future. Katniss's point of view allows for a personal and emotional connection with the reader, and provides a sense of urgency and immediacy that enhances the tension and suspense of the story.

Mastering Point of View in Writing

Point of view is an essential element of storytelling, and mastering it can be a challenge for writers. By understanding the different types of point of view and the factors to consider when choosing a point of view, writers can create narratives that are engaging, meaningful, and effective. Here are some tips for mastering point of view in writing:

• Read widely: Reading widely can expose writers to different types of point of view and show them how different writers have used point of view effectively. Reading works from different genres and historical periods can also provide writers with a deeper understanding of how point of view can shape a narrative.
• Experiment with different points of view: Writers should experiment with different points of view to see which one works best for their story. They should consider the purpose of the story, the intended audience, and their own writing style when making this choice.
• Use point of view to enhance characterization: Point of view can be used to provide a deeper understanding of the characters in a story. Writers should consider how the point of view affects the reader's understanding of the characters' thoughts, emotions, and motivations.
• Use point of view to shape the plot: Point of view can also be used to shape the plot of a story. Writers should consider how the point of view affects the pacing, structure, and tension of the narrative.
• Use point of view to explore themes: Point of view can also be used to explore themes and motifs in a story. Writers should consider how the point of view affects the reader's understanding of the story's themes and how it contributes to the overall meaning of the narrative.

By mastering point of view, writers can create narratives that are compelling, engaging, and effective. Some examples of works from different genres and historical periods that demonstrate effective use of point of view include The Great Gatsby by F. Scott Fitzgerald, To Kill a Mockingbird by Harper Lee, Pride and Prejudice by Jane Austen, The Sound and the Fury by William Faulkner, and The Hunger Games by Suzanne Collins.

Establishing point of view is an important task for writers, as it sets the tone and perspective for the entire story. Here are some tips for establishing point of view:

• Establish point of view early: Writers should establish the point of view at the beginning of the story, preferably in the first paragraph or sentence. This allows the reader to understand the perspective from which the story will be told.
• Be consistent: Once the point of view has been established, writers should be consistent throughout the narrative. Switching point of view can be confusing for the reader and can disrupt the flow of the story.
• Use language and tone to establish point of view: The language and tone used in the narrative can help establish the point of view. First-person point of view may use more personal and subjective language, while third-person point of view may use more objective and distant language.
• Show, don't tell: Writers should show the reader the point of view rather than telling them. This means using sensory details, dialogue, and action to convey the perspective of the narrator or character.
• Consider the narrator: If the story is being told by a narrator, the writer should consider the narrator's perspective and how it affects the reader's understanding of the story. The narrator's biases, limitations, and motivations can all affect the reader's perception of the events.

Establishing point of view is a crucial aspect of storytelling, as it sets the tone and perspective for the entire narrative. Some examples of works that effectively establish point of view include The Catcher in the Rye by J.D. Salinger, which is told from the first-person point of view of Holden Caulfield, and Beloved by Toni Morrison, which uses multiple points of view to convey the perspectives of different characters.

Maintaining consistency of point of view is crucial for keeping the reader engaged and avoiding confusion. Here are some tips for maintaining point of view:

• Stay in the same point of view: Writers should avoid switching point of view within a scene or paragraph. This can be jarring for the reader and can disrupt the flow of the narrative.
• Avoid head-hopping: Head-hopping is when the writer jumps from one character's perspective to another within a scene or paragraph. This can be confusing for the reader and can make it difficult to establish a connection with the characters.
• Use sensory details to convey perspective: Writers should use sensory details, such as sight, sound, and touch, to convey the perspective of the narrator or character. This can help the reader understand the point of view without explicitly stating it.
• Be aware of shifts in tone and language: Shifts in tone and language can signal a change in point of view. Writers should be aware of these shifts and make sure they are intentional and consistent with the narrative.
• Consider the narrator: If the story is being told by a narrator, the writer should consider the narrator's biases, limitations, and motivations. This can affect the reader's perception of the events and should be consistent throughout the narrative.

By maintaining consistency of point of view, writers can create narratives that are engaging and effective. Some common mistakes to avoid include switching point of view without warning, using too many points of view, and confusing the reader with unclear perspective shifts. Some examples of works that effectively maintain point of view include The Catcher in the Rye by J.D. Salinger and The Girl on the Train by Paula Hawkins.

