There are many different types of writing perspectives. It’s important to be aware of the differences in order to write effectively and understand your audience.
Point of view is a literary technique that narrates the story through the eyes of one character. There are four types of point of view: first person, third person limited, third person omniscient and objective. Read more in detail here: what are the 4 types of point of view.
In literature, there are three primary viewpoints (or points of view). Both fiction and nonfiction make use of them. Developing abilities in writing from many viewpoints will help you become more adaptive, since multiple views can be beneficial in specific situations.
The writer’s distance from a viewpoint may be used to rank perspectives. Third-person reports a more neutral viewpoint, with or without insights into thoughts and feelings. First-person reports the writer’s point of view (me), second-person reports the reader’s point of view (you), and third-person reports a more neutral viewpoint, with or without insights into thoughts and feelings.
First-person narrative
First-person narrative perspective uses the pronouns I / me / mine (singular) and we / our / ours (plural). In fiction this is presented in a character’s voice; in non-fiction it represents the writer personally:
- As the ship approached the harbor, I was concerned that Anne was not on board.
- We created a prototype for a new sort of bicycle that we want to put to the test on the market.
First-person narrative is often removed from academic and business writing, though ideas and events may be described from a personal perspective. Such writing is made neutral by writing in the passive voice:
- A prototype for a new kind of bicycle was created with the goal of putting it on the market for testing.
Second Individual
Second Individual perspective uses the pronouns you / your / yours (singular and plural). Information is either given directly, such as in instructions or via narratives that place the reader in a situation:
- The keys are hidden behind the carpet.
- You’re standing at the cave’s mouth, facing a choice. Will you enter the beast’s lair or return home for tea?
Person three
Person three perspective uses nouns and Person three pronouns, he / she / it (singular) and they (plural), to describe events. It can vary in how subjective or distanced it is. The three main stances Person three perspective takes are: Person three objective, Person three limited, and Person three omniscient (there are other ways to describe Person three narratives, but these are a good starting point).
Person three objective is a neutral description of events – providing no insight into internal feelings. This is commonly used in non-fiction; for example, reports and academic texts:
- The kitten was rescued, and the veterinarians celebrated by popping open a bottle of champagne. (no mention of interior emotions or ideas)
Person three limited limits the text to information only available to one subject. This is common in fiction, keeping the reader’s perspective close to a character’s without actually telling a story in their own voice:
- Martin knocked; he could hear someone laughing from a distance. It was disturbing. (Unsettling in this case refers to Martin’s own sentiments about the issue.)
Person three limited is less common in non-fiction, but may be used when reporting a situation where a restricted viewpoint was important, such as in an incident report detailing a particular perspective.
Person three omniscient describes events with an unlimited perspective, potentially offering full knowledge of a character’s feelings, an in-depth topic, or a complex situation. This could take the form, for example, of a comprehensive non-fiction report, or of a narrative that describes information the characters do not all have access to themselves:
- The ringleader fled on a scooter after two suspects were apprehended near the carnival tent. (at the same time, two occurrences are mentioned)
- Martin waited for his wife to answer the door, oblivious to the fact that she was in the garden. (Martin’s actions are explained in terms of what he is unaware of.)
- Martin stood at the door, wondering whether his wife was home. Betty kept herself occupied in the garden, hoping Martin would go. (in one story, two separate character views are portrayed)
Perspectives on Nonfiction
Typically, non-fiction is written in either the personal First-person narrative or the more official Person three. You may be expected to use a certain perspective by your publication or audience. This may be decided for you by a company or publication style guide. Usually, a company or publisher (depending on its size) will make efforts to frame all its content in the same perspective, as part of an established image. If you have a choice, however, the following points should help you decide.
In the case of writing correspondence, such as emails and letters, it is natural to write in the First-person narrative. You are typically representing yourself, and it would be strange to present yourself otherwise. If you wish to write an email on behalf of your company, however, you need to consider whether the email is in the First-person narrative (plural) or Person three:
- The release of our flying automobile has been announced.
- The release of SkyAuto’s flying automobile has been announced.
Here, First-person narrative sounds informal while Person three sounds official. Both have their uses. The First-person narrative can build rapport and a relationship, which is good for engaging readers and encouraging action, while the Person three creates distance, which is good for reporting news with a greater sense of importance.
The First-person narrative is useful when putting on a friendly, human face while the Person three can create a sense of a wider picture. The Person three is also useful when you expect your writing to be reproduced. This is important when sending press releases, so publications can use your message without editing it.
