Who’s Story is it anyway? (Part 2)

Or getting up close with the third-person POV.

This point of view uses a narrator to tell you the story offering greater insight into events, characters and story points that don’t directly involve the main character. Using he/she/they gives the writer distance and objectivity which is particularly helpful if you are working with an unreliable main character.

BTW: I apologise in advance for the semantic satiation on the word POV. I tried removing it and it made even less sense.

Historically, I haven’t written in the third-person POV as it feels too detached and distracted, preferring instead the immediacy and intimacy of the first-person POV relationship. However, I have fallen out of love with it, particularly as I explore different types of fiction and find myself relishing the omniscience of it all.

But not all third-person POVs are equal and which one is right for me?

There are three main types (and I say that loosely because there are many variations).

Third-person omniscient is an all-seeing, all-knowing narrator. Able to jump into everyone’s head, and move freely throughout space and time within the story, this style allows the writer to surface two points of view; that of the narrator and that of the character.

Example: “The decor of the room was unnecessarily gaudy for this period even though Jane thought it an entirely appropriate reflection of their hostess.”

Here we have the narrator’s assessment of the room but then also Jane’s thoughts on the matter.

You do have to be careful about head-hopping though. Moving in and out of your characters’ heads in a single paragraph is confusing for the readers and an easy mistake for newbie writers to make.

Best for complicated stories that require a reader to know everything for anything to make sense.

Next we have third-person limited which sticks closely to one character and is, in some ways, similar to the first-person POV where we get access to their thoughts and feelings. But crucially, where the first-person POV can be biased and lack self-awareness, using this structure gives the writer the ability to look from the outside in and add meaning and context to the story. As readers we are encouraged to share the protagonist’s experience but can apply some of our own logic or emotions as we are clearly separate.

Example: “Jane felt the decor of the room was unnecessarily gaudy for this period but also that it was an entirely appropriate reflection of their hostess.”

Here we only know what Jane thinks and feels.

Best for mysteries where the writer needs to control the feed of information and build suspense.

Finally, we have third-person objective which gives us a neutral narrator. The readers are encouraged to observe the story along with the narrator, perhaps never getting any real insight into the inner thoughts of the characters.

Best for, hmm I’m not really sure, but perhaps those sweeping sagas that have a lot to tell you.

When to write in the third-person POV

Regular list disclaimer that this is neither exhaustive or vaguely academic.

1. The plot line requires a wider narrative scope beyond a single character and what they do and feel.
2. You need some narrative flexibility to be able to give your story depth.
3. The worlds you build are complex and wonderous. This POV allows you to share the outside world more naturally than a first-person POV would.
4. You need a trustworthy narrator (because some of your characters are not!).

For me, the limited POV is working well. It gives me distance but also allows me to get under a character’s skin without too much exposition and explanation. I am able to build suspense for the reader and the characters and hopefully bring both closer together during the big reveal.

As my narrator might say ‘Rethinking her POV choices gave Nina the creative freedom she craved and so badly needed!’