essay third person point of view

Third Person Point Of View Explained (With Examples)

Welcome to our comprehensive guide on the Third Person Point of View in narrative writing.

This article delves deep into what constitutes a narrative point of view, focusing on the third-person perspective. We explore its historical evolution , analyze its different types (limited, omniscient, objective), and discuss its varied applications across different literary genres . Additionally, we compare it with first and second-person narratives to provide a complete understanding of its unique attributes. Whether you're a budding writer or a seasoned author, this article offers invaluable insights into mastering the art of third-person narration.

Table of Contents

What is Narrative Point of View?

What is third person point of view, historical evolution of third-person point of view, different types of third person point of view, genre-specific uses of third-person point of view, flexibility and adaptability of third-person point of view, comparative analysis with first and second person narratives, subjective and objective narrative point of view, omniscient and limited narrative points of view, advantages and disadvantages of third person point of view, comparative view with first and second person povs, frequently asked questions, final thoughts.

When writing a novel, you must choose which narrative viewpoint will work best for you and your book. This choice of narrative point of view is an essential part of any writing journey.

The most common narrative point of view is a third person viewpoint. In third person point of view the narrator refers to all characters with a third person pronouns such as 'he', 'she', or 'they'.

In other words, the narrator is not a story's character but a separate entity.

In this article, you'll learn about third person point of view. You'll discover the best variety of third person point of view and when to apply third person perspective to your writing.

To fully understand third person point of view, we must first look at narrative viewpoint in general.

In fact, we must take one step further back and consider narration as a whole.

Wikipedia describes narration as 'the use of a written or spoken commentary to convey a story to an audience'. [ source ]

In other words, it is the way a story is told to the reader.

Narration is split into three elements:

• Narrative point of view : the grammatical person used by the narrator to refer to the character being narrated.
• Narrative tense : the consistent use of the grammatical tense of either past or present.
• Narrative techniques : methods of conveying the story.

Of these three elements, it is narrative point of view that interests us.

The person who tells a story is known as the narrator; this might be a character in the story, but it might also be a separate 'voice' independent of the other characters.

The narrative point of view is determined by 'who' tells the story and 'how the story is told'.

There are three different types of narrative view point: first person viewpoint , second person viewpoint and third person viewpoint.

This article looks at first person.

If you would like to learn more about the specifics of all different points of view, this extensive article called Mastering Point Of View In Writing: A Comprehensive Guide will prove to be an effective resource.

One way to identify your viewpoint is to look carefully at your pronouns. This pronoun will often tell you a lot about the viewpoint.

In third person point of view, the narrator refers to all characters with third-person pronouns such as 'he', 'she', or 'they'.

So 'they' can be considered a third person pronoun.

Remember, the narrator is not a character in the story and is a separate entity, this means they will refer to characters as separate people and not use a pronoun such as 'I"/.

Third person point of view is, by far, the most common method of storytelling and has been the viewpoint of choice for some of the best-known stories in the English language. Here's the opening from Jane Austen's Pride and Prejudice a novel famously written from a third person point of view.

It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife. However little known the feelings or views of such a man may be on his first entering a neighbourhood, this truth is so well fixed in the minds of the surrounding families, that he is considered the rightful property of some one or other of their daughters. "My dear Mr. Bennet," said his lady to him one day, "have you heard that Netherfield Park is let at last?" Mr. Bennet replied that he had not. "But it is," returned she; "for Mrs. Long has just been here, and she told me all about it." Mr. Bennet made no answer. "Do you not want to know who has taken it?" cried his wife impatiently. "You want to tell me, and I have no objection to hearing it." This was invitation enough.

One clear distinction of the third person point of view is that the narrator is someone separate from the novel's characters. In fact, the narrator is almost always unidentified. This leads to a third-person narrator often being called an 'anonymous narrator'.

This is very different from a first-person narrator, where the narrator is both identified and a character within the novel.

The origins of the third-person point of view in literature can be traced back to ancient epic tales and classical texts. These early examples often employed a narrative style that was external to the characters, focusing on their actions rather than internal thoughts.

During the Renaissance, the third-person narrative began to evolve, offering deeper character insights. The Romantic and Victorian eras saw further development, with authors like Jane Austen and Charles Dickens using this perspective to explore complex social themes and character psychology. The Modernist movement brought experimental approaches to third-person narration, challenging traditional storytelling methods.

In contemporary literature, the third-person point of view continues to be versatile, adapting to various narrative styles and genres. Recent trends include the blending of third-person with other perspectives and the use of a more intimate, character-focused approach. This evolution reflects the ongoing innovation in storytelling techniques and the diverse ways in which writers engage with their readers.

When learning about third person points of view, the most confusing element for new writers is the distinction between the different types of third-person viewpoints. All third person point of view is written using a detached and anonymous narrator, but the information the narrator possesses about the characters differs significantly between different types of viewpoint.

All third person points of view sit somewhere on an axis between subjective/objective and omniscient/limited.

We look at these in more detail below, but it is essential to understand that all third-person viewpoints will be between subjective and objective and omniscient and limited. In most cases, a viewpoint tends to be either subjective OR objective and omniscient OR limited. This is not always the case. Some narrative stances can move along these axes as the story progresses, but this is uncommon.

Third-Person Limited POV

In the Third-Person Limited POV , the narrator tells the story from the perspective of one character at a time. This approach provides insight into the thoughts and feelings of the focal character, while other characters are presented externally. It's akin to looking over the shoulder of the protagonist, experiencing the world and events through their eyes. This POV is particularly effective in creating a deep connection with the character while maintaining the authorial distance of third-person narration.

Third-Person Omniscient POV

The Third-Person Omniscient POV offers a 'godlike' perspective, where the narrator knows everything happening in the story world. This includes access to the thoughts, feelings, and backgrounds of all characters. It allows for a broad and all-encompassing view of the narrative, making it ideal for complex stories with multiple characters and intricate plots. The omniscient POV can provide a comprehensive understanding of the events and motivations behind characters' actions.

Third-Person Objective POV

The Third-Person Objective POV presents a more detached view. Here, the narrator reports events without delving into the internal thoughts or feelings of any character, akin to a camera recording the unfolding action. This style creates a sense of objectivity and is often used in journalistic writing or stories where the focus is more on events than on characters' internal experiences. It leaves much to the reader's interpretation, as they only witness actions and dialogues without being privy to the characters' internal states.

The third-person point of view offers unique advantages in various literary genres, each employing this perspective to enhance storytelling in distinct ways. From the expansive worlds of fantasy to the intricate character dynamics in romance, this point of view adapts to the needs of different narratives. Let's explore how the third-person POV is tailored to enrich the reader's experience in key genres like Fantasy and Sci-Fi, Mystery and Thriller, and Romance and Historical Fiction.

Fantasy and Sci-Fi

In Fantasy and Sci-Fi genres, the third-person point of view is pivotal for world-building and handling complex plotlines. It allows authors to introduce fantastical elements and expansive universes from a perspective that can encompass vast settings and multiple character arcs. The omniscient viewpoint is particularly useful in these genres, providing a godlike view of invented worlds and the intricate interplay of characters within them. For example, George R.R. Martin's A Song of Ice and Fire series masterfully uses this POV to navigate a complex world with a large cast of characters.

Mystery and Thriller

For Mystery and Thriller novels, the third-person limited POV is often preferred. It allows readers to follow the protagonist's journey closely, unraveling mysteries and encountering surprises alongside them. This POV can also shift between characters, offering varied perspectives on the unfolding plot and enhancing the suspense. An excellent example of this is Gillian Flynn's Gone Girl , where the third-person limited perspective deepens the mystery and complexity of the narrative.

Romance and Historical Fiction

In Romance and Historical Fiction , the third-person limited POV is frequently used to delve deep into characters' emotions and relationships, while also providing historical context. It balances the intimacy of first-person with the broader scope of third-person, allowing for a detailed exploration of the characters' internal and external worlds. The narrative can switch between the perspectives of different characters, offering a comprehensive view of their emotions and the dynamics of their relationships. A notable example is Jane Austen's Pride and Prejudice , which uses third-person limited POV to explore the nuances of romantic relationships and social dynamics of the era.

The third-person point of view stands out for its remarkable flexibility and adaptability in storytelling. This versatility allows writers to adjust the narrative's lens as needed, seamlessly shifting from an overarching, all-knowing perspective to a more focused, character-specific view. The third-person POV can provide a broad view of the story world and its various inhabitants or zoom in to offer a detailed, intimate portrayal of a single character's experiences and perceptions.

Its adaptability extends to how it can accommodate shifts in tone, perspective, and narrative depth. Writers can choose to narrate events in a straightforward, objective manner or adopt a more subjective approach, delving into the characters' innermost thoughts and feelings. This flexibility makes the third-person POV an excellent choice for a wide range of literary works, from intricate multi-character epics to deeply personal character studies.

Moreover, the third-person perspective can bridge the gap between the immersive, personal experience of the first-person POV and the broader, more inclusive scope of an omniscient narrator. It allows authors to maintain narrative consistency while still providing the freedom to explore the inner workings of their characters' minds or to step back and present events in a more detached, unbiased manner.

In the realm of narrative writing, choosing the right point of view (POV) is crucial for shaping the reader's experience. This section offers a comparative analysis of the third-person POV against the first and second-person perspectives. Each POV brings its unique flavor to storytelling, influencing the reader's connection with the narrative. Understanding these differences helps writers select the POV that best suits their storytelling goals.

Comparison with First Person

Compared to the first-person POV , where the story is told directly by a character using "I," the third-person POV provides more narrative flexibility. First-person narration offers an intimate, subjective view of the story, deeply immersing readers in the narrator's personal experiences and emotions. In contrast, third-person narration can offer varying degrees of objectivity and omniscience, enabling a wider view of the story world and multiple characters' perspectives.

Comparison with Second Person

The second-person POV , which addresses the reader as "you," creates a unique, direct engagement with the narrative, often placing the reader in the protagonist's shoes. This POV is less common and can offer an intense, immersive experience. The third-person POV, by comparison, provides a more traditional storytelling format, allowing readers to observe the story from a distance, without the direct involvement implied by second-person narration.

Balancing Perspective

Choosing between first, second, and third-person POVs depends on the desired narrative impact. The third-person POV strikes a balance between the intimate connection of first-person and the immersive directive of second-person. It can be tailored to either bring readers closer to the characters' inner worlds or provide a panoramic view of the story, making it a versatile tool for storytellers to achieve their desired narrative effect.

Third person point of view subjective narration involves a narrator with access to one or more character's personal feelings and thoughts. In other words, the narrator understands the thoughts and feelings of, at least, one character.

This is a common type of storytelling. The narrator typically focuses on one character (though not always), who is the main character.

A great example of Third-person subjective narration is Hemingway's The Old Man and the Sea .

He was an old man who fished alone in a skiff in the Gulf Stream and he had gone eighty-four days now without taking a fish. In the first forty days a boy had been with him. But after forty days without a fish the boy's parents had told him that the old man was now definitely and finally salao, which is the worst form of unlucky, and the boy had gone at their orders in another boat which caught three good fish the first week. It made the boy sad to see the old man come in each day with his skiff empty and he always went down to help him carry either the coiled lines or the gaff and harpoon and the sail that was furled around the mast. The sail was patched with flour sacks and, furled, it looked like the flag of permanent defeat.

Third person point of view objective narration sees the narrator not describing the feelings or thoughts of any characters but, rather, just the exact facts of the story.

The narrator tends to be very 'de-humanized' and detached from the story. This approach is often called "fly-on-the-wall" or "camera lens", since the narrator will describe events and actions but provide no explanation or character thoughts.

This type of viewpoint was popular in the 19th century with large, sweeping narratives. It is also occasionally called 'over the shoulder' narration. It sees the focus with one character and the narrator describing only the events perceived and information known by this character.

This approach is very similar to first-person, but produces a narrower and more claustrophobic version of the third person viewpoint.

Perhaps the most famous example of this type of third person viewpoint is Hills Like White Elephants by Ernest Hemingway.

The hills across the valley of the Ebro' were long and white. On this side there was no shade and no trees and the station was between two lines of rails in the sun. Close against the side of the station there was the warm shadow of the building and a curtain, made of strings of bamboo beads, hung across the open door into the bar, to keep out flies. The American and the girl with him sat at a table in the shade, outside the building. It was very hot and the express from Barcelona would come in forty minutes. It stopped at this junction for two minutes and went on to Madrid. "What should we drink?" the girl asked. She had taken off her hat and put it on the table. "It's pretty hot," the man said.

Third person omniscient point of view is an approach that sees the narrator knowing everything that is happening within the story's world, including what each of the characters is thinking and feeling.

This viewpoint stance is very common and is used by some of the most famous writers, including Charles Dickens. It is the approach that works best when looking to produce complicated plots with deep, complex characters. One major drawback is that it is impossible to create an unreliable narrator since the reader has access to events, thoughts, and feelings throughout the world.

Below is the opening to Charles Dickens' A Tale of Two Cities , an example of third person omniscient point of view.

It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way – in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only.

Third person limited point of view sees the narrator conveying the knowledge and subjective experience of just one character. In other words, the narrator is focussed on a single character and only knows this character.

This is a very common narrative approach and is, perhaps, the most common storytelling format for popular novels in the Twentieth Century. One of the most successful uses of First-person limited narration is J.K. Rowling's Harry Potter series.

The example below is taken from Jack London's To Build a Fire .

"Day had dawned cold and gray when the man turned aside from the main Yukon trail. He climbed the high earth-bank where a little-traveled trail led east through the pine for- est. It was a high bank, and he paused to breathe at the top. He excused the act to himself by looking at his watch. It was nine o'clock in the morning. There was no sun or promise of sun, although there was not a cloud in the sky. It was a clear day. However, there seemed to be an indescribable darkness over the face of things. That was because the sun was absent from the sky. This fact did not worry the man. He was not alarmed by the lack of sun. It had been days since he had seen the sun."

Third person point of view offers several advantages and disadvantages to writers that should be considered when choosing the narrative voice for their work. Understanding the benefits and drawbacks of this point of view can help writers make the best decision for their particular story. Here are some of the key advantages and disadvantages of third person point of view:

Advantages:

Multiple perspectives: Third person point of view allows for the narrative to switch between different characters' perspectives, giving the reader a more well-rounded understanding of the events and emotions of the story. This can be particularly useful for complex stories with multiple protagonists or for exploring different sides of a conflict.

Objectivity: Third person point of view creates a more neutral and objective tone, allowing the reader to form their own opinions and judgments about the events and characters in the story. This can be especially important in writing that deals with controversial or sensitive subjects.

Distance: Third person point of view can provide a sense of distance between the narrator and the events of the story, making it easier for the reader to step back and analyze what is happening without being overly emotionally invested. This can be useful for conveying a more detached or analytical perspective.

Disadvantages:

Limited emotional connection: One of the main drawbacks of third person point of view is that it can be more difficult for the reader to form an emotional connection with the characters and events in the story. This can result in a less immersive and impactful reading experience.

