The Four POVs in Writing

The angle you tell your story from will greatly influence its tone and the overall reading experience. For this reason, it’s important to choose the most suitable point of view for your narrative. The following guide — including pros, cons, tips, and examples — will help you determine which one to use.

You’re probably going to focus more on your main protagonist’s perspective no matter which of the four POVs you choose to tell your story from. Still, there is more than one way to do this:

FIRST PERSON: THE “I” POV

In first person point of view, the story is told to the reader by a character — or multiple characters — who relays not only the events, but also their thoughts and emotions, each step of the way. 

Using this point of view, it is important for your storytelling character to have their own voice, perspectives, and opinions; they are not a blank-slate narrator, but an individual with a personality. 

In other words, the story is told subjectively; through the POV character’s lenses.

PROS:

• The reader can develop a deep bond with the protagonist(s). This bond makes them more likely to finish the novel: they care about the hero and their outcome. 
• You have the opportunity to explore the protagonist’s personality and inner world deeply. 
• Great for emotionally driven plots and introspective protagonists. 

CONS: 

• Because the story is being told through the eyes of one character (unless you choose to have multiple POV characters), you are limited to only telling their side of things. 
• As partial characters have their own beliefs and perspectives, there may be flaws in their storytelling, such as contradictions, biases, and coming to the wrong conclusions about someone or something. 

The degree to which this occurs is up to you, the writer: do you want your narrator to be reliable, moderately reliable, or unreliable? 

There are several types of unreliable narrators, such as:

• The Outsider: The narrator who stands apart from the crowd for their differences, or who is experiencing a new world/area for the first time.
• The Naïve: The narrator who has little to no experience. 
• The Prejudiced: The narrator who has unfair biases and who makes unfair judgements as a result. 
• The Liar: The narrator who misleads the reader on purpose.
• The Unhinged: The narrator who has delusions, hallucinations, irrational thoughts, exaggerated emotions, or paranoia.
• The Picaro: The narrator who adds an artistic flair to the story by exaggerating events and emotions to make them more interesting. 

Furthermore, do you want your reader to be aware of the narrator’s unreliability, and to what degree? Will they have to deduce it for themselves, or will it be obvious? The reader may not even be conscious of their (false) preconceptions until the end, as readers tend to trust the narrator until proven untrustworthy.

TIPS: 

• Make sure the is narrator likable, with a good balance of positive and negative traits.
• Give the narrator a personality; don’t make them boring. 
• Determine their voice and keep it consistent.
• Don’t forget that the storytelling could have flaws— if you choose to use an unreliable narrator — and you can use that to your novel’s benefit.
• Your narrator’s biases— if any — should “fit” with their upbringing and personality. 
• Include the narrator’s growth — especially if they are the protagonist — by slightly altering their attitude and inner monologues from beginning to end, while still maintaining their unique voice.

EXAMPLE:

In The Great Gatsby by F. Scott Fitzgerald, Nick Carraway — an observant, passive character — tells the story of Gatsby from his own perspective. 

The reader can pick up on Nick’s contradictions in his storytelling, sometimes plainly, and sometimes more subtly. 

Most notably, he attempts to portray himself as an impartial individual, but his judgments are webbed into the narration and ultimately give away the truth that he, too, can be critical. 

Nick introduces himself in the very beginning of the novel by outright saying he isn’t a judgmental person:

“In my younger and more vulnerable years my father gave me some advice
that I’ve been turning over in my mind ever since.

‘Whenever you feel like criticizing any one,’ he told me, ‘just
remember that all the people in this world haven’t had the advantages
that you’ve had.’”

[…] “In consequence I’m inclined to reserve all judgments” […]
 — The Great Gatsby, Chapter 1

Nick then proceeds to judge others throughout the duration of the novel. This does not mean that his accusations are completely untrue or unjustified, but they are judgments nonetheless:

“She [Jordan Baker] was incurably dishonest.
She wasn’t able to endure being at a disadvantage, and given this unwillingness I suppose she had begun dealing in subterfuges when she was very young in order to keep that cool, insolent smile turned to the world and yet satisfy the demands of her hard jaunty body. 
It made no difference to me. Dishonesty in a woman is a thing you never blame deeply.”
 — The Great Gatsby, Chapter 3

This judgment in particular stands out because Jordan later points out Nick’s own dishonesty (chapter 9). This quote also exposes sexism, which is a prejudice Nick might have. 

You can often expect some judgement and a degree of unreliability from a first-person narrator; for them to inject their own perceptions into the story, and F. Scott Fitzgerald took it to the next level in The Great Gatsby. 

MORE EXAMPLES:

• The Twilight Saga by Stephanie Meyer 
• The Perks of Being a Wallflower by Stephen Chbosky
• Jane Eyre by Charlotte Brontë
• The Fault in Our Stars by John Greene
• Room by Emma Donoghue
  

SECOND PERSON: THE “YOU” POV

Second person narration is harder to come across in fiction writing, and more frequently used in poetry and nonfiction genres. 

