Point of View (Part 2)-by Judy Hagey

Third Person

In my last post, I explained that Point of View is one of the choices writers have when they tell a story. From whose perspective will the tale unfold? Or, whose voice will we hear as we read? Since POV relates closely to person, we identify POV using the personal pronouns associated first, second and third person. In this post, we’ll look at Third Person POV, which uses the third person personal pronouns he, she, they, etc.

Third Person Point of View is the most common in literature, and it offers a few more options or variations in how you tell the story. Which perspective you use determines how intimate or close up the reader will be. Since your goal is to engage the reader and enable him or her to suspend belief long enough to believe your story, you’ll want to choose your POV carefully.

• Single character or Third Person Limited: The narrator tells the story from one character’s point of view. It may be the major character or a minor character. As the writer, you’ll be in that character’s head and will only be able to reveal what that person experiences and thinks.

Going back to the example of our train trip through the Colorado Rockies, the narrator could relate the story from my husband’s point of view. He would likely include details about the locomotive and the history of the railroads. He might even include some words and phrases that originated with railroading that are now part of the everyday vernacular. Because the narrator can get inside the character, he might go back to my better half’s childhood memories of waking up to a Lionel train set under the tree on Christmas morning and give us a glimpse into the emotions that being on the rails evoke for him.

The narrator could share the experience from the perspective of the engineer or conductor. Since they make the trip regularly, their point of view might include observations of changes they’ve seen in the operations of the railroad over the years, interesting passengers and situations they’ve encountered, or the lifestyle of living on the rails.

• Multiple character: A more common choice today among authors choosing to write in third person is to tell the story from the perspective of more than one character. This approach avoids what can be tedium for the writer and boredom for the reader—both telling and hearing the story from only one perspective. Obviously, only one character will “speak” at a time, but this approach allows the reader to see the action from more than one perspective and serves as another way to draw the reader into the story. The writer’s challenge is not to confuse the reader as to whose head he is in at the moment. Making the transition from one character to another is critically important if you’re using multiple POV. Be sure, too, that the technique serves a good purpose. Does it move the plot along or only confuse the reader? Done well, multiple points of view can keep a story fresh and the reader engaged.

• Third Person Objective (also known as Dramatic Objective or Fly on the Wall.) Think of this as just sticking to the facts. In Third Person Objective POV the reader is not privy to the thoughts of any character, but determines what he can only from the characters’ words, actions, and facial expressions. The writer employing this POV is compelled to show, not tell as that is the only way the reader understands the character’s dilemma, thought processes, and motivation.

• Third Person Omniscient – This narrator sees all and knows all. The omniscient narrator is able to convey considerable information in a short period of time because he or she is not limited to one character’s point of view. While that gives the writer considerable flexibility, few modern novels use the god-like narrator. Its drawback? It keeps the reader at a distance. We don’t really get to connect with the character(s) emotionally. And let’s be honest. Isn’t that why we’re drawn to story? Because telling stories and learning about ourselves and those around is part of the human experience. Our lives are richer when we listen to and learn from our own and others stories.

So chose your POV carefully. Given the myriad of devices and activities vying for contemporary readers’ attention, you’ll be well served to write in a POV that overcomes the distractions of contemporary readers and draws them in to your story.