Choosing Your Story's POV

As we all know, point of view (POV) is the lens through which a narrative story is told. It determines not only whose eyes we see the narrative through but also how much information is revealed to the reader. It is a crucial element in storytelling because it shapes the reader’s experience and influences their emotional connection to the characters as well as unfolding events.

The choice of POV can deeply impact the tone, mood, and intimacy of a story—whether it’s the immediacy of a first-person narrative, the broad scope of an omniscient third person, or the close focus of third person limited. A well-chosen POV not only brings the story to life but also guides the reader’s understanding and engagement with the themes and conflicts at its core.

Now that I’ve finished my latest novel Deafening Silence (you know, the one about a soldier with PTSD), all thought has turned to my new project – a crime/thriller called Heaven’s Own.

As always, choosing the right narrative perspective will be crucial to Heaven’s Own’s success, so I need to think carefully about the approach I’m going to take. If I choose poorly and choose the wrong POV character, I could ruin the whole story.

SO, WHAT ARE MY POV CHOICES?

So, what are my POV choices? Well, there’s first-person POV. This is, of course, when the story is narrated by a character within the story, typically the protagonist, using pronouns like "I" and "we." This POV allows readers to experience the character's thoughts, feelings, and perspectives directly, creating a sense of intimacy and immediacy. However, it’s limited to the knowledge and experiences of that character, which can add depth to the narrative by revealing their personal biases and emotions.

There’s also second person POV. Second-person point of view directly addresses the reader as "you," placing them in the shoes of the protagonist or another character. This POV is less common in fiction but can be highly engaging and immersive, making the reader feel as if they are an active participant in the story. It’s often used in interactive fiction, choose-your-own-adventure stories, and sometimes in experimental or reflective writing.

Then there’s the traditional and familiar third person POV. In third-person limited point of view, the narrator tells the story using pronouns like "he," "she," and "they," but the narrative is limited to the thoughts, feelings, and knowledge of a single character. This POV allows for a close connection to one character while still maintaining some narrative distance. It’s effective for focusing on a particular character’s journey while providing a broader perspective on the world around them.

And finally, there’s third person omniscient POV. This point of view features an all-knowing narrator who has access to the thoughts, feelings, and experiences of all characters in the story. It allows for a comprehensive view of the narrative, providing insight into multiple characters and plotlines. The omniscient narrator can shift focus between characters and events, offering a wide-ranging perspective that can enhance the complexity and depth of the story.

MY LOVE OF FIRST PERSON

I have to confess that I have a thing for writing in first person. I love writing in this point of view because it brings readers in close to the main character. Before I began work proper on my first novel (This is Not a Lie), I did a few writing tests to see which POV felt more natural and that I believed worked best for the story that I wanted to tell. When I looked at the same chapter in the two different perspectives, there was no question that first person was the right choice. The text felt so much more immediate, personal, and intense. It was exactly what I wanted for the narrative.

Unfortunately, some readers complained that they didn’t like it when I shifted characters using this perspective. They argued that shifting characters in first person POV simply didn’t work. And that’s okay, they have every right to disagree with my choices. Once the story has been released, it’s no longer my story and my story alone. Readers help to bring it alive by investing their time and energy into reading it, so they certainly have every right to voice their likes and dislikes.

THIRD PERSON LIMITED

I kept that criticism in mind when I wrote my second novel (Deafening Silence). Once again, I wanted to be able to switch POV between characters. Bearing in mind readers’ dislike of doing so in first person, I went with limited third person. Creating the same level of intimacy and intensity when writing in limited third person is challenging. Writing internal thoughts and monologues in this POV is challenging. It’s very easy to get it wrong or to turn extended thoughts and feelings into unnecessary exposition.

However, the close third person narrative did allow me the freedom I needed to step away from the main character every now and then in order to sojourn with a different character, and to incorporate some other creative writing elements that are fundamental to the novel’s zeitgeist.

Now, back to the problem at hand…

IT'S HAND-WRINGING TIME

As I contemplate my new novel, I find myself, once again, staring down the barrel of choice regarding point of view.

As I said, it’s a crime/drama. That means there are umpteen different ways I can tell the story, there are umpteen different possible points of view. For example, I could tell it from the victim’s point of view, the detective’s point of view, the criminal’s point of view, a reporter’s point of view, or from a lawyer’s point of view. There are others, of course, but you get the point.

Ultimately, the primary point of view will come down to which character is the best choice to tell the story.

The three possibilities that make the most sense to me are: the victim’s POV, the villain’s POV, and the detective’s POV.

Who has the most at stake? Well, that’s easy, the victim. But that doesn’t mean that the victim’s POV is necessarily the best POV for the story. For the story that I have in mind, the victim’s POV would be too limited. So, that leaves the villain’s POV or the detective’s POV.

The question then becomes, which one of these points of view is:

1. the most compelling?

2. aligns with the story’s overarching theme?

Now that I look at it this way, the answer seems obvious – the detective.

The victim is the one who has the most at stake. However, the detective is the one who will make the story of the victim’s rescue the most compelling.

So, the detective’s POV will be the main POV.

Now, should I tell his story using first person perspective or third person perspective? Either one would work to make the story compelling.

One benefit of using first-person perspective is that it would make the story very personal. However, this perspective would limit my ability to swap perspective between characters (as it did in This is Not a Lie).

That leaves me with limited third person perspective. This is not a bad thing; third person limited is a very versatile perspective. However, as I said, it can be challenging to write this perspective well.

HAVE I GOT IT RIGHT?

No matter what, I’ll be writing some test chapters to make sure I’ve got it right. After all, this will be my all-important third novel. I definitely want to get this one right.

But what do you think? Do you think third person limited is the best approach for my new crime/thriller novel? I’d love to hear your thoughts. I’d also love to hear about the challenges – or not – that you have had in choosing the right perspective and point of view for your narratives.

Drop me a line and let me know how you tackled POV in your most recent work.

• POV

• Point of view

• Choosing the right POV