movie review point of view

Point Of View In Filmmaking: What Is It And Why Is It Important?

March 30th, 2022 | by maria

Point Of View In Filmmaking: What Is It And Why Is It Important? -

Point of view in filmmaking is one of the most crucial elements . The way the story is narrated, in whose perspective, how is the audience seeing the events unfold, all of this is fundamental and can also be called the point of view in film.

Your point of view is the angle at which you are looking at life. Similarly, point of view in film is the angle from which you are watching the scene take place. When making a film or any video project, determining the point of view you will use is essential.

Different point of views can make the audience feel different emotions when they watch a film or video. You need to find out which point of view will suit your story and script the most and use it to create maximum effect.

Before we get into the types of point of view in filmmaking, you need to understand what a point of view really is.

What Is Point Of View In Filmmaking?

Point of view is a term that is used to describe how a person views a situation. In literary terms, it is the angle from which a story is being told. A point of view in film can be first person, second person, or third person.

The first-person point of view has been used in movies and television many times. It tells us the story through the thoughts of one character, and we watch as they go through all the experiences and events. In the first-person point of view, the narrator tells the story through his own words, and we only know what they know.

The second-person point of view is used in movies for fourth-wall breaks and as an element of excitement. The second-person point of view is when the character in a movie or series addresses you directly. It does not happen that often, but there are instances where the fourth wall is broken. Using the second-person point of view for the entirety of the project can be challenging, which is why it is not done often.

The third-person point of view is the perspective used most commonly in films and television. It tells the story through the eyes of an ideal observer. In the third-person point of view, the narrator tells the story about someone else. This point of view puts the camera outside looking in, which means we are just watching the events unfold without anyone noticing our presence.

Why Is Point Of View In Film Important?

Point of view is one of the most important aspects of a film or any video. It controls everything: from how the audience meets all the characters and the world of the movie to how they watch all the events take place. The point of view in film you choose can be the determining factor when it comes to how much the audience will enjoy your movie.

The point of view used in the film or television series is the deciding factor when it comes to the audience understanding the story and characters. Although it might not seem like a big deal at first, but it determines how people will view and interpret the story and how much impact the movie or series will have on the audience.

The point of view can be used for various elements of storytelling. For example, you can use the point of view of your film or video to:

Create mystery or suspense
Reveal a character and their views on the world
Add a comedic element

Types Of Point Of View In Film

Subjective point of view in filmmaking.

Subjective point of view in filmmaking can be restricting for filmmakers. It is usually the first-person point of view, and the audience can only watch all the events and characters that the narrator sees around them. It is not as commonly used as the objective point of view because using the subjective point of view in filmmaking can create many problems.

For example, the audience can never find out how the character being used for the subjective point of view is reacting to all the events taking place. When the subjective point of view in filmmaking is used, the film or series usually focuses on the characters we can see around the character being used for the subjective point of view.

One of the major problems that come with using a subjective point of view in filmmaking is that the audience cannot form an emotional bond with the character used for the point of view. If we can’t see the character, it is more challenging for us to relate to them and connect with them. This is one of the main reasons we see superheroes take their masks off at some point in the movies.

Objective Point Of View In Filmmaking

Objective point of view in filmmaking is one of the most commonly used points of view. It is suitable for most people to work with and tell the story through this perspective. There are two types of objective point of view in filmmaking: limited and omniscient.

The limited objective point of view in filmmaking is used to tell the story and witness all the action taking place through the eyes of an observer. It is the style of perspective that is used most frequently in media. For example, an over-the-shoulder shot or a mid-shot of two characters having an argument or dialogue. It is also used in conjunction with a subjective point of view at times.

The other type of objective point of view in filmmaking is the omniscient point of view. This type of point of view is used to portray the inner feelings or thoughts of the characters. Once again, it is not the most popular perspective because the audience needs to see the character to form a connection. For an omniscient point of view in film or television, filmmakers mostly use narration, voice-over, or graphics that are added with the help of special effects in post-production .

How To Choose The Right Point Of View For Your Film

Step 1: Try Multiple Points Of View

When you start out with your project, you can film a scene with multiple points of view to determine which one suits your style and story the most. Being familiar with all the perspectives and knowing how they look can make your decision easier.

Step 2: Establish Your Point Of View As Soon As You Choose

Once you have selected the point of view you will be using, establish it immediately. Let everyone know the vision you have and film the video or movie using this point of view. Establishing the point of view early on can make the movie appear more put-together and cohesive.

Step 3: Know The Limitations

If you know the point of view you are using for the film or video, you should also be aware of any limitations that it brings. For example, if you are using a subjective point of view in film, you should know that the audience will only see what the character is seeing, and they can only get their knowledge regarding the story through this one character.

Step 4: Change It Up

Even after you have chosen the point of view for your film, you should not feel tied down to it. You can always change it up for a scene and make the movie seem more exciting. For example, you can use the subjective point of view even when you are filming in the limited objective point of view.

Final Takeaway

Knowing the importance of points of view in filmmaking can help you make the right decision when it comes to choosing a perspective for your film or video project. There are various types of points of view in film, and all of them come with their own benefits and limitations.

If you liked this article, you should also check out Four Tips On How You Can Improve As A Filmmaker

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10 Movie Review Examples That Will Help You Write Better Reviews

Studying movie review examples is a great place to start if you’re looking for inspiration for your own movie reviews.

This article has gathered different kinds of movie review examples that will help you write better and more insightful reviews in whatever style you choose.

There is an overwhelming library of movie reviews to sift through, but having studied many reviews by Pulitzer Prize-winning film critics along with your average movie review articles published online, I’ve been able to find a few movie reviews that provide a great template for crafting a review of your own.

10 Detailed Movie Review Examples

The Classic Movie Review

A classic movie review example has a neat structure that clearly communicates the author’s sentiment toward the film in a clean, straightforward manner.

Roger Ebert’s review of North is the perfect example of that.

1. “North” by Roger Ebert

This review starts with a catchy hook, making readers curious for Ebert to elaborate on his statements.

“I have no idea why Rob Reiner, or anyone else, wanted to make this story into a movie, and close examination of the film itself is no help.”

The opening sentence of this movie review example makes it clear to the audience that Ebert did not enjoy the film in question and if they would like to know why, they are encouraged to continue reading.

The whole first paragraph is chock full of strong adjectives setting the tone for the scathing critique this film is about to get.

Moving on to the next paragraph of this movie review example, Ebert gives a quick synopsis of what this film is about, filling the audience in on the story in case they’re unaware.

“He [Elijah Wood] plays a kid with inattentive parents, who decides to go into court, free himself of them, and go on a worldwide search for nicer parents.”

Following the paragraph summarizing the main plot of the film, the movie review dives straight into the critique explaining why this film garnered the strong adjectives it received in the opening paragraph:

“This idea is deeply flawed. Children do not lightly separate from their parents – and certainly not on the evidence provided here, where the great parental sin is not paying attention to their kid at the dinner table.”

In this movie review example, Ebert dives deep into the oddities of the narrative and what makes it so unbelievable.

He questions the director’s decisions and the plot’s direction as well in these middle paragraphs:

“What is the point of the scenes with the auditioning parents?… They are not funny. They are not touching. There is no truth in them.”

Ebert uses the middle paragraphs to dissect what does not work in the film.

In the final paragraphs of this movie review example, Ebert closes out by reiterating his sentiments towards the film, giving readers a good idea of whether the movie would be something he would recommend others watch.

“I hated this movie. Hated hated hated hated hated this movie. Hated it. Hated every simpering stupid vacant audience-insulting moment of it.”

“‘North’ is a bad film – one of the worst movies ever made.”

After reading Ebert’s movie review example there is no question of whether he liked the movie or not. I don’t know, he might’ve even mentioned hating it at one point…

And he makes it clear what plot and artistic choices played into his final assessment of the film.

Would you whip out your cash to experience the movie North after reading a review like this?

With this straightforward, informative, evidence-supported review, there is no confusion about the perceived quality of this film.

READ THE FULL REVIEW OF NORTH BY ROGER EBERT

The Real World Parallel Review

A movie review that can parallel the events occurring within the movie with events occurring outside of the movie shows a deeper level of critical thinking.

This is one of the movie review examples that truly exemplifies a deep critical thinker.

2. “The Flash” by Justin Chang

This movie review example starts right away with a brief synopsis of what the movie, The Flash, is about.

“‘The Flash’ is a time-travel story and a cautionary tale, a warning of how dangerous it can be to change the past or mess around with alternate realities.”

Same as with the classic movie review, this reviewer also hints at his overall sentiments towards the film.

“…this initially enjoyable, increasingly sloppy megabucks mess…”

This review, unlike the classic movie review, spends more time following the plot of the story through a biased lens, further walking readers through the details of the story.

“He gets stuck in the past and… winds up unwisely joining forces with a teenage version of himself (also Miller, with floppier hair), who’s had a much happier childhood but doesn’t (yet) have the Flash’s superheroic powers.”

After indirectly criticizing the CGI and praising the main actor’s performance, Chang gets into his main criticism of the review: the popular trend of reintroducing old versions of superheroes into new superhero movies.

“Really, though, is nostalgia that satisfying anymore?”

And it’s really this last sentence of the movie review example that ties this compelling thought together, not only concluding the movie but drawing a parallel to how the movie creators are perpetrators of the same mistake that the movie’s main character made.

“Lost in an endless game of IP-reshuffling musical chairs, Barry realizes, possibly too late, the futility of dwelling on the past — a fatuous lesson from a movie that can’t stop doing the same.”

READ THE FULL REVIEW OF THE FLASH BY JUSTIN CHANG

3. “Bonnie and Clyde” by Roger Ebert

Another great movie review example, using a movie as a sense of societal self-reflection, is Roger Ebert’s review of Bonnie and Clyde . The final sentences of the review say:

“‘Bonnie and Clyde’ will be seen as the definitive film of the 1960s, showing with sadness, humor, and unforgiving detail what one society had come to… it was made now and it’s about us.”

READ THE FULL REVIEW OF Bonnie and Clyde BY Roger Ebert

4. “Black Panther” by Soraya Nadia McDonald

Yet another movie review example is this Black Panther review by Soraya Nadia McDonald.

The whole review deep dives into the cultural context of the movie and its timeliness or lack thereof.

“Honestly, the worst thing about Black Panther is that it had to be released in 2018 and not during the term of America’s first black president.”

This movie review example walks through the narrative praising the film’s actors, director, and cinematographer before ending on the note of its cultural relevance.

“Perhaps it’s even capable, just as The Birth of a Nation once was, of helping to steer an entire national conversation.”

READ THE FULL REVIEW OF Black Panther BY Soraya Nadia McDonald

The Storytelling Movie Review

If you have a story of your own that you can parallel with the movie’s story, then connecting the movie’s narrative with your own is a particularly entertaining way to craft your review.

Instead of comparing the film to society as a whole, the following storytelling movie review examples compare the movie to specific stories they pull from their personal life.

5. “The Help” by Wesley Morris

One of my favorite reviews by Pulitzer prize-winning Wesley Morris is written in this style, drawing readers in with his own personal story:

“Three summers ago, I went to visit a friend in West Texas.”

“What happened in Texas?”, readers wonder as we curiously continue reading.

After 3 engaging paragraphs narrating a strange, racial encounter in Texas, Morris introduces the movie, The Help .

“This pretty much captures the cognitive dissonance of watching “The Help’’: One woman’s mammy is another man’s mother.”

The following paragraph gives a synopsis of the film and introduces the audience to the main characters:

“Meanwhile, the heart of the film itself belongs to Aibileen Clark (Viola Davis) and Minny Jackson (Octavia Spencer), the two very different maids and best friends at the center of the story.”

The center of this movie review example narrates the happenings of the movie from a biased point of view before presenting some debate points about the movie’s approach to race relations.

“‘The Help’ joins everything from “To Kill a Mockingbird’’ to “The Blind Side’’ as another Hollywood movie that sees racial progress as the province of white do-gooderism.”

Morris then praises the actors’ performances in this very character-based film but is unable to shake the social weight of the casting that this film requires:

“And yet here’s the question you ask as you watch a black actor in 2011 play a white lady’s maid, decades and decades after that was the only job a black woman in Hollywood could get. What went through the minds of Davis, Spencer, and Aunjanue Ellis, who plays Hilly’s maid, as they put on those uniforms and went to work?”

Morris finishes off the review sure to reference the personal story that he introduced in the beginning before leaving the reader with something to ponder.

“These are strong figures, as that restaurant owner might sincerely say, but couldn’t they be strong doing something else?”

Morris’s final statements in this movie review example make it clear his assessment of the film’s quality is good but its messaging is questionable, allowing the audience to make a judgment on whether they’d like to see the film for themselves.

“On one hand, it’s juicy, heartwarming, well-meant entertainment. On the other, it’s an owner’s manual.”

READ THE FULL REVIEW OF THE HELP BY WESLEY MORRIS

6. “Me Without You” by Stephen Hunter

This movie review example also tells a story although it’s not personal.

Instead of starting by talking about the movie or talking about himself, Hunter begins the review like a novel. With an untethered phrase that needs further explanation.

“Friendship isn’t rocket science. It’s much harder.”

He then lists out all of the complexities of trying to maintain a friendship, painting a picture to support his point.

“Oh, yeah, it’s easy to say just be loyal and true and that makes you a good friend. But suppose the other person does something that really irks you, like chew gum or vote Democratic?”

Hunter doesn’t leave you hanging for too long before segueing into how this thought point relates to the film.