Although challenging, it can be achieved. Here are a few ways it can be done:

• The reader has an active role in guiding the plot and determining the outcome, like in the Choose Your Own Adventure series by writers R. A. Montgomery, Joe Stretch, and Edward Packard. When writing this type of novel, you’ll have to write multiple plot paths and multiple endings. 
• The protagonist is recording their story in a diary or through letters. Journals are similar to blogs, which tend to use second person POV to connect with their readers.
  Example: “You would think that John would have asked me out by now. But no, he’s more interested in Susie, apparently. Sucks for me, doesn’t it?”
• A character or a narrator can acknowledge the reader being there, having one-way conversations with the reader, or simply making note of their presence. This can be done on rare occasions, like in playscript soliloquies and during the intro/outro, or throughout the duration of the novel: the narrator writing the story for “you.”

PROS:

• The reader feels included in the story, making for a unique reading experience.

CONS:

• It’s difficult to achieve this point of view in fiction writing without making it seem forced or awkward. 

TIPS:

• Avoid overusing “you, your” pronouns. 
  You can include the reader more indirectly by saying things like “Just smell these eclairs!” where the invisible “you” before “just” is the implied subject of the sentence. 
• Writing in the present tense can make this POV more natural and urgent.

EXAMPLE:

In The Hobbit, J.R.R. Tolkien predominantly wrote in the third person omniscient point of view, but had no problem sparingly drawing attention to himself (in first person) and the reader (in second person) as the teller and observer of the story, especially in the introduction:

“I suppose hobbits need some description nowadays, since they have become rare and shy of the Big People, as they call us. They are (or were) a little people, about half our height, and smaller than the bearded Dwarves. Hobbits have no beards. There is little or no magic about them, except the ordinary everyday sort which helps them to disappear quietly and quickly when large stupid folk like you and me come blundering along, making a noise like elephants which they can hear a mile off. […] Now you know enough to go on with. As I was saying, […]”
 — The Hobbit, Chapter 1

“[…] Bilbo Baggins was standing at his door after breakfast smoking an enormous long wooden pipe that reached nearly down to his woolly toes (neatly brushed)-Gandalf came by. Gandalf! If you had heard only a quarter of what I have heard about him, and I have only heard very little of all there is to hear, you would be prepared for any sort of remarkable tale.”
 — The Hobbit, Chapter 1

Although Middle Earth is imaginary, Tolkien’s inclusion of both himself and the reader makes the world feel more real. It also feels like Tolkien is telling you the story personally, as though it were a bedtime tale.

MORE EXAMPLES:

• You by Nuala Ní Chonchúir
• Romeo and/or Juliet: A Chooseable-Path Adventure by Ryan North
• You by Charles Benoit 
• The Sound of My Voice by Ron Butlin

THIRD PERSON (LIMITED): THE “HE, SHE, THEY” POV

In the third person format of writing, the narrator is not the protagonist, nor any other character in the story. They are, instead, telling the story from an outside perspective, and this can be done in two main ways: limited and omniscient (or a mix of both).

Third person objective is when the narrator only describes the events that take place; not the thoughts or emotions the protagonist or characters are experiencing. However, it is more common for third person narrators to relay the thoughts and emotions of the character(s) they are following. 

Third person limited is when the narrator narrates one character’s experiences (at a time, if writing from multiple POVs) as if they are telling the story on their behalf, but without them knowing; the character has “someone” watching their every move, emotion, and thought. 

PROS:

• Great for plot-driven stories.
• Great for mystery books: having access to only one character means that everyone else — whose thoughts and actions you cannot see — is a potential suspect. The reader will see all the pieces of the mystery come together as the protagonist does, usually making some blunders along the way.
• The reader can develop a bond with the protagonist; not as easily as in first person, and not as arduously as in third-person omniscient. 
• A more impartial narrator is telling the story, making them less biased than the narrator using first person point of view. That is to say, the narrator themselves is not blinded by their own beliefs and emotions. 

CONS: 

• The narrator is still limited to telling the story of one character. 
• There can still be biases in this POV, as the protagonist’s false beliefs and wrong conclusions are still reported on as they exist and occur.

TIPS:

• Only describe the events and conversations that your POV character witnesses themselves. 
• If your protagonist has a “feeling” or a “hunch” about something or someone, make it evident that it’s a guess and not a fact. Just like we cannot see the thoughts and intentions behind another’s actions or words, neither can they. 
• Limit your protagonist’s knowledge to build suspense (make them an unreliable character). 
• Avoid jumping from head to head. 

EXAMPLE:

In the A Song of Ice and Fire series, also known as Game of Thrones, George R. R. Martin uses the third person limited narration style for many characters across Westeros and Essos. Each chapter’s title is the name of the character whose account is being narrated at the time. 

Chapter Five: Jon
“There were times — not many, but a few — when Jon Snow was glad he was a bastard. As he filled his wine cup once more from a passing flagon, it struck him that this might be one of them.

He settled back in his place on the bench among the younger squires and drank. The sweet, fruity taste of summerwine filled his mouth and brought a smile to his lips.”