In reports, articles, books and other work of longer, descriptive non-fiction, the Person three objective or omniscient is typical when the topic being discussed is more important than the writer’s viewpoint. Removing the writer’s viewpoint stops the writer from becoming a distraction. This can make your writing more neutral, to help it appear objective and reliable. Consider how much more authority the second example has here:
- I put the prediction model to the test in three different contexts and got the same results.
- Three different scenarios were used to test the prediction model, with the same findings.
The use of the passive voice is linked to this choice of viewpoint.
When the purpose is to provoke an action in marketing and associated writing, the choice of viewpoint may be more imaginative. Using an unusual style might help a brand stand out or interact with a certain issue.
For example, a large company might adopt the First-person narrative perspective to appear more friendly, or to take responsibility when breaking bad news.
Marketing and related writing is where you will commonly see the Second Individual perspective (you) in writing. Writing in the Second Individual engages the reader. Using a Second Individual subject appeals to self-interest. Consider the different impact of these examples:
- This is a fantastic product, in my opinion.
- You’ll think this is a fantastic item.
This has a personal, motivating effect on individuals. It may be used inspirationally to encourage sales or other activities (You have to purchase this automobile! ), as well as inside instructional materials to illustrate possibilities and let the reader interact directly.
Perspectives on Fiction
In fiction and creative writing, the choice of viewpoints is far more free and subjective than in nonfiction. It depends on the nature of your story and the reaction you want from your audience. These questions may aid in determining which viewpoint is best:
- Do you wish to write about your character’s deepest emotions and thoughts?
- Do you want to learn more about a certain point of view?
- Will you be able to keep a certain tone of voice (and will it be a pleasant reading experience)?
- Can you successfully communicate your tale using the knowledge that a certain viewpoint provides?
From there, you can consider each perspective in more detail to decide which is most appropriate. Note that Second Individual and Person three objective narratives are rare in creative writing, as addressing your reader directly or discussing neutral topics are less useful when you wish to engage them in a story.
First-person narrative
First-person narrative perspective is the best choice for an intimate telling of a story, in a specific tone of voice. It limits the viewpoint for the purposes of information and tension, and makes it easier to explore your character’s feelings. If you choose to write in the First-person narrative, these tips can help:
- Use only vocabulary that the narrator would use to maintain a constant and authentic tone of voice.
- Never reveal information that the narrator isn’t aware of, such as descriptions and explanations of topics your character doesn’t understand, even if it’s something as basic as a bird’s name.
- Consider how much information is provided. Depending on the circumstance and how it affects them personally, a narrator may provide more or less detail.
- Consider the pace of your writing. A First-person narrative narrator is present throughout a story, making it important to plan breaks in the narrative.
Person three Limited
In narrative fiction, the Person three limited perspective offers a specific external viewpoint. Events are described in the Person three, but the information provided is limited to what one character can see, and should only present information the character knows:
- Gertrude pulled the lever, but the box didn’t open. She couldn’t see what was wrong. (Person three limited: the character does not know the explanation.)
- Gertrude pulled the lever, but the box didn’t open. The mechanism inside had snapped. (Person three omniscient: the narrator gives information which the character cannot see.)
When writing in the Person three limited, consider what information you can include. Choose a particular character and imagine telling the story over their shoulder. You can go further than simply describing what they see, however; pay attention to what they think and feel.
Direct and indirect reporting, as well as an approach known as free indirect style, may be used to provide thoughts and emotions for the character at various degrees of directness.
The following examples demonstrate different ways the Person three limited can present the thoughts of a character (Sally):
- Sally remained silent as Bob explained his proposal to her, thinking, “What a bad idea.” (indirect speech for reporting ideas, represented in quotations or italics in various styles)
- Sally remained silent as Bob explained his proposal to her, believing it to be a bad idea. (indirect speaking for conveying ideas)
- Sally remained silent as Bob explained his idea to her. What a dreadful notion. (indirect style, free)
Free indirect style includes thoughts and feelings of the character as part of the narrative, essentially creating a mix between third and First-person narrative. Thoughts and feelings may be presented without quotation marks, though they should be clearly separated from the general narration; for example, appearing as separate sentences or with other appropriate punctuation.