“And that thorniness, that dark underbelly of it, is the gist of the acerbic British import ‘Me Without You…'”

As usual, a sign of good storytelling, he finishes this movie review example with his full-circle concluding statement on friendship.

“But the truth is, of course, that friendship matters to those of us who still claim membership in the human race…”

READ THE FULL REVIEW OF ME WITHOUT YOU BY STEPHEN HUNTER (Under the title: ‘Me’: Friendship as Relationship)

The Unconventional Movie Review

A less common but creative and fun way to approach a movie review is to approach it from a different angle or point of view. To write it in a way that’s unexpected.

7. “ET” by Roger Ebert

In another movie review example from Roger Ebert, instead of approaching this review traditionally, Ebert rather writes the review as a letter to his grandchildren.

Rather than addressing the readers, he addresses his grandchildren in his movie review:

“Dear Raven and Emil: Sunday we sat on the big green couch and watched “E.T. The Extra-Terrestrial” together with your mommy and daddy.”

After noting how his grandchildren reacted to climactic parts of the film, Ebert recounts the events of the movie, ET, continuing to include his grandchildren’s remarks and reactions.

“The camera watches Elliott moving around. And Raven, that’s when you asked me, “Is this E.T.’s vision?” And I said, yes, we were seeing everything now from E.T.’s point of view.”

Ebert uses this opportunity to make a simplified analysis of the director’s use of POV in the movie, praising the film’s direction without losing the context of a grandfather’s letter.

“Some other filmmaker who wasn’t so good might have had subtitles saying, “E.T.? Are you out there? It’s Mommy!” But that would have been dumb.”

Ebert ends this movie review example like anyone would end a letter, with good wishes and a signature.

“Well, that’s it for this letter. We had a great weekend, kids. I was proud of how brave you both were during your first pony rides. And proud of what good movie critics you are, too. Love, Grandpa Roger”

The average person has a 7-8th grade reading level, so a simple letter like this, is not only cute, creative, and endearing but it’s incredibly easy to read and understand the critic’s assessment of the movie.

READ THE FULL REVIEW OF ET BY Roger Ebert

8. “Spider-Man Into the Spider-Verse” by IMO Flicks

Another unconventional movie review example is one that I wrote for this blog website.

Instead of writing from my point of view, I decided to write from the point of view of an out-of-touch grandma, someone who may not have the background knowledge to really understand and appreciate the film.

I approached the film this way because I was tired of reviewing Marvel Superhero films but the thought of writing it as an out-of-touch grandma made the review so much more fun and less pressure-filled, even if it’s really not the most straightforward or informational read.

The review does not include a clear synopsis and the critiques of the film waver between genuine observations and areas that the grandma misunderstood.

It was a blast to write.

The grandmother writer uses the remarks of her grandchildren as a voice of reason for the film.

“My granddaughter told me to rate this spider film [ Spider-Man: Across the Spider-Verse ] out of 10 points. I initially wanted to give it 4 points out of 10… Apparently, my grandchildren think this rating is ridiculous. One of my grandsons almost threw a chair. He gave the film a 200/10, claiming it’s one of the best films he’s ever seen.”

This sort of review may not be as befitting for a serious homework assignment but if there’s space to think outside the box, I say go for it.

READ THE FULL REVIEW OF Spider-Man: Across the Spider-Verse

The Self-Aware Review

Similar to the unconventional movie review, but not quite as unconventional, these movie review examples are self-aware of their influential power. It breaks the fourth wall of movie reviews so to speak.

9. “Manchester By the Sea” by Ty Burr

This movie review example of Manchester By the Sea wants to encourage you to watch the movie but doesn’t want your expectations so high that you don’t experience the same subtle unexpected magic that the movie works on viewers.

Burr explains this in the first paragraph:

“Nothing destroys an audience’s appreciation of a small good movie like advance praise.”

Careful to not ruin the audience’s expectations, Burr goes on to begin every following paragraph with a phrase that denies all of the critiques that follow.

“So I won’t tell you that I’ve seen “Manchester by the Sea” twice now and both times felt haunted for weeks.”

“I won’t bother you with how the movie stands as a soul-satisfying comeback for its maker…”

“I could say, but I won’t, that we’ve all seen too many movies in which a lost soul comes out of his shell and rejoins the human race after he inherits a kid from a dead relative.”

The entire center of the film covers the movie in a way that says, “You didn’t see me. I was never here.” Good and well knowing that people are going to be more curious about this film and expect it to be as fantastic as Burr says.

But don’t worry, Burr accounts for this “undesired” outcome that he had been trying to avoid from the beginning with this closing paragraph.

“If I do tell you all this, forget I ever did. Just remember you heard somewhere that “Manchester by the Sea” is an experience worth having…”

READ THE FULL REVIEW OF MANCHESTER BY THE SEA BY TY BURR (Under the title: A Shore Thing)

10. “Mark Kermode” by Mamma Mia

Kermode’s review of Mama Mia takes his self-awareness in a different direction where he personally loves the movie Mama Mia and is not afraid of letting the world know it.

In fact, the movie has brought something to life in him as a movie critic.

“One minute I was a miserable critic; the next, everything had gone pink and fluffy.”

Kermode continues the movie review example, touching on the actor’s performances, the director’s execution of the film, and the soundtrack before returning to how the film affected him as a critic.

“I feel duty-bound to report that I came out of the screening an utter wreck.”

Further aware that as a serious critic, he probably shouldn’t like this film as much as he did, he lets his guard down and leans into the wonder of the film.

“I have certainly mellowed, and perhaps my critical faculties have withered and died. But I simply can’t imagine how Mamma Mia! Here We Go Again could be any better than it is.”

The self-aware review speaks to the readers as a friend rather than as a removed source of movie information.

A lot of the time, this personal voice can be merged with other review styles as well.

READ THE FULL REVIEW OF Mamma Mia by Mark Kermode

Common Questions

How to write a movie review.

To write a movie review you would need to watch the movie and take good notes, then you would craft an attention-hooking introduction, a few center paragraphs explaining your critiques of the film, before concluding on whether you’d recommend the film or not. This article breaks down the 10 steps to writing a movie review effortlessly .

What should a good movie review include?

A good movie review should include a synopsis of the film, a clear stance on whether the film was good or not, including why or why not, and a conclusion that makes it clear whether the critic would recommend others to watch the film or not.

What is the best movie review for students?

The best movie review example for students would be the classic movie review because it’s straightforward and the easiest to follow and grade.

In Conclusion…

There are so many movie review examples to choose from but the majority can fall into one of these 5 groups: the classic movie review, the real-world parallel, the storytelling review, the unconventional review, and the self-aware review.

If you would like to view 50 more outstanding movie review examples , I’ve grouped some here in a shared Word document available for free!

I hope this article was able to provide some movie review examples to help you craft your own. Happy movie reviewing!

What’s your favorite movie review example? Let me know in the comments below!

And be sure to subscribe for the latest blog updates (form in sidebar).

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When I'm not over-analyzing movies, I'm eating chocolate, belting my favorite songs, and binge-watching reality dating shows. Feel free to share your opinions with me and follow me through my social links!

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Point of View in Film. Meaning, Definition & Examples.

Definition: Point of View (PoV) is the perspective from which a story is presented to the audience. It determines how the audience experiences and interprets the events and characters in the film.

In this article, you can:

See the different points of view standard in storytelling, including examples from movies.
See how different camera angles and shots can emphasize a particular PoV.

There are various types of points of view in movies, each offering a unique cinematic experience.

First-person point of view (subjective).

In first-person point-of-view films, the camera becomes the eyes of the main character , allowing the audience to see everything from their perspective.

This technique immerses the viewer into the character’s thoughts and emotions.

Here are two examples of films that tell the story from a first-person PoV:

“The Blair Witch Project” (1999) – This found-footage horror film follows a group of student filmmakers who venture into the Black Hills near Burkittsville, Maryland, to investigate the legend of the Blair Witch. The movie is shot from the perspective of the characters’ handheld cameras, giving viewers a first-person experience of their terrifying journey.
“Hardcore Henry” (2015) – This action-packed sci-fi film is shot from a first-person perspective. The story centers around Henry, a man who wakes up in a laboratory with no memory and a robotic limb. As he tries to rescue his wife from a telekinetic warlord, the audience sees everything through Henry’s eyes, immersing them in the intense, adrenaline-fueled action.

Check out the FilmDaft hardcore sci-fi quiz .

Third-Person Point of View (Objective)

The third-person point of view is the most common in films.

It involves an objective camera that observes the events from an outside perspective , providing a broader story view.

Here are two examples of films that tell the story from a third-person PoV:

The Lord of the Rings trilogy: This epic fantasy series directed by Peter Jackson follows the journey of Frodo Baggins and his companions as they try to destroy the One Ring and save Middle-earth from Sauron. The story is narrated from a third-person perspective, allowing the audience to witness various characters’ events and struggles throughout the trilogy.
Harry Potter series: Based on J.K. Rowling’s popular book series, the Harry Potter films depict the magical adventures of the young wizard and his friends at Hogwarts School of Witchcraft and Wizardry. The movies adopt a third-person narrative style, allowing the audience to witness the events from an external perspective, observing the characters’ growth, challenges, and triumphs as they navigate the wizarding world.

Subjective Point of View

Subjective point of view films aim to replicate the perspective and experiences of a specific character.

This technique often utilizes subjective camera movements and distorted visuals to convey the character’s emotions or mind.

Here are three examples of films that tell the story from a third-person PoV:

“Birdman” (2014): Directed by Alejandro González Iñárritu, this film follows the story of a washed-up actor named Riggan Thomson, played by Michael Keaton. The entire movie is shot to appear as one continuous take, creating a subjective experience that immerses the audience in Riggan’s perspective as he navigates his personal and professional struggles.
“Memento” (2000): Directed by Christopher Nolan, this film tells the story of Leonard Shelby, portrayed by Guy Pearce, who suffers from anterograde amnesia. The movie is presented in a non-linear narrative structure , which mirrors Leonard’s fragmented memory. As the audience, we experience the story through Leonard’s subjective viewpoint, piecing together clues and trying to solve the mystery alongside him.
“Eternal Sunshine of the Spotless Mind” (2004): Directed by Michel Gondry, this film explores the complex relationship between Joel, played by Jim Carrey, and Clementine, played by Kate Winslet. The story is told through Joel’s memories as he undergoes a procedure to erase Clementine from his mind. The film utilizes dream-like sequences and shifting perspectives, providing a subjective portrayal of love, loss, and the human mind.

Omniscient Point of View (Objective)

Omniscient point-of-view films provide an all-knowing perspective , allowing the audience access to information the characters may not have.

This technique can create suspense and dramatic irony .

Here are three examples of films that tell the story from an omniscient PoV:

“The Curious Case of Benjamin Button” (2008) – This film, directed by David Fincher, follows the life of Benjamin Button, who is born with the physical appearance of an old man and ages in reverse. The story is narrated from an omniscient perspective, providing insights into the thoughts and experiences of various characters throughout different stages of Benjamin’s life.
“Forrest Gump” (1994) – Directed by Robert Zemeckis, this film tells the extraordinary life story of Forrest Gump, a simple-minded but kind-hearted man who unwittingly becomes part of significant historical events. The narrative is presented from an omniscient point of view, as the audience gains access to Forrest’s and other key characters’ inner thoughts and emotions.
“Cloud Atlas” (2012) – Directed by Tom Tykwer and the Wachowskis, this film weaves together multiple interconnected storylines spanning different periods and genres. The movie employs an omniscient perspective to showcase the unfolding of these diverse narratives, offering a broader understanding of the characters and their journeys through time and space.

Combining different Points of View.

Combining different types of point of views in storytelling can create a dynamic and multi-dimensional narrative.

It allows the audience to gain insights from various perspectives, enhancing the storytelling experience.

One movie that exemplifies this well is “Crash” (2004), directed by Paul Haggis.

In “Crash,” multiple characters’ lives intersect in Los Angeles, and the film weaves together their stories through a variety of points of view.

Here are some of the different PoVs that the movie combines:

Third-person omniscient PoV: The film utilizes a third-person omniscient perspective to provide an overarching view of the interconnectedness of the characters’ lives. It allows the audience to see how their actions and choices impact one another.
Multiple protagonists: “Crash” features several protagonists, each with a unique viewpoint. The film explores racial tension, prejudice, and redemption themes through their perspectives. By following several characters, the movie provides a comprehensive understanding of the events unfolding in the story.
Subjective PoV: The film also incorporates a subjective point of view to delve into the character’s inner thoughts and emotions. This technique immerses the audience in the characters’ experiences and allows a deeper understanding of their motivations and struggles.

By combining these different points of view, “Crash” presents a mosaic-like narrative that showcases the complexity of human interactions and the consequences of our actions. It gives the audience a more comprehensive and empathetic view of the characters and their stories.

Overall, by combining third-person omniscient, multiple protagonists, and subjective point of view, “Crash” effectively tells a compelling and thought-provoking story that explores themes of race, identity, and humanity.

How different Points of View can be shown using specific Camera Angles and Shots in Film

Different camera angles and shots in film can effectively convey different points of view, enhancing the storytelling and providing the audience with varied perspectives.

You can read more on camera angles and shots here .

Here are a few examples:

High Angle Shot

This shot is taken from above the subject, looking down on them. It can be used to depict a character’s vulnerability, powerlessness, or inferiority.

It can also represent the viewpoint of an authoritative figure or an omniscient narrator.

Low Angle Shot

Conversely, a low-angle shot is taken from below the subject, looking up at them. It can create a sense of dominance, power, or intimidation.

This angle often portrays a character as heroic or larger than life.

