The ultimate guide to point of view

Your story's point of view (POV) are the eyes through which your readers see your story. Essentially, point of view is all about perspective. It's not just the vantage point from which a story is told, though. It also affects how much the reader knows, how connected they are to the internal emotional world of your characters, what order they find out information in, and how they feel about what's going on around them.

What are the different points of view?

Several primary perspectives are used in fiction:

1. First person point of view
2. ‍Second person point of view
3. Third person point of view, which has two subtypes:
   1. Third person limited point of view
   2. ‍Third person omniscient point of view
4. There's also free indirect style and subjective vs objective POVs

Each point of view has its unique way of pulling your reader through the story, and they change the way your story unfolds. For example, the intimacy of a first-person narrative works really well if you want to take your reader on a profoundly personal journey, while a third-person narrative can give them the god-like ability to see and know all.

First person point of view

The story is narrated by the protagonist or a central character, providing a personal and intimate view of the plot.

Key Words: I, me, my, we, our

Examples of first person point of view

• To Kill a Mockingbird by Harper Lee – Narrated by Scout Finch as she recounts her childhood experiences.
• The Catcher in the Rye by J.D. Salinger – Narrated by Holden Caulfield, providing a deep dive into his thoughts and feelings.
• The Hunger Games by Suzanne Collins – Narrated by Katniss Everdeen, giving readers an intimate view of her thoughts and the events around her.

Second person point of view

The reader is addressed directly, making them a participant in the story, which can create a uniquely immersive experience.

‍Key Words: You, your

Examples of second person point of view

• Bright Lights, Big City by Jay McInerney – You are the protagonist navigating life in New York.
• If on a winter's night a traveler by Italo Calvino – The novel directly addresses you, the reader, as you attempt to read various books.
• The Night Circus by Erin Morgenstern – Sections of the book address you, placing you amidst the enchanting circus settings.

Third person limited point of view

The narrator knows only what the focal character knows, offering a close but limited perspective of other characters and events.

‍Key Words: He, she, they, his, her, their

Examples of third person limited point of view

• The Girl on the Train by Paula Hawkins – Follows Rachel Watson, providing a limited perspective to build suspense.
• Game of Thrones by George R.R. Martin – Each chapter focuses on the limited perspective of a different character within the broader plot.

Third person omniscient point of view

The narrator has a god-like knowledge of all characters and events, providing a broad and all-encompassing perspective of the story.

‍Key Words: He, she, they, knows, sees, understands

Examples of third person omniscient point of view

• Middlemarch by George Eliot – The narrator knows everything about the town’s inhabitants and their interconnected lives.
• Anna Karenina by Leo Tolstoy – Offers insights into the thoughts and motivations of various characters.
• The Scarlet Letter by Nathaniel Hawthorne – Provides a comprehensive view of all characters, their thoughts, and backgrounds.

Tips for free indirect, subjective and objective POV

Free indirect style

Blends the narrator's voice with the character's thoughts and speech, seamlessly transitioning between external descriptions and internal monologues.

‍Key Words: thought, felt, wondered

Examples of free indirect style

• Mrs. Dalloway by Virginia Woolf – Seamlessly transitions between Clarissa Dalloway’s internal thoughts and the external world.
• Pride and Prejudice by Jane Austen – Blends Elizabeth Bennet’s thoughts with the narrative voice.
• The Dead by James Joyce – Mixes Gabriel Conroy’s introspections with the third-person narrative.

Subjective point of view

Focuses on the thoughts, feelings, and perceptions of one or a few characters, offering a personal and biased perspective.

‍Key Words: believed, assumed, feared

Examples of subjective point of view

• Lolita by Vladimir Nabokov – Humbert Humbert’s biased narrative colors the story with his perceptions and justifications.
• The Great Gatsby by F. Scott Fitzgerald – Nick Carraway’s impressions and judgments shape the story.
• Atonement by Ian McEwan – Briony Tallis’s flawed understanding and feelings influence her actions and the narrative.

Objective point of view

Presents actions and dialogue without revealing the thoughts or feelings of the characters, like a camera recording events.

