Narrative Point of View

Narrative point of view (POV) is the narrator’s position in relation to a story being told. Point of view determines how the reader views and experiences the story. The narrator is the storyteller who readers follow throughout the story. The story can be told in first person, third person limited, third person omniscient, or second person.

So often, authors struggle with point of view, and inconsistencies in POV can ruin an author’s credibility. Most of the time, it’s simply not understanding POVs well enough, so let’s talk about each one. Even if you’ve been writing for decades, it’s nice to have a refresher course every once in a while.

First Person

In first person, “I” am telling the story, typically (but not always) as an active participant. First person uses I, me, my, myself. The character is in the narrative, telling their story as it happens to them. First person is a direct line into the narrator’s mind, bringing readers much closer to the story and narrator. Because of this closeness, it allows the writer to have a more distinct tone or voice, which can lead to really interest prose.

Also because of this closeness, it can be a challenging point of view to master because the events are filtered through the narrator and the narrator alone. First person perspective is called the unreliable narrator for this reason—the perspective is biased, one-sided, and limited.

This point of view is the most easily identifiable. It’s widely used in nonfiction as well as fiction.

Things to avoid in first person

• As mentioned, first person is limited. Your narrator can’t know what someone else is feeling or thinking—unless they have some superpower or ability, in which case go right ahead!

John was angry at his daughter.

While they can’t know something, they can perceive, infer it, or assume it.

John glared at his daughter.

• Too much telling and not enough showing. With first person, it’s easy to focus on what the narrator is feeling and experiencing, but it’s just as important to show what he or she is actively doing.

• Too much filtering. Because it’s first person, we can already assume everything is happening to the narrator. You don’t have to say: I believe, I feel, I think, I see, I hear, etc. We already know that. It’s redundant.

I believe he’s a good candidate.
He’s a good candidate.

OR

I heard a thump in the back part of the house, and it startled me.
A thump in the back part of the house startled me.  

• Your narrator isn’t likeable or interesting. No one is going to stick with you and your narrator for 300 pages if your narrator isn’t likeable. No one likes perfect people or straight-up jerks. Your narrator needs to be flawed but also interesting and likeable. Anti-hero protagonists tend to work very well.

Third Person Limited

In third person limited (or close, as I’ve often seen it called), the narrator is outside the story, unlike first where the narrator is inside the story. The narrator isn’t present at all. Instead, think of the narrator like a fly on the main character’s shoulder. The narrator perceives only what the main character perceives and knows only what the main character knows. In this respect, third person limited is very similar to first. Third person uses he/she, his/her, herself/himself, they, their.

As with first, the point of view can change, going from one character to another, often indicated by different chapters or hard scene breaks. The fly (the narrator) can be on different shoulders but never at the same time.

Third person limit is the most common point of view in fiction, mainly because of the flexibility it offers. One of the merits of third person is that you can easily gain the reader’s trust and can choose how closely you zoom in with this perspective. After all, third person isn’t in the head of the narrator.

Things to avoid in third person limited

• Pronouns can get jumbled quickly, insuring much confusion, especially in fast paced scenes. He, who? Make sure the reader always knows who you’re talking about. If you don’t want to use their name for the 100th time, find another way of describing them. The priest. The older man. Etc.

• As with first person, third person limited is, well, limited. Unlike with omniscient, the main character can’t know what everyone is thinking or feeling. Be realistic with their knowledge and awareness.  

• Inconsistencies in perspective take readers out of the story. I wouldn’t describe my own eyes as brilliant pools of glass. I don’t think about my eye color often. A character probably wouldn’t either, unless that’s just their personality.

Third Person Omniscient

Third person omniscient is the god point of view. The narrator is all-knowing. To use the fly analogy again, the narrator is a fly on the wall that sees everything. At any point in the story, the narrator knows what each character is feeling, doing, saying. He/she, his/her, they, them are used.

Because of the distance, the omniscient narrator is the most reliable and trustworthy. It creates a certain intimacy between the narrator and the reader. The narrator plays a large role in setting the tone for the narrative. Like the director of a play or movie, the narrator chooses what the reader sees and what the reader doesn’t see. However, that intimacy can cause a disconnect between the reader and the characters.

Omniscient was more popular in the past. Many of the classics are in third person omniscient. However, it’s not as common anymore, and some even argue against using it (myself included), particularly for self-publishing. There’s a lot of room for error, and readers want to immerse themselves into the characters. Omniscient is hard to master if you don’t know what you’re doing. Keep that in mind if you’re planning to publish or query an omniscient piece.

Now, how do you chose between third person limited and limited? If your story is more character driven, then limited gives a little more intimacy with the characters. However, if your story is more plot driven (often fantasies), omniscient can be more concise.

Things to avoid in third person omniscient

• Don’t head-hop. This is the number one mistake I see when authors write in third person omniscient. Head-hopping is filtering a scene through multiple characters and is generally seen as negative. If not done well, it can quickly become confusing and disorientating. Instead, filter the events through one person.

• Show, don’t tell. This goes for any writing but especially for third person omniscient. Because the narrator knows all, it’s easy to fall into the trap of telling the events instead of actually showing it.

• Revealing too much. Because the narrator is all-knowing, it’s easy to reveal too much too soon. The narrator already knows how the story is going to progress and how the story is going to end. Don’t foreshadow too much.  

• Don’t reveal the narrator. Some books do this masterfully. I can think of a few off the top of my head. However, generally, it’s best if the narrator is invisible and not a known part of the story.

Second Person

In second person, the reader is addressed directly, transforming the reader into a character. Second person uses you and your. You went to the store. You got out of bed. Second person brings the reader into the narrative and separates the narrator and the character (you). This perspective is rarely used in fiction for many reasons, most notably because of its difficulty. I wouldn’t advise using second person, but playing around with it might be fun and useful.  

Handle with Care by Jodi Picoult has an interesting twist on second person and is beautiful done. The book is first person point of view with multiple narrators. The you is Willow, the little girl the story revolves around, as if the story is written to her. For example:

“It’s funny, when things like this happen (which is, like, always) Mom isn’t the one who tries to iron out the mess. She’s too busy making sure you’re all right, so the task falls to Dad. Ah, see, there’s something else that I’m jealous about: he’s your real Dad, but he’s only my stepfather.”

I had never seen something like that done before, but the way it’s done is impactful and adds depth to the story. If you haven’t read it, I highly suggest it, if for no other reason than to see how masterfully she pulls off this POV.

Takeaways

Establish your point of view within the first two or three paragraphs. Don’t make the reader guess. It’s confusing. This is especially important if you’re writing in third person with multiple main characters. If you’re writing first person with multiple narrators, consider chapter headings that indicate whose perspective it is.

Don’t change your POV mid-story. If you’re writing in first person and suddenly switch to third, it may be confusing for the readers and may ruin their trust in you. No one wants that. Pick your point of view and stick with it throughout.

With everything you do, consistency is key. If I could preach one thing, it’s that.

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