Dutch Angle Shot

A canted angle or oblique angle shot involves tilting the camera to one side, resulting in a diagonal frame.

This technique can evoke a sense of unease, disorientation, or instability.

It is commonly used to represent a character’s psychological state or a chaotic situation.

See more about the Dutch angle shot .

Subjective/First-person Point of View (POV) Shot

The Scientist My first short film. The Journey. Part 1

This shot shows the audience what a character sees from their perspective by placing the camera where the character’s eyes would immerse the viewer in the character’s experience, creating empathy and understanding.

Over-the-Shoulder Shot

This shot is taken from behind one character’s shoulder, showing the back of their head and the other character they are interacting with.

It provides a sense of intimacy and involvement, allowing the audience to see the interaction from one character’s point of view.

Also known as an establishing shot or long shot, this shot captures a large area or environment. It can establish a sense of location, scale, or context. Wide shots are often employed to show multiple characters or to provide an objective perspective.

Close-up Shot

A close-up shot focuses on a specific part of the subject, typically their face or a particular object.

It elicits a more intimate and emotional response from the audience, allowing them to see the character’s expression or the object’s significance in detail.

The director’s choice of camera techniques can influence the audience’s understanding of the characters, their relationships, and the story being told.

Different point-of-view techniques in film serve unique purposes and can greatly impact the audience’s experience.

Whether immersing the viewer in the protagonist’s shoes, offering a broader perspective, delving into a character’s subjective experience, or providing an all-knowing vantage point, each approach adds depth and enhances storytelling.

You can utilize these techniques to engage audiences emotionally, create tension, convey specific narratives, or explore psychological depths.

By employing different points of view, you can shape the audience’s understanding and connection to the story being told.

Up Next: Most Common Lenses And Focal Lengths Used in Movies

Jan Sørup is a indie filmmaker, videographer and photographer from Denmark. He owns filmdaft.com and the Danish company Apertura, which produces video content for big companies in Denmark and Scandinavia. Jan has a background in music, has drawn webcomics, and is a former lecturer at the University of Copenhagen.

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What is Point of View? Definition and Examples in Lit and Film

am, you are, she is, they will be — these are all things we say on a near-daily basis, and they’re all examples of different points of view. But what is point of view within storytelling and how can writers use it strategically? We’re going to explain everything you need to know about point of view in literature, with cinema and video game examples as well. But first let’s review the basics.

Point of View Definition Literature

First, let’s review ‘point of view’.

You’ve probably heard the saying, “according to so-and-so’s point of view” before. A point of view, in simplest terms, is how somebody sees a situation. Usually the “point of view” is inferred by the audience, but sometimes, a character comes right out and says it — like it does with our favorite anti-hero , Anakin Skywalker, in the clip below. The line in question lands around the 1:07 mark.

What is Point of View to Anakin?

It’s generally not a good idea to say “from my point of view” in a story. Audiences tend to feel talked down to when information is relayed in such a hamfisted way. Perhaps that’s one reason why the Star Wars: Revenge of the Sith screenplay faced criticism upon release. Ultimately, the feeling of betrayal is well communicated in the film, but it’s still rooted in a poor foundation.

Now that we’ve covered how point of view can be used to articulate a feeling, let’s jump into a point of view definition!

POINT OF VIEW DEFINITION

What is point of view.

Point of view is the perspective from which a story is told. There are three major points of view that are used in writing: first person, second person, and third person. Each perspective is used to achieve a different creative end: first-person keeps the story intimate and personal; second person creates a dialogue between the words of the writer and the thoughts of the reader; third person presents the story “as is” and gives a feeling of distance.

Types of Point of View:

First Person Point of View (I)
Second Person Point of View (You)
Third Person Point of View (He, She, They)

Define Point of View in a Story

The first person point of view.

The first person POV is all about the letter I — I like, I think, I feel, etc, etc. In the first person POV, you might write something like, “let me tell you a story,” in which the emphasis is given to me rather than you . The first person point of view is told from a personal perspective, and commonly used in narrative essays, short stories, and novels.

Here’s how writers use the 1st person point of view in literature:

“My family have been prominent, well-to-do people in this middle-western city for three generations.” (The Great Gatsby, by F. Scott Fitzgerald)
“Gloria Hilton and her fifth husband didn't live in New Hampshire very long. But they lived there long enough for me to sell them a bathtub enclosure.” (Go Back to Your Precious Wife and Son, by Kurt Vonnegut)
“The day of my father’s funeral had also been my nineteenth birthday. As we drove him to the graveyard, the spoils of injustice, anarchy, discontent, and hatred were all around us.” (Notes of a Native Son, by James Baldwin)

You may have heard “first person” in reference to movies and video games as well. This interpretation of the term suggests that the camera acts as a conduit for a character’s POV. We’ve seen as POV shots in various films, like Sam Mendes’ Road to Perdition , the surrealist film Being John Malkovich , and the sci-fi genre classic The Terminator .

Making of Hardcore Henry

By framing the entire film in the first person POV, Ilya Naishuller was able to create a visceral, frenetically paced film unlike any other. Just remember, the use of the first person POV in film is nauseating to some, and gimmicky to others.

2nd Person POV

The second person point of view.

If the first person POV is all about I , then the second person is all about you . Although second person is rarely used in writing, and near impossible to convey in other mediums, it’s still a useful perspective for writers to consider.

Here’s an example of POV in the second person: “You must be the change you wish to see in the world” — Mahatma Gandhi. In this quote, the emphasis is placed on you . This turns the prose into an activator for the reader by forcing them to become a participant in the story.

Here are some other 2nd person point of view examples in literature:

“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.” (Bright Lights, Big City, by Jay McInerney)
“You're the sort of person who, on principle, no longer expects anything of anything.” (If on a Winter’s Night a Traveler, by Italo Calvino)
“You prefer not to see the gears of the clock, as to better tell time.” (The Night Circus, by Erin Morgenstern)

The second person POV isn’t easy to communicate in visual mediums, but this next video explores how a video game played with perspective to a point where it was possible:

Describe Point of View in the Second Person

The main weakness of the second person POV is that it’s hard to sustain over a long period of time. It certainly works in spurts, but because it’s so restrictive, it starts to feel redundant after a while.

3rd Person POV

The third person point of view.

Of all the perspectives available to writers, the third person POV is perhaps the most common. Instead of placing the emphasis on I or you , the third person POV places emphasis on a person’s name or third person pronoun.

Here are a couple of third person point of view examples:

“ Chris went to the store today.”
“ She is a great runner.”
“ They are about to win”
“ It has a good chance of breaking even.”

And here’s an example of the 3rd person limited POV in literature:

“Harry had taken one step toward it when a slithering sound made him freeze where he stood. A bush on the edge of the clearing quivered . . . Then, out of the shadows, a hooded figure came crawling across the ground like some stalking beast.” (Harry Potter and the Sorcerer’s Stone, by J.K. Rowling)

The purpose of the third person POV is to create distance between the reader and writer. Nearly every piece of professional news is written in third person, as are academic articles, biographies, and some novels.

This next video takes a look at everything you need to know about writing in third person, including third person omniscient POV vs. third person limited.

What is Point of View in the Third Person?

Here’s an example of the third person omniscient point of view:

“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.” (Hills Like White Elephants, by Ernest Hemingway)

I’d say that the third person POV is the most natural storytelling perspective for a written narrative. It allows you to construct a world from a distance, and tell a story in which you’re more of a neutral party.

What Does Point of View Mean for Writers?

Point of view meaning and purpose.

First Person vs. Second Person vs. Third Person

It’s worth experimenting with different points of view, even just as an exercise. By understanding how different POVs are used, we’re better prepared to write the strongest story possible.

What you need to know about plot

No matter what POV you use, it will have an enormous impact on the plot of your story. The plot, in simplest terms, is the sequence of events that make up a story. If your story is told from the first person point of view, the plot will follow what your narrator sees. But things can change considerably when you use the second and third person points of view. In this next article, we break down everything you need to know about plot, so that you’ll be one step closer to making your story a reality!

Up Next: Everything to Know About Plot →

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What Is Point of View? Definition, Examples & How To Use It The Right Way

Point of view in literature refers to the perspective from which you are telling a story, and it has an enormous impact on how readers interpret the content.

What is your point of view? It’s the angle at which you’re looking at life. The way that you see things and experience the world. And it’s a very subjective thing.

There are five different points of view: first person, second person , third person limited omniscient, third-person objective, and third-person multiple.

POINT OF VIEW

What is point of view.

The point of view is the way in which a narrative is presented. It can be first person, second person, or third person.

First and second person are limited points of view because they only tell what one character knows and sees.

Third person omniscient tells everything that happens in the story from many different perspectives.

In the realm of storytelling, the third person point of view is a master key that unlocks a world of narrative possibilities.

It’s the all-seeing eye that guides us through film and literature, offering a perspective that’s both comprehensive and versatile.

We’ll explore how this viewpoint shapes our experience as an audience, providing a unique lens through which we can engage with characters and their stories.

Whether it’s the omniscient whisper in a novel or the objective camera angle in a movie, third person point of view is a storytelling powerhouse you’ll want to understand.

Understanding Third Person Point Of View

In film and literature, the third person point of view establishes a perspective external to the characters within the story.

This viewpoint allows us to observe the actions and reactions without any particular character’s bias tinting the narrative.

When directors choose this angle, it often promotes a broader understanding of the plot.

Films like The Godfather employ this technique to give audiences a panoramic view of the crime family’s dynamics.

In literature, authors can Use third person to jump into multi-faceted storylines.

Game of Thrones is a prime example where readers are privy to intricate plotting across various locations and characters.

Here’s what distinguishes third person in storytelling –

It provides a global perspective on the fictional world. – It enables switching between characters and settings with ease. – It allows insights into multiple characters’ thoughts and motivations.

Understanding this perspective is key for us to analyze narratives critically.

Knowing how third person works, we can better appreciate the structure and storytelling techniques authors and filmmakers use.

Third Person Point Of View In Film

In film, the third person point of view unfolds with unique layers of narrative potential.

It’s the bread and butter for directors who wish to craft a world with a grand scope and an impartial viewpoint.

This perspective allows us to become the ultimate observers, privy to a variety of angles and insights beyond what’s available to any one character.

With third person, filmmakers are granted a powerful tool – the ability to showcase not just the actions, but the unspoken thoughts and emotions of characters.

Think of classics like Gone with the Wind or modern epics like The Lord of the Rings , where the camera acts as an omnipresent force.

There are key reasons why this point of view is favored:

It affords a comprehensive look at the world-building elements of a story,
Dramatic irony is easily employed as audiences are given knowledge unknown to the characters,
It assists in stitching multiple plotlines into a cohesive narrative.

This perspective takes on various forms in the cinematic sphere.

The distant observer camera holds a reserved, sometimes cold detachment, while a free roaming camera suggests an unseen narrator taking us through the film’s world.

These storytelling strategies reinforce the narrative architect’s intent to present an unbiased and holistic representation of events.

Our understanding of third person in film deepens as we dissect the creative decisions behind these techniques.

Directors have the flexibility to shift focus swiftly between storylines, guiding audiences through a vast, interconnected landscape.

Such fluidity enriches the storytelling and magnifies thematic weight, as seen in films like Crash or Magnolia .

By embracing this viewpoint, filmmakers invite us to experience the narrative without constriction.

It frees the camera from subjective limitations and empowers storytelling with a more objective, all-encompassing lens.

From sprawling epics to intimate dramas, the third person perspective anchors our films in a reality that feels both expansive and detailed.

Third Person Point Of View In Literature

In literature, the third person narrative is just as compelling.

It enables readers to be omniscient voyeurs into the lives and worlds of the characters.

This form of storytelling delves into the complexities of characters and plots with a perspective that’s broader than any single player’s.

Novels such as Pride and Prejudice and The Lord of the Rings employ this point of view masterfully.

They craft rich narratives that provide a god-like overview of the plot and characters.

This technique affords the author the power to explore thoughts and actions across the story’s canvas, layering subtext and meaning into each scene with precision.

Key Advantages of Third Person Point of View in Literature –

Unrestricted Knowledge : Authors have the liberty to divulge any amount of information, which can create suspense or foreshadow future events.
Multiple Storylines : It’s easier to seamlessly switch between different character arcs and story threads, enriching the tapestry of the story.
Character Development : Insights into multiple characters’ thoughts and motivations lead to a multidimensional understanding of the narrative.

Adopting a third person angle, authors like George R.

The Impact Of Third Person Point Of View On The Audience

The third person perspective in film and literature goes beyond mere storytelling mechanics.

It shapes how audiences engage with the narrative, offering a global vantage point that immerses viewers in ways that first and second person perspectives can’t match.

When we discuss the third person point of view in cinema, we’re talking about a technique that expands the visual and psychological boundaries of storytelling.

In films like The Godfather , this approach entrenches the audience in the world-building, making the Corleone family’s saga more tangible and riveting.

This narrative stance affords a multifaceted understanding of character motivations and plot intricacies.

Watching Gone Girl , for instance, we’re privy to details that create a tapestry of suspense and mystery, layering each revelation with heightened drama and engagement.

The third person perspective also plays a significant role in the way writers structure their narratives in literature.

Titles like Game of Thrones use this viewpoint to traverse sprawling geographies and complex character webs, ensuring that the audience remains hooked and fully invested in the tale.

Here are key reasons why this perspective resonates powerfully with audiences –

It provides a comprehensive view that enriches the storytelling experience.
It allows for a seamless shift between characters and settings, which keeps the audience intrigued and emotionally invested.
It helps in crafting multifaceted characters whose depth and complexities can be fully explored and appreciated.

eventually, the third person point of view functions as a powerful storytelling conduit.