‍Key Words: said, did, observed

Examples of objective point of view

• Hills Like White Elephants by Ernest Hemingway – Dialogue and action drive the story, with no insight into the characters’ thoughts.
• The Maltese Falcon by Dashiell Hammett – Focuses on actions and dialogue, keeping character thoughts obscure.
• Blood Meridian by Cormac McCarthy – Describes events and scenery in detail without delving into the inner thoughts of characters.

Choosing the right POV

Choosing the right POV involves understanding the narrative’s needs and the depth of character insight required.

When to choose first person point of view

• Choose this POV when you want to give readers a deep, personal connection with the narrator's thoughts and feelings.
• Ensure your narrator has a strong, distinct voice that can carry the entire story, as readers will experience the world through their perspective.
• Decide if your narrator is reliable or not. An unreliable narrator can add layers of complexity to the narrative.

When to choose second person point of view

• Use second person to directly involve the reader, making them feel like part of the story (works well for more experimental narratives or interactive fiction).
• Because it can be challenging for readers to sustain long-term engagement with this POV, use it judiciously or for shorter sections of a broader narrative.
• This POV can be particularly effective in choose-your-own-adventure stories or narratives where the reader's actions are central to the plot.

When to choose third person limited point of view

• Choose one main character to focus on, allowing a closer examination of their thoughts and experiences while maintaining the narrative flexibility of the third person.
• Stick with one character’s perspective per scene or chapter to avoid confusing the reader.
• Control how much the readers know by limiting their knowledge to that of the POV character, which can enhance suspense and connection with the character.

When to choose third person omniscient point of view

• Utilize this POV to handle large casts and complex plots that span different locations and time periods.
• Manage transitions smoothly between different characters’ thoughts to avoid disorienting the reader.
• Maintain a consistent narrative voice that can provide insights and commentary on the actions and thoughts of the characters.

When to choose free indirect style

• Blend character thought and narrative description smoothly to give the sense of direct access to a character's mind without using first-person language.
• Ensure the narrative voice and the character’s voice are distinct yet can blend seamlessly.
• Use this style to subtly convey characters' thoughts and feelings through the narrative voice without explicit articulation.

When to choose subjective point of view

• Use subjective POV to delve deeply into a character’s emotional experience and perception of the world.
• Play with the biases and reliability of the POV character to enrich the narrative and create layers of interpretation for the reader.
• Maximize the emotional impact by closely aligning the reader's perspective with that of the POV character.

When to choose objective point of view

• Let the characters’ actions and dialogue carry the weight of storytelling without delving into internal thoughts.
• Maintain an impartial and neutral tone throughout the narrative.
• Rely on showing rather than telling to allow readers to draw their own conclusions about characters and events.

Impact on plot and character development

The POV impacts the pacing and tension of the story by controlling the flow of information to the reader, affecting how the plot unfolds and how deeply the reader understands and empathizes with the characters.

• First person POV provides a window into the inner thoughts and emotions of the narrator, which can enhance the depth of character development by allowing direct access to their motivations and reactions. However, this can sometimes limit the plot to what the narrator experiences directly.
• Third person limited maintains a close focus on a character while offering greater narrative flexibility to include events beyond the protagonist’s immediate perception, enriching the plot without sacrificing character intimacy.
• Third person omniscient expands this further, presenting an all-encompassing view that can explore the motivations and backgrounds of multiple characters, thus broadening the plot's scope and complexity.

Mixing and transitioning between POVs

Mixing POV can enable you to explore multiple sides of a story, enhance depth and complexity, and reveal plot elements through various angles. However, you could disorient your reader if transitions between POVs aren’t clear or logically placed.

To mix POVs effectively, try to make sure each POV shift is needed by the story and that transitions are smooth and well-signaled (for example, with chapter breaks or distinct formatting). Or, use a consistent pattern or structure (like alternating chapters between POVs) – this can help the reader anticipate changes. Contextual clues at the beginning of each section, like location details or specific thoughts unique to the POV character, can also help orient the reader quickly.

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