Choosing the right point of view for a story is hard. Sticking to that point of view can be even harder. This is a lesson that applies to creative writers, sure, but it’s also important for anyone trying to tell a story—be it in the voice of a brand or the voice of a pirate ghost trying to protect its lost treasure… or otherwise.
The key is consistency. Whatever narrative voice an author chooses, they must stay with it through the course of their text. Website homepages cannot jump from first person plural (we) to third person (the Acme Company) within a paragraph, and novels cannot vary between third person omniscient and third person limited (with limited exceptions). When the p.o.v. isn’t stable, the story becomes a bit wobbly—and not just for the picky editors among us.
What are your point of view choices?
- First person singular: Writing in the voice of “I,” relating ideas from your own (or a character’s own) perspective. This is the most personal p.o.v., allowing a reader into one’s world. Hint: First person narrators are unable to share the thoughts of other people or actions that occur when they aren’t present, unless through other means of external communication.
- First person plural: Writing in the voice of “we,” relating ideas from your own group or business, speaking on behalf of multiple people. It’s as personal as first person singular, but more community-based.
- Second person: Writing directly to your audience, utilizing “you.” This p.o.v. can be powerful for a brand but can be challenging in fiction (though do-able).
- Third person limited: Writing as an outsider looking in, utilizing “he,” “she,” “it,” and “they” but focusing on one character. The narrator would know the thoughts going through perhaps the protagonist’s head but would not be able to know or share what others are thinking. Hint: You can convey the thoughts and emotions of others by showing not telling. Third person limited allows for intimacy and reader connection with a character, which is often not as achievable through third person omniscient (detailed below).
- Third person objective: Writing as an outsider looking in, utilizing “he,” “she,” “it,” and “they” but only sharing observable information. This means not explicitly noting anyone’s thoughts or intentions. Hint: Again, a skilled writer can show, not tell, where all is still clear.
- Third person omniscient: Writing as an outsider looking in, utilizing “he,” “she,” “it,” and “they” but with everything known and knowable. In fiction, this means everyone’s thoughts, history, and actions are able to be on the page for your readers; however, beware of losing focus with this point of view. Interesting tangents not directly related to your main story line can be distracting. You may have access to everything, but that doesn’t mean that you should tell your readers every tiny detail that goes into your world.
Be thoughtful with your writing, folks. It takes a lot to tell a powerful story, and point of view is a big decision in the process. Once you’ve found the voice that suits you, make sure to stick with it through the very end. Your readers (and editors) will thank you.
Do you have a favorite point of view that works for you in your writing?