Conveying inner thoughts and feelings: Another challenge with third person point of view is conveying the inner thoughts and feelings of the characters. In order to do this, the writer must use indirect methods such as dialogue, actions, and descriptions, which can be less effective than showing the reader directly what the characters are thinking and feeling.

Limited intimacy: Third person point of view can also create a sense of distance between the reader and the story, making it harder for the reader to become fully immersed in the world of the story. This can limit the intimacy and emotional impact of the writing.

In conclusion, third person point of view can be a powerful tool for writers, but it is important to weigh the advantages and disadvantages carefully when making the decision to use it. Understanding the strengths and limitations of third person point of view can help writers make the best choice for their story and create the most effective narrative voice for their work.

For more information on the different types of third person point of view, you can refer to Wikipedia's article on third person point of view .

Understanding the distinctions between first, second, and third-person points of view is essential for writers aiming to choose the best narrative style for their story. This section provides a comparative view, highlighting how each POV uniquely shapes the narrative and influences the reader's experience.

The first-person POV offers a deep, personal insight into the narrator's mind, creating an intimate bond with the reader. The second-person POV , though less common, directly addresses the reader, often creating an immersive, interactive experience. The third-person POV , with its varying degrees of knowledge and objectivity, provides a more flexible and encompassing narrative tool. It allows writers to move seamlessly between the subjective experiences of characters and an objective, broader view of the story world.

Each POV has its strengths and is suited to different types of stories and narrative techniques. The choice depends on the story’s requirements and the experience the writer wishes to convey to the reader.

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

What is an example of a third person point of view?

In third-person point of view, the most common choice for writers, the narrator refers to all characters with third-person pronouns like 'he', 'she', or 'they'.. In other words, the narrator is not a character in a story and is a separate entity. For example, 'Jason used his pocket money to buy himself comic books.'

What is 1st, 2nd, and 3rd person examples?

First person uses the pronouns: I, me, my, mine, myself, we, our, ours, ourselves. Second person uses: You, your, yours, yourself. Third person uses: She, her, hers, herself, he, him, his, himself, they, them, themselves, their, theirs.

What are the 3 types of third person point of view?

• Third-person omniscient point of view.
• Third-person limited omniscient.
• Third-person objective.

These are all outlined in this article.

What is third person point of view in writing?

Third person point of view in writing refers to the narrator describing the events and characters in the story using third-person pronouns such as "he", "she", and "they".

What are the different types of third person point of view?

There are three types of third person point of view: third person limited, third person omniscient, and third person objective.

What are the advantages and disadvantages of using third person point of view in writing?

Advantages of third person point of view in writing include the ability to easily switch between different characters' perspectives, and creating a more neutral and objective tone. Disadvantages include limited emotional connection with the reader and difficulty conveying the inner thoughts and feelings of characters.

The majority of mainstream novels published are written in third person. The chances are that if you have never considered viewpoint when writing your novel, then you are writing in third person point of view.

The biggest choice faced by many writers will be what type of third person point of view to adopt. Here, the most common choice is third-person limited, with a focus on a single character.

Perhaps the most important factor in deciding which narrative viewpoint to adopt is the type of story you are trying to tell. Stories with wide, overarching, and epic storylines tend to suit third person omniscient point of view. However, closer, more personal stories may well be better suited to third-person limited.

Third person point of view is not the only kid on the block. You might also consider writing from first person point of view. This is when the narrator and character are the same person The main advantage of first person point of view is that you are able tell a story in a way that allows the reader to connect fully with the main character. The main disadvantage of first person point of view is that it can sometimes be difficult to pass information to the reader if the main character is unaware of that information. You can read this article to find out more about first person point of view.

If you are looking for professional feedback on your novel, we can provide affordable book editing . Alternatively, our mentoring service allows you to work one-on-one with a professional editor.

Further Reading

• 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
• Mastering Point Of View In Writing: A Comprehensive Guide
• First Person Point Of View A Comprehensive Overview For Writers [Including Examples]

Claim your free eBook today and join over 25,000 writers who have read and benefited from this ebook.

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

Looking to publish? Meet your dream editor, designer and marketer on Reedsy.

Find the perfect editor for your next book

1 million authors trust the professionals on Reedsy. Come meet them.

Guides • Perfecting your Craft

Last updated on Nov 10, 2022

Third Person Point of View: The ‘He Said, She Said’ Narrative Style

Third person point of view is narrative style in which the narrator refers to all characters using the pronouns he , she , or they . An example of a sentence written in third person would be: 

She sat in the café waiting for her food to arrive. “What is taking so long?” she thought.

Writers can zero in on individual characters using third person limited , or zoom out and tell the story in third person omniscient , where the narrator is an all-knowing figure. Your POV choice will depend on what kind of story you want to tell, as you’ll discover in the next two posts in this series!

Here, however, we’ll simply cover everything you need to know about third person as a whole, and why writers might choose to use it over first or second person perspectives.

FREE COURSE

Understanding Point of View

Learn to master different POVs and choose the best for your story.

Third person stories often have a wider scope

First and second person stories are great for their immediacy, placing the reader right in the action. However, can be restrictive if you want readers to see the bigger picture. Complex stories with a large primary cast often benefit from a narrator who can swiftly move between characters and locations instead of being tethered to your viewpoint character. An example would be George R.R. Martin’s Song of Ice and Fire series, an epic fantasy series sprawling in scope that features an entire chorus of POV characters. 

With each chapter break, Martin shifts to a new viewpoint character (while staying in third person), allowing him to span vast gaps in the geography of his world and give insight into each character’s personality.

The morning had dawned clear and cold, with a crispness that hinted at the end of summer. They set forth at daybreak to see a man beheaded, twenty in all, and Bran rode among them, nervous with excitement. This was the first time he had been deemed old enough to go with his lord father and his brothers to see the king's justice fine. It was the ninth year of summer, and the seventh of Bran's life.

The man had been taken outside a small holdfast in the hills. Robb thought he was a wildling, his sword sworn to Mance Rayder, King-beyond-the-Wall. It made Bran's skill prickle to think of it.

A Game of Thrones , George R.R. Martin

Martin’s third person narrator has the flexibilty to play this scene through the eyes of a nervously excited seven-year-old while also revealing useful expositional details like the idea of a “King-beyond-the-Wall” and Westeros’s decade-long gaps between winters.

Of course, one could argue that it’s possible to write a sprawling novel written from multiple first-person perspectives. But having an enormous cast all narrating in first person can be confusing, and would put a lot of pressure on the writer to sustain multiple convincing character voices. 

(Psst! For more help with characterization when dealing with a large chorus of characters, you can check out our free character profile resource below.)

FREE RESOURCE

Reedsy’s Character Profile Template

A story is only as strong as its characters. Fill this out to develop yours.

While third person narration can allow the reader a great deal of intimacy with viewpoint characters, there are added benefits to staying out of your protagonist’s head.

It’s great for intrigue and suspense

One challenge of writing in first person is knowing how to toe the line between what your narrator knows and what they should reveal. Third person adds a little more distance, making it easier to flesh out main characters or move the story along without divulging information you wish to reveal later on.

This lends itself particularly well to thriller and mystery novels, where some holding back certain bits of exposition is essential to heightening the suspense. It can also be useful when writing any kind of novel that wants to deploy backstory or character history at a time when it can have maximum impact.

On the other hand, the third person isn’t just great for characters keeping secrets from the reader. An all-knowing narrator can also be useful for creating dramatic irony , revealing details that the characters don’t know themselves. For example, in the final act of Shakespeare’s Romeo and Juliet, Romeo discovers Juliet’s body. Unwilling to live in a world without the girl he has loved (for all of five days), he downs a vial of poison.

Come, bitter conduct, come, unsavoury guide!

Thou desperate pilot, now at once run on

The dashing rocks thy sea-sick weary bark!

Here’s to my love. O true apothecary,

Thy drugs are quick. Thus with a kiss I die.

— Romeo and Juliet (Act V, Scene III), William Shakespeare

At this point, the audience knows that Juliet is not dead — but merely sedated in a ploy to escape her family. The gulf between what the audience or reader knows and what the character knows creates an almost unbearable tension, bringing the story to its climax as Juliet awakens to discover her beloved’s corpse beside her.

Of course, dramatic irony can also be deployed more light-heartedly — for example, in comedies of error where humor is driven by a character misinterpreting the world around them. And speaking of understanding the world…

GET ACCOUNTABILITY

Meet writing coaches on Reedsy

Industry insiders can help you hone your craft, finish your draft, and get published.

Third person can help you build up your world

A third person point of view can be a great choice when your story requires a certain amount of descriptive worldbuilding. Whilst first and second person narrators certainly talk about their environment, third person narratives can offer a more natural way to include worldbuilding exposition, especially when extended passages of description might be required. 

A first person narrator probably might not take the time to intricately describe something they’ve seen a thousand times. If you live in a world where society is ruled by a giant brain from outer space, you probably wouldn’t pause your story to arbitrarily explain the backstory of ‘President Lobularr the Cruel.' But a third person narrator will have no limits to what they might want to zero in on at any point in the story.

Though an all-seeing narrator gives writers the freedom to reveal setting and backstory in any way they see fit, don’t forget that one of the effective ways to draw readers into a setting is by showing how a character experiences that world. For example, in this passage from The Vanishing Half , author Brit Bennett describes a humid Louisiana rainstorm from the perspective of her protagonist, Desiree.

Instead of telling the reader that “it was a hot, rainy day,” this passage employs several “showing” devices, including strong verbs and sensory descriptions (“the sky hung heavy and hot,” “water splattering against their ankles”). Bennett evokes one of Desiree’s memories packed with specificity — the girls duck under “eaves” rather than just roofs, and the word “shrieked” conjures a very particular sound. The result practically drops the reader next to Desiree as she braids her daughter’s hair, half-lost in a ripple of nostalgia. 

Written in third person, this passage is just as intimate and personal as it would have been were being narrated directly by Desiree, once again showing the versatility of this viewpoint.

Want to learn more about "show, don't tell"? You can check out our free 10-day course all about this golden rule of writing — it's useful for more than just third person narratives.

Show, Don't Tell

Master the golden rule of writing in 10 five-minute lessons.

It’s a viewpoint that doesn’t distract from the narrative

In its enduring popularity, third person narratives have become the default mode of storytelling around the world, pre-dating even thelikes of Homer (the epic poet, not the animated nuclear engineer). As a result of its long and impressive history, this viewpoint has thebenefit of instant familiarity.

Starting a story in third person helps readers settle in right away, rather than asking them to adjust to the particular voice of a first-person narrator or the unusual directness of second person . Ever found a story’s first chapter hard to settle into? This may be because of an unconventional narrative style or unanswered questions about who is doing the talking distracting you. Third person narratives are relatively easy to get into the swing of.

Which POV is right for your book?

Take our quiz to find out! Takes only 1 minute.

While many writers are keen to develop an utterly unique way of writing, most of the time, readers aren’t looking for something particularly experimental or opaque. In that way, the third person can be a writer’s best friend — a straightforward, versatile, and easily digestible narrative perspective that has stood the test of time.

And with that, we've concluded our post on third person point of view and how to write it! For more in-depth guidance on the two different styles of third person, limited and omniscient, be sure to check out the next couple of posts in this series.

In those posts, you’ll learn even more about which type of third person would best suit your own project, plus bonus tips on how to write in third person — to help you create a story that will be enjoyed by many more than three people, as it were.

Join a community of over 1 million authors

Reedsy is more than just a blog. Become a member today to discover how we can help you publish a beautiful book.

We made a writing app for you

Yes, you! Write. Format. Export for ebook and print. 100% free, always.

1 million authors trust the professionals on Reedsy. Come meet them.

Enter your email or get started with a social account:

Get 25% OFF new yearly plans in our Spring Sale

• Features for Creative Writers
• Features for Work
• Features for Higher Education
• Features for Teachers
• Features for Non-Native Speakers
• Learn Blog Grammar Guide Community Events FAQ
• Grammar Guide

How to Write in Third Person Point of View

Sarah Oakley

Whether you’re going to write a short story, a novella, or a novel, one of the most important decisions you’ll need to make is which point of view (POV) to use.

Third person is the most popular POV for fiction writers to use. It gives the reader a chance to experience the narrative from a perspective above, or on the shoulder of, the characters.

In this article, we’ll learn what the third person POV is, how it compares to other points of view, and how to write in third person point of view.

What Is Third Person Point of View?

Third person pov meaning, how to write in third person, third person pov examples, conclusion on how to write in third person pov.

Third person POV is when the narrator exists outside of the story. This narrator relates the actions of the characters by using their name or third person pronouns such as “she,” “he,” and “they.”

There are three types of third person POV that you can choose from. Each POV provides a different reader experience as they reveal different amounts of information about the narrative, characters, and setting.

To decide on a POV, think about the type of story you are telling and whether your readers need to be aware of certain details at each point in the plot.

1. Third Person Objective Point of View

The third person objective POV is a way to tell your story by giving the reader all the details within the scenes without including what is going on in the characters’ minds.

To write in the third person objective POV, you will need to create an unbiased narrator who doesn’t tell the reader the thoughts and feelings of the characters. Instead, your narrator will simply relay the actions and dialogue of the story in an objective, impartial telling of the events.

This is great for keeping distance between the reader and the characters. It’s like looking through the window of a stranger’s house and trying to figure out why everything is happening.

2. Third Person Omniscient Point of View

When writing in the third person omniscient POV, you give your reader an all-access pass to the thoughts and feelings of any character in each scene of your story. You can give as much detail about the scene as you can in the third person objective POV, but this time you can also include information from the characters’ perspectives.

The narrator you create to speak in the third person omniscient POV will need to relay the thoughts and feelings of all the relevant characters in the scene. You can do this by switching perspectives. This is sometimes called “head hopping.”

You can use head hopping to show conflict in the story. For example, one paragraph is from the main character’s perspective, as they give some important information to another character. Then, the next paragraph is from the perspective of the person who received the information, which shows their reaction to what the main character just said.

Third person omniscient is perfect for sharing all the little details about the world you have created and allows the reader to pick up clues that some characters might not have noticed. Some writers refer to the third person omniscient POV as an all-seeing being who likes to give their thoughts on the plot.

3. Third Person Limited Point of View

This narrator sits on the shoulder of your main character and tells the story from their perspective. It’s close to being first person, but the reader isn’t solely within the character’s mind and this narrator still uses third person pronouns and verbs.

Sometimes, the third person limited POV narrator sticks to a different character each chapter instead of one character throughout the entire story. We refer to this as a viewpoint character, as we are seeing the world from their perspective.

You are controlling the amount of information given to the reader by focusing on one character’s awareness, rather than all characters’.

First Person vs Third Person

First person POV gives readers full access to the thoughts and feelings of the main character, as they are the one telling the story. There isn’t a narrator getting between the reader and the character.

Another key part of writing in the first person POV is that the character uses first person pronouns to tell the story. They use “I,” “me,” “my,” and “myself” as they are talking about actions and experiences.