Switching point of view can add depth and complexity to a narrative, but it must be done carefully to avoid confusion or disruption of the flow. Here are some tips for switching point of view:

• Make it clear: Switching point of view should be clear to the reader. This can be done by using chapter breaks, scene breaks, or clear transitions between perspectives.
• Limit the number of perspectives: Too many perspectives can be overwhelming for the reader. It's best to limit the number of perspectives and make sure each one is distinct and adds something to the story.
• Consider the purpose: The decision to switch point of view should be based on the purpose of the story. Is it necessary to show different perspectives to fully understand the plot or themes?
• Use transitions: Transitions can help make the switch between points of view seamless. This can be done by using a bridge sentence or paragraph that connects the two perspectives.
• Be consistent: Once a point of view has been established, it should be consistent throughout the narrative. Switching back and forth can be confusing for the reader.

Switching point of view can be a powerful tool for writers, allowing them to explore different perspectives and add depth to their stories. Some examples of works that effectively switch point of view include The Poisonwood Bible by Barbara Kingsolver and Gone Girl by Gillian Flynn.

The point of view used in a story can have a significant impact on the level of intimacy and distance between the reader and the narrative. Here are some ways point of view can affect narrative distance:

• First-person point of view: This point of view can create a close, intimate relationship between the reader and the narrator or protagonist. It allows the reader to experience the story through the character's eyes and emotions.
• Third-person point of view: This point of view can create a greater sense of distance between the reader and the characters. It allows the writer to provide a broader perspective and can create a more objective tone.
• Omniscient point of view: This point of view can provide the greatest level of distance between the reader and the characters. It allows the writer to provide a god-like perspective and can create a sense of detachment from the story.
• Shifting point of view: This technique can create a range of distances between the reader and the characters, depending on the perspectives used. It can provide a deeper understanding of the characters and their motivations.

Understanding the impact of point of view on narrative distance can help writers achieve the desired effect in their stories. For example, a writer may choose first-person point of view to create a sense of intimacy and empathy with the protagonist, or third-person point of view to create a more objective, journalistic tone.

Some examples of works that effectively use point of view to create different levels of narrative distance include The Great Gatsby by F. Scott Fitzgerald, which uses first-person point of view to create a close relationship between the reader and the protagonist, and War and Peace by Leo Tolstoy, which uses shifting point of view to provide multiple perspectives on the events.

Point of view can be a powerful tool for developing characters and their perspectives in a story. Here are some ways point of view can be used for character development:

• Show, don't tell: Point of view can allow the reader to experience a character's thoughts, emotions, and actions, rather than simply being told about them. This can create a deeper understanding of the character and their motivations.
• Provide multiple perspectives: Shifting point of view can allow the reader to see a character from different perspectives, providing a more complete understanding of their personality and behavior.
• Avoid stereotypes: Point of view can help writers avoid creating one-dimensional or stereotypical characters by allowing the reader to see their complexity and contradictions.
• Consider the narrator: The choice of narrator can affect how the characters are perceived by the reader. A biased or unreliable narrator can create a sense of ambiguity and add complexity to the characters.

It's important to avoid using point of view in a way that reduces characters to stereotypes or caricatures. Characters should be fully realized and multi-dimensional, with their own unique perspectives and motivations.

Some examples of works that effectively use point of view for character development include To Kill a Mockingbird by Harper Lee, which uses first-person point of view to develop the protagonist's moral compass and understanding of justice, and The Catcher in the Rye by J.D. Salinger, which uses first-person point of view to provide a complex portrayal of the protagonist's adolescent rebellion and disillusionment.

Point of view can vary greatly between different genres of literature. Here are some examples of how point of view is used in different genres:

• Romance: Romance novels often use alternating first-person point of view to provide a more intimate understanding of both protagonists' feelings and perspectives. Some romance novels also use third-person point of view to create a more objective view of the romance.
• Mystery: Mystery novels often use first-person point of view to create a sense of intimacy with the detective or protagonist, allowing the reader to solve the mystery alongside them. Some mystery novels also use third-person point of view to provide a more objective view of the investigation.
• Science fiction: Science fiction novels often use third-person point of view to provide a broader perspective on the futuristic world and its inhabitants. Some science fiction novels also use shifting point of view to provide multiple perspectives on the technology and its impact on society.
• Fantasy: Fantasy novels often use third-person point of view to provide a broad view of the magical world and its characters. Some fantasy novels also use shifting point of view to provide multiple perspectives on the epic battles and political intrigue.

