Two weeks ago, I introduced you to a tool that I’ve been using: Reni Stankova’s writing journal entitled ‘Your Novel Outlining Journal.’ In this, Stankova states that what defines your novel is what she calls your Novel Core, which is comprised of your target audience, your point of view, and your story goal. Once you have these three things figured out, you can start writing your novel—and writing it well. Today, I want to focus on the second component in this list: point of view.

So what is the point of view anyway? In its bare essence, point of view dictates who is telling the story and how much access the reader has to the characters’ thoughts and feelings. I think this is something that is wildly important but is often overlooked in writing, so let’s dive in and explore the different points of view that you can use while writing!

Option 1: First Person

• Narrator: A character within the story recounts events using “I,” “me,” “my,” “mine,” “we,” “us,” “our,” and “ours.”
• Reader’s Experience: The reader experiences the story through the narrator’s eyes, gaining direct access to their thoughts and feelings but limited to their perspective and knowledge. This creates intimacy and allows for a strong sense of the narrator’s voice.
• Examples:
  • “I walked down the street, the cold wind biting at my cheeks. I wondered if I had remembered to lock the door.”
  • To Kill a Mockingbird by Harper Lee. (“When I was six, my brother Jem broke his arm badly at the elbow.”)
  • The Hunger Games by Suzanne Collins. (“When I wake up, the other side of the bed is cold.”)

Option 2: Second Person

• Narrator: The narrator speaks directly to the reader, using “you,” “your,” and “yours.”
• Reader’s Experience: This POV makes the reader feel like they are a character in the story, directly involved in the action. It’s less common in novels but can be effective for short stories, choose-your-own-adventure books, and some experimental fiction.
• Examples:
  • “You open the door and step into the dimly lit room. A chill runs down your spine.”
  • Bright Lights, Big City by Jay McInerney (“You are not the kind of guy who would be at a place like this at this time in the morning.”)

Option 3: Third Person

• Narrator: An outside narrator tells the story, referring to characters by name or using pronouns like “he,” “she,” “they,” “it,” “him,” “her,” and “them.” This POV offers more flexibility than first person. It has several variations:
  • Third Person Limited:
    • Narrator: The narrator focuses on the thoughts and feelings of only one character.
    • Reader’s Experience: The reader knows only what that specific character knows and feels, creating a close connection with that character’s perspective while still having the distance of a third-person narrator.
    • Examples:
      • “She looked out the window, a knot of anxiety tightening in her stomach. He hadn’t called, and the hours were passing.” (The reader only knows her feelings and observations.)
      • The Harry Potter series by J.K. Rowling. (Primarily focused on Harry’s perspective.)
      • Pride and Prejudice by Jane Austen. (Often focused on Elizabeth Bennet’s perspective.)
  • Third Person Omniscient:
    • Narrator: The narrator knows everything about all the characters and events in the story. They can reveal any character’s thoughts, feelings, and background, and can also offer commentary or insights that the characters themselves might not have.
    • Reader’s Experience: The reader has a broader view of the story, accessing information that no single character might possess. This can create dramatic irony and allow for a wider scope.
    • Examples:
      • “As the campers settled into their tents, Zara hoped her eyes did not betray her fear, and Lisa silently wished for the night to quickly end.” (The narrator reveals the thoughts of multiple characters.)
      • Little Women by Louisa May Alcott.
      • The Lord of the Rings by J.R.R. Tolkien.
  • Third Person Objective:
    • Narrator: The narrator reports only what can be seen and heard, like a camera recording events. They do not reveal any characters’ thoughts or feelings.
    • Reader’s Experience: The reader must infer the characters’ emotions and motivations through their actions and dialogue. This creates a sense of distance and can build suspense or a sense of realism.
    • Examples:
      • “The man walked into the room and sat down. He looked at the woman across from him. She didn’t speak.”
      • Ernest Hemingway’s short stories often employ this style.

Choosing the right point of view is crucial. It significantly impacts how the story is told and how the reader connects with the characters and events that you create. I hope that this guide helps you in deciding which point of view to tell your story in! If you know any other examples or observations, feel free to leave them in the comment section or send me an email! Happy writing!