Remember : not all main characters notice everything going on around them. It can break the reader’s immersion if they are wondering how the main character knew they were about to die, but there were no clues it was about to happen. Not all characters are psychic!

If you’re aiming to stick to one character’s thoughts and feelings, but you also want to add in some extra details that are in the character’s peripheral vision, try the third person limited perspective.

This POV can be used to great effect in thrillers where you want to stay close to the main character, so the reader connects with them.

Meanwhile, you can also give clues about things that are about to happen that the character is unaware of. Let us watch in horror as the character falls down a hole we all saw coming, but could do nothing to stop them.

Second Person vs Third Person

Second person POV puts you, the reader, in the driving seat as the main character. The narrator breaks the fourth wall and speaks to you directly.

This perspective uses second person pronouns such as “you,” “your,” and “yourself” to bring the reader into the narrative. The narrator uses third person pronouns to refer to other characters.

Second person works well in stories where you want full immersion for the reader. Some people love the feeling of being dropped onto the rollercoaster of drama in a good story. This is why second person is used in video games and Choose Your Own Adventure stories.

However, it is one of the least used POV types by fiction writers. One reason for this is that it takes a lot of skill to write about the reader in a way that feels natural to them while also giving away the right amount of information for the story. You don’t want your reader to lose interest because they don’t agree with something the narrator has said.

Third person objective would be a better option if you don’t want to write as though your story is about the person reading it. The third person POV allows the reader to focus more on the narrative and everything else that’s going on around the characters.

So far, we’ve discussed what the third person POV is, but what does the “third person” part of that mean?

Third person is a grammatical style of writing that uses pronouns such as “she,” “he,” “they,” and “it.” It also uses proper nouns and names when referring to specific individuals and objects.

1. Decide If Third Person Provides the Right Reader Experience

Do you want to tell the story from within the mind of your main character? Do you want to make the reader the main character of the story? If the answer is no to both questions, it’s time to look at your options for writing in the third person.

2. Pick the Type of Third Person Narrator

Go over the details of your story and your characters. You will need to establish whether third person limited, third person objective, or third person omniscient is the best POV for your story.

3. Read Examples of Writing in Third Person

It’s important to take the time to analyze what works and what doesn’t work in third person narration. The best way to do this is by reading other works that use third person points of view.

Focus on the information they are sharing. Did it work? Would you have used a different type of narrator for that story?

4. Use a Consistent POV

Switching POVs is a habit that a lot of writers do if they’re writing in a POV they’re not used to. Don’t worry, it happens. However, being aware that this is something to avoid before you get 200 pages into your novel and realize you switched POVs back on page 90 can help you be more observant of your writing habits.

5. Use the Correct Pronouns—ProWritingAid Can Help!

The third person POV means using third person pronouns when your narrator is speaking. Remembering this is one of the best ways to catch yourself from slipping into different points of view.

You can stop yourself from using the wrong pronouns by using ProWritingAid’s pronoun report. It’ll highlight all the examples of pronouns in your text, so you can easily work through your story and change them back into the third person if you’ve made any mistakes.

6. Create a Trustworthy Third Person Narrator

Your third person narrator is the voice of your narrative. How do they tell the story? Do we believe them?

Readers need to feel like your narrator has the authority to tell these events in a way that satisfies them. If you want to share the thoughts and feelings of the characters, the narrator needs to sound like they are confident in the details they are sharing.

Third Person Objective Example

If you’re wondering how to show conflict when writing in the third person objective POV, we would recommend reading Hills Like White Elephants by Ernest Hemingway.

Let’s look at an excerpt from the story:

The woman brought two glasses of beer and two felt pads. She put the felt pads and the beer glasses on the table and looked at the man and the girl. The girl was looking off at the line of hills. They were white in the sun and the country was brown and dry. “They look like white elephants,” she said. “I’ve never seen one.” The man drank his beer. “No, you wouldn’t have.” “I might have,” the man said. “Just because you say I wouldn’t have doesn’t prove anything.” The girl looked at the bead curtain. “They’ve painted something on it,” she said. “What does it say?” “Anis del Toro. It’s a drink.”

As you can see from this extract, the third person objective narrator is relaying the information about the scene without being biased to either of the characters. They do not quote the characters’ thoughts or feelings; they simply give details about their actions and words.

As a reader, you can still imagine what the characters are thinking and feeling, as the conflict is laid out bare for you to witness.

Third Person Omniscient Example

Readers of the third person omniscient POV expect the narrator to be all-seeing and all-knowing, so it makes sense that the narrator in Good Omens by Neil Gaiman and Terry Pratchett is “God” or the “Almighty.”

Here’s an extract from the novel:

“Er. Okay,” he said. “I’ll, er, be off then. Shall I? Get it over with. Not that I want to get it over with,” he added hurriedly, aware of the things that could happen if Hastur turned in an unfavourable report. “But you know me. Keen. So I’ll be popping along,” Cowley babbled. “See you guys... see you. Er. Great. Fine. Ciao.” As the Bentley skipped off into the darkness Ligur said, “Wossat mean?” “It’s Italian,” said Hastur. “I think it means food .” “Funny thing to say, then.” Ligur stared at the retreating tail-lights. “You trust him?” he said. “No,” said Hastur. “Right,” said Ligur. It’d be a funny old world, he reflected, if demons went round trusting one another.

This example shows how the third person omniscient narrator pops into the heads of several characters in one passage. At the beginning, we’re in Cowley’s mind, which is shown by the phrase “aware of things that could happen if Hastur turned in an unfavourable report.” However, within a few lines, we pop into Ligur’s mind, which is apparent in the sentence, “It’d be a funny old world, he reflected, if demons went round trusting one another.”

Third Person Limited Example

If you’re looking for examples of third person limited narrators that tell the story from one character’s perspective, we would recommend reading Happily Ever After by Harriet Evans.

Let’s check out a section of the novel:

She knew his face so well, knew him so well, how he drummed his fingers on any spare surface, how he looked vague when trying to get out of things, how his mouth curled to the side when he was making a joke. But she’d never sat this close to him before, because he was her boss. It didn’t feel like that tonight. It was as if they were different people. It was nice. Rory was nice, but then, she’d always known that.

Romance writers like writing first person POV, but third person limited also works well in this genre, like in this extract. The narrator is giving us a direct connection to the mind of the main character (Elle). They do this by describing everything Elle’s noticed about the man she’s attracted to.

Elle realizes her boss has always been nice and we get the impression she’s always secretly wanted to date him. The narrator shows us this by giving us Elle’s perspective on what’s happening in the scene. It’s as close as the narrator can be without Elle telling the story herself.

As you can see, writing in the third person isn’t hard when you follow the step-by-step process. It’s a lot of fun to experiment with the different types of third person POV. Which one do you prefer?

Don’t forget, if you’re worried about slipping into different POVs within your writing, you can always use the ProWritingAid pronoun report to keep you in check!

Be confident about grammar

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

##About Sarah is a romance writer with a passion for studying human connections and psychology. She lives with her fiancé and two cats in Gloucester, UK. When she’s not writing, Sarah enjoys visiting theme parks, singing along to rock songs, and planning her next vacation. ##Writing Experience Sarah is an aspiring screenwriter who hopes to see her name in the credits of a romance film one day. She has also written short stories and has had many ideas for novels in a variety of genres. ##Education Sarah has been studying the art of writing and film from the age of 16 and she holds a BA in Creative Writing.

Get started with ProWritingAid

Drop us a line or let's stay in touch via :

• PRO Courses Guides New Tech Help Pro Expert Videos About wikiHow Pro Upgrade Sign In
• EDIT Edit this Article
• EXPLORE Tech Help Pro About Us Random Article Quizzes Request a New Article Community Dashboard This Or That Game Popular Categories Arts and Entertainment Artwork Books Movies Computers and Electronics Computers Phone Skills Technology Hacks Health Men's Health Mental Health Women's Health Relationships Dating Love Relationship Issues Hobbies and Crafts Crafts Drawing Games Education & Communication Communication Skills Personal Development Studying Personal Care and Style Fashion Hair Care Personal Hygiene Youth Personal Care School Stuff Dating All Categories Arts and Entertainment Finance and Business Home and Garden Relationship Quizzes Cars & Other Vehicles Food and Entertaining Personal Care and Style Sports and Fitness Computers and Electronics Health Pets and Animals Travel Education & Communication Hobbies and Crafts Philosophy and Religion Work World Family Life Holidays and Traditions Relationships Youth
• Browse Articles
• Learn Something New
• Quizzes Hot
• This Or That Game New
• Train Your Brain
• Explore More
• Support wikiHow
• About wikiHow
• Log in / Sign up
• Education and Communications
• Editing and Style

How to Write in Third Person

Last Updated: March 27, 2024 Fact Checked

This article was co-authored by Alicia Cook . Alicia Cook is a Professional Writer based in Newark, New Jersey. With over 12 years of experience, Alicia specializes in poetry and uses her platform to advocate for families affected by addiction and to fight for breaking the stigma against addiction and mental illness. She holds a BA in English and Journalism from Georgian Court University and an MBA from Saint Peter’s University. Alicia is a bestselling poet with Andrews McMeel Publishing and her work has been featured in numerous media outlets including the NY Post, CNN, USA Today, the HuffPost, the LA Times, American Songwriter Magazine, and Bustle. She was named by Teen Vogue as one of the 10 social media poets to know and her poetry mixtape, “Stuff I’ve Been Feeling Lately” was a finalist in the 2016 Goodreads Choice Awards. There are 7 references cited in this article, which can be found at the bottom of the page. This article has been fact-checked, ensuring the accuracy of any cited facts and confirming the authority of its sources. This article has been viewed 1,133,871 times.

Writing in third person can be a simple task, with a little practice. For academic purposes, third person writing means that the writer must avoid using subjective pronouns like “I” or “you.” For creative writing purposes, there are differences between third person omniscient, limited, objective, and episodically limited points of view. Choose which one fits your writing project.

Writing in Third Person Academically

• Third person helps the writing stay focused on facts and evidence instead of personal opinion.

• Third person pronouns include: he, she, it; his, her, its; him, her, it; himself, herself, itself; they; them; their; themselves.
• Names of other people are also considered appropriate for third person use.
• Example: “ Smith believes differently. According to his research, earlier claims on the subject are incorrect.”

• First person pronouns include: I, me, my, mine, myself, we, us, our, ours, ourselves. [3] X Research source
• The problem with first person is that, academically speaking, it sounds too personalized and too subjective. In other words, it may be difficult to convince the reader that the views and ideas being expressed are unbiased and untainted by personal feelings. Many times, when using first person in academic writing, people use phrases like "I think," "I believe," or "in my opinion."
• Incorrect example: “Even though Smith thinks this way, I think his argument is incorrect.”
• Correct example: “Even though Smith thinks this way, others in the field disagree.”

• Second person pronouns include: you, your, yours, yourself. [4] X Research source
• One main problem with second person is that it can sound accusatory. It runs to risk of placing too much responsibility on the shoulders of the reader specifically and presently reading the work.
• Incorrect example: “If you still disagree nowadays, then you must be ignorant of the facts.”
• Correct example: “Someone who still disagrees nowadays must be ignorant of the facts.”

• Indefinite third person nouns common to academic writing include: the writer, the reader, individuals, students, a student, an instructor, people, a person, a woman, a man, a child, researchers, scientists, writers, experts.
• Example: “In spite of the challenges involved, researchers still persist in their claims.”
• Indefinite third person pronouns include: one, anyone, everyone, someone, no one, another, any, each, either, everybody, neither, nobody, other, anybody, somebody, everything, someone.
• Incorrect example: "You might be tempted to agree without all the facts."
• Correct example: “ One might be tempted to agree without all the facts.”
• This is usually done in an attempt to avoid the gender-specific “he” and “she” pronouns. The mistake here would be to use the “they” pronoun with singular conjugation. [5] X Research source
• Incorrect example: “The witness wanted to offer anonymous testimony. They was afraid of getting hurt if their name was spread.”
• Correct example: “The witness wanted to offer anonymous testimony. They were afraid of getting hurt if their name was spread.”

Writing in Third Person Omniscient

• For instance, a story may include four major characters: William, Bob, Erika, and Samantha. At various points throughout the story, the thoughts and actions of each character should be portrayed. These thoughts can occur within the same chapter or block of narration.
• Writers of omniscient narratives should be conscious of “head-hopping” — that is, shifting character perspectives within a scene. While this does not technically break the rules of Third Person Omniscience, it is widely considered a hallmark of narrative laziness.

• In a sense, the writer of a third person omniscient story is somewhat like the “god” of that story. The writer can observe the external actions of any character at any time, but unlike a limited human observer, the writer can also peek into the inner workings of that character at will, as well.
• Know when to hold back. Even though a writer can reveal any information they choose to reveal, it may be more beneficial to reveal some things gradually. For instance, if one character is supposed to have a mysterious aura, it would be wise to limit access to that character's inner feelings for a while before revealing his or her true motives.

• Do not use first person and second person points of view in the narrative or descriptive portions of the text.
• Correct example: Bob said to Erika, “I think this is creepy. What do you think?”
• Incorrect example: I thought this was creepy, and Bob and Erika thought so, too. What do you think?

Writing in Third Person Limited

• The thoughts and feelings of other characters remain an unknown for the writer throughout the duration of the text. There should be no switching back and forth between characters for this specific type of narrative viewpoint.
• Unlike first person, where the narrator and protagonist are the same, third person limited puts a critical sliver of distance between protagonist and narrator. The writer has the choice to describe one main character’s nasty habit — something they wouldn’t readily reveal if the narration were left entirely to them.

• In other words, do not use first person pronouns like “I,” “me,” “my,” “we,” or “our” outside of dialog. The main character's thoughts and feelings are transparent to the writer, but that character should not double as a narrator.
• Correct example: “Tiffany felt awful after the argument with her boyfriend.”
• Correct example: “Tiffany thought, “I feel awful after that argument with my boyfriend.”
• Incorrect example: “I felt awful after the argument with my boyfriend.”

• Note that the writer can offer insight or guesses regarding the thoughts of other characters, but those guesses must be presented through the perspective of the main character.
• Correct example: “Tiffany felt awful, but judging by the expression on Carl's face, she imagined that he felt just as bad if not worse.”
• Incorrect example: “Tiffany felt awful. What she didn't know was that Carl felt even worse.”

• Correct example: “Tiffany watched from the window as Carl walked up to her house and rang the doorbell.”
• Incorrect example: “As soon as Tiffany left the room, Carl let out a sigh of relief.”

Writing in Episodically Limited Third Person

• Limit the amount of pov characters you include. You don't want to have too many characters that confuse your reader or serve no purpose. Each pov character should have a specific purpose for having a unique point of view. Ask yourself what each pov character contributes to the story.
• For instance, in a romance story following two main characters, Kevin and Felicia, the writer may opt to explain the inner workings of both characters at different moments in the story.
• One character may receive more attention than any other, but all main characters being followed should receive attention at some point in the story.