— A Game of Thrones

Chapter Seven: Arya
“Arya’s stitches were crooked again.
She frowned down at them with dismay and glanced over to where her sister Sansa sat among the other girls. Sansa’s needlework was exquisite. Everyone said so. ‘Sansa’s work is as pretty as she is,’ Septa Mordane told their lady mother once. ‘She has such fine, delicate hands.’ When Lady Catelyn had asked about Arya, the septa had sniffed. ‘Arya has the hands of a blacksmith.’”
— A Game of Thrones

In such a vast world and with so many subplots, having multiple POV characters is ideal.

EXAMPLE 2:

In Harry Potter by J.K. Rowling, the narrator tells Harry’s story from a third-person limited perspective. As Harry has a hero complex, he drives the plot forward, often finding himself in dangerous situations and trying to uncover mysteries that dumbfound even the greatest witches and wizards. 

While solving these puzzles, he arrives at the wrong conclusion more than once, due to his own biases (such as his general dislike for Severus Snape and Draco Malfoy), and a lack of crucial information.

In the first book of the series, Harry was shocked to discover the villain was not Professor Snape, his mean potions teacher, but Professor Quirrell: 

“It was Quirrell. 
‘You!’ gasped Harry. 
Quirrell smiled. His face wasn’t twitching at all. ‘Me,’ he said calmly. ‘I wondered whether I’d be meeting you here, Potter.’ 
‘But I thought — Snape — ’
‘Severus?’ Quirrell laughed, and it wasn’t his usual quivering treble, either, but cold and sharp. ‘Yes, Severus does seem the type, doesn’t he? So useful to have him swooping around like an overgrown bat. Next to him, who would suspect p-p-poor, st-stuttering P-Professor Quirrell?’
Harry couldn’t take it in. This couldn’t be true, it couldn’t.”
 — Harry Potter and the Philosopher’s Stone, Chapter 17

As readers are given the same limited information as Harry, it’s easy for them to also believe that Severus Snape is the culprit. After all, that’s what all the evidence seems to suggest. Because Harry never suspects Quirrell himself, the readers have no reason to.

Instead of revealing the true nature of Professor Quirrell as early on as their first encounter in The Leaky Cauldron, the narrator remained in Harry’s mind alone, allowing the mystery to remain concealed until the end. 

MORE EXAMPLES:

• 1984 by George Orwell
• Harry Potter (series) by J.K. Rowling
• The Quest by Nelson DeMille
• The Giver by Lois Lowery

THIRD PERSON (OMNISCIENT): THE ALL-KNOWING “HE, SHE, THEY” POV

This narrator is not restricted to follow the story of only one character at a time, rather, they know what every character is thinking, feeling, and doing, simultaneously.

PROS:

• You are not limited to one character, or a select handful of characters. Rather, you can explore each of their lives, thoughts, and emotions, whenever you best see fit.
• In general, a third-person omniscient narrator tends to be more reliable than a third-person limited one. 
• The narrator — you — can point out anything about the characters, even if no one else in the story is aware of it. (In other words, you are not limited by a character’s intellect.)

CONS:

• It is harder for the reader to connect with the protagonist when there is less focus on them. (You can still achieve this bond to a degree by focusing more on the protagonist(s) than secondary characters.)
• Too many characters, actions, thoughts, and emotions at once can be confusing. 

TIPS:

• Even though the narrator has complete access to every character, it’s still ideal to limit the information given to the reader in some way — how else will you keep them on the edge of their seats?
• Don’t jump from head to head on a whim; it’s very hard to keep track of. Rather, focus on one character’s thoughts at a time — especially during a conversation — when they are more crucial to the overall story. It is up to you, the writer, to elect what is most important in a given moment.

EXAMPLE:

Louisa May Alcott used the third person omniscient point of view in her novel Little Women:

“‘Christmas won’t be Christmas without any presents,’ grumbled Jo, lying on the rug.
‘It’s so dreadful to be poor!’ sighed Meg, looking down at her old dress.
‘I don’t think it’s fair for some girls to have plenty of pretty things, and other girls nothing at all,’ added little Amy, with an injured sniff.
‘We’ve got Father and Mother, and each other,’ said Beth contentedly from her corner.
The four young faces on which the firelight shone brightened at the cheerful words, but darkened again as Jo said sadly, ‘We haven’t got Father, and shall not have him for a long time.’ She didn’t say ‘perhaps never,’ but each silently added it, thinking of Father far away, where the fighting was.”
 — Little Women, Chapter 1

Alcott pays more attention to the character Jo—the protagonist—but, as you can see, the story is not limited to her perspective or thoughts.

MORE EXAMPLES:

• The Picture of Dorian Gray by Oscar Wilde
• Into the Wild by John Krakauer
• Lord of the Flies by William Golding
• Peter Pan by J.M. Barrie

If you’re still unsure of what point of view you want to use, don’t worry! 

Write a page or two of a scene in your novel from every POV you’re considering, to determine which perspective feels more natural and better tells the story you want to be told, asking along the way: 

• How many perspectives do I want included, and would it serve my story?
• Do I want a more objective or subjective narrator?
• Would flawed storytelling add to, or take away from, my novel?
• How limited do I want your narration to be, or how limited does it need to be to build suspense?
• What type of experience do I want the readers to have?
• Do I want the reader to connect deeply with the narrator/protagonist?