It takes practice to communicate character concepts in this manner. Keep an eye out for conflicting tenses, since a tale recounted in the past tense may incorporate present-tense character thoughts, and the verbs might be confusing when used together. When include verbs for character ideas, make sure the tense matches the narrative to prevent misleading the reader (so the thought comes from the character but isn’t a direct quote):
- “Where is my diary?” she wondered as she unlocked the drawer. (a thought directly quoted)
- She scowled when she opened the drawer. What happened to her diary? (idea included as a narrative sentence in free indirect form)
As well as including thoughts and feelings, the Person three limited can also set a particular tone by using only the language of the character that’s being followed:
- The witch-hunter came to a halt at the top of the hill, surveying the filthy, immoral hamlet below.
The descriptors repulsive and sinful correspond to the character in the example above. They are his subjective descriptions of the village. This brings the story closer to the character, allowing him to express himself naturally. Your choice of language may provide information about the character’s history or education in addition to conveying their thoughts:
- The witch-hunter came to a halt at the top of the hill, surveying the dilapidated settlement, a horrible place indeed.
- The witch-hunter came to a halt at the top of the hill, surveying the filthy settlement, which was full of very evil people.
In the first case, our witch-hunter seems more educated and possibly pretentious, but in the second example, his basic speech makes him appear illiterate.
Consistency is crucial while making such selections. Inconsistencies in the attitudes and language employed will derail the style, and you should limit the quantity of information you display:
- Maurice was perplexed when he read the sign. He’d never heard of this term before. Taxidermy. What did that imply, exactly?
- Maurice was perplexed when he read the sign. He’d never heard of this term before. Taxidermy. He had no idea the workplace would be filled with dead animals. (This is excessive since it describes something the character doesn’t know.)
Another important consideration when writing in the Person three limited is that we should never be told what another character thinks, feels, or sees. If you wish to give insights into a different character, it must be done through the main character’s viewpoint. Do this with verbs that tell us, for example, how things seem, appear, or look to the main character. You may need to add additional details (such as body language indicators) to make this credible:
- Jim came early to the gathering. It was going to be a lot of fun. When he saw Kylie walk in, she had a frown on her face, as if she didn’t share his feelings.
Because we’re writing from Jim’s point of view, Kylie’s attitude is shown by her scowl, and we use the word propose to convey her point of view.
Person three Omniscient
The Person three omniscient perspective gives a global point of view. It can give a wider picture of events, without limiting us to what one character sees or thinks. It can be used to demonstrate multiple viewpoints within a scene, though this should be done with appropriate verbs for direct or indirect reporting, to avoid confusion:
- The Willis family walked inside the eatery. Tracy adored this location and admired the antique Chinese lanterns, but her boys felt it was garish.
Multiple thoughts shown in this way would be inappropriate in Person three limited. Even in Person three omniscient, such examples are rare. Jumping between perspectives in a single scene, or a paragraph, is referred to as head hopping, and can easily become confusing or unsettling for readers:
- Jim came early to the gathering. It was going to be a lot of fun. Kylie arrived just after him. It seemed to be a chore.
The reader would be confused by the example above since it immediately presents two views. Instead of flowing together like this, an omniscient narrative works best as a sequence of confined sections.
Person three omniscient may then separate points of views distinctly with a line break or other indicator that the narrative has been interrupted (e.g. Kylie came in just behind him. To her, it looked more like a bore.). Some writers advise that you only change perspective between chapters, which, strictly speaking, creates an omniscient story from a series of limited perspectives.
Person three omniscient can also be used to present information that the character does not know, which is useful for building tension and is sometimes necessary to help a reader understand a situation:
- Lana swam as fast as she could, aiming to break her own record, fully oblivious to the shark lurking underneath her.
- Ted put more paper into the fire, hoping to rekindle it. He had no way of knowing that the piece of paper he mistook for an old receipt was the winning lotto ticket.
Though this style has its benefits, such details might be confusing to a reader or interrupt the flow of a story, thus there are alternative ways to describe same events, with a restricted viewpoint. Lana might be shocked by a shark attack in these scenarios, or Ted could discover his ticket has gone stolen later. There might also be hints left for the reader to notice what the character doesn’t (e.g. Lana swam at full speed, ignoring the shadow-like form that was moving below her).
In such situations, the choice between Person three limited and Person three omniscient depends on how skilfully you can present these situations from one perspective or another, to give the reader the best experience.
Note also that though Person three omniscient can present a wider scope than Person three limited, it is still important to pay attention to the language you use.
The language and material supplied should still be relevant to the story’s setting for an enjoyable reading experience. Even if you have an omniscient viewpoint, modern concepts in a historical novel will ruin the mood.
The “multiple points of view examples” is an article that will teach you how to use different types of writing perspective.
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