• Multiple perspectives should not appear within the same narrative space. When one character's perspective ends, another character's can begin. The two perspectives should not be intermixed within the same space.
• Incorrect example: “Kevin felt completely enamored of Felicia from the moment he met her. Felicia, on the other hand, had difficulty trusting Kevin.”

• In a novel-length work, a good time to switch perspective is at the start of a new chapter or at a chapter break.
• The writer should also identify the character whose perspective is being followed at the start of the section, preferably in the first sentence. Otherwise, the reader may waste too much energy guessing.
• Correct example: “Felicia hated to admit it, but the roses Kevin left on her doorstep were a pleasant surprise.”
• Incorrect example: “The roses left on the doorstep seemed like a nice touch.”

• For instance, if Kevin had a talk with Felicia's best friend about Felicia's feelings for him, Felicia herself would have no way of knowing what was said unless she witnessed the conversation or heard about it from either Kevin or her friend.

Writing in Third Person Objective

• There does not need to be a single main character to focus on. The writer can switch between characters, following different characters throughout the course of the narrative, as often as needed.
• Stay away from first person terms like “I” and second person terms like “you” in the narrative, though. Only use first and second person within dialog.

• Imagine that you are an invisible bystander observing the actions and dialog of the characters in your story. You are not omniscient, so you do not have access to any character's inner thoughts and feelings. You only have access to each character's actions.
• Correct example: “After class, Graham hurriedly left the room and rushed back to his dorm room.”
• Incorrect example: “After class, Graham raced from the room and rushed back to his dorm room. The lecture had made him so angry that he felt as though he might snap at the next person he met.”

• Correct example: “When no one else was watching her, Isabelle began to cry.”
• Incorrect example: “Isabelle was too prideful to cry in front of other people, but she felt completely broken-hearted and began crying once she was alone.”

• Let the reader draw his or her own conclusions. Present the actions of the character without analyzing them or explaining how those actions should be viewed.
• Correct example: “Yolanda looked over her shoulder three times before sitting down.”
• Incorrect example: “It might seem like a strange action, but Yolanda looked over her shoulder three times before sitting down. This compulsive habit is an indication of her paranoid state of mind.”

Examples of Third Person POV

Expert Q&A

You Might Also Like

• ↑ https://stlcc.edu/student-support/academic-success-and-tutoring/writing-center/writing-resources/point-of-view-in-academic-writing.aspx
• ↑ http://studysupportresources.port.ac.uk/Writing%20in%20the%20third%20peson.pdf
• ↑ http://www.grammar-monster.com/glossary/third_person.htm
• ↑ https://www.grammarly.com/blog/use-the-singular-they/
• ↑ Alicia Cook. Professional Writer. Expert Interview. 11 December 2020.
• ↑ https://www.merriam-webster.com/words-at-play/point-of-view-first-second-third-person-difference
• ↑ https://ojs.library.dal.ca/YAHS/article/viewFile/7236/6278

About This Article

To write in third person, refer to people or characters by name or use third person pronouns like he, she, it; his, her, its; him, her, it; himself, herself, itself; they; them; their; and themselves. Avoid first and second person pronouns completely. For academic writing, focus on a general viewpoint rather than a specific person's to keep things in third person. In other types of writing, you can write in third person by shifting your focus from character to character or by focusing on a single character. To learn more from our Literary Studies Ph.D., like the differences between third person omniscient and third person limited writing, keep reading the article! Did this summary help you? Yes No

• Send fan mail to authors

Reader Success Stories

Jul 31, 2016

Did this article help you?

Jean Scicluna

Jan 31, 2021

Nov 4, 2016

Karen Evans

Aug 5, 2016

Oct 20, 2016

Featured Articles

Trending Articles

Watch Articles

• Terms of Use
• Privacy Policy
• Do Not Sell or Share My Info
• Not Selling Info

Don’t miss out! Sign up for

wikiHow’s newsletter

What is Third Person Point of View in Writing? + Examples

In every example of writing you can think of, there is a point of view at play. The point of view is the narrator’s angle on the piece, as well as their bias.

Whether they’re talking about themselves (first person), you, the reader (second person), or a third-party (third person).

Third person point of view is what we will discuss in this article.

What is Third Person Point of View?

In this case, third person point of view tells events from the perspective of the person being discussed. Pronouns such as he, she, it, and they are used to convey this, as well as the name of the subject if applicable.

For example, in a screenplay, the narrator would refer to “John sped down the corridor, his hair bouncing as he ran.” Notice how the character’s name John and the pronouns his and he were used.

In contrast, if we were referring to John in the first person, i.e., John was the one narrating, the sentence would change: “I sped down the corridor, my hair bounding as I ran.” Pronouns I and my are used to define the point of view used here.

Third person point of view often distances the reader from the subject, the narrative not including the reader or acknowledging their existence. Whereas first and second point of view may do just that: “I had not intended to love him; the reader knows I had wrought hard to extirpate from my soul the germs of love there detected…” (Brontë, 1992).

The Importance of Third Person Point of View in Writing?

Third person point of view is an extremely relevant and useful tool in all forms of creative writing. It allows us to explore and describe points of view that aren’t our own, even the complete opposite.

We can develop and delve into different types of characters, perspectives and worlds, and switch between them. Writers have been using these techniques for centuries to capture the imaginations of their audiences and offer them a view of the world they may not have previously considered.

Types of Third Person Point of View

1. third person limited.

Third person limited follows one character from beginning to end. We stay consistently with that person, the insight into the world all theirs. They are the ones moving the story forward. The narrator in this case is omniscient: they know the full story already and what is going to transpire. Your protagonist does not.

An Article You Might Like: How to Write a Good Story (11 Tips from an Actual Writer)

Examples of third person limited works include:

• Cloud Atlas – David Mitchell
• A Game of Thrones – George RR Martin (one character per chapter)
• Thanks for the Memories – Cecelia Ahern

This particular perspective allows you to really develop this character’s psyche, giving your audience an in-depth insight into their personal world, emotions, and reactions to what is happening around them. Your descriptions can also be specific, homing in on what the characters themselves focus on, rather than giving a more general description. You can be specific!

The audience learns about plot events, twists, and turns simultaneously with the protagonist, so they truly go on the journey with them.

Third person limited also allows you to build effective suspense and interest. If you write third person well, you can draw an audience in, meaning they buy into your protagonist and care deeply about what happens to them.

Of course, the caveat to writing in third person limited is that your audience only sees one point of view. The emotions and journeys of other characters are merely surface level, or there is less opportunity to develop them. Additionally, it can be easier than you think to slip into describing another character’s feelings or divert off into their story. Make sure to stick with your protagonist.

Consider role playing video games, where you take on the role of one character embarking on a quest or journey. As the player, you follow the protagonist’s path, but don’t have the opportunity to see things from other characters you may meet on the way. Games such as The Elder Scrolls V: Skyrim, Dark Souls and Assassin’s Creed Valhalla are such examples.

2.  Third Person Omniscient     

We have already discussed that to have an omniscient narrator, they need to know everything that’s happened in the plot. The difference with third person omniscient as a sub-category is that the narrator doesn’t just focus on a single protagonist, but instead switches between multiple characters.

This means they can explore the thoughts, feelings, and actions of any character, each to a greater or lesser degree. The narrator can also have any bias and voice their own opinion throughout the plot.

Examples of third person omniscient works include:

• Lord of the Flies – William Golding
• Good Omens – Neil Gaiman & Terry Pratchett
• A Wizard of Earthsea – Ursula K Le Guin

The freedom of third person omniscient is clear; the narrator can freely bounce between characters, their perspectives, and different motivations. Writers can create attention-grabbing conflict, building it over a series of chapters.

The narrator can also lean towards any bias, favoring one or more characters over others, most often the protagonist. This also means they can directly address the reader, unlike in third person limited.

Third person omniscient narrators can also explore context within the characters’ world. Instead of just being stuck to one character, they can build on details invisible to that character, by taking into account the emotions and actions of other characters.

However, with the wealth of views, feelings, and voices, it is easy for writers to fall into the ‘head hopping’ trap, where they easily confuse readers. Don’t fall into the trap of writing every single detail – not everything is absolutely necessary.

3.  Third Person Objective       

This third person narrator is the most neutral and impersonal of them all. Along with the reader, they discover the plot along with the characters, not privy to thoughts and feelings. No perspective is focused upon, with the narrator playing an observational role, meaning the audience is almost eavesdropping on the unfolding events.

Usually implemented within short fiction, the third person objective doesn’t reveal judgments or opinions on behalf of the narrator. It forces the reader to interpret and conclude events in their own way. When done well, you can spark insightful and interesting conversation between readers.

Examples of third person objective include:

• Hills Like White Elephants – Ernest Hemingway

Of course, an advantage of using this point of view is one which we’ve discussed; the ability to keep your audience guessing and drawing their own conclusions from your writing . However, it is a tricky art to master. You must be one hundred percent sure it’s a good fit for the story you’re trying to tell.

How to Write in Third Person Point of View

First, consider which basic point of view is most appropriate for your story. First person, second person, or third person?

Once you have ultimately chosen third person, it is time to look at which of the three sub-categories we’ve discussed are most fitting.

Are you looking to have a single protagonist or an ensemble piece? For an ensemble, you have a range of perspectives and arcs to reflect upon. This means a web of narratives to weave together. In this case, third person omniscient or limited would be a good fit.

Alternatively, if you have a single protagonist, third person limited would work, or if you’re up for a challenge, third person objective.

Next, you’ll need to work out how distanced your narrator is going to be from the action. Do you wish for them to be reliable and authoritative, open with their knowledge? Or are you looking for them to keep things to themselves, twist the plot, their bias obvious?

If your narrator has an agenda of their own, the third person limited could be a good bet; one viewpoint, close to the action. Or if they’re giving an overview of events, giving all sides of the story, third person omniscient or third person objective are both good fits.

Remember, you don’t need to follow all characters; for not all perspectives will be required at any one time. Follow those characters who are high stakes, those who lead a particular chapter or scene. Who has the most to lose? Whose emotions and actions matter the most?

When you’ve decided who the focal characters are at each point in the story, ensure you only reveal what the audience needs to know in that moment. It’s no use showing your whole hand early on; spread character detail throughout the narrative.

Similarly, remember that every character is different and will act/react in different ways. So, ensure that everything a character says and does is within the personality remit you’ve created for them; it must make sense to the reader!

Advantages of Third Person Point of View

• Limitations of First and Second Person POV: Both first and second person points of view can be fairly limiting, allowing only the authentic description of the actions and emotions of a single character.
• Unique Advantage of Third Person POV: Third person point of view can eliminate the limitations of first and second person points of view, especially with an ensemble cast of characters.
• More Narrative Opportunity: The third person point of view provides more narrative opportunities. It offers readers a more comprehensive view of the plot, the key characters within the plot, and their interrelationships.
• Authoritative and Reliable: Having a narrator who sees from all angles in third person point of view can come across as more authoritative and reliable to the reader.
• Depiction of Multiple Recollections: A third person narrator can portray the memories of multiple characters, as well as different perspectives on a single character.
• Creation of Dynamic Characters : By shifting to different characters in the same situation, a third person point of view allows for a variety of perspectives. This diversity can make it easier to create dynamic and well-rounded characters.

Disadvantages of Third Person Point of View

• Difficulty in establishing intimacy: With too many perspectives in third person narration, it can be challenging to establish a deep connection or intimacy with specific characters. The ease of ‘head-hopping’ between characters can cause the loss of the central thread of a scene or chapter, leading to potential reader disinterest.
• Risk of confusing the plot line: Having too many perspectives can cloud and complicate the plot line. The narrative might become confused and directionless.
• Challenge of managing multiple characters: With multiple perspectives, it may become difficult to effectively manage character development and progression. This could lead to inconsistent characterization and conflict, causing further confusion for the reader.
• Importance of careful character selection: It is advisable to stick to a small selection of characters that the narrator gets close to. These characters should ideally serve as the main guides for the reader, providing consistent characterization and conflict throughout the narrative.

Let’s conclude with a recap on each of the three third person POVs!

• Third person limited – focuses on one character’s perspective only, where the reader journeys with them.
• Third person omniscient – focuses on multiple character perspectives and is usually an ensemble piece.
• Third person objective – can focus on either one or multiple character perspectives, but is usually distanced from the action, merely observing and providing no specific bias.

Ultimately, third person point of view gives you an objectivity as a writer. It allows you to tell a story with multiple points of view. Yes, the protagonist’s may be the most important and prominent, but other characters and events will inform that perspective.

Real life always has multiple points of view, and so reflecting this in literature is important. Yes, the first-person experience is sacred, but the objectivity we have looking from the outside in with multiple sets of emotions and thoughts is also valuable.

Remember, if you do decide to tackle the third-person point of view, ensure to continuously check your writing. Are you maintaining third-person objective, omniscient or limited throughout? Take care not to slip out of your intended point of view. The less confused your reader, the better!

Overall, consistency is key!

Natasha is a UK-based freelance screenwriter and script editor with a love for sci-fi. In 2022 she recently placed in the Screenwriters' Network Short Film Screenplay Competition and the Golden Short Film Festivals. When not at her desk, you'll find her at the theater, or walking around the English countryside (even in the notorious British weather)

View all posts

You may also like

Plot outline techniques: how to structure your story..., montage script format: how to write visually compelling sequences, flashback screenplay techniques: mastering time in storytelling, beat sheets: crafting your screenplay structure , what is a motif in film themes &..., 3 types of scripts (most popular among screenwriters).

BibGuru Blog

Be more productive in school

• Citation Styles

How to write in third-person

Although there are three narratives you can use in any form of writing when it comes to your papers and anything academic you produce, it’s best to choose the third-person. It’s pretty simple with a bit of practice, but if you’re completely new to this writing style, here’s what you need to know about how to write in third-person.

What does writing in third-person mean?

Writing in third-person is one of the three styles you can use when describing a point of view. Even though you might not know it, chances are you’ve used first, second and third person in writing projects throughout your education.

It’s a narrative where you’re totally independent of the subject you’re analyzing and writing about. You don’t take sides. You don’t try to influence what readers feel. It’s a completely unbiased, objective way of writing that tells a story or dissects a topic right down the middle.

There’s a lot of information out there about how you can differentiate between the three in roundabout ways, making it unnecessarily complicated. Here’s a quick breakdown to understand the differences for when you write your following paper:

First-person

This is from the I/we perspective. It’s where we talk about us , ourselves, and our opinions. If we go down the first-person route, writing will include pronouns like I , me , myself, and mine .

Second-person

This point of view belongs to the person you’re addressing — so its a you perspective. In your writing, you’d use second-person pronouns such as you , your, and yourselves .

Third-person

The third-person point of view is aimed at the person or people being talked about, which is the type of writing you’d find in stories. In this perspective, you’d use pronouns like he , she , him , her , his , hers , himself , herself , it , them , their, and themselves . Or, you’d use a name. But that tends to happen more in stories than research papers.

Notice the difference between the three?

When to write in third-person

The third-person point of view tells the reader a story and it’s often the go-to when you’re taking an authoritative stance in your papers, which is why it’s so common in academic writing.