By leveraging this narrative lens, filmmakers and authors effectively maximize audience connection, delivering a deep and memorable experience that first person or even second person narratives struggle to emulate.

Advantages And Disadvantages Of Third Person Point Of View

The third person point of view in storytelling – whether in film or literature – carries significant advantages that contribute to the depth and complexity of a narrative.

One of the primary benefits is an omniscient perspective, which allows the audience access to the thoughts and experiences of multiple characters.

In the realm of film, directors and cinematographers can harness this perspective to craft visually rich storytelling landscapes.

Films like The Godfather and Lord of the Rings exemplify how third person creates a fully realized world that viewers can immerse themselves in.

Advantages of Third Person Point of View:

Holistic Storytelling : Viewers and readers gain a comprehensive understanding of the plot and characters.
Flexibility : Filmmakers and authors are not confined to a single character’s perspective.
Dramatic Irony : Audiences are privy to information unknown to the characters, heightening engagement.

Switching to the disadvantages, utilizing this point of view can sometimes distance the audience from the characters.

It lacks the intimacy that first person or limited third person perspectives bring, which for some stories, can diminish the emotional connection.

also, if not handled carefully, the third person perspective risks overwhelming the reader or viewer with too many viewpoints or excessive narrative complexity.

For example, a film that constantly jumps between many characters might lead to confusion rather than clarity.

Disadvantages of Third Person Point of View:

Reduced Intimacy : There’s often less emotional closeness between the audience and the characters.
Potential for Overcomplexity : Too many perspectives can confuse audiences.

While the third person point of view remains a powerful tool in a filmmaker or author’s arsenal, it’s crucial to wield it with a balance of the engaging global view and focus on character connection.

Films such as The Shawshank Redemption strike this balance well, as they Use the breadth of third person storytelling without losing the personal touch.

What Is Third Person Point Of View In Film And Literature – Wrap Up

We’ve navigated the intricacies of the third person perspective and its impact on our engagement with stories.

As we’ve seen, it’s a powerful tool that, when used skillfully, can enrich our experience by providing a multifaceted view of the narrative world.

It’s up to the creators to harness this viewpoint effectively, ensuring that while we’re offered a broad vantage point, we’re still drawn intimately into the lives of the characters.

Let’s appreciate the craft that goes into balancing the overarching narrative with the personal elements that keep us invested in film and literature.

Frequently Asked Questions

What is the third person point of view in storytelling.

The third person point of view is a narrative perspective where the story is told by an outsider looking in, using pronouns like “he,” “she,” and “they” to describe characters.

What Are The Advantages Of Using The Third Person Point Of View?

The third person point of view provides a comprehensive overview of the plot and characters, offers flexibility in storytelling, and allows for dramatic irony , where the audience knows more than the characters.

What Are The Disadvantages Of The Third Person Point Of View?

One main disadvantage is it can create a sense of distance between the audience and the characters.

There’s also a risk of overwhelming the reader or viewer with too much complexity if not handled carefully.

How Does Third Person Perspective Affect The Audience’s Connection To Characters?

Using the third person perspective can make it more challenging to create a deep emotional connection between the audience and the characters because it positions the audience as observers rather than participants.

What Is Essential For Filmmakers And Authors When Using The Third Person Point Of View?

It is crucial for filmmakers and authors to find a balance between providing a broad, global view of the story and maintaining a strong personal connection with the characters to keep the audience engaged.

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Point-of-View Shot: What It Is, How to Shoot & 3 Famous Examples

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If you're new to cinematography , you might wonder what I mean when I talk about a point-of-view shot.

In this article, you will learn everything you need to know about the point-of-view shot and how it can be used to your advantage.

If you want to learn more about making films in general, you can head over to our article on filmmaking .

What is a point of view shot?

A point of view (POV) shot is a camera angle used to shoot from the viewpoint of a specific character. It is essentially a way to let your audience look through a character's eyes.

A point-of-view shot is also called a first-person shot or subjective camera.

Gives the perspective of the character

The POV shot is used to engage the audience and give them a better idea of the perspective of a character. However, it also removes the audience as the all-seeing eye and puts them on the same level as the character.

This allows them to better relate to the character and empathize with what they're going through.

So you can use a POV shot to convey personal information about a character and their feelings that you wouldn't have gotten otherwise. It can even make the audience experience the same emotions that the characters are experiencing.

Can withholde information from the audience

On the other hand, a point-of-view shot is also a way for the director to withhold information from the audience. Information that they otherwise would've gotten with different camera angles.

Recently, you've seen POV shots on sites like TikTok and Instagram. Here people use their phones to film from a person's POV. It's often used to create either comedy or satire videos.

Point of view shot characteristics

Cinematographer often uses a handheld camera to apply a more realistic look
It can be supplemented with an inner dialogue of the character.

Point of view shot uses

It shows the experiences of the character
Shows the emotions of the character
It makes the audience feel like a part of the story
It makes the audience better relate to the characters
It can be used to show the reaction of other people and add mystery

How to shoot POV

So how do you shoot in POV? Well, it all depends on how you want to approach it.

Use a handheld camera technique

The most common POV shots are filmed with a handheld character to emulate realistic movement for the character.

Point of view shots are prevalent in horror movies or if a director wants to create a creepy atmosphere.

One of the most common ways it's used is when the killer is watching the characters.

The camera is pointed at one of the victims and gives the sense of someone watching them. It could be filmed from outside a window looking in or behind trees in the woods.

You also switch it around and use a handheld camera from the victim's point of view. You can film them peeking around corners in a house or film them running and looking back. This will create a sense of dread or anxiety in the audience, as they feel like they're the ones investigating or being chased by the killer.

Place the camera from the perspective of the object

You can also use POV shots from the perspective of inanimate objects. So if it's a beer can in a fridge, you would replace the beer can with a camera and have the character pull it out.

You can then add another shot that shows the character pulling out an actual beer can to further add to the illusion. You can use this shot to create some brief or longer-lasting mystery about the object that the character is handling.

3 point of view shot examples

There are many movies and TV shows utilizing the point of view shots. We've found three of the best examples of point-of-view shots in films.

1. The Blair Witch Project

The Blair Witch Project is a horror film that was released in 1999. They created the movie on a budget of around $500,000, but it grossed almost $250 million.

It is one of the most successful indie films of all time, and it made back its budget many times.

The Blair Witch Project is shot using a found-footage technique, where the entire movie is filmed from a handheld camera perspective.

The movie follows a crew of three people who wants to create a documentary about the local legend of the Blair witch. However, things do not go as planned, and the crew quickly finds out that they're not alone in the forest.

The film is shot how the fictional documentary's cameraman would have shot a documentary. It's full of different types of shots from the point of view of the cameraman and the crew. This creates an eerie atmosphere and makes the audience feel like they're a part of the crew, like they're right there in the forest with them.

It allowed the audience to feel the anxiety, fear, and other emotions that the characters went through. A lot of the movie was improvised, which only adds to the authentic feeling of the film.

2. The King's Speech

The King's Speech is a historical drama released in 2010, starring Colin Firth as King George VI. The film is based on actual events and focuses on the story of future King George VI dealing with a terrible stuttering condition.

The film received twelve academy award nominations, winning four.

The POV shot is used several times in the film. One of the best examples is the starting shot, where we see the point of view of hesitant King George VI walking up a flight of stairs. As he is up, he enters a stage with thousands of people that immediately turn towards him to look at him.

This creates a sense of stage fright that we, as an audience, immediately understand and may even feel. This sets the tone for the rest of the movie, and we immediately begin empathizing with the main character.

3. Saving Private Ryan

Saving Private Ryan is a 1998 war film directed by Steven Spielberg. The film was nominated for 11 academy awards and won five, including best cinematography. It's an incredibly successful film and one of the most famous war films.

The cinematographer in Saving Private Ryan uses point-of-view shots several times throughout the movie for different effects.

At the movie's beginning, we see the Americans in their Omaha Beach invasion in world war 2. Here the camera uses point-of-view shots from the main character, mixed with shots of his facial reaction to what he is seeing.

What he is seeing, and what the audience sees, is many of his comrades violently getting killed while attempting to advance up the beach. This gives the audience an understanding of the character's shock at the situation and puts you right in there in one of the most famous invasions of WW2.

The POV shot is also used later in the film to emulate the point of view of a sniper.

Without giving away any spoilers, we see the point of view of a sniper and see precisely what he sees. This shows that the sniper is in complete control of the situation and is a precursor of the horror.

Explore 50+ camera shots and angles

Now that you're an expert in point-of-view shots, you might be thinking, what's next?

You can head right into learning about different types of camera shots and angles . This article will learn over 50 different camera angles and shots.

A point of view (POV) shot is a camera angle used to shoot from the viewpoint of a specific character.

Why is a point-of-view shot used?

A point-of-view shot is used to show the experiences of the character & show the emotions of the character.

What is a point of view shot in photography

A point of view shot is used to take pictures from the photographer's viewpoint.

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Jeppe Brosbøl Jørgensen

Jeppe is a digital content marketing intern who, among other things, writes stuff online. In his free time, he enjoys watching movies, playing games and listening to some great music.

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John logan to adapt cormac mccarthy’s ‘blood meridian’ for new regency, ‘priscilla’ review: sofia coppola finds meaning in the small things, giving fresh point of view to familiar elvis story – venice film festival.

By Stephanie Bunbury

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‘Priscilla’ Venice Red Carpet Photos: Sofia Coppola, Priscilla Presley, Cailee Spaeny & Jacob Elordi

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And it is told by Coppola, whose stylistic pizzazz overcomes the dull sense that we know exactly what is going to happen. Those details – the objects seen in close-up, the carefully evoked shadowy interiors of houses where the curtains are always closed against the sun, the costumes that show the teenage Priscilla trussed in ball gowns, like a little girl playing dress-up with her mother’s wardrobe – are like an additional narrative rippling across the facts we already know.

RELATED: ‘Priscilla’ Venice Film Festival Premiere Photo Gallery

As portrayed here, the young Priscilla was demure, pliable and virginal. Presley tells her father he likes talking to her. She barely talks back. What does she have to say, after all? “How’s my little one?” he asks on the phone when she is still back in West Germany, as if she were a pet. We see them together in several scenes before Coppola surprises us with how little she actually is: Spaeny barely reaches Elordi’s chest.

It is a damning view of a man and – eventually – a marriage. He sends Priscilla out shopping for clothes and the men around him – there are always men around him – gather to approve or reject the results. Plain colors, he insists; a small woman can’t wear prints. She must dye her hair black. She can’t work, because she must be there when he calls. That’s what he needs in a woman. What he doesn’t need, apparently, is what her parents would reasonably have feared. He lies on his vast bed with her and lays down one his many rules: they must not get carried away. Sex is less attractive to him, clearly, than the control he can exert by withholding it.

Perhaps unsurprisingly, Coppola has been at her best when observing the workings of fame, affluence and excess, not trying to skewer or accuse anyone but simply registering what she sees.

The strength of her films is that seems to see everything. As a film, Priscilla feels slight; there are no revelations, no showdowns, no retrospective assessments of what was really going on here or how it reflected the wider world. There is just this view of Priscilla drawing cat’s-eye flicks with her black eyeliner, that monogrammed rug decked out with musical notes, that bed – usually shot from Elvis’s side – where he spends most of his life when he is at home. Small things, but Coppola finds the meaning in them.

Title: Priscilla Festival: Venice (Competition) Distributor: A24 Release date: October 27, 2023 Director-screenwriter: Sofia Coppola Cast: Cailee Spaeny, Jacob Elordi, Dagmara Dominczyk Rating: R Running time: 1 hr 46 min

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10 Movies with The Best Uses of Point-of-View Shots

5. Dark Passage (Delmer Daves, 1947)

Real-life husband and wife, Humphrey Bogart and Lauren Bacall, starred in four films together, including this film-noir thriller about a man on the run – Vincent Parry – who escapes from prison to prove that he is not guilty of murdering his spouse. To hide his identity, the fugitive is forced to change his appearance through cosmetic surgery.

Up until the point that Parry’s face is altered by the surgeon’s knife (around halfway through the narrative) he is not shown on screen at all and his character is portrayed only in first-person through POV shooting from his perspective. At the time of release, this was still considered to be an experimental and quite novel technique.

As well as adding to the intrigue and mystery of the story, it has the added benefit (to the producers of the film, at least) of not having to cast and pay a second actor to play the pre-surgery character with a totally different face. ‘Bogie’, however, probably still commanded full wages even thought he only had to act in half the movie!

4. Jaws (Steven Spielberg, 1975)

This multiple Academy Award-winning film of Peter Benchley’s novel did for the public image of sharks what Psycho did for showers! However, it broke box-office records and was the highest-grossing film ever made until the release of Star Wars at the end of 1977 knocked the big fish off its perch.

It changed the economic paradigm of populist entertainment and is widely credited within the industry as having established one of the main business models of modern Hollywood movie-making, whereby a high production-budget blockbuster with lots of action but a relatively simple story is released on a massive scale during the summer amidst a huge advertising campaign.

Compared to the advanced CGI (computer-generated imagery) effects deployed in today’s movies, the actual portrayal of the titular villain, a great white shark who terrorises a seaside holiday resort, does not stand up well to close scrutiny. Jaws himself was played by a team of pneumatically-powered full-size animatronic models which cost $150,000 each to produce (one of which was named ‘Bruce’ after Spielberg’s lawyer) yet were notoriously unreliable and whose mechanical origins were plainly obvious if anyone looked too closely.