Understanding how point of view is used in different genres can help writers choose the appropriate perspective for their story. Some examples of works that effectively use point of view in different genres include Pride and Prejudice by Jane Austen, which uses third-person point of view to provide a satirical view of society and its customs, and The Hunger Games by Suzanne Collins, which uses first-person point of view to create a sense of urgency and tension in the dystopian world.

While point of view can be a powerful tool for storytelling, there are some common mistakes that writers should avoid:

• Head-hopping: This is when the point of view shifts rapidly between different characters within a single scene or paragraph. This can be confusing and disorienting for the reader and should be avoided.
• Inconsistent perspective: This is when the point of view changes unexpectedly or inconsistently throughout the story. This can be jarring for the reader and can interrupt the flow of the narrative.
• Using the wrong point of view: This is when the chosen point of view does not suit the story or the intended effect. For example, using third-person point of view in a deeply personal story can create a sense of emotional distance.
• Ignoring the narrator's bias: The narrator's bias or perspective can affect how the story is perceived by the reader. Ignoring this can result in a one-dimensional portrayal of the characters or a simplified view of the story.
• Overusing internal monologue: While internal monologue can be a powerful tool for showing a character's thoughts and emotions, overusing it can slow down the pacing of the story and create a sense of self-indulgence.

Avoiding these common mistakes can help writers use point of view effectively and create a more immersive and engaging story.

Below are some frequently asked questions that will provide you with more information.

What is the difference between first-person and third-person point of view?

In first-person point of view, the narrator is a character within the story and refers to themselves as "I" or "me." In third-person point of view, the narrator is not a character in the story and refers to the characters as "he," "she," or "they." This creates a sense of distance from the characters but allows for a broader perspective on the events of the story.

How can point of view be used to create a sense of intimacy with the reader?

Point of view can be used to create a sense of intimacy with the reader by using first-person point of view or close third-person point of view. This allows the reader to see the story through the eyes of a character and experience their thoughts, emotions, and sensory experiences in a more direct way.

What are some common mistakes to avoid when using point of view?

Some common mistakes to avoid when using point of view include head-hopping, inconsistent perspective, using the wrong point of view for the story, ignoring the narrator's bias, and overusing internal monologue. Avoiding these mistakes can help writers use point of view effectively and create a more immersive and engaging story.

If you're interested in learning more about point of view in writing, check out these books:

• On Writing: A Memoir of the Craft by Stephen King: This memoir by one of the most successful and prolific authors of our time includes a section on the importance of point of view in writing. King discusses the different types of point of view and offers advice on how to choose the right one for your story.

In conclusion, point of view is an essential element of storytelling that can greatly affect how a reader experiences a story. By choosing the right point of view, writers can create intimacy or distance between the reader and the story, shape the reader's perception of characters and events, and influence the overall tone and mood of the story. However, using point of view effectively can be a challenge, and writers must consider factors such as the story's purpose, intended audience, and their own writing style when choosing a point of view.

Throughout this article, we've explored different types of point of view, discussed how to establish, maintain, and switch point of view, and looked at how point of view can be used in different genres and to develop characters. We've also discussed common mistakes to avoid when using point of view and provided examples of successful use of point of view in literature.

If you're interested in learning more about point of view in writing, we recommend checking out the books listed in the Further Reading section of this article. You can also visit the Point of View page on Wikipedia for more information.

Overall, mastering point of view in writing is a challenging but rewarding task that can greatly enhance the quality and impact of your storytelling. By understanding the different types of point of view, considering the needs of your story and your readers, and avoiding common mistakes, you can create immersive, engaging, and memorable stories that resonate with your audience.

• What Is 1st Person 2nd Person 3rd Person With Examples
• What Are The Three Points Of View?
• What Is The Point Of View?
• Mastering The Second Person Viewpoint: A Comprehensive Guide To Engaging Your Readers
• Third Person Point Of View Explained (With Examples)
• First Person Point Of View A Comprehensive Overview For Writers [Including Examples]

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'It is probably one of the best books on writing I've read so far.' Miz Bent

A Writer’s Guide to Point of View

Budding writers often ask me:

“How do I master Point of View?”