So, always choose the third-person stance when writing academic copy, such as essays and research papers.

The reason for this is it’ll make your papers less personal and more objective, meaning the objectivity will make you come across as more credible and less biased. Ultimately, this will help your grades as the third-person view keeps you focused on evidence and facts instead of your opinion.

You can break third-person perspectives into three other types, including omniscient, limited, and objective. Although they’re more associated with creative writing than academic work and essays, your writing is likely to fall under the third-person objective point of view.

A third-person objective point of view is about being neutral and presenting your findings and research in an observational way, rather than influencing the reader with your opinions.

How to use the third-person point of view

Rule number one: Never refer to yourself in your essay in the third-person. That’s a no-no.

For instance, here’s how you shouldn’t write a sentence in your essay if you’re writing about virtual learning as an example.

“I feel like students perform better at home because they have more freedom and are more comfortable.”

It’s a simple sentence, but there’s a lot wrong with it when you’re talking about research papers and adopting a third-person narrative. Why? Because you’re using first-person pronouns and, as it sounds like an opinion, you can’t back up your claims with a stat or any credible research. There’s no substance to it whatsoever.

Also, it isn’t very assertive. The person marking your work won’t be impressed by “I feel like,” because it shows no authority and highlights that it came from your brain and not anywhere of note.

By including terms like “I think” or “I feel” like in the example above, you’re already off to a bad start.

But when you switch that example to the third-person point of view, you can cite your sources , which is precisely what you need to do in your essays and research papers to achieve higher grades.

Let’s switch that sentence up and expand it using the third-person point of view:

“A psychological study from Karrie Goodwin shows that students thrive in virtual classrooms as it offers flexibility. They can make their own hours and take regular breaks. Another study from high school teacher, Ashlee Trip, highlighted that children enjoy freedom, the ability to work at their own pace and decide what their day will look like.”

With a third-person narrative, you can present evidence to the reader and back up the claims you make. So, it not only shows what you know, but it also shows you took the time to research and strengthen your paper with credible resources and facts — not just opinions.

6 tips for writing in third-person

1. understand your voice won’t always shine in your essays.

Every single piece of writing tends to have a voice or point of view as if you’re speaking to the reader directly. However, that can’t always happen in academic writing as it’s objective compared to a novel, for example. Don’t try to ‘fluff’ up your piece to try and cram your personality in, as your academic work doesn’t need it.

2. Don’t focus on yourself or the reader — focus on the text

An academic piece of work always has a formal tone as it’s objective. When you write your next paper, focus on the writing itself rather than the writer or the reader.

3. Coach yourself out of using first-person pronouns

This is easier said than done if all you’ve ever done is first- or second-person writing. When you write your next paper, scan through it to see if you’ve written anything in first-person and replace it with the third-person narrative.

Here are a few regular offenders that pop up in academic papers — along with how you can switch the statements to third-person:

• I argue should be this essay argues
• I found that should be it was found that
• We researched should be the group researched
• I will also analyze should be topic X will also be analyzed

The same applies to second-person, as there are plenty of cases where it tends to slip through in academic writing. Again, it’s pretty straightforward to switch the more you practice. For instance:

• Your paper will be marked higher if you use a citation tool should be the use of a citation tool will improve one’s grades

4. Be as specific as possible

This is where things can get a little bit confusing. Writing in third-person is all about including pronouns like he, she, it, and they. However, using them towards the beginning of sentences can be pretty vague and might even confuse the reader — this is the last thing you want from your essay or paper.

Instead, try using nouns towards the beginning of sentences. For example, use the actual subject, such as the interviewer or the writer, rather than he, she, or they when you begin the sentence.

The same applies to terms like it. Start the sentence with the ‘it’ is that you’re describing. If it’s a citation tool, begin the sentence by referencing what you’re discussing, so you aren’t vague. Clarity is key.

5. Write in the present tense when using third-person

In any form of academic writing, you need to write your reports, essays, and research papers in the present tense, especially when introducing different subjects or findings.

So, rather than saying “This paper analyzed” (which does seem correct as technically that part was in the past and the writing is in the present), you should write “This report analyzes” — as if you’re analyzing right here and now.

However, the difference is when you highlight how you did the research, that should be in the past tense. This means you’d use third-person phrases like “The equipment that was used” or “The results were analyzed by”, for instance.

6. Avoid adding your own thoughts

If your report is on a subject that’s close to your heart, it can be super tempting to sprinkle in your own thoughts. It’s a challenge, but you need to coach yourself out of it.

In academic writing, you aren’t a commentator. You’re a reporter. You need to let readers draw their conclusions without over-analyzing them or making the reader lean one way or another.

The easiest way to get to grips with writing your academic papers in the third-person is to be consistent and practice often. Criticize your work and analyze it until it becomes the norm. Yes, it can be a little complex in the early days, but before you know it, you’d have mastered the technique, helping you take your papers and reports up a level.

Frequently Asked Questions about writing in third-person

In third-person, you’d use pronouns like he , she , him , her , his , hers , himself , herself , it , them , their, and themselves . Or, you’d use a name.

You is used in second person and is therefore not used in third person. The second person is used for the person that is being addressed.

The third-person point of view is aimed at the person or people being talked about, which is the type of writing you’d find in stories. When writing in third-person view, make sure to write in the present tense and avoid adding your own thoughts.

When writing in third person, you should actually always write in the present tense since you are mostly presenting results in this view.

The second person point of view belongs to the person you’re addressing — so its a you perspective. In your writing, you’d use second-person pronouns such as you , your, and yourselves .

Make your life easier with our productivity and writing resources.

For students and teachers.

• Scriptwriting

What is the Third Person Point of View – Definition and Examples

W hat is third person point of view? Perhaps she knows; or he knows; or they know. The third person point of view is used to keep distance between the writer and reader. As a result, characters serve as a buffer so that the focus remains on the narrative. We’re going to break down the third person point of view, or third person POV, with examples from The Lord of the Rings and Uncharted , but first, let’s review some grammar details.

3rd Person Point of View Explained

A grammar guide to third person writing.

The third person point of view uses he, she, they, descriptors, or names to communicate perspective. Let’s look at some examples:

• He was a great student.
• She succeeded in every way.
• They worked tirelessly to finish the project on time.
• The man with the funny hat sneered at those who passed by.
• Stella played the violin with maestro-like skill.

This next video does a great job of explaining the grammatical rules used to define third person point of view:

What is Third Person Point of View?  •  All About Third Person Writing by Diane Callahan

Now that we’ve reviewed some grammar guidelines, let’s dive into a third person point of view definition!

THIRD PERSON POINT OF VIEW DEFINITION

What is third person point of view.

A third person point of view is a narrative perspective in which the writer doesn’t directly refer to themself as the narrator, nor you as the reader. The third person POV is arguably the most popular storytelling perspective. In video games and movies, the third person POV refers to a perspective in which the camera is locked onto a character, either behind them or overhead. 

Characteristics of Third Person POV

• Creates distance between writer and reader
• Used often by writers
• Can also refer to a locked camera perspective

Third Person Examples

Third person point of view in writing.

There are two types of third person point of view in writing: third person limited point of view and third person omniscient point of view. Let’s break down third person limited point of view vs. third person omniscient point of view in detail:

Third person limited point of view : The perspective is limited to the view of one or more character.

Third person omniscient point of view : The perspective is shown from “above,” through an “all-knowing” entity.

This next video explains some of the intricacies of using the third person omniscient point of view.

3rd Person Point of View  •  How to Use Third Person Omniscient by Reedsy

Although “omniscient” and “limited” are both third person points of view, they’re very different. For example, the third person limited point of view works much better than the third person omniscient point of view in mystery novels. Imagine an Agatha Christie novel in which the narrator already knows who “committed the crime” — it just wouldn’t work well.

Take this excerpt from Murder on the Orient Express for example:

Murder on the Orient Express

'It is a good phrase that,' said Poirot. 'The impossible cannot have happened, therefore the impossible must be possible in spite of appearances.'

Poirot is our protagonist ; and he is a brilliant detective, but he doesn’t know everything. Christie keeps us on the edge of our seat by concealing essential information in dialogue. 

Conversely, third person omniscient works much better for world-building novels like The Lord of the Rings . Let’s take a look at an excerpt from The Fellowship of the Ring to see how it’s done: 

The Fellowship of the Ring

“Bilbo was very rich and very peculiar, and had been the wonder of the Shire for sixty years, ever since his remarkable disappearance and unexpected return. The riches he had brought back from his travels had now become a local legend, and it was popularly believed, whatever the old folk might say, that the Hill at Bag End was full of tunnels stuffed with treasure. And if that was not enough for fame, there was also his prolonged vigour to marvel at. Time wore on, but it seemed to have little effect on Mr. Baggins. At ninety he was much the same as at fifty. At ninety-nine they began to call him well-preserved; but unchanged would have been nearer the mark. There were some that shook their heads and thought this was too much of a good thing; it seemed unfair that anyone should possess (apparently) perpetual youth as well as (reputedly) inexhaustible wealth.”

Tolkien delivers an incredible amount of exposition in this opening passage. Think about all that we learn about Bilbo: 

• He’s incredibly wealthy
• He lives in Bag End in the Shire
• He made a fortune on some mysterious adventure
• He doesn’t seem to age

We’re able to learn all of this information so quickly because of the use of the third person omniscient POV. This opening mystifies us as the reader, and sets up the perfect opportunity for flashbacks .

When there’s so much backstory to relay, like there is in Tolkien’s world, we don’t really want to doubt whether or not the narrator knows what they’re talking about. Don’t forget that the third person omniscient point of view is also a great perspective for using dramatic irony .

What is Third Person Point of View in Video Games?

Third person pov in video games.

The third person point of view can also refer to a fixed camera angle , used most commonly in video games. Perhaps the most acclaimed third person video game series is Uncharted , from developer Naughty Dog.

If you’re unfamiliar with the fixed “ over the shoulder ” camera perspective, check out the video below.

3rd Person Point of View in Video Games  •  Uncharted 4: A Thief’s End Trailer

The purpose of the third person POV in video games is similar to its purpose in writing — to create a buffer between us, the reader/player, and the character we’re controlling/following. Usually, third person games use a limited POV. In Uncharted , we control treasure hunter Nathan Drake, privy almost exclusively to his thoughts and actions.

But sometimes, games tell or foreshadow what our character is going to walk into. One could argue that this gives us an omniscient third person point of view of the game-world.

The “over the shoulder” angle used in Uncharted isn’t the only third person perspective used in video games though. In addition, many games use the “overhead” or isometric angle, like the recently acclaimed Disco Elysium did:

Third Person Point of View Examples  •  Disco Elysium Trailer

Disco Elysium combines a top-down (isometric) perspective with a limited omniscient narrator. The result is a graphically beautiful game that allows you to explore perspective and perception in new and insightful ways.

Dive deeper into point of view

We covered how the third person POV is used in writing and gaming, but what about the first and second person? Don’t worry, we have you covered on those categories as well, with blog posts that go into similar detail on how each perspective is used by writers, designers, and filmmakers to expert effect.

Up Next: Types of Point of View →

Write and produce your scripts all in one place..

Write and collaborate on your scripts FREE . Create script breakdowns, sides, schedules, storyboards, call sheets and more.

• Pricing & Plans
• Product Updates
• Featured On
• StudioBinder Partners
• The Ultimate Guide to Call Sheets (with FREE Call Sheet Template)
• How to Break Down a Script (with FREE Script Breakdown Sheet)
• The Only Shot List Template You Need — with Free Download
• Managing Your Film Budget Cashflow & PO Log (Free Template)
• A Better Film Crew List Template Booking Sheet
• Best Storyboard Softwares (with free Storyboard Templates)
• Movie Magic Scheduling
• Gorilla Software
• Storyboard That

A visual medium requires visual methods. Master the art of visual storytelling with our FREE video series on directing and filmmaking techniques.

We’re in a golden age of TV writing and development. More and more people are flocking to the small screen to find daily entertainment. So how can you break put from the pack and get your idea onto the small screen? We’re here to help.

• Making It: From Pre-Production to Screen
• What is Film Distribution — The Ultimate Guide for Filmmakers
• What is a Fable — Definition, Examples & Characteristics
• Whiplash Script PDF Download — Plot, Characters and Theme
• What Is a Talking Head — Definition and Examples
• What is Blue Comedy — Definitions, Examples and Impact
• 1 Pinterest

Improve your writing in one of the largest and most successful writing groups online

Join our writing community!

How to Write in Third Person Multiple PoV: Examples & Meaning

by Alex Cabal

Third person multiple provides your readers with varying points of view, to enrich your plotline and familiarize readers with what’s happening in your characters’ heads and hearts. As the author, you’re already in your characters’ heads. Third person multiple PoV is what will bring your readers there, too.

Leveraging third person multiple PoV is a heavy-hitting strategy of the greats like Tolkien and more. When executed properly, this shifting perspective will bring your readers further into the inner worlds of your characters.

In this article, we’ll focus on how to write in third person point of views and being able to do so with multiple characters—or simply put, “third person multiple PoV.” We’ll go through the advantages and disadvantages, tips, rules, and examples. By the end, you should be well on your way to using this powerful tool to breathe new life into your work and enhance your storytelling.

What is the Third Person Multiple PoV?

Third-person multiple PoV is a narrative point of view in which the narrator follows several different characters using the pronouns “she,” “he,” or “they.” The story alternates between various characters such as two love interests, a protagonist and antagonist, or a group of friends. Unlike omniscient PoV, the narrator can only see inside the head of one character at one time.

Multiple third person PoV involves writing separate scenes from the viewpoints of each of your characters . The author must stay in the one characters’ head for the entire scene and maintain proper PoV rules, such as not relaying to the reader what the thoughts of the opposite character are.

Advantages and disadvantages of Third Person Multiple Point of View

As with any style of PoV, there are different advantages and disadvantages when writing in third person multiple.

One advantage is the ability to move into each of your characters’ heads, giving an in-depth look at characters who normally may not have the chance to voice their thoughts. It provides you, the writer, the opportunity to grow and develop a character every time you get in their head. The reader learns first-hand not just why the character is doing something and why they’re acting a certain way, but they also learn more intimate details about the character as the reader witnesses the character’s inner thoughts.

Say, for instance, you’re reading a crime thriller written in third person multiple PoV. The reader is then able to follow along with both the antagonist and the protagonist, and watch what drives them both to make the decisions they do. The reader will be in the head of the killer when they commit their crimes, get to know them as an individual, and—if the author is skilled—learn about the character on a whole different level than they would have had the author not used this PoV. This makes the overall storytelling more effective and compelling.

That said, using third person multiple isn’t always necessarily advantageous, with pitfalls that many new and seasoned authors alike can fall into. Choosing whether or not to use this shifting perspective will depend on your genre, plotline, and what you want your readers to feel or know at any given moment.

Third Person Point of View pros

Multiple points of view allow your reader to learn what drives each of your characters to do things they may do.

It helps the author to broaden the scope of who should be included in the story, from main characters to secondary ones.

