By Joylene Nowell Butler
Copyright © 2009 by Joylene Nowell Butler, All Rights Reserved
Many new writers find
choosing a POV (point of view) a daunting task. Making sense of the
advice listed online or in literary help books often requires a degree
in sociology. It needn’t be that way. Grasping complicated issues means
rethinking in simpler terms. Choosing the right POV is as easy as
learning to ride a bicycle. And the best part: once you “get it,” you
The POV of any scene is the
narrator, the character telling the story. There are four choices:
God, Author, or Character
3rd – She or
2nd – You
1st – I or Me
It takes a gifted writer to
communicate effectively in 2nd person. Sadly, there are few capable of
pulling it off; for the sake of argument, let’s agree that not too many
people want to read a story in 2nd person. Take, for example: “You
rolled over and I swatted you.” Or: “You twisted your meaty face into
your best smile.” Somehow, those types of constructions just don't fly.
Therefore, a good rule of
thumb for choosing is:
1st person is the most
intimate and Omni is the least; 3rd falls in the middle.
If the narrator of your
story needs to stay outside the action, then Omni is the right point of
view. James Michener chose Omni in his epic novels for that very reason.
He wanted Hawaii, Alaska, and Texas to each stand alone as
the all-important protagonist. Choosing 3rd or 1st person for any one of
these works would have created an intimacy between reader and narrator
that would have lessened the impact and importance of Hawaii, Alaska,
or Texas as the leading character.
In less formal stories, Omni
creates a problem for many writers because they believe it gives them
license to head-hop: jumping from inside one character’s head into
another. Many writers have shown me text that states Omni is a god-like
character telling the events of a story that only he or she knows.
Therefore, why can’t they head-hop? Doesn’t God know everything?
Yes. But there’s a
difference between God telling you what John, Sally, and Julie are
thinking versus “John, Sally, and Julie” telling you. The trick is to
always remember Omni, a unique and distinct character, is telling the
reader what Jack thought or did or felt. It’s not Jack showing them.
That’s why Omni not only is able to tell you what Jack thinks of Steve
driving drunk, but can also show you the police car waiting up the road,
or the innocent bystander using the crosswalk ahead of them.
Still, confusion is
understandable. When new writers see phrases like “3rd person Omni” or
“Unlimited 3rd person” or even “3rd person limited” their heads spin.
When you read a story or
scene that uses more than one character to show you the experience, rest
assured Omni is the narrator. But note how the author evokes a sense of
formality inside the scene.
Right about now you may be
thinking, “Okay, I get it, I understand what Omni is. But that still
doesn’t explain 3rd person.”
Third person is the informal
Omni. In 3rd person stories, think of Omni as hiding inside the head of
your protagonist. In fact, he’s hidden so well that you, your reader,
and your character don’t realize he’s there. But his service is
invaluable. In 3rd person limited, Omni shows you a story through only
one character’s perspective at a time. You are only