The inability to grasp this concept is the most common problem I see in aspiring novelists.

Veteran editor Dave Lambert says, “No decision you make will impact the shape and texture of your story more than your choice of Point of View.”

So let’s straighten it out, shall we?

After you read this post, you’ll know the crucial POV rules and techniques professional writers use (and publishers look for)—and how to apply them to your story .

• What is Point of View?

Things to understand about Point of View before we break it down:

1. Point of View is really two things:

A. The Voice with which you tell your story.

Not to be confused with the tone or sound of your writing (think of that Voice as your writing attitude), this is your choice to tell it in First Person (I), Second Person (you), or Third Person (he, she, or it).

B. Your Perspective Character.

Basically, that answers “Whose story is this?”

2. The cardinal rule of Point of View:

Limit yourself to one Perspective Character per scene, preferably per chapter, ideally per book .

That means no switching POV characters within the same scene, let alone within the same paragraph or sentence.

(Yes, that’s a common amateur mistake, and it results in head-hopping—a giant Point of View no-no I cover in more detail below.)

Point of View is worth stressing over, it’s that important .

Even pros have to remind themselves to avoid sliding into an Omniscient viewpoint.

I avoid that by imagining my Point of View or Perspective Character as my camera—I’m limited to writing only what my character “camera” sees, hears, and knows.

In essence, I’m limited to his or her perspective.

• Breaking Down the Point of View Voices

While POV is limited to one perspective character at a time, each of the three primary voices may be written in the present or past tense.

First Person Point of View

In this POV, the perspective character tells the story.

First Person is the second most common voice in fiction, but I recommend it for many beginning novelists, because it forces you to limit your viewpoint to one Perspective Character—which you should do with all POVs except Omniscient.

My first 13 novels (The Margo Mysteries) were written in first-person past tense.

First Person Examples

The most common use of first-person is past tense.

Herman Melville’s Moby-Dick begins in present tense but immediately switches to past:

Call me Ishmael. Some years ago, never mind how long precisely, having little or no money in my purse and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world.

While I recommend first-person, I think you’d find present tense awkward and difficult to sustain.

On the other hand, The Hunger Games by Suzanne Collins is rendered that way and has become one of the most successful novel series ever.

If you have colossal writing talent and an idea as cosmic as hers, feel free to ignore my counsel and go for it. Here’s how hers begins:

When I wake up, the other side of the bed is cold. My fingers stretch out, seeking Prim’s warmth but finding only the rough canvas cover of the mattress. She must have had bad dreams and climbed in with our mother. Of course, she did. This is the day of reaping.

Second Person Point of View

This point of view uses “you, your” construction, and the narrator makes  “you,” the reader, become the protagonist.

Though rare in fiction and far more popular in nonfiction, it’s been said that because it plunges the reader into the action of the story, second person can bring a sense of immediacy to a novel.

I wouldn’t dare attempt it and don’t recommend it.

Second Person Examples

Jay McInerney used second-person present tense in Bright Lights, Big City this way:

You are not the kind of guy who would be at a place like this at this time of the morning. But here you are, and you cannot say that the terrain is entirely unfamiliar, although the details are fuzzy. You are at a nightclub talking to a girl with a shaved head.

You can see how this method forces the reader, in essence, to become a character and how difficult that might be for the writer to sustain for 300 or 400 pages.

Third Person Point of View

Finally, we’ve come to the most commonly used point of view in storytelling — third-person.

Third Person Limited

When written in third-person limited, the story is about he or she/him or her , or the character is mentioned by name.

As with all other POVs besides Omniscient, the writer is limited to one perspective character—your camera.

Everything you write must be seen through that camera: your perspective character’s eyes, ears, and mind.

Third Person Omniscient

Here the story is still about he or she , but the narrator writes from the all-knowing, all-seeing perspective and is not even limited by time.

Because so many of us were raised on the classics with their Omniscient author/narrator, it seems ingrained in us to want to know and tell all about every character onstage and off.