Different third person points of view keep up the tension. You don’t want your readers bored, and this PoV lets you shift perspectives in different scenes, keeping the reader on their toes and providing them with more dynamic insight into the plot.

It keeps the pace moving. You want your plot to move briskly and you want your reader looking forward to the next chapter. Moving from one character to another gives the story that momentum.

Third person PoV offers the reader a variety of perspectives and can make a story more complex and intriguing for a reader. For example, allowing the reader to watch the antagonist plot his crimes, while in tandem, showing the intricate details of what drives the hero or heroine.

Third Person Point of View cons

As an author, you have to stay on your toes and methodically maintain a character’s PoV in each scene, rather than head-hopping between characters and confusing your reader with too many perspectives at once.

If you shift PoV too much, you can lose momentum, and ultimately, the reader.

Shifting third person can sometimes put emotional emphasis on the wrong characters. If you’re attempting to shift perspective simply for the sake of it, you risk throwing your character development out of whack.

The third person multiple PoV won’t be applicable to all genres. It’s obviously not ideal for memoir-style fiction, books for younger readers, and novels with parallel narratives that are better off in the first person.

Should I use Third Person Multiple Pov?

An author who’s mastered the third person multiple PoV can wind up with a really compelling story. Getting into the heads of characters can help the reader grow to love them almost as much as the author who created them did. If you can nail the third person multiple, your readers will have a better understanding of the inner workings of the hearts and minds of your characters. Whether they grow to love or hate them, readers will be emotionally invested.

If you have more than one character (you probably do) with whom you want your readers to intimately connect, third person multiple PoV will provide the lens to do just that. For this reason, third person multiple PoV is popular in the romance and fantasy/adventure genres, and in novels with many parallel narratives.

However, if you’re writing in the style of a memoir, or any story in which you want the PoV to be coming solely from one character or from a non-omniscient observer, third person multiple isn’t the best choice.

When should I use it?

As far as when the best time is to adapt third person multiple in your work, stick with scene changes, new chapters, and the idea of change in general. The easiest way to confuse people is to use third person multiple PoV just for the sake of it. Instead, make the PoV change correspond to a change in events or scenery that necessitates getting into the head of another character. That way, you’ll maintain your story’s flow and momentum.

Tips For how to write in Third Person Multiple

A lot of novice writers sometimes try to use this PoV and get confused, break the rules, and lose their readers. Multiple third person PoV and head-hopping often get mixed up when in fact they’re two entirely different matters. Learning how to write multiple PoV isn’t necessarily difficult, as long as you attack it methodically.

Remember to keep a strong grasp on how your novel is paced and to strictly discipline the number of different views, and third person multiple can be a great tool for your author’s toolbox. If you stick to the following three tips for writing in third person multiple, you’ll be able to effectively harness shifts in PoV without falling prey to common mistakes.

Develop a Distinct Persona, Purpose, and Voice for Each Character

One of the most important rules for writing in third person multiple PoV is to make sure each of your characters is different enough so that when the PoV changes, the reader isn’t confused about which character is in focus. Technically this falls more under character building than PoV, but it’s a very important point to consider. To avoid this problem, make sure your characters all have original and distinct traits. Give each of them very different backgrounds, jobs, ages, and personalities.

TIP: Think of the third person multiple as a tool for character building: that is, constructing the inner world—thoughts, emotions, and motivators—of your characters. Be sure to stay true to each character’s inner voice and not intermingle it with those of the others, as this can seriously dilute character development and confuse readers.

How to Switch Point of View When Writing Third Person Multiple

One of the best indicators for switching character PoV within a story is when something changes that necessitates inner input from a different character. This change in perspective can be used to provide greater insight or understanding for your reader and heighten the impact of the plot on the characters.

Most commonly, this will be a scene change. Be sure to make scene changes distinct. If you change PoVs in the middle of the scene, make it 100% clear that you’ve changed. When changing scenes, make sure the story picks up where the last scene left off.

Another common error writers make when switching point of view is doing so too frequently. Some writers may use the PoV as an excuse to enter the heads of several different characters within one chapter too quickly. There’s no real rule about how long a particular scene should be for any character, but switching back and forth too quickly can make the prose confusing. If you find yourself shifting heads more than two or three times in a scene, there might be a problem, and you might want to take a step back to see which character will benefit the scene the most and then rewrite the scene to hold that one person’s PoV. An easy rule of thumb is to avoid head-hopping completely and stick to one PoV for one scene, especially when you’re new to using the third person multiple.

TIP: Watch the number of times you switch PoV. You want to make sure to use the character that’s getting the most benefit from the scene and stay in their PoV before you start writing from another character’s perspective. Remember that something should change, i.e. the scene, the mood, etc., to make the PoV shift natural and not superfluous or confusing.

How to Balance Character PoVs

If you’re a beginning author trying out writing multiple PoV, choose which characters are most important to you and stick to their heads. Don’t sweat not being able to write from the mind-body-spirit of every single character in your story. Switch heads only when there’s a need, and never switch characters just because you can! The result can be confusing and can feel forced.

Also, limit the number of characters in your book if you want to consistently leverage third person multiple. Too many characters with separate PoVs can end up confusing the reader and even you as the author. You can still have many different characters, but strictly limit the number of head changes in the manuscript.

TIP: Keep your story focused. Just because you’re giving the view of many characters doesn’t mean you can’t maintain pace. Give each character their own emotional weight and their own specific hopes and fears. Place emotional/cognitive emphasis where the readers need it, not for the sake of getting into every single head in your story.

At the end of the day, always put yourself in your reader’s shoes. No matter what, don’t force the shift. If you don’t need it, don’t do it.

Shift in Point of View examples

Let’s look at some examples effectively and ineffectively shifting the PoV between characters.

An example of an effective PoV shift

The following passage is an example of switching from a group point of view to a singular third person PoV.

Grandma Elisabeth headed into the dining room and took her seat at the head of the table. Atop every plate was a small folded piece of paper, each adorned with a name in a long cursive sprawl. The rest of the family awkwardly shuffled into the dining room. Their eyes darted from plate to plate, their faces attempting to conceal their inner thoughts—soft smiles of relief of a seat out of the line of fire, or resignation pulling at their eyes and the corners of their lips as they found their chairs closer to the head of the table. The family mechanically sat down in their respective seats in reserved silence.

“It wasn’t dad’s fault,” Joe whispered in the silence of the room. He sat in a chair at the far end of the table. Half the family looked quickly to Joe in astonishment, the other half looked downward, deeply concentrated with the pattern of leaves and flowers on the cleanly pressed tablecloth. Grandma Elisabeth’s blue eyes shone piercingly; no one spoke in the broken silence. Joe felt the dread of the upcoming battle, and then a surge of anger boiled up in his stomach. He let the rage wash over him and spoke again, this time more loudly with every word. “It wasn’t his fault, and you know it.”

In this passage, the beginning PoV is that of the family as a group, and then shifts to Joe’s perspective. At the beginning of the passage, the reader is shown information about the family’s actions that indicate how the family feels—how they move awkwardly and shuffle, how their eyes “dart” in anxiety.

The PoV shift occurs when Joe takes an action by “speaking” and breaks the tension of quiet anticipation in the room. At this point, the reader is prepared for the argument to take place, and more specifically, from Joe’s personal perspective.

Using this shift in perspective from the collective to the individual is an example of how to give your reader an overview of the overall group feeling, and then shift to the feelings of the individual character. Everyone knows what it’s like to feel awkward and uncomfortable in a group, and the burning desire to state how you really feel no matter the consequences. This particular PoV shift is highly effective not only at setting the emotional scene but at making the character more relatable.

An example of an ineffective PoV shift

In this passage, the antagonist is the murderer Bill and the protagonist is Detective Smith:

Detective Smith sat back in the chair, draped his laced fingers over his chest and eyed the man across the silver table. The room, set up for interview and interrogations only, had no paintings on the walls, nothing to adorn the tabletop sitting between them, and only held a two-way mirror, which sat directly behind his head._ He set his feet flat on the ground and leaned forward, moving his elbows to the hard metal separating them. He’d been chasing this guys for months and now all Smith needed was a confession._ “So Bill, how about you tell me where you were on the night of January 9th?”_ Bill’s eyed widened briefly before the mask of granite came back in place, then opened his mouth and promptly shut it again. Detective Smith eyed the man, and fear levels spiked in Bill._ Bill hesitated, didn’t know what the Detective had on him, but had a sudden feeling that he might not make it out of this room without a brand new set of bracelets adorning his wrists.

Can you spot the PoV error? There’s two: “fear levels spiked in Bill,” and “Bill hesitated, didn’t know what the Detective had on him but had a sudden feeling that he might not make it out of this room without a brand new set of bracelets adorning his wrists.”

Why are these PoV errors? Because Detective Smith can’t tell what Bill is thinking and feeling unless Bill says so. This is a common PoV error and one many novice writers make.

You’ll also note that there isn’t a scene change in this passage. While using a scene change isn’t cardinal rule, something tangible should shift to compel the corresponding shift in perspective. Going back to the effective example: In the first passage, Joe’s interjection into the silence of the group marks a change in mood and sets up the scene for the argument to occur from Joe’s perspective. In the second passage, Detective Smith and Bill remain in the same room, under the same circumstances, making the PoV switch awkward and superfluous.

If I had placed a scene cut after Detective Smith asked his question, I would have written it to immediately pick up on Bill thinking about the answer. This would be a more effective way to shift the PoV in this particular example.

Third Person Multiple PoV examples to learn from

Books with alternating points of view give heightened dimension to characters and are regarded as highly enjoyable by readers, provided the author is skilled. If you take a look at the current NYT Best Sellers List, you’ll see that the majority of the fiction on the list is written in third person multiple. It’s an uber-popular technique in the modern novel that’s not going away anytime soon.

If you want a masterclass in third person multiple, pick up something by Tolkien. Tolkien is known as one of the greatest worldbuilders of all time, but his seamless shifts in PoV are partly why readers of all ages become emotionally attached to his characters.

Third person multiple is also frequently used in romance writing. You can quickly recognize the style by the use of pronouns such as “she” and “he.” Romance authors like to use this PoV because it’s extremely helpful in showing how the budding relationship expands between both the protagonist and their love interest. Even though romances are intimate by nature, dual PoV romance novels allow the reader to make an even deeper connection with each character.

Finally, it’s easy to observe the benefits of writing in third person multiple in works of parallel narratives. In fact, shifting PoV is part of the essence of these novels where readers are taken on a ride bouncing between characters and their version of events.

Here’s a short list of books written in third person multiple that’s a great go-to resource as you sharpen your skills:

The Lord of the Rings trilogy by J. R. R. Tolkien

Anything by George R. R. Martin

The Time Traveler’s Wife by Audrey Niffenegger

All the Light We Cannot See by Anthony Doerr

Clap When You Land by Elizabeth Acevedo

Throne of Glass by Sarah J. Maas

The Chronicles of Narnia by C. S. Lewis

Get feedback on your writing today!

Scribophile is a community of hundreds of thousands of writers from all over the world. Meet beta readers, get feedback on your writing, and become a better writer!

Join now for free

Related articles

What Is Objective Point of View? Plus Tips on How to Write It

Writing First Person Point of View: Definition & Examples

What is Third-Person Limited Point of View? Definition and Examples

What is Point of View? Definition & 8 Types of Point of View

What is 4th Person Point of View?

Third Person Omniscient Point of View: The All-Knowing Narrator

Table of Contents

Collaboration, information literacy, writing process, point of view.

What Is Point of View?

In writing, point of view refers to whether the writing takes on a singular or plural perspective in either 1st person, 2nd person, or 3rd person.

• First person is the perspective of the writer; 1st person uses words like “I,” “my,” “me,” or “we.”
• 2nd-person is the perspective of the reader being directly addressed by the writer; 2nd person uses words like “you,” “your,” or “us.” ; and
• 3rd-person is the perspective of a different party who is neither writer nor reader. 3rd person uses words like “she,” “his,” or “they.”

Point of view can typically be identified by which pronouns are used. See the chart below for a quick summary.

Related concepts: Pronouns , Perspective , First-Person Point of View , Second-Person Point of View , Third-Person Point of View

Why Does Point of View Matter?

Point of view can impact how a reader experiences a piece of writing in a wide range of ways. A writer’s choice of point of view can impact the level of formality of a piece of writing, and it can also impact how a reader feels about both the writer and the topic. Choosing to use the first person pronouns “we” and “us,” for instance, might make a reader feel in league with the writer, but in another rhetorical situation it can make readers see the writer as unserious or subjective. In fiction, a writer’s choice of point of view means deciding through whose eyes readers see a story, which in turn impacts just about every other choice a writer will make, from which information readers will get, to how they will perceive other characters and events.

How Do You Choose a Particular Point of View?

Point of view is

• a stylistic choice–i.e., choice based on the rhetor’s desired Rhetorical Stance.
• Genres tend to have very specific guidelines for point of view.
• In academic writing, e.g., writers are generally expected to use 3rd-person most of the time, with the occasional exception for 1st person if it is necessary. Using 2nd person is discouraged.

Different points of view can be applied to different writing purposes. There are far too many reasons to choose a point of view to list them all here. This list provides three common uses for the various points of view:

Common uses of 1st person

• Memoirs. Memoirs are all about someone’s personal experiences, so memoir authors use I frequently to describe what has happened to them and how they felt about it.
• Certain academic disciplines . Some academic disciplines, like women’s studies and rhetoric and composition, value the inclusion of personal experience as research material, so scholars will use I and we in their work.

Common uses of 2nd person

• Directions and Self-help books. Self-help books aim to improve their readers in some way, so the authors use you to speak directly to those readers and prompt them to reflect on themselves or take action.
• Advertisements. Advertisements target specific audiences in order to make sales, and the use of you (e.g. “Do you need cash fast?”) can prompt a viewer to identify with the ad’s target audience.

Common uses of 3rd person

• Quotes. When relaying quotations from other speakers or writers, authors will identify the source of the quotation in 3rd person, as in “He wrote that…”
• News stories. Journalism generally strives to impart objective information. By using only 3rd person, journalism avoids the overly personal tone of I and you.

Here are the common ways third person is used in an academic paper:

Note: While the above pronouns represent the third person, instead of using it , that , these , those or this , specific words or phrases will better help readers follow the writer’s logic.

How To Edit for Point of View

To identify ineffective uses of point of view, 1) identify the various points of view in your writing; and 2) decide if the points of view achieve their purpose and will not inadvertently alienate the reader.

1. Identify the various points of view in a piece of writing.

Ex: The American public is underinformed about important news from other countries. When you only watch local cable news or get your news from American websites, you miss out on reading about events like the Arab Spring and the tsunami in Japan.

In this example, the first sentence has a subject in 3rd-person point of view, the American public. The second sentence’s use of you gives it a 2nd-person point of view.