The director was well aware of this, however, and partly for this reason limited the number of actual shots in which the rubber-covered prop shark was fully depicted. Instead, he used a clever series of “swimmer’s-eye” POV shots, taken from sea-level with the camera bobbing above and below the water, to show an only-partial, but much more threatening, image of the shark as it circled to attack.

3. Lady in the Lake (Robert Montgomery, 1947)

This film noir adaptation of the Raymond Chandler novel was filmed entirely from the first-person perspective of private detective Phillip Marlowe (played by the director, Robert Montgomery) as he sets about tracking down his client’s missing wife.

To promote its release, it was hyped by MGM’s marketing department as being ‘revolutionary’ (which it was, at the time) and the first truly interactive movie — as the camera, and therefore the audience, assumed the role of the protagonist, seeing everything through his ‘eyes’.

In the film’s promotional advertising, viewers were tempted with the tag-line: “You and Robert Montgomery solve a murder mystery TOGETHER”! The only deviation from this subjective angle is when Marlowe addresses the camera directly or sees his reflection in mirrors and windows, thereby revealing the actor’s facial appearance to the screen.

As well as being a new experience to the audience, this hitherto untried (as the prime format) style of cinematography was a challenge to the other actors in the film who were unaccustomed to addressing the camera directly, which they were required to do in scenes where they engaged with the central character — “breaking the fourth wall” (speaking to the audience) being a rarely-broken taboo under normal circumstances.

2. Enter the Void (Gaspar Noé, 2009)

The third film from provocative and visionary Argentine director Gaspar Noé is an unforgettably eyeball-searing, trippy mix of sex, drugs and psychedelia. What it shares in common with the first entry on our list, Lady in the Lake, is that it is shot almost exclusively in first person POV — in this case, from the perspective of a drug dealer in modern-day Tokyo.

Where it differs from the 1947 film noir is that, in Enter the Void, the protagonist, from whose perspective the camera films, is actually dead and we the audience observe the narrative unfold through the eyes of his soul.

This novel concept would already make for an interesting enough premise on which to base a movie; but not so for Noé, whose previous offering, Irréversible, features an opening scene of a man having his face literally bashed to a bloody pulp and then goes on to narrate the rest of the story completely in reverse.

The “camera as eyes” representation in Enter the Void is taken a stage further than in any of the other movies mentioned here, to an almost uncomfortable, slightly unnerving level: for example, the screen darkens intrusively every few seconds to reflect the drug-addled central character’s eyelids’ constant blinking. Things take an even more bizarre turn when the camera follows the protagonist’s soul as it enters another man’s body whilst he is having sex, and then adopts the point-of-view of the semen as it is ejaculated into the woman.

From there, the perspective changes again and we view events from within the female character’s vagina as she is impregnated. Finally, we witness the last moments of the film through the eyes of the conceived baby as it fights its way out of the womb and is delivered into the arms of its mother.

1. Rear Window (Alfred Hitchcock, 1954)

Hitchcock masterfully uses point-of-view shots, once again, to exaggerate the sense of voyeurism inherent in his 1954 classic starring James Stewart as a temporarily wheelchair-bound action-photographer who spies on his neighbours through the window of his New York apartment which he is begrudgingly confined to following an injury.

Grace Kelly plays his long-suffering but unappreciated girlfriend as, together, they investigate what Stewart’s character suspects to be a murder committed by a shady-looking character in the building opposite.

Hitchcock cranks up both the suspense and the feeling of claustrophobia experienced by Stewart as he becomes increasingly frustrated at being penned up, inactive, in one small space for so much time; his immobility and helplessness feeding his imagination and paranoia as he observes and interprets events around him.

A mask placed over the lens of the movie-camera cleverly replicates a telephoto-lens used by the inquisitive photographer to get a closer view of his neighbours’ activities.

Another technically innovative and highly effective use of POV is from the perspective of the murder suspect as he is repeatedly blinded by the light emitted from a camera flash-bulb wielded by Stewart in an otherwise-dark room which is momentarily illuminated as he attempts to prevent himself from becoming the killer’s next victim.

Author Bio: Russell Higham is a freelance writer, based in Brighton (UK), who has lived in Europe, Africa, the Middle East and Asia during his twenty years as the director of an aviation services company. He has a passion for classic & foreign cinema and science-fiction stories. He writes about these and other subjects for a range of publications. Twitter: @rkhigham.

6 Replies to “10 Movies with The Best Uses of Point-of-View Shots”

Nice article. Btw, I have a very large collection of POV films. 😉

Thanks 🙂 I love Kubrick too but couldn’t think of any of his films with a particularly significant use of PoV. Which one/s were you thinking of?

Shining, Paths of glory, Clockwork orange, FMJ…

Dark Passage is amazing far before its time

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Significance of Point of View in Film Writing: Understanding its Meaning and Importance

Point of view (POV) is a crucial element in film writing that can greatly affect how the audience experiences and understands a story. It refers to the perspective from which the story is being told and can range from first-person to third-person, omniscient to limited, and even subjective to objective.

POV is a powerful tool that filmmakers use to engage the audience emotionally, intellectually, and aesthetically. By controlling what information the audience receives and how they receive it, filmmakers can shape the audience’s interpretation of the story and characters.

In this blog, we will explore the meaning and importance of POV in film writing, and how it can be used effectively to create engaging and impactful stories. We will also discuss different types of POV and provide examples from popular films to illustrate their application in storytelling.

Whether you’re an aspiring filmmaker or simply interested in the art of cinema, understanding POV is essential for developing your storytelling skills and creating films that resonate with your audience.

What Is Point Of View In Films?

Point of View in films or commonly abbreviated as POV is defined as the perspective of the narration performed by a character with respect to their viewpoint.

It is quite normal to see the three-letter, capitalized word in many titles but we always seem to forget to delve deep into the complex, intriguing, and outstanding ideology that differentiates itself with multiple types of POVs that we are going to study further with examples and in detail.

But first, let us grasp the complete existence of this topic and how this affects the writing style, and intimacy levels between the reader and the material along with literature’s structure.

No matter how hard you try to disassociate POV from any written literature in the world, the point of view always lives in the heart of the story and its writing no matter what genre .

Take this article itself for a quick example. I, the writer, am explaining an important topic in filmmaking and writing, whilst the reader, i.e., you, are the second person in this non-fictional narrative.

This article provides information and sending it directly to your screen from my keyboard and addressing you in the second person is known as the ‘Second-Person Narrative’ that is very rarely used in written literature, and films.

If the example was a little too complicated for you, this sort of narrative will be explained to you ahead in – ‘types of narrative in films’.

But first, let us see an elucidated definition –

What Does Exactly Pov Means In Film And Literature?

Apart from the definition given at the beginning of the article, let me give you another meaning that is more simplified.

‘Point-of-View in film and literature is a device that shows or depicts a situation or an object represented through the eyes or mind of the character, or the subject.’

Now that you know what a POV is, you must be getting curious to use it in your film or writing. But it should be known that POV comes along with three major distinctive types of storytelling .

The types branch out into five categories but we are going to focus only on the major ones that have the ability to create a positive impact on our audiences and make them feel more personal.

To study the art of POV itself, let us have a look at the surface of the main three types of point-of-view writing and filmmaking, and then we will thoroughly go through each one by one.

1. First-Person Narrative – Told by the person’s senses and mind, with regard to the situations happening around them.

2. Second-Person Narrative – An uncommon type of narrative where the audience or the spectator is the subject and revolves partially, or in the background, related to them.

3. Third-Person Narrative – The most common narrative style where the point-of-view exists outside the said characters’ being and existence.

While all the definitions may seem too complicated to understand, we are going to isolate every narrative’s style of writing, style of shooting, and style of displaying the film or the story according to the POV type.

Let us begin with the most intriguing type of narration – the first-person narration that POV is mostly associated with.

First-Person Point Of View

First-person narration from the person connects the audience with the story’s main character’s actions, surroundings, and unfolding sequences.

As soon as the POV begins, we begin to feel wired to the world in which the story is set and built-in. The character performs the action we write, but the audience experiences it first-hand.

Now, the pronouns “I/Me/Myself” are used to depict first-person narration in literature and writing. The readers, as they read along with the first-person pronouns, begin to think of themselves as the character whose POV is written.

While writing this category of point-of-view, it is fairly more accessible to jot down lines for the writer too because of the tight inclusion of our existence creating a story in another world that will include our psyche’s working in it.

In films, this kind of narration is depicted by a first-person POV shot that ultimately metamorphoses into the eyes of the main character.

This shot may feel limited through the boundaries of knowledge that third-person narration provides, but the unknown sequences unfolding experienced by the audience first-hand is what sells the first-person POV.

That is why some filmmakers and writers include it to create a bond not only by seeing the character go through the situation but by experiencing it.

ENTER THE VOID by Gaspar Noe : A Film Igniting Your Senses

This Gaspar Noe film turned many heads for its only and complete use of first-person POV type narration and an arcane directing style for bringing this kind of POV device to life on the big screen.

Apart from the shots that depict the lifestyle of the main character that we can all relate to, we see the volatile situations unfold in the film unfold through the eyes of the character based in the world of ‘Enter The Void’.

We also experience the afterlife of Oscar, the leading character, who is shot by the police and still continues to have a golden path in the film even after his own death.

The film is an experimental arthouse drama that is suitable to create a film established through a single person’s senses and even more so due to the psychedelic effects added in the scenes that spark intrigue and curiosity in the audience’s mind.

Due to the first person’s POV, we get an uncomfortably close look at the character of Oscar and his state of mind as it deteriorates as we go along as the character himself throughout the film.

There are rarely any films in the history of cinema, and mainly feature-length films showcase the first-person POV in mostly every scene from act one’s beginning to the end of the film.

Second-Person Point Of View

The second-person narration is where the audience is addressed with pronouns written for them as “You/Yours” for writing and also for depicting the relation with the audience.

Here, even though the characters are present in the story, the audiences, i.e., you, are the main spectacle or the subject. Surprising, right? How could an entity be included in the story, and that even a compulsory one?

The audience is addressed explicitly by the character, and it catches us off-guard, there are quite risks that come along with it.

The reason why we don’t come across Second-Person Narration in films and television commonly is, because there is hardly ever a need for it.

If there is a social commentary or a message that is directed at society, and ultimately the reader, the second-person narration comes into play, but only for a few moments to take the audience in attendance.

When we transform the Second-person POV onto the screen, it is called “Breaking the 4th Wall” – when the character reacts to us by looking directly into the camera and talking, commenting like we’re another character present there with them.

Though we do not exist in the plane/situation that holds the story, the possibility is brought closer by breaking -the-4th-wall shot.

The shot is mainly used to show a reaction obtained by the main character through a certain action that is never related to the audience, yet the reaction sometimes is shown to us – mainly this device is used for comedy and sarcasm.

But, you never see a film completely shown through the second-person perspective, and it is only used for short moments to keep the momentum of the technical aspect of the story going.

FLEABAG by Phoebe Waller-Bridge : A Show Relying On Great Writing and Second-Person Narration

A paradigm of a show created by Phoebe Waller-Bridge, appropriately titled ‘Fleabag’ is a paramount example of second-person POV.

The nameless character or Fleabag, played by the writer as well as the creator of the show Phoebe herself, interacts with the audience thoroughly through her quirky, honest reactions to eccentric situations unfolding around her.

The show itself became popular universally because of its minimalistic yet personal, emotive writing style that connects the Fleabag character with the audience on a deeper level and we understand her psychology, her thought process with an intimately close perspective – as though if we, the show-watchers, are her peer and are an important role-player in the series that she trusts to confide in shamelessly.

And in exchange, we see her core honesty and vulnerability beneath the layers of the adversely enigmatic personality of hers.

The supporting characters do not possess the ability to break the 4th wall (meaning acknowledging the audience and interacting with them) or notice the breaking of the 4th wall (except a character in Series 2) by Phoebe’s main character.

The Second-Person POV technique is enormously helpful in building and developing a leading character solely on an emotional aspect that encapsulates every factor of the character’s psychology.

Hence, the character comes to life on the screen and it suddenly doesn’t seem like a fictional character anymore.

The exact process has happened with Fleabag. The way the main character tells us her darkest, deepest secrets until her bare, raw emotions are felt through the screen does more than having the character just connect with us – we also give her a place in our hearts just as we do for our peers.

The second-person narration and the special relationship with the audience that Fleabag carries out in such a graceful manner are what make Fleabag a spectacular show about a woman’s inside, innate look of her life, trauma, joy, and charming presence.

Also, the narration of the second-person POV is done in intervals of time, and notices and reacts to us in small pockets of free moments in between conversations, feelings, and scenes that elevate the show on a humorous level as timing in second-narration in a comedy show is the ultimate key.

Third Person Point-Of-View

The third-person POV is the most common type among the rest of the categories. This narration is upheld by the pronouns “He/She/They/Them” and is addressed in the third-person.

Here, the point-of-view is neither depicted through the main character nor the audience.

Through this POV, literature is written in a mass quantity. The narration is excluded from the psychology and personal impression of a character in the story as the narrator jumps in to describe their personality, situations, and feelings to us, sometimes in a succinct way.

Screenplays, novels , and short stories are mainly written from the third-person perspective as they are less burdensome to narrate and do not require as much brainstorming as the other narrating styles do.

Some may feel that it would not be effective to connect the story with the audience on a personal level and would become stolid, but this style has been a household type of POV in filmmaking and writing.

Since the beginning of time, this narration has trickled down from Stone Age drawings to folklore to singing epics, to storytelling to writing to films.