We even want to tell unseen things and things yet unseen. Such miraculous foretellings were often worded like: “Little did our hero know that 20 miles away, what would happen to him the next day was already being planned.”

Writing from that perspective might sound like an advantage, but fiction from an Omniscient viewpoint rarely succeeds in the traditional or indie markets today.

In nonfiction, the Omniscient narrator is common and makes sense, because you’re an expert trying to teach or persuade, and so you adopt a posture of knowing everything and telling everything.

Third Person Examples

Because many readers find third-person present tense weird, you won’t find it in many novels.

It would sound something like this:

Fritz skips out to the garage, fishing in his pocket for his keys. He slips behind the wheel and starts the car.

You can imagine how distracting that would be to the reader if maintained throughout.

By far, the most common choice for modern fiction is third-person past tense.

My perspective character at the start of Left Behind is an airline pilot.

I write it in third-person limited, past tense:

Rayford Steele’s mind was on a woman he had never touched. With his fully loaded 747 on autopilot above the Atlantic en route to a 6 a.m. landing at Heathrow, Rayford had pushed from his mind thoughts of his family.

As I mentioned above, the cardinal rule of POV is to limit yourself to one perspective character per scene, preferably per chapter, ideally per book.

If you’re J.K. Rowling, however, whose bestselling Harry Potter series gloriously breaks this rule, you have my wholehearted permission to ignore this advice.

Head-hopping is the problem .

Here’s an example of what it would have looked like, had I forgotten to limit myself to a single camera (Rayford) as the Perspective Character in Left Behind :

Rayford Steele’s mind was on a woman he had never touched. Meanwhile, his co-pilot was wondering what Rayford was thinking as he gazed out the cockpit window.

See how I slipped out of Rayford’s perspective and into the copilot’s from one sentence to the next?

That’s head hopping—hopping in and out of various characters’ heads.

That takes me from Third Person Limited to Omniscient. And Omniscient narrators are decades out of fashion.

• The Secret to Using Multiple Points of View in the Same Story

In the Left Behind novel series (Tyndale House Publishers), I alternated between as many as five perspective characters per book , but never within the same scene. And I made it crystal clear every time I switched.

I would add an extra space between paragraphs, insert what’s called a typographical dingbat—like this: ###—and fully introduce the new POV character:

Meanwhile, in Los Angeles, Buck Williams sat hunched over his laptop…

In my novel The Valley of the Dry Bones (Worthy Publishing), I employ a single Perspective Character for the entire book.

• Employing The Most Popular Point of View

If you’re a beginning writer , you might assume you must write in the first person, your Perspective Character referring to himself or herself as I .

But third-person limited is the most common choice for contemporary fiction.

Following is an example of how to effectively employ that voice.

A writer asked how he could better describe his character to portray her legalism and self-righteousness.

You can see how this would be easy if written in first person from her standpoint.

But how do we do it in third person limited?

His original:

Mother Clotilde sat at an ornate desk absentmindedly fingering a string of beads encircling her waist as she leafed through a thick leather-bound Bible. She looked like something unearthed at a dig.

Did you catch the POV violation?

Mother Clotilde is the perspective character, but because she’s alone, we can’t really say she “looked like something unearthed at a dig.”

Another character could say that or think that, if we were in that character’s POV. Needless to say, Mother Clotilde would not describe herself that way.

• Which POV Will You Choose?

Choose wisely, because the decision could make the difference between your manuscript landing a contract or being rejected.

Our job as novelists is to pull our readers so deeply into our story that they even forget they’re turning the pages.

Your Point of View choices can make that happen.

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Point of View

Definition of point of view.

Point of view is utilized as a literary device to indicate the angle or perspective from which a story is told. Essentially, point of view refers to the “eyes” of the narrative voice that determine the position or angle of vision from which the story is being relayed. Point of view is one of the most crucial choices made by fiction writers since it governs the reader’s access to the story and determines how much the reader is able to know at any given moment with regard to what is taking place in the narrative.

For example, Gregory Maguire is well-known for his novels that re-tell famous stories using a different point of view. In his work  Confessions of an Ugly Stepsister , the story of Cinderella is told by one of the “ugly stepsisters” herself, rather than a removed fairy tale narrator .

In the lives of children, pumpkins turn into coaches, mice and rats turn into men. When we grow up, we realize it is far more common for men to turn into rats.

By shifting the viewpoint of the narrative voice, the reader is given an entirely different perspective and version of the famous story. This not only makes for an engaging and innovative experience for the reader, but the change in point of view also changes the story itself by presenting otherwise “unseen” information and opinions.

Examples of Commonly Used Points of View

As a literary device, point of view is generally expressed through the use of pronouns. Each has its advantages and limitations. First and third person points of view are far more common than second person point of view in literature. First person narrative allows the writer to establish intimacy with the reader by allowing access to the narrator’s inner thoughts. Third person narrative is flexible in that the writer can focus on more than one character ’s actions and thoughts.

Here are some examples of commonly used points of view:

First Person

In first person point of view, one of the story’s characters is narrating the literary work. This viewpoint is indicated by the use of first person pronouns, including “I,” and the reader assumes that the character is close to the story’s action. First person narrative voice provides the reader an intimate and close look into a character’s thoughts, but the perspective of the story is limited by what the character is able to see and know.

Here are some well-known examples of literary works with first person point of view:

• The Great Gatsby
• The Adventures of Huckleberry Finn
• The Yellow Wallpaper

Third Person

With third person point of view, there is a narrative presence telling the story and referring to the characters in the third person, as “he” or “she.” Third person point of view can be omniscient , meaning the narrator can see and know everything within the story, or limited, meaning the narrator is restricted in what they see and know of the story.

Here are some well-known examples of literary works with third person point of view:

• Lord of the Flies
• Little Women
• Fahrenheit 451
• The Lowland

Second Person

Second person point of view utilizes the pronoun “you” to address the reader and bring them into the action of the story. However, second person point of view is problematic in a couple of ways. First, it is a stylistic choice that is uncommon, especially in novel -length works. In addition, second person point of view can overwhelm the writer and confuse and/or alienate the reader. Most writers avoid constructing a narrative voice through second person point of view.

Difference Between Omniscient and Third Person Limited Point of View

Third person point of view is flexible as a literary device in that a writer can choose between omniscient or limited perspectives for the narrator. An omniscient narrator is aware of and knows everything about the story and its characters. There are no limitations for this narrator in terms of expressing any character’s thoughts, and this includes their own opinions and observations. An omniscient point of view features a narrator who knows more than the characters of a story.

A third person limited narrator utilizes third person storytelling, but is closely “assigned” to one character. Therefore, this limited narrator shares access with the reader to a character’s thoughts, feelings, experiences, etc., but is limited in doing so with other characters in the story. Writers choose third person limited point of view to create a deeper bond between a specific character and the reader.

Writing with Point of View

Writers decide who tells a story and the intended audience for it. When determining point of view as a literary device, the story can be told from the viewpoint of a character who is part of the story or from a narrative perspective that “sees” and knows the characters but is not one of them. It’s important for writers to consider benefits and limitations when deciding point of view, as it is essential for character development and the relationship between the narrative voice and the reader.

In addition, it’s important for writers to establish point of view as soon as possible for the reader so they are aware of whose perspective they are following. Though some writers choose to change point of view, done most often within a novel, the narrative voice should be consistent throughout a particular scene. Otherwise, disrupting the narrative perspective in the middle of a story’s action can be confusing and jarring for the reader. Changing the point of view for a subplot , alternate section, or different chapter of a literary work can be valuable; however, there should be continuity of narrative throughout the course of a story’s scene in consideration of the reader.

Alternating Point of View

Alternating point of view is a complex type of observation or narration. While narrating, he/she can change their position from the first person to the third person or even second person. It depends on the setting , situation, and voice of the characters and their different perspectives. This technique was used very successfully by Kurt Vonnegut or Italo Calvino in their novels with authorial assertion and intervention, such as Slaughterhouse-Five by Kurt Vonnegut. Also, the alternating point of view is used for long narration or a chapter-wise, to develop characters and story. It is not used for one sentence or a paragraph.