2. Decide if the points of view achieve their purpose and will not inadvertently alienate the reader.

In the first sentence, 3rd-person point of view achieves the purpose of identifying who the writer thinks is underinformed: the American public. In the second sentence, though, it is unclear what purpose the 2nd-person you is intended to achieve. Why is the writer speaking directly to me, the reader? Moreover, the writer risks alienating me by seeming to assume that I am definitely uninformed. How (potentially) offensive!

How can you correct an unnecessary shift in point of view?

• In a passage where an unnecessary shift has been noted, go through and highlight each of the point of view words.
• Change the point of view of the inconsistent pronouns to align them with the primary point of view that has already been established.
• Reread the passage aloud and listen for consistency in point of view.

Let’s look at an example:

• Even though he believed weight loss was possible, you do not know how hard it can be until you try to lose a few pounds.
• Even though he believed weight loss was possible, he did not know how hard it would be until he tried to lose a few pounds.

How do you change first or second person to third person?

Here is a table that shows several common instances of first or second person in essays and some examples of how to revise to the third person.

Look at the following lines and determine how you might revise them so that they remove the pronoun “you” or define the pronoun “we”:

• You can understand what it’s like to have a stack of papers to grade and only two days to do it.
• We now know that cigarettes can cause various types of cancer.
• I would like you to understand that not all students are lazy.
• We believe that gay marriage is not immoral or harmful to the American family; as such, we argue that it should be legalized.
• Doughnuts are really harmful to our health, so we should stop ingesting them.
• If you would only give reading a try, you might actually enjoy it.
• Subliminal messages enter our psyches on a daily basis.
• As a feminist, I believe that women should receive pay that is equal to that of their male coworkers.

Recommended Readings

First person.

• The First Person
• Using First Person in an Academic Essay: When Is It Okay?

Second Person

•   Understanding Second Person Point-of-View: Wizard Activity

Related Articles:

First-person point of view, second-person point of view, third-person point of view, suggested edits.

• Please select the purpose of your message. * - Corrections, Typos, or Edits Technical Support/Problems using the site Advertising with Writing Commons Copyright Issues I am contacting you about something else
• Your full name
• Your email address *
• Page URL needing edits *
• Comments This field is for validation purposes and should be left unchanged.

Featured Articles

Academic Writing – How to Write for the Academic Community

Professional Writing – How to Write for the Professional World

Authority – How to Establish Credibility in Speech & Writing

Point of View in Academic Writing

Point of view is the perspective from which an essay is written. The following chart lists both the personal pronouns and their possessive forms used with these points of view:

When choosing appropriate point of view for academic or formal writing, consider the type and purpose of the assignment.

First Person

First-person point of view is used to write stories/narratives or examples about personal experiences from your own life. Note the following paragraph:

Several people have made a lasting impression on me . I remember one person in particular who was significant to me . Dr. Smith, my high school English teacher, helped my family and me through a difficult time during my junior year. We appreciated her care, kindness, and financial help after the loss of our home in a devastating fire.

Note : Academic writing often requires us to avoid first-person point of view in favor of third-person point of view, which can be more objective and convincing. Often, students will say, “ I think the author is very convincing.” Taking out I makes a stronger statement or claim: “The author is very convincing.”

Second Person

Second-person point of view, which directly addresses the reader, works well for giving advice or explaining how to do something. A process analysis paper would be a good choice for using the second-person point of view, as shown in this paragraph:

In order to prepare microwave popcorn, you will need a microwave and a box of microwave popcorn which you’ve purchased at a grocery store. First of all, you need to remove the popcorn package from the box and take off the plastic wrap. Next, open your microwave and place the package in the center with the proper side up. Then set your microwave for the suggested number of minutes as stated on the box. Finally, when the popcorn is popped, you’re ready for a great treat.

Note : Academic writing generally avoids second-person point of view in favor of third-person point of view. Second person can be too casual for formal writing, and it can also alienate the reader if the reader does not identify with the idea.

Replacing You

In academic writing, sometimes "you" needs to be replaced with nouns or proper nouns to create more formality or to clarify the idea. Here are some examples:

Third Person

Third-person point of view identifies people by proper noun (a given name such as Shema Ahemed) or noun (such as teachers, students, players, or doctors ) and uses the pronouns they, she, and he . Third person also includes the use of one, everyone, and anyone. Most formal, academic writing uses the third person. Note the use of various third-person nouns and pronouns in the following:

The bosses at the company have decided that employees need a day of in-house training. Times have been scheduled for everyone . Several senior employees will be required to make five-minute presentations. One is not eager to speak in front of others since he’s very shy. Another one , however, is anxious to relate their expertise. The variation in routine should provide an interesting day for all people concerned.

Third Person Pronouns: Gender-Fair Use of Language and Singular “They”

In the past, if you wanted to refer to one unnamed person, you used the masculine pronoun: If a person is strong, he will stand up for himself . Today, you should avoid the automatic use of the masculine pronoun because it is considered sexist language.

Also avoid perpetuating gender stereotypes by assigning a particular gendered pronoun: A doctor should listen to his patients. A nurse should listen to her patients . These examples make assumptions that doctors are men and nurses are women, which is a sexist stereotype.

Instead, use the pronouns they or them to refer to a person whose gender is undisclosed or irrelevant to the context of the usage: If a person is strong, they will stand up for themselves when they believe in something.

• Antisocial Media

The Advantages and Disadvantages of Third-Person Perspective

Third-person perspective is writing from the point-of-view of an outsider telling the story. This allows the writer to explore different characters and for multiple perspectives to be inferred, though does not have to mean that is the case.

Typically, third-person falls into two categories: third-person omniscient, where the narrator knows everything about the world and all characters; and third-person limited, where the narrator only knows details about key characters and learns as events unfold throughout the story. Both use variations on ‘he’, ‘she’, ‘it’, and ‘they’ to include characters in the story, and, depending on the awareness and objectivity of the narrator, to impart opinion and decisions.

Third-person omniscient is writing from the viewpoint of a God-like figure who can see all and is aware of every character’s thoughts. The narrator may also know what is coming and have insight into the plot, though this is not always the case. The narrator is able to observe all.

What does she fear? Paul wondered. The old woman studied Paul in one gestalten: face oval like Jessica’s, but strong bones…hair: the Duke’s black-black but with the browline of the maternal grandfather who cannot be named, and that thin, disdainful nose; shape of directly staring green eyes: like the old Duke, the paternal grandfather who is dead. Now, there was a man who appreciated the power of bravura—even in death, the Reverend Mother thought. Frank Herbert, Dune

In the space of three paragraphs Herbert changes internal perspective by showing direct thoughts from Paul and then the Reverend Mother, with a transitionary paragraph between showing the Reverend Mother’s actions and indirect thoughts as she studies Paul’s face. For any other perspective, this would be impossible in multiple characters in this way, with the possible exception of a combined first and second-person point-of-view.

Third-person limited only offers insight into the thoughts of one character, instead of all. That means the narrator only knows what the protagonist knows, and so the reader also is limited in their understanding. On some occasions, writers may choose to include elements of first-person point-of-view by mentioning character thoughts and feelings without using ‘he thought’ or ‘she felt’ in the text. This allows for more intimacy and helps break down the distance between the narrator and the characters.

The vampire was watching him with his back to the window. The boy could make out nothing of his face now, and something about the still figure there distracted him. He started to say something again but he said nothing. And then he sighed with relief when the vampire moved towards the table and reached for the overhead cord. Anne Rice, Interview with the Vampire

Interview with the Vampire only allows us into the thoughts of the boy interviewing Louis, the titular vampire. The main part of the story is Louis describing his life, but that is all expressed through dialogue in a first-person narration, and in that respect what Louis says can be questioned and dissected. The wraparound scenes where the boy is interviewing Louis share the boy’s reactions, starting with disbelief and then disgust, and ending with fascination and obsession. The reader experiences the vampire as the boy does.

Third-person narration can also show the limited perspective of multiple characters. In this case, information is still only discovered by the narrator as the character discovers it, but more than one character can make those discoveries.

He was tempted to fly or rent a car, but he was short of money and he liked buses better and he figured nothing much was going to happen on the weekend anyway. What happened on the weekend was that Rosemary Barr called her firm’s investigator back. She figured Franklin would have a semiindependent point of view. She got him at home, ten o’clock in the morning on the Sunday. Lee Child, One Shot

In this example, Child switches from the perspective of protagonist Jack Reacher to supporting character Rosemary Barr. Both have internal thoughts revealed in the text, but notably both sets of thoughts are distinct in their representation and are written with slightly different styles, whilst also maintaining the consistency of the narrator’s voice.

The Advantages of Third-Person Perspective

Third-person point-of-view allows you to float between multiple characters; whether that is sticking to a single character per scene, as in limited third-person, or jumping from one to another at will. This offers a great level of depth and opportunity for extensive development.

By writing in third-person you can show both the characters’ thoughts along with what is actually happening, allowing the reader to clearly see the difference between opinion and fact, and thereby including the bigger picture within the story.

Your main character can still think, feel, and experience through their senses, but so can other characters, which can allow for a greater sense of a scene as you switch between viewpoints.

Third-person can prevent your story being limited by one character’s voice, and opens the possibility for more detailed explanations that their vocabulary would allow.

There is a greater potential for tension as there is no telling which characters will actually survive the story.

The Disadvantages of Third-Person Perspective

Third-person narration, by nature, has the characters at arm’s length. This means your reader is even further detached than you are as the writer, and this can prevent some readers building empathy with your characters.

The more characters you focus on, the more diluted the reader’s connection is with each. It is very difficult to ensure the reader will empathise with all your characters and the longer the gap between following each, the less the reader will be involved with them.

Multiple characters can also become confusing to follow as without creating a strong, unique voice for each, they can all begin to sound the same.

There is less possibility of an unreliable narrator with third-person, as it would not be the character that lies, but the storyteller. With third-person limited this can be worked around by giving the narrator a distinctive voice and style, however third-person omniscient must remain reliable due to the nature of the narration.

The Balance of Third-Person Perspective

To effectively tell a story using third-person point-of-view you must know all the characters you are going to focus on, and tell the tale well from each of their perspectives. Each character needs their own thinking style, but your narrator must also remain consistent in their own delivery. This allows for a strong sense of scale in the story, but also affords the writer the luxury of telling scenes from multiple perspectives and therefore offering differing accounts.

Stephen, an elbow rested on the jagged granite, leaned his palm against his brow and gazed at the fraying edge of his shiny black coat-sleeve. Pain, that was not yet the pain of love, fretted his heart. Silently, in a dream she had come to him after her death, her wasted body within its loose brown graveclothes giving off an odour of wax and rosewood, her breath, that had bent upon him, mute, reproachful, a faint odour of wetted ashes. Across the threadbare cuffedge he saw the sea hailed as a great sweet mother by the wellfed voice beside him. The ring of bay and skyline held a dull green mass of liquid. A bowl of white china had stood beside her deathbed holding the green sluggish bile which she had torn up from her rotting liver by fits of loud groaning vomiting. James Joyce, Ulysses

Joyce brings a sense of stream-of-consciousness to the third-person narration in this extract, shifting into Stephen’s thoughts. In doing so, the barrier between reader and character is broken, allowing us insight into Stephen’s mindset whilst also remaining clear who we are reading about. The narrative shifts to other characters consistently, and often dances between limited and omniscient, yet the focus is always directional, so we are aware of whom we are reading about.

Third-person perspective offers the opportunity to expand a story beyond a single character, or observe a character at close range without continually intruding in their thoughts. The balance of writing it well comes from establishing the rules of the narrator and then adhering to them whilst maintaining enough intimacy with the key character or characters to allow the reader to become invested in them. It is a highly favoured perspective by writers, and understandably so.

Further Reading

Writing exercises, practical tasks.

Privacy Overview

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

by Joe Bunting | 72 comments

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!

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).

Want best-seller coaching? Book Joe here.

72 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.

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

Trackbacks/Pingbacks

• Are You Writing From the Right Point of View? - […] Want to know more about POV? See our definitive point of view guide here. […]
• Links To Blog Posts on Writing – September 2015 | Anna Butler - […] Point of View in Writing – Joe Bunting at The Write Practice, with an article that manages to cover…
• Why You Can’t Finish Writing Your Book - […] the Genre? 2. What are the conventions and obligatory scenes for that Genre? 3. What’s the point of view? 4.What are…
• Who’s on First? Exploring Point of View | Dawne Webber - […] I Write in First Person Point of View? @ Editor’s Quill Point of View in Writing @ The Write Practice What…
• Write From The Perspective of a Shoe - […] Seriously, if you want to know everything there is to know about Point Of View, or POV, read Joe’s…
• Last Weeks Writing Links 12/21-12/26 | B. Shaun Smith - […] Point of View in Writing […]
• How to Choose the RIGHT Tense for Your Novel - […] Lights, Big City is notable both for being written in present tense and second-person. While it’s not necessarily something you should use…
• A Matter of Perspective (#0039) | Dominika Lein - […] involving a narrator’s position, then feel free to read these decent articles on the issue; The Write Practice’s Point of…
• Blog – Writer's Thumbprint - […] All of this comes down to POV. The person who did make the movie is telling it from his/her…
• 10 Tips: How to Edit and Improve Your Writing – livewritelovelearn - […] https://thewritepractice.com/point-of-view-guide/ […]
• The Power of Perspective: Understanding Point of View in Creative Writing – The Waterhole - […] to The Write Practice, “Point of View” refers to two things in […]
• Why You Should Consider Writing With an Omniscient Narrator | Creative Writing - […] But before you “stick it to the man” and start drafting your magnum opus in third person omniscient, let’s…
• Point of view guide – LOVE INDIE ROMANCE - […] Point of view guide […]
• POV Rules! - […] https://thewritepractice.com/point-of-view-guide/ […]
• Resources from WW | Elijah - […] Blog Posts: I didn’t read this entire article, but the first third of it seemed very good: https://thewritepractice.com/point-of-view-guide/ These…
• POV | Elijah - […] The Ultimate Point of View Guide: Third Person Omniscient vs. Third Person Limited vs. First Person […]
• Fixing POV Violations - Sun's Golden Ray Publishing - […] Violations (point of view violation). Basically, you have established a point of view for the book (First, Third Close,…
• Bibliography | 網站標題 - […] https://thewritepractice.com/point-of-view-guide/ […]
• Beyond NaNoWriMo: What Do You Do Next? - Story Grid - […] detailed descriptions of the four major types of point of view, read Joe Bunting’s article at The Write Practice.…
• Summer Solstice, New York City by Sharon – Nicholas Hacker's Moorpark College Spring '18 Website - […] [I’m looking at this point-of-view guide from thewritepractice.com to figure out what POV the spea… […]
• Writing Chapter 2: Developing your Opening Hook | Now Novel - […] change of POV: Describe what another character is going through, in an arc linked to the scenario in your…
• How to Publish a Short Story: Write Your First and Second Drafts - […] hopping: Stay in one point of view. There’s not enough time or space in a short to skip […]
• Guest Post - Como Criar Uma Proposta Irresistível - MBFA - […] Tom e perspectiva também usualmente são especificamente analisados. Muitas publicações preferem que você fale em primeira, segunda ou terceira pessoa.…
• Lesson 2: Point Of View – What's right Is Write - […] https://thewritepractice.com/point-of-view-guide/ […]
• How to Write a Book from Multiple Perspectives - […] So if you’re ready for the challenge, here’s how to write a book from multiple perspectives. […]
• How do you develop your plot? – thefictionwritersfriendblog - […] a really good article on Point of View on the Write Practice site. It goes into in more detail…
• Getting to Step 8: Setting the Scenes (Gesichtpunkt) – Short Ramblings - […] your adventure’ books. The other POVs are best suited for my kind of project. (*[2] https://thewritepractice.com/point-of-view-guide/ […]
• P.O.V | The Psychiatrist's Couch - […] https://thewritepractice.com/point-of-view-guide/ […]
• How to Keep Your Point Of View Consistent – by Hannah Green | The Writers College Times - […] Bestselling author Joe Bunting put it best when he said: […]
• How to Leverage Point of View to Power Your Story - […] the purposes of this article, toss out second person and choose between first and third. Each has its strengths…
• How to Leverage Point of View to Power Your Story | rogerpseudonym - […] the purposes of this article, toss out second person and choose between first and third. Each has its strengths…
• Point of View Magic: How to Cast a Spell on Your Readers - […] crucial to understand that EVERY WORD of a story is told through a character’s point of view. If your…
• Henrik Widell – Lektör - […] https://thewritepractice.com/point-of-view-guide/ […]
• Which POV Is Best for Your Story? – Renea Guenther - […] Between Three Different Points of View Writing 101: Choosing the Best Point of View for Your Story The Ultimate…
• Bethany's Best: Writing Point of View & More - Bethany Henry - […] The Ultimate Point of View Guide – The Write Practice […]
• Wie man einen unwiderstehlichen Vorschlag für einen Gastbeitrag macht - […] Perspektive sind dabei auch sehr wichtig. Viele Blogs und Webseiten bevorzugen Artikel, die in der ersten, zweiten oder dritten…
• The Independent – Evila Penonymous - […] Literature reference: [1] […]
• What Is Self-Editing – Writing without Drama - […] https://thewritepractice.com/point-of-view-guide/ […]
• Character Development: Create Characters that Readers Love - […] multiple is a Point of View character. These characters carry the narrative, and in a story told in third…
• What Is an Epilogue? And Is It Okay to Use One in YOUR Book? - […] epilogues that tend to be shorter than other chapters. They are also usually different in tone, point of view,…
• What Is an Epilogue? And Is It Okay to Use One in YOUR Book? – Lederto.com Blog - […] epilogues that tend to be shorter than other chapters. They are also usually different in tone, point of view,…
• 5 Ways to Ruin Your Creative Writing – Books, Literature & Writing - […] Learn more: The Ultimate Point of View Guide: Third Person Omniscient vs. Third Person Limited vs. First Person […]
• What’s the most intriguing writing tip you’ve uncovered from this post? - […] ones is a Point of View character. These characters carry the narrative, and in a story told in third…
• Character Development – Christina's blog - […] ones is a Point of View character. These characters carry the narrative, and in a story told in third…
• Drop a link below if you’ve found anything cool for authors! - […] ones is a Point of View character. These characters carry the narrative, and in a story told in third…
• How to Craft Irresistible Guest Blogging Proposal - […] Tone and perspective are also specifically targeted often. Many publications prefer you speak in the first, second, or third…
• How to Write a Good First Chapter: A Checklist - […] is your story’s point of view? Are you going to choose third person limited, third person omniscient, first person,…
• How to Write a Good First Chapter: A Checklist – Lederto.com Blog - […] is your story’s point of view? Are you going to choose third person limited, third person omniscient, first person,…
• Hit the love button if you like this info! - […] is your story’s point of view? Are you going to choose third person limited, third person omniscient, first person,…
• How will you implement the tips from this post? - […] is your story’s point of view? Are you going to choose third person limited, third person omniscient, first person,…
• Preferred POV and Tense – My Ity Opinion | ItyReadsBooks - […] *Found on The Write Practice […]
• Point of View, or Who’s Telling the Story? – Amanda Down the Rabbit Hole - […] Joe Bunting, “The Ultimate Point of View Guide: Third Person Omniscient vs. Third Person Limited vs. First Person,” https://thewritepractice.com/point-of-view-guide/…
• Mastering Point of View: An In-depth Guide To Better Writing - […] The Ultimate Point of View Guide: Third Person Omniscient vs. Third Person Limited vs. First Person […]
• Welcome to YeahWrite’s Weekly Writing Challenge #484 - YeahWrite - […] sure what that means? Click here. Scroll past the introduction to the First Person banner heading, or read the entire…
• Welcome to YeahWrite’s Weekly Writing Challenge #485 - YeahWrite - […] sure what that means? Click here. Scroll past the introduction to the First Person banner heading, or read the entire…
• Rules and Fiction Writing - LaBine Editorial - […] to dig deeper into POV issues and rules in a later post, but if you’d like to learn more…

Submit a Comment Cancel reply

Your email address will not be published. Required fields are marked *

Submit Comment

Join over 450,000 readers who are saying YES to practice. You’ll also get a free copy of our eBook 14 Prompts :

Popular Resources

Book Writing Tips & Guides Creativity & Inspiration Tips Writing Prompts Grammar & Vocab Resources Best Book Writing Software ProWritingAid Review Writing Teacher Resources Publisher Rocket Review Scrivener Review Gifts for Writers

Books By Our Writers

Now, Take Your Idea and Write a Book!

Enter your email to get a free 3-step worksheet and start writing your book in just a few minutes.

You've got it! Just us where to send your guide.

Enter your email to get our free 10-step guide to becoming a writer.

Get the POV Cheatsheet for Writers

Enter your email for a free cheatsheet for the top two point of views!

You've got it! Just us where to send your book.

Enter your first name and email to get our free book, 14 Prompts.

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.

• PDFs for all 136 Lit Terms we cover
• Downloads of 1908 LitCharts Lit Guides
• Teacher Editions for every Lit Guide
• Explanations and citation info for 40,181 quotes across 1908 books
• Downloadable (PDF) line-by-line translations of every Shakespeare play
• Protagonist
• Figurative Language
• Alliteration
• End-Stopped Line
• Figure of Speech
• Anachronism
• Red Herring
• Dramatic Irony
• Tragic Hero

Point of View: It's Personal

What to Know The point of view of a story determines who is telling it and the narrator's relationship to the characters in the story. In first person point of view the narrator is a character in the story telling it from their perspective. In third person point of view the narrator is not part of the story and the characters never acknowledge the narrator's presence. Less common than first and third is second person point of view. In second person point of view the reader is part of the story. The narrator describes the reader's actions, thoughts, and background using "you."

It's all about how you look at it.

When you tell a story, an important thing to choose is the point of view that the story should take. Point of view determines who tells the story, as well as the relationship that the narrator has to the characters in the story. A story can have a much different feel depending on who is doing the telling.

The main points of view are first person and third person, with second person appearing less frequently but still common enough that it gets studied in writing classes. These are also the terms used to distinguish the personal pronouns. The pronouns I and we are first-person pronouns; they refer to the self. The pronoun you , used for both singular and plural antecedents, is the second-person pronoun, the person who is being addressed. The third person pronouns— he , she , it , they —refer to someone or something being referred to apart from the speaker or the person being addressed. Narratives are often identified as first, second, or third person based on the kinds of pronouns they utilize.

First Person Point of View

In first-person narration, the narrator is a person in the story, telling the story from their own point of view. The narration usually utilizes the pronoun I (or we , if the narrator is speaking as part of a group). The character who tells the story might be in the middle of the action or more of a character who observes the action from the outer limits, but in either case you are getting that character’s recounting of what happens.

It also means that impressions and descriptions are colored by that character’s opinions, mood, past experiences, or even their warped perceptions of what they see and hear.

There was no possibility of taking a walk that day. We had been wandering, indeed, in the leafless shrubbery an hour in the morning; but since dinner (Mrs. Reed, when there was no company, dined early) the cold winter wind had brought with it clouds so sombre, and a rain so penetrating, that further outdoor exercise was now out of the question. I was glad of it: I never liked long walks, especially on chilly afternoons: dreadful to me was the coming home in the raw twilight, with nipped fingers and toes, and a heart saddened by the chidings of Bessie, the nurse, and humbled by the consciousness of my physical inferiority to Eliza, John, and Georgiana Reed. — Charlotte Brontë, Jane Eyre , 1847

In Jane Eyre , the narration is provided by the story’s title character, a governess. The information shared comes from her memories and impressions—of the weather, her knowledge of Mrs. Reed’s dining habits, and her dread at receiving a lecture from Nurse Bessie. We are likewise shielded from information that Jane doesn’t know.

Many classic works of fiction feature characters made memorable by their first-person voices: The Catcher in the Rye (Holden Caulfield), The Handmaid's Tale (Offred), or To Kill a Mockingbird (Scout Finch). In some stories, such as in F. Scott Fitzgerald's The Great Gatsby , the first person narrator (Nick Carraway) is an observer of the character around whom the story is centered (Jay Gatsby).

Second Person

Second-person narration is a little-used technique of narrative in which the action is driven by a character ascribed to the reader, one known as you . The reader is immersed into the narrative as a character involved in the story. The narrator describes what "you" do and lets you into your own thoughts and background. The most well-known piece of fiction that employs second-person narration might be Jay McInerney’s novel Bright Lights, Big City .

At the subway station you wait fifteen minutes on the platform for a train. Finally a local, enervated by graffiti, shuffles into the station. You get a seat and hoist a copy of the New York Post. The Post is the most shameful of your several addictions. — Jay McInerney, Bright Lights, Big City , 1984

You will also find second-person narration used in the "Choose Your Own Adventure" style of books popular with younger readers, in which readers determine where the story goes by which page they turn to next. Allowing the reader to "be" the central character in the story provides an immersive reading experience, enhancing what is at stake for the character and reader.

Third Person Point of View

In third-person narration, the narrator exists outside the events of the story, and relates the actions of the characters by referring to their names or by the third-person pronouns he, she, or they.

Third-person narration can be further classified into several types: omniscient, limited, and objective.

Third Person Omniscient

Omniscient means "all-knowing," and likewise an omniscient narrator knows every character’s thoughts, feelings, and motivations even if that character doesn’t reveal any of those things to the other characters.

Little Women by Louisa May Alcott serves as a good example of third-person omniscient narration:

"Christmas won't be Christmas without any presents," grumbled Jo, lying on the rug. "It's so dreadful to be poor!" sighed Meg, looking down at her old dress. "I don't think it's fair for some girls to have plenty of pretty things, and other girls nothing at all," added little Amy, with an injured sniff. "We've got Father and Mother, and each other," said Beth contentedly from her corner. The four young faces on which the firelight shone brightened at the cheerful words, but darkened again as Jo said sadly, "We haven't got Father, and shall not have him for a long time." She didn't say "perhaps never," but each silently added it, thinking of Father far away, where the fighting was. — Louisa May Alcott, Little Women , 1868

The story is not told from the point of view of Meg, Jo, Beth, or Amy, but from someone who is observing the four sisters as they talk to one another. Each character is therefore referred to by their names or the third-person pronoun she . The narrator does not exist as a character in the story, and the girls do not acknowledge the narrator’s presence.

However, the narrator is omniscient, which means that they know what the characters are thinking. This is demonstrated in the last line of the excerpt, when the girls silently ponder the thought of their father never returning from the war.

Third Person Limited

In third-person limited narration, the narrator still exists outside the events of the story, but does not know the motivations or thoughts of all the characters. Rather, one character is the driver of the story, and the reader is given a closer peek into that character’s psyche than the others.

J. K. Rowling utilizes third-person limited narration in the Harry Potter novels. Even though the narrator is not Harry, and Harry is referred to as 'he,' the reader is allowed into Harry's thoughts—what he is wondering without saying out loud. We are also, like Harry, left uncertain about what other characters are thinking:

Three days later, the Dursleys were showing no sign of relenting, and Harry couldn't see any way out of his situation. He lay on his bed watching the sun sinking behind the bars on the window and wondered miserably what was going to happen to him. What was the good of magicking himself out of his room if Hogwarts would expel him for doing it? Yet life at Privet Drive had reached an all-time low. Now that the Dursleys knew they weren't going to wake up as fruit bats, he had lost his only weapon. Dobby might have saved Harry from horrible happenings at Hogwarts, but the way things were going, he'd probably starve to death anyway. — J. K. Rowling, Harry Potter and the Chamber of Secrets , 1999

Third-Person Objective

In third-person objective narration, the narrator reports the events that take place without knowing the motivations or thoughts of any of the characters. We know little about what drives them until we hear them speak or observe their actions. The resulting tone is often matter-of-fact, not colored by any opinions or commentary, nor of knowledge of what takes place outside the scene.

The people of the village began to gather in the square, between the post office and the bank, around ten o'clock; in some towns there were so many people that the lottery took two days and had to be started on June 25th. But in this village, where there were only about three hundred people, the whole lottery took less than two hours, so it could begin at ten o'clock in the morning and still be through in time to allow the villagers to get home for noon dinner. — Shirley Jackson, "The Lottery," 1948

Word of the Day

See Definitions and Examples »

Get Word of the Day daily email!

Games & Quizzes

Usage Notes

Prepositions, ending a sentence with, 33 transition words and phrases, is 'irregardless' a real word, 8 more grammar terms you used to know: special verb edition, 31 useful rhetorical devices, grammar & usage, a list of most commonly confused words, more commonly misspelled words, 10 words you see but don't hear, your vs. you're: how to use them correctly, every letter is silent, sometimes: a-z list of examples, 9 other words for beautiful, rare and amusing insults, volume 2, etymologies for every day of the week, the words of the week - apr. 12, 10 scrabble words without any vowels.

• Anatomy & Physiology
• Astrophysics
• Earth Science
• Environmental Science
• Organic Chemistry
• Precalculus
• Trigonometry
• English Grammar
• U.S. History
• World History

... and beyond

• Socratic Meta
• Featured Answers

How do you write an essay in third person?

By putting it in third person, you are able to list sources, and you are encouraged to do so. That's why you're asked to write essays in third person.

This is the way your sentence should be:

School lunches are very bad because according to The New York Times , the 2012 Healthy Hunger-Free Kids Act causes children to not like how the food tastes, and so they do not eat it.

By writing in third-person, you are able to present evidence to your reader. So when you write in third person, show what you know, with evidence backing up your points.

It won't be as redundant as saying "I think/believe" or "I feel" when we know/hope you wrote the paper and you hopefully have sources to back up your claims.

Related questions

• Question #0c999
• What is a noun phrase in linguistics?
• Why is "internet" a proper noun?
• Which proper nouns should be capitalized?
• What are some examples of plural nouns?
• Can you change a common noun to a proper noun?
• What's the definition of a proper noun?
• What are some examples of collective nouns?
• What are some examples of common nouns?
• What are some examples of compound nouns?

Impact of this question