So, the onlookers are used to becoming spectators for their own pleasure to experience a fictional story where they can, without any inclusion except being the audience, hence the third-person narrative is the most sought out and written.

EUPHORIA by Sam Levinson : A series run by a bold narration of equally bold characters

Originally based on an Israeli series of the same title, ‘Euphoria’ has achieved cult status in a tier of high-school dramas for its mercilessly raw depictions of high-school students’ dilemmas, drugs, and dalliances.

As curtains closed lately on season 2 of Euphoria, there has been a realization that the Zendaya-starter show has garnered a huge attraction due to its ensemble cast’s unflinching acting and the third-person narration of the multiple characters and their ongoing lives, thoughts, and everything important enough to know for conveying the scene’s depth regarding the character.

In the series, the main character is Rue Bennett, A.K.A. the narrator, played by Zendaya with delicately brilliant acting. Rue is a drug addict that is a ticking time bomb for destroying every relationship she has with someone.

This narration of the third-person POV is carried out by Zendaya’s character Rue who exposes every character’s relationship dynamics.

Not only that, but she also provides background as a new character is introduced, their emotions including her own, with needs and wants that finally build up a structure for all the included roles in Euphoria.

And ultimately, Rue is commenting with her own reactions along with narration of the story, as Rue herself is an important character and lives with every character she narrates about in East Highland, where the show is situated.

The multiple storylines pushed ahead by an array of varying characters that are intimately related to each other is difficult to keep up with as an audience.

That is where the third-person POV comes into play for holding up every character and the process of its metamorphosis’ on a pedestal of equal importance.

The mere difference of valued narration between the characters and the said character is derailed off the story, as the audience slowly loses interest if there is no active momentum being told in the show or the film.

Third-person POV is not as tricky when you narrate a plot that is quite simple and has only a couple of storylines and/or the narrator isn’t playing a role in their own film/show in which they are narrating.

In the third-person POV shot, there is no need for any camera gimmicks or smart techniques . This shot is exactly the way narrative films are shot, with independent characters detached from the realization that there is an audience.

The only difference is the narration performed by a person off-screen or absent in the film.

Difference Between Point Of View Narrative And Point Of View Shot

In literature, the writing of first-person POV plays inside the reader’s subconscious mind and runs the cogs on its imaginative ability.

But for screenwriters and filmmakers, it is a whole other series of ruses. Let us see how screenwriting a POV shot transforms onto the screen with a thrilling aspect of delving into the character’s senses and sharing it with the audience.

First of all, screenwriting a POV is fairly easier than directing it on the set – it is pretty much-normalized screenwriting except you put a heading over the scenes that are seen and felt through the main character.

The written scenes for the POV are studied and then created by a lot of technical aspects that come into play and that are written to depict the scene as closely and accurately as it is on the page.

In films, mostly the leading character is attached to the POV scenes, and the scene is created likewise through the audio-visual senses of the POV character so that the audience feels an efficacious thrill.

The resolute first-person POV shot is the mixture of what the character sees and hears and does, as simple as that.

The only difference between the point-of-view writing and the point-of-view shot is that the shot requires precision in adding the layer of heightening audiences’ attention by suitable and arcane cinematography , accurate direction, and overall action sequences.

As shown in the second-person narrative above with examples, where the audience is an important character is depicted through the shot of the main actor breaking the 4th wall.

And at last, the third-person POV is where the staple shots that most films have are the ones that convey the story on the screen from the screenplay, as it is written from the third-person perspective itself.

Point-of-View isn’t just a shot type in a film or a television show that you admire for its visual aesthetics but is a helpful device that gives a strong sound to narrate your storytelling in the most striking and original way.

May it be a scene written from the 1st-Person-POV or the 2nd-person-POV, remember to use it mildly as the audience is not as used to it as it is for 3rd-person-POV.

As important and vital as it is to know the skill for POV writing and filmmaking, it is also important to place these POV shots in appropriate places in your screenplays or films.

The lesson that should be learned from the article is to never take literature devices like P.O.V. writing styles lightly and use them not to make your story only interesting, but also smooth for reading and grasping the material in an insightful way.

Before the film, before the shoot, before the final draft, before the first draft, before the outline, and before the beats, comes the story that you want to narrate in the best possible way. So, choose your voice of writing carefully and make good use of the benefits of POV narrations and shots.

What is point of view in films?

Point of view in films refers to the perspective from which the story is being told. It can be first-person, third-person, or even an objective point of view. It is an important element in film writing as it can greatly affect how the audience experiences and understands the story.

Why is point of view important in film writing?

Point of view is important in film writing as it can shape the audience’s interpretation of the story and characters. By controlling what information the audience receives and how they receive it, filmmakers can engage the audience emotionally, intellectually, and aesthetically.

What are the different types of point of view in films?

The different types of point of view in films include first-person, third-person, omniscient, limited, and objective.

First-person POV is when the story is told from the perspective of a character within the story, third-person is when the story is told from an outside perspective, and omniscient POV is when the story is told from a god-like perspective with access to all characters’ thoughts and feelings.

Limited POV is when the story is told from a limited perspective, such as one character’s point of view, while objective POV is when the story is told without any character’s thoughts or feelings.

How can filmmakers use point of view to engage the audience?

Filmmakers can use point of view to engage the audience by controlling what information the audience receives and how they receive it. This can create emotional, intellectual, and aesthetic engagement by creating tension, suspense, and empathy.

What are some examples of films that use point of view effectively?

Some examples of films that use point of view effectively include “The Silence of the Lambs” (1991) which uses a combination of first-person and third-person POV to create tension and suspense.

Dhruv is a screenwriter by heart and a Mass Media enthusiast by profession. He writes screenplays and blogs about them with intricate details. He admires groundbreaking, female-centric films and shows, slow-burn arthouse movies, and breathtaking cinematography.

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Point of View: The Ultimate Guide to Writing Perspectives

Point of view (POV) is the narrative perspective from which a story is told. It’s the angle from which readers experience the plot, observe the characters’ behavior, and learn about their world. In fiction, there are four types of point of view: first person, second person, third person limited, and third person omniscient.

This guide will look at each point of view, and provide examples to help you understand them better. Let’s dive in.

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First person

First person narratives are quite common and relatively intuitive to write: it’s how we tell stories in everyday life. Sentences written in first person will use the pronouns I , we , my , and our . For example:

I told my mother that we lost our passports.

First person can create intimacy between the reader and the characters, granting us direct access to their emotions, psyches and inner thoughts. In stories where the protagonist’s internal life is at the fore, you will often find a first-person narrator.

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Having a single fixed narrator can limit the scope of a story 一 the reader can only know what the narrator knows. It’s also said that a first person narrator is biased, since they provide a subjective view of the world around them, rather than an objective one. Of course, this isn’t necessarily a bad thing, and intentionally unreliable narrators are fascinating literary creatures in their own right.

Genres that commonly use a first person POV

Young Adult . Introspective coming-of-age narratives often benefit from a first-person narrative that captures the protagonist’s voice and (often mortifying) internal anxieties. Some examples are novels like The Hunger Games by Suzanne Collins , The Fault in Our Stars by John Green , and The Catcher in the Rye by J.D. Salinger.

Science Fiction . In sci-fi novels, a first person perspective can nicely convey the tension and awe associated with exploring unfamiliar environments and technologies. Some examples of this approach include Project Hail Mary by Andy Weir, Flowers for Algernon by Daniel Keyes, and Ready Player One by Ernest Cline.

A close up shot of actor Ryan Gosling in a space suite

Memoir . The first person is perfect for memoirs, which allow readers to relive life events with the author. Some pageturners in this genre are Open by Andre Agassi, Educated by Tara Westover, and Becoming by Michelle Obama.

As you might expect, after first person comes…

Second person

Second person narratives are far less common in literature — but not entirely unheard of. The pronouns associated with second person include you , your , and yours , as in:

You instruct the chief of police to bring the prisoner to your office.

Second person POV is all about putting the reader directly in the headspace of a particular character: either the protagonist or a secondary figure. When mishandled, this POV can alienate readers — but when executed well, it can create an intimate reading experience like no other.

Since this POV requires quite a lot of focus for most readers, it’s often suited to shorter, lyrical pieces of writing, like poetry. It can also be used alongside other points of view to provide variety in a longer novel, or to indicate a change of character (see: The Fifth Season by N.K. Jemisin).

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Genres that commonly use a second person POV

Creative Fiction . Short stories, poetry, and screenplays can benefit from the immediacy and intimacy of the second person. Two examples are The Brief Wondrous Life of Oscar Wao by Junot Diaz, or Pants are Optional by Aeris Walker 一 a brilliant piece from Reedsy’s Short Story competition.

Nonfiction . In self-help in particular, the second person can be used to ‘enter the reader's mind’, establish rapport, and guide them through a transformation process. For example, in Eckhart Tolle's The Power of Now many teachings are conveyed through a series of questions and answers written in second person.

Now that you have seen how second person narratives work, let’s meet some third person limited narrators and see how they handle things.

Third person limited

Everyone has read a third person limited narrative, as literature is full of them. This POV uses third-person pronouns such as he , his , she , hers , they , their , to relate the story:

She told him that their assessment of the situation was incorrect.

Third person limited is where the narrator can only reveal the thoughts, feelings, and understanding of a single character at any given time — hence, the reader is “limited” to that perspective. Between chapters, many books wrote in this POV switch from character to character, but you will only hear one perspective at a time. For instance:

“ She couldn't tell if the witness was lying.”

A group of actors standing in a train, still from the movie Murder on The Orient Express

The limited third person POV portrays characters from a bit of distance, and asks the readers to engage and choose who they’re rooting for 一 but this POV poses a challenge for authors when trying to create truly compelling characters . A limited perspective definitely adds intrigue, but writers should bear in mind that being able to tell only one side of the story at a time can limit their ability to reveal important details.

Genres that commonly use a third person limited POV

Romance . A love story always has two sides, and the third person point of view is ideal for authors who wish to convey both. Examples in this genre include Shadow and Bone by Leigh Bardugo, Eleanor & Park by Rainbow Rowell, and The Grand Sophy by Georgette Heyer.

Thriller . In suspense-driven plots the limited third person POV works well, since it’s fun to try and solve a mystery (or mysterious characters) alongside the protagonists. Two examples are Murder on the Orient Express by Agatha Christie, or Nine Perfect Strangers by Moriarty Liane.

A solid story structure will help you maintain a coherent point of view. Build it with our free book development template.

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If you’re done with the intimacy of “close” viewpoints, perhaps we can interest you in one final POV — a God’s-eye view of storytelling.

Third person Omniscient

The third person omniscient is as popular as the limited one, and uses the same pronouns. The difference, however, is that the narrator is “all knowing” — meaning that they’re not limited to one character’s perspective, but instead can reveal anything that is happening, has happened, or will happen in the world of the story. For example:

He thought the witness was honest, but she didn't think the same of him .

It’s a popular point of view because it allows a writer to pan out beyond the perspective of a single character, so that new information (beyond the protagonist’s comprehension) can be introduced. At the same time, it heavily relies on the voice and authority of the narrator, and can therefore take some focus away from the character.

Genres that commonly use a third person omniscient POV

Fantasy fiction . In elaborate fantasy worlds, being unencumbered from a character’s personal narrative means that the narrator can provide commentary on the world, or move between characters and locations with the flick of a pen. You’ll see this approach in action in Reaper Man by Terry Pratchett, Howl's Moving Castle by Diana Wynne Jones, and The Chronicles of Narnia by C. S. Lewis.

Literary fiction . An all-encompassing perspective can allow authors to explore different character quirks, but also interpersonal dynamics between characters. Leo Tolstoy does this masterfully in his great classics Anna Karenina and War and Peace .

Now that we have established the basics of the major points of view, let’s dig a little deeper. If you’re ready for a closer look at POV, head over to the next post in this guide to learn more about first person perspective.

5 responses

Aysha says:

19/04/2020 – 19:56

The Book Thief would be considered First Person POV, similar to Arthur Conan Doyle's Sherlock Holmes, right? Thank you for the wonderful information. It gave a lot of insight into choosing which POV would be most suitable for a particular story. Pretty clear-cut.

Sasha Anderson says:

31/05/2020 – 10:41

I sometimes have difficulty telling the difference between third person limited and omniscient. For example, in the quote from I am Legend, the sentence "If he had been more analytical, he might have calculated the approximate time of their arrival" sounds very omniscient to me, because Robert wasn't, and didn't. Is there an easy way to tell that this is limited rather than omniscient, or does it not really matter as long as it reads well?

Lilian says:

18/06/2020 – 05:15

This was a very helpful piece and I hope it's okay to share the link for reference.

↪️ Martin Cavannagh replied:

18/06/2020 – 08:51

Of course! Share away :)

18/06/2020 – 05:44

It deal with the challenges associated with POV in writing. I like that it clearly distinguishes between third person limited POV and third person omniscient POV as most beginner writers are guilty of abrupt and inconsistent interchange in the two leading to head hopping. Greattach piece, I muse confess.

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

by Joe Bunting | 72 comments

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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.

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

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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.

The printed PDF version of the LitCharts literary term guide on Point of View

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Point of View

Definition of point of view.

Point of view is utilized as a literary device to indicate the angle or perspective from which a story is told. Essentially, point of view refers to the “eyes” of the narrative voice that determine the position or angle of vision from which the story is being relayed. Point of view is one of the most crucial choices made by fiction writers since it governs the reader’s access to the story and determines how much the reader is able to know at any given moment with regard to what is taking place in the narrative.