First Person Point of View as a Protagonist and Common Character

The first person point of view uses first-person pronouns. I, me, mine, etc. The first-person point of view is mostly used in fiction, autobiographies , or semi-autobiographies. The person speaking becomes the center point of the narrative, thus becoming a protagonist of the story most of the time. However, sometimes this person is also a typical narrator when it comes to the big events or significant happenings in history. Such a first-person narrator takes part only as a commoner but describes all the major events and characters through him/her. Usually, they paint the picture of a person, presenting him/her as a protagonist and himself as an ordinary character. Fiction usually adapts this form of narration when they use great heroes from history as protagonists.

Use of Point of View in Sentences

• He loves to people from the window of his castle. But, such is his life; he is not allowed to step outside. (Third-person point of view)
• I heard a shrill cry followed by speeding footsteps. I wondered if someone was in trouble. Sadly when I reached the alley, there was no one. (First-person point of view)
• This is how you prepare a tasty lemonade. You juice the lemons, and you can get more juice by rolling the lemons on the counter using force. (Second-person point of view)
• Although Jay viewed the group with suspicion when he decided to meet them and said, “I do not suspect you in any way, but we still need to talk.” (Third-person objective point of view)
• As the children settled into their rooms, Lisa hoped they would sleep peacefully without fear. She silently wished them goodnight before closing the door.”

Examples of Point of View in Literature

Example 1:  invisible man  (ralph ellison).

I was never more hated than when I tried to be honest. Or when, even as just now I’ve tried to articulate exactly what I felt to be the truth. No one was satisfied.

In Ellison’s novel, the protagonist tells his own story from a first-person point of view. This passage reflects both the power of this narrative perspective and its limitations. By telling his own story, the protagonist is able to have a close connection with the reader and directly express his true thoughts, feelings, and ideas. However, due to this restricted form of narration, the reader must rely solely on the viewpoint of the protagonist. This puts a level of responsibility on the reader to determine whether the protagonist is reliable in his narration and to fill in any gaps in the story that are ambiguous or unaddressed in a full manner by the narrator.

Example 2:  The Story of an Hour (Kate Chopin)

She said it over and over under her breath: “free, free, free!” The vacant stare and the look of terror that had followed it went from her eyes. They stayed keen and bright. Her pulses beat fast, and the coursing blood warmed and relaxed every inch of her body.

Chopin’s short story is told through a third-person limited point of view. The narrative perspective is that of Louise Mallard, the protagonist of the story, though she does not relay the narrative herself in the first person. Instead, the narrator relays to the reader Louise’s actions, thoughts, and feelings as she learns of her husband’s supposed death. This is a clever literary choice due to the fact that Louise spends much of her time in the story in a room alone , away from the other characters.

Chopin establishes a relationship between the third-person narrator and the reader in terms of access to Louise’s mind. This is reflected in the passage as the narrator conveys to the reader that Louise feels “free” at the news of her husband’s death. This “freedom” is something that Louise would not have expressed to any character in the story, yet the narrative perspective allows the reader to know and understand her thoughts.

Example 3:  The Death of Ivan Ilych  (Leo Tolstoy)

In reality it was just what is usually seen in the houses of people of moderate means who want to appear rich, and therefore succeed only in resembling others like themselves: there are damasks, dark wood, plants, rugs, and dull and polished bronzes — all the things people of a certain class have in order to resemble other people of that class. His house was so like the others that it would never have been noticed, but to him it all seemed to be quite exceptional.

Tolstoy’s well-known story of Ivan Ilych is told through an omniscient point of view. This passage reflects that the omniscient narrator governs the telling of the story through the information that is presented to the reader and the manner in which that information is relayed. For example, the omniscient narrator describes for the reader the setting of the character’s home by describing the objects inside. This creates an image that allows the reader to picture the scene.

However, the omniscient narrator is also characterizing the setting of the home by inserting opinions about it with phrases such as “who want to appear rich.” This is important because the omniscient narrator’s description and the inserted characterization influences both the reader’s literal image of the scene and their perception of its meaning in terms of an emotional response. As a result, the omniscient narrator holds the power to influence all aspects of a story for a reader–not just the way things look or what events take place, but how the reader should feel about it, Therefore, in response to an omniscient narrator, the reader should be aware of this effect so as to approach this point of view with critical thinking.

Synonyms of Point of View

Some of the words close to the point of view in meanings are opinion, view, attitude , feeling, sentiment, thoughts, ideas, position, perspective, viewpoint, standpoint, outlook, stand, stance, side, or position.

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