For example, Gregory Maguire is well-known for his novels that re-tell famous stories using a different point of view. In his work Confessions of an Ugly Stepsister , the story of Cinderella is told by one of the “ugly stepsisters” herself, rather than a removed fairy tale narrator .

In the lives of children, pumpkins turn into coaches, mice and rats turn into men. When we grow up, we realize it is far more common for men to turn into rats.

By shifting the viewpoint of the narrative voice, the reader is given an entirely different perspective and version of the famous story. This not only makes for an engaging and innovative experience for the reader, but the change in point of view also changes the story itself by presenting otherwise “unseen” information and opinions.

Examples of Commonly Used Points of View

As a literary device, point of view is generally expressed through the use of pronouns. Each has its advantages and limitations. First and third person points of view are far more common than second person point of view in literature. First person narrative allows the writer to establish intimacy with the reader by allowing access to the narrator’s inner thoughts. Third person narrative is flexible in that the writer can focus on more than one character ’s actions and thoughts.

Here are some examples of commonly used points of view:

First Person

In first person point of view, one of the story’s characters is narrating the literary work. This viewpoint is indicated by the use of first person pronouns, including “I,” and the reader assumes that the character is close to the story’s action. First person narrative voice provides the reader an intimate and close look into a character’s thoughts, but the perspective of the story is limited by what the character is able to see and know.

Here are some well-known examples of literary works with first person point of view:

The Great Gatsby
The Adventures of Huckleberry Finn
The Yellow Wallpaper

Third Person

With third person point of view, there is a narrative presence telling the story and referring to the characters in the third person, as “he” or “she.” Third person point of view can be omniscient , meaning the narrator can see and know everything within the story, or limited, meaning the narrator is restricted in what they see and know of the story.

Here are some well-known examples of literary works with third person point of view:

Lord of the Flies
Little Women
Fahrenheit 451
The Lowland

Second Person

Second person point of view utilizes the pronoun “you” to address the reader and bring them into the action of the story. However, second person point of view is problematic in a couple of ways. First, it is a stylistic choice that is uncommon, especially in novel -length works. In addition, second person point of view can overwhelm the writer and confuse and/or alienate the reader. Most writers avoid constructing a narrative voice through second person point of view.

Difference Between Omniscient and Third Person Limited Point of View

Third person point of view is flexible as a literary device in that a writer can choose between omniscient or limited perspectives for the narrator. An omniscient narrator is aware of and knows everything about the story and its characters. There are no limitations for this narrator in terms of expressing any character’s thoughts, and this includes their own opinions and observations. An omniscient point of view features a narrator who knows more than the characters of a story.

A third person limited narrator utilizes third person storytelling, but is closely “assigned” to one character. Therefore, this limited narrator shares access with the reader to a character’s thoughts, feelings, experiences, etc., but is limited in doing so with other characters in the story. Writers choose third person limited point of view to create a deeper bond between a specific character and the reader.

Writing with Point of View

Writers decide who tells a story and the intended audience for it. When determining point of view as a literary device, the story can be told from the viewpoint of a character who is part of the story or from a narrative perspective that “sees” and knows the characters but is not one of them. It’s important for writers to consider benefits and limitations when deciding point of view, as it is essential for character development and the relationship between the narrative voice and the reader.

In addition, it’s important for writers to establish point of view as soon as possible for the reader so they are aware of whose perspective they are following. Though some writers choose to change point of view, done most often within a novel, the narrative voice should be consistent throughout a particular scene. Otherwise, disrupting the narrative perspective in the middle of a story’s action can be confusing and jarring for the reader. Changing the point of view for a subplot , alternate section, or different chapter of a literary work can be valuable; however, there should be continuity of narrative throughout the course of a story’s scene in consideration of the reader.

Alternating Point of View

Alternating point of view is a complex type of observation or narration. While narrating, he/she can change their position from the first person to the third person or even second person. It depends on the setting , situation, and voice of the characters and their different perspectives. This technique was used very successfully by Kurt Vonnegut or Italo Calvino in their novels with authorial assertion and intervention, such as Slaughterhouse-Five by Kurt Vonnegut. Also, the alternating point of view is used for long narration or a chapter-wise, to develop characters and story. It is not used for one sentence or a paragraph.

First Person Point of View as a Protagonist and Common Character

The first person point of view uses first-person pronouns. I, me, mine, etc. The first-person point of view is mostly used in fiction, autobiographies , or semi-autobiographies. The person speaking becomes the center point of the narrative, thus becoming a protagonist of the story most of the time. However, sometimes this person is also a typical narrator when it comes to the big events or significant happenings in history. Such a first-person narrator takes part only as a commoner but describes all the major events and characters through him/her. Usually, they paint the picture of a person, presenting him/her as a protagonist and himself as an ordinary character. Fiction usually adapts this form of narration when they use great heroes from history as protagonists.

Use of Point of View in Sentences

He loves to people from the window of his castle. But, such is his life; he is not allowed to step outside. (Third-person point of view)
I heard a shrill cry followed by speeding footsteps. I wondered if someone was in trouble. Sadly when I reached the alley, there was no one. (First-person point of view)
This is how you prepare a tasty lemonade. You juice the lemons, and you can get more juice by rolling the lemons on the counter using force. (Second-person point of view)
Although Jay viewed the group with suspicion when he decided to meet them and said, “I do not suspect you in any way, but we still need to talk.” (Third-person objective point of view)
As the children settled into their rooms, Lisa hoped they would sleep peacefully without fear. She silently wished them goodnight before closing the door.”

Examples of Point of View in Literature

Example 1: invisible man (ralph ellison).

I was never more hated than when I tried to be honest. Or when, even as just now I’ve tried to articulate exactly what I felt to be the truth. No one was satisfied.

In Ellison’s novel, the protagonist tells his own story from a first-person point of view. This passage reflects both the power of this narrative perspective and its limitations. By telling his own story, the protagonist is able to have a close connection with the reader and directly express his true thoughts, feelings, and ideas. However, due to this restricted form of narration, the reader must rely solely on the viewpoint of the protagonist. This puts a level of responsibility on the reader to determine whether the protagonist is reliable in his narration and to fill in any gaps in the story that are ambiguous or unaddressed in a full manner by the narrator.

Example 2: The Story of an Hour (Kate Chopin)

She said it over and over under her breath: “free, free, free!” The vacant stare and the look of terror that had followed it went from her eyes. They stayed keen and bright. Her pulses beat fast, and the coursing blood warmed and relaxed every inch of her body.

Chopin’s short story is told through a third-person limited point of view. The narrative perspective is that of Louise Mallard, the protagonist of the story, though she does not relay the narrative herself in the first person. Instead, the narrator relays to the reader Louise’s actions, thoughts, and feelings as she learns of her husband’s supposed death. This is a clever literary choice due to the fact that Louise spends much of her time in the story in a room alone , away from the other characters.

Chopin establishes a relationship between the third-person narrator and the reader in terms of access to Louise’s mind. This is reflected in the passage as the narrator conveys to the reader that Louise feels “free” at the news of her husband’s death. This “freedom” is something that Louise would not have expressed to any character in the story, yet the narrative perspective allows the reader to know and understand her thoughts.

Example 3: The Death of Ivan Ilych (Leo Tolstoy)

In reality it was just what is usually seen in the houses of people of moderate means who want to appear rich, and therefore succeed only in resembling others like themselves: there are damasks, dark wood, plants, rugs, and dull and polished bronzes — all the things people of a certain class have in order to resemble other people of that class. His house was so like the others that it would never have been noticed, but to him it all seemed to be quite exceptional.

Tolstoy’s well-known story of Ivan Ilych is told through an omniscient point of view. This passage reflects that the omniscient narrator governs the telling of the story through the information that is presented to the reader and the manner in which that information is relayed. For example, the omniscient narrator describes for the reader the setting of the character’s home by describing the objects inside. This creates an image that allows the reader to picture the scene.

However, the omniscient narrator is also characterizing the setting of the home by inserting opinions about it with phrases such as “who want to appear rich.” This is important because the omniscient narrator’s description and the inserted characterization influences both the reader’s literal image of the scene and their perception of its meaning in terms of an emotional response. As a result, the omniscient narrator holds the power to influence all aspects of a story for a reader–not just the way things look or what events take place, but how the reader should feel about it, Therefore, in response to an omniscient narrator, the reader should be aware of this effect so as to approach this point of view with critical thinking.

Synonyms of Point of View

Some of the words close to the point of view in meanings are opinion, view, attitude , feeling, sentiment, thoughts, ideas, position, perspective, viewpoint, standpoint, outlook, stand, stance, side, or position.

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‘Civil War’ Review: We Have Met the Enemy and It Is Us. Again.

In Alex Garland’s tough new movie, a group of journalists led by Kirsten Dunst, as a photographer, travels a United States at war with itself.

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‘Civil War’ | Anatomy of a Scene

The writer and director alex garland narrates a sequence from his film..

“My name is Alex Garland and I’m the writer director of ‘Civil War’. So this particular clip is roughly around the halfway point of the movie and it’s these four journalists and they’re trying to get, in a very circuitous route, from New York to DC, and encountering various obstacles on the way. And this is one of those obstacles. What they find themselves stuck in is a battle between two snipers. And they are close to one of the snipers and the other sniper is somewhere unseen, but presumably in a large house that sits over a field and a hill. It’s a surrealist exchange and it’s surrounded by some very surrealist imagery, which is they’re, in broad daylight in broad sunshine, there’s no indication that we’re anywhere near winter in the filming. In fact, you can kind of tell it’s summer. But they’re surrounded by Christmas decorations. And in some ways, the Christmas decorations speak of a country, which is in disrepair, however silly it sounds. If you haven’t put away your Christmas decorations, clearly something isn’t going right.” “What’s going on?” “Someone in that house, they’re stuck. We’re stuck.” “And there’s a bit of imagery. It felt like it hit the right note. But the interesting thing about that imagery was that it was not production designed. We didn’t create it. We actually literally found it. We were driving along and we saw all of these Christmas decorations, basically exactly as they are in the film. They were about 100 yards away, just piled up by the side of the road. And it turned out, it was a guy who’d put on a winter wonderland festival. People had not dug his winter wonderland festival, and he’d gone bankrupt. And he had decided just to leave everything just strewn around on a farmer’s field, who was then absolutely furious. So in a way, there’s a loose parallel, which is the same implication that exists within the film exists within real life.” “You don’t understand a word I say. Yo. What’s over there in that house?” “Someone shooting.” “It’s to do with the fact that when things get extreme, the reasons why things got extreme no longer become relevant and the knife edge of the problem is all that really remains relevant. So it doesn’t actually matter, as it were, in this context, what side they’re fighting for or what the other person’s fighting for. It’s just reduced to a survival.”

By Manohla Dargis

A blunt, gut-twisting work of speculative fiction, “Civil War” opens with the United States at war with itself — literally, not just rhetorically. In Washington, D.C., the president is holed up in the White House; in a spookily depopulated New York, desperate people wait for water rations. It’s the near-future, and rooftop snipers, suicide bombers and wild-eyed randos are in the fight while an opposition faction with a two-star flag called the Western Forces, comprising Texas and California — as I said, this is speculative fiction — is leading the charge against what remains of the federal government. If you’re feeling triggered, you aren’t alone.

It’s mourning again in America, and it’s mesmerizingly, horribly gripping. Filled with bullets, consuming fires and terrific actors like Kirsten Dunst running for cover, the movie is a what-if nightmare stoked by memories of Jan. 6. As in what if the visions of some rioters had been realized, what if the nation was again broken by Civil War, what if the democratic experiment called America had come undone? If that sounds harrowing, you’re right. It’s one thing when a movie taps into childish fears with monsters under the bed; you’re eager to see what happens because you know how it will end (until the sequel). Adult fears are another matter.

In “Civil War,” the British filmmaker Alex Garland explores the unbearable if not the unthinkable, something he likes to do. A pop cultural savant, he made a splashy zeitgeist-ready debut with his 1996 best seller “The Beach,” a novel about a paradise that proves deadly, an evergreen metaphor for life and the basis for a silly film . That things in the world are not what they seem, and are often far worse, is a theme that Garland has continued pursuing in other dark fantasies, first as a screenwriter (“ 28 Days Later ”), and then as a writer-director (“ Ex Machina ”). His résumé is populated with zombies, clones and aliens, though reliably it is his outwardly ordinary characters you need to keep a closer watch on.

By the time “Civil War” opens, the fight has been raging for an undisclosed period yet long enough to have hollowed out cities and people’s faces alike. It’s unclear as to why the war started or who fired the first shot. Garland does scatter some hints; in one ugly scene, a militia type played by a jolting, scarily effective Jesse Plemons asks captives “what kind of American” they are. Yet whatever divisions preceded the conflict are left to your imagination, at least partly because Garland assumes you’ve been paying attention to recent events. Instead, he presents an outwardly and largely post-ideological landscape in which debates over policies, politics and American exceptionalism have been rendered moot by war.

‘Civil War’ Is Designed to Disturb You

A woman with a bulletproof vest that says “Press” stands in a smoky city street.

One thing that remains familiar amid these ruins is the movie’s old-fashioned faith in journalism. Dunst, who’s sensational, plays Lee, a war photographer who works for Reuters alongside her friend, a reporter, Joel (the charismatic Wagner Moura). They’re in New York when you meet them, milling through a crowd anxiously waiting for water rations next to a protected tanker. It’s a fraught scene; the restless crowd is edging into mob panic, and Lee, camera in hand, is on high alert. As Garland’s own camera and Joel skitter about, Lee carves a path through the chaos, as if she knows exactly where she needs to be — and then a bomb goes off. By the time it does, an aspiring photojournalist, Jessie (Cailee Spaeny), is also in the mix.

The streamlined, insistently intimate story takes shape once Lee, Joel, Jessie and a veteran reporter, Sammy (Stephen McKinley Henderson), pile into a van and head to Washington. Joel and Lee are hoping to interview the president (Nick Offerman), and Sammy and Jessie are riding along largely so that Garland can make the trip more interesting. Sammy serves as a stabilizing force (Henderson fills the van with humanizing warmth), while Jessie plays the eager upstart Lee takes under her resentful wing. It’s a tidily balanced sampling that the actors, with Garland’s banter and via some cozy downtime, turn into flesh-and-blood personalities, people whose vulnerability feeds the escalating tension with each mile.

As the miles and hours pass, Garland adds diversions and hurdles, including a pair of playful colleagues, Tony and Bohai (Nelson Lee and Evan Lai), and some spooky dudes guarding a gas station. Garland shrewdly exploits the tense emptiness of the land, turning strangers into potential threats and pretty country roads into ominously ambiguous byways. Smartly, he also recurrently focuses on Lee’s face, a heartbreakingly hard mask that Dunst lets slip brilliantly. As the journey continues, Garland further sketches in the bigger picture — the dollar is near-worthless, the F.B.I. is gone — but for the most part, he focuses on his travelers and the engulfing violence, the smoke and the tracer fire that they often don’t notice until they do.

Despite some much-needed lulls (for you, for the narrative rhythm), “Civil War” is unremittingly brutal or at least it feels that way. Many contemporary thrillers are far more overtly gruesome than this one, partly because violence is one way unimaginative directors can put a distinctive spin on otherwise interchangeable material: Cue the artful fountains of arterial spray. Part of what makes the carnage here feel incessant and palpably realistic is that Garland, whose visual approach is generally unfussy, doesn’t embellish the violence, turning it into an ornament of his virtuosity. Instead, the violence is direct, at times shockingly casual and unsettling, so much so that its unpleasantness almost comes as a surprise.

If the violence feels more intense than in a typical genre shoot ’em up, it’s also because, I think, with “Civil War,” Garland has made the movie that’s long been workshopped in American political discourse and in mass culture, and which entered wider circulation on Jan. 6. The raw power of Garland’s vision unquestionably owes much to the vivid scenes that beamed across the world that day when rioters, some wearing T-shirts emblazoned with “ MAGA civil war ,” swarmed the Capitol. Even so, watching this movie, I also flashed on other times in which Americans have relitigated the Civil War directly and not, on the screen and in the streets.

Movies have played a role in that relitigation for more than a century, at times grotesquely. Two of the most famous films in history — D.W. Griffith’s 1915 racist epic “The Birth of a Nation” (which became a Ku Klux Klan recruitment tool) and the romantic 1939 melodrama “Gone With the Wind” — are monuments to white supremacy and the myth of the Southern Lost Cause. Both were critical and popular hits. In the decades since, filmmakers have returned to the Civil War era to tell other stories in films like “Glory,” “Lincoln” and “Django Unchained” that in addressing the American past inevitably engage with its present.

There are no lofty or reassuring speeches in “Civil War,” and the movie doesn’t speak to the better angels of our nature the way so many films try to. Hollywood’s longstanding, deeply American imperative for happy endings maintains an iron grip on movies, even in ostensibly independent productions. There’s no such possibility for that in “Civil War.” The very premise of Garland’s movie means that — no matter what happens when or if Lee and the rest reach Washington — a happy ending is impossible, which makes this very tough going. Rarely have I seen a movie that made me so acutely uncomfortable or watched an actor’s face that, like Dunst’s, expressed a nation’s soul-sickness so vividly that it felt like an X-ray.

Civil War Rated R for war violence and mass death. Running time: 1 hour 49 minutes. In theaters.

An earlier version of this review misidentified an organization in the Civil War in the movie. It is the Western Forces, not the Western Front.

How we handle corrections

Manohla Dargis is the chief film critic for The Times. More about Manohla Dargis

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Civil war's real meaning explained: what point the movie is trying to make.

While Civil War doesn't go deep into specific reasons and motivations for the conflict in a fictionalized America, there are still some key points.

WARNING: MAJOR SPOILERS ahead for Civil War.

Civil War's central message remains ambiguous, focusing on guerrilla journalists and a sense of victory against a fascist government.
The film lacks a clear thesis on how the US reached its extreme internal conflict, instead prioritizing survival tactics over political ideology.
Journalists in Civil War must navigate moral complexities, becoming emotionally detached to capture the harsh realities of war.

A24's new action blockbuster Civil War has a somewhat ambiguous central message. The Alex Garland ( Ex Machina , 28 Days Later ) film explores a fictional near-future scenario in which the United States has been divided into several factions that fight against a totalitarian government led by a fascist president. While the specific cause of Civil War's conflict is left intentionally unclear by Garland, who also wrote the screenplay for the film, the ending of Civil War arrives with a sense of victory for its guerrilla journalist protagonists. Civil War's impressive box office performance has already made it one of the highest-grossing movies of 2024.

Civil War's cast is led by Kirsten Dunst ( The Power of the Dog ), Wagner Moura ( Narcos ), and Cailee Spaeny ( Priscilla ). The film also features brief performances by Nick Offerman as a rogue and unchecked American president and Jesse Plemons as an opportunistic and corrupt American soldier. What is arguably missing from Garland's Civil War is a clear thesis of how the United States realistically got to this extreme point of internal conflict. The film is not concerned with the plausible details and political considerations that exist in the modern United States . Instead, Civil War skims over these foundational details to focus on the front-and-center realities of war in general, regardless of any particular motivations.

Civil War's Sniper Shootout Explains The Movie's Central Point

Civil war doesn't get into much political philosophy.

The point of the scene, and the movie at large, is that the conflict throughout Civil War is about who is shooting at you, not necessarily what side you are fighting for.

There are several powerful and intense scenes in Civil War that allude to the film's main concept, but none of them are more spot on than the scene between two snipers. Moura, Dunst, Spaeny, and Stephen McKinley Henderson's characters are trying to pass through a rural road on their way to Washington D.C. when they realize that somebody with a sniper rifle is shooting at them. They are able to get out of their vehicle and rush for cover, where they encounter two other militant men, one with a sniper rifle and the other one spotting him. Naturally, Spaeny's naively curious Jessie character asks them who they are shooting at and discovers that they have no idea who the other sniper is.

The point of the scene, and the movie at large, is that the conflict throughout Civil War is about who is shooting at you, not necessarily what side you are fighting for. Typically, wars are fought under separate flags and are fueled by nationalist ideals, but Civil War doesn't get into much political philosophy to explain its conflict, which creates more of a survivalist free-for-all mentality in some of the war-torn areas . While the bigger picture revolves around the Western Forces and the Florida Alliance rebelling against the federal government and the unchecked U.S. President, much of the conflict is just about survival and not about any political ideals.

What Caused The Civil War In A24's New 2024 Movie?

The president's death scene explains civil war's political meaning, the western forces and florida alliance aim to end fascist rule in the u.s..

Joel, like the rest of the journalists, is only invested in documenting the moments that can be sold and sensationalized through the press.

Most of Civil War is told through the eyes of the journalists, who are conditioned not to be biased about the war and to only capture tragic the realities of it. As documentarians, their job is to stay out of the conflict as much as possible so that they can capture and record real moments of the war that would otherwise go unseen. While this is the main idea of their profession, it becomes more clear throughout the film that the journalists lean more on the side of the Western Forces and the Florida Alliance , particularly because they are offered access and protection in the warzone areas from those parties.

On the other side, American soldiers under the command of Offerman's President have been instructed to kill journalists on sight, which essentially says without saying that the journalists are quietly rooting against the rise of fascism in the United States. When Offerman's President is killed at the end of Civil War , Moura's character asks for a quote moments before the fascist ruler is shot to death. The President begs, " Don't let them kill me, " and Moura's Joel says, " That'll do. " Joel, like the rest of the journalists, is only invested in documenting the moments that can be sold and sensationalized through the press, although if he were asked to choose, he would likely be part of the resistance.

All 4 Alex Garland Movies Ranked From Worst To Best (Including Civil War)

Jessie photographing war explains civil war's view of journalism, jesse's innocence is completely ruined by her profession.

Jessie learns throughout Civil War that in order to do her job well, she must be emotionless and essentially have no opinion on the events that are happening around her. She exercises this by photographing one of the soldiers dying as well as shooting Dunst's Lee character after she was shot and killed at the end of Civil War . Jesse's innocence is completely ruined at that moment. Her tragic maturation process is solidified when she takes the final shot of Joel and a few of the Western Forces soldiers standing over the dead president in what would theoretically be the most important photo in American history. Jesse would then become a celebrity photographer like Lee for playing a major role in shaping history through her work.

Civil War is a 2024 action thriller from writer and director Alex Garland. Starring Kirsten Dunst, Wagner Moura, and Stephen McKinley Henderson, Civil War takes place in the near future and shows the United States entering a new Civil War after California and Texas attempt to separate from the country.

Movie Reviews

Tv/streaming, collections, great movies, chaz's journal, contributors, love in the last year of teenage innocence.

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There are moments in adolescence when your feelings about romance turn on a dime. Maybe it's hormonal. The girl you thought was a pest becomes the object of your dreams. The boy you've had a crush on for years begins to seem like a jerk. The timing is off. Sometimes you can look back half a lifetime and see how things might have happened differently if you hadn't been so stupid. Rob Reiner's "Flipped" does the looking.

Here is a lovely movie about a girl who has adored a boy ever since he moved into the neighborhood in the second grade. She even likes his smell, and it is true we cannot love someone who isn't aromatic to our hearts. All through grade school and into high school, she pursues him; they're like the runners in Keats' “Ode on a Grecian Urn” who pursue each other for eternity without ever drawing closer. In Reiner's film, they flip and start running in the other direction.

Madeline Carroll plays Juli Baker, who was determined to get Bryce Loski ( Callan McAuliffe ) to like her when they were kids, but in eighth grade has turned her attention to more urgent matters, like sparing the life of the beautiful sycamore tree in her front yard. It is threatened with being chopped down by the forces of evil, and she climbs it and won't come down. That shows some character, muses Bryce's grandfather Chet ( John Mahoney ). If he were Bryce, he'd notice a girl like that. Bryce begins to catch on.

There are difficulties and the possibility of heartbreak. There always are in high school. You wear your sleeve on your heart. There are parents. Not everybody has parents like " Juno " did. If Juno had ordinary parents, her story would be a grim morality play. But "Flipped" doesn't haul in standard parents of teenagers. Reiner wisely casts gifted actors ( Aidan Quinn and Penelope Ann Miller as the Bakers, and Anthony Edwards and Rebecca De Mornay as the Loskis). He knows that Mahoney can save a wise grandfather from cornball with sheer brute force of niceness.

There's a screenplay device by Reiner and Andrew Scheinman , based on the novel by Wendelin Van Draanan , that could be arduous but works here because it has been thought through. The key events in the film are seen from both points of view: Bryce's and Juli's. Teenagers often lose the beat emotionally, and these two need John Philip Sousa. There isn't trickery: The scenes happen as they seem to, and not in alternate universes. But they seem so different, depending on who is seeing them.

There's one of those events so beloved by teenage girls in which they can exact excruciating embarrassment on boys while seeming to be blithely unaware. The boys are auctioned off to the girls as lunch room partners to raise money for charity. Yeah, that's what a guy wants, to stand onstage while the most patronizing teacher in the school handles the bidding. Of course, it all goes tragically wrong for Juli and Bryce, but for what seems like different reasons.

Reiner sets most of the movie in 1963 (his classic "Stand by Me," is set a few years earlier, in 1959), and I don't think it's just for nostalgia. In a way, that's the last year of American teenage innocence, before the '60s took hold. Madeline Carroll and Callan McAuliffe, who both look teeth-achingly vulnerable, are sincere and pure and wholesome, and are characters we believe can be hurt. Some of today's teenagers are more wounded and cynical than their parents ever were. And for some of them sex is not an undiscovered country.

Maybe what makes "Flipped" such a warm entertainment is how it re-creates a life we wish we'd had when we were 14. That's true for adults, and also I suspect true for some 14-year-olds. In a way the audience flips, too.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Film credits.

Flipped (2010)

Rated PG-13 for language and thematic material

Madeline Carroll as Juli

Rebecca as Mrs. Loski

Callan McAuliffe as Bryce

Aidan Quinn as Mr. Baker

John Mahoney as Grandpa Chet

Anthony Edwards as Mr. Loski

Penelope as Mrs. Baker

Kevin Weisman as Daniel

Based on the novel by

Wendelin Van Draanan
Andrew Scheinman

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However, the line between screenwriting and book-writing is not always so well-defined. Cinematic perspective, or cinematic point of view, as its name suggests, is a narrative point of view meant to simulate the experience of watching a movie. Think of it like this: your book is a camera and boom mic trained on your characters, reporting ...
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Point of view (POV) is a crucial element in film writing that can greatly affect how the audience experiences and understands a story. It refers to the perspective from which the story is being told and can range from first-person to third-person, omniscient to limited, and even subjective to objective. POV is a powerful tool that filmmakers ...
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Drama. Civil War is a 2024 action thriller from writer and director Alex Garland. Starring Kirsten Dunst, Wagner Moura, and Stephen McKinley Henderson, Civil War takes place in the near future and shows the United States entering a new Civil War after California and Texas attempt to separate from the country. Director. Alex Garland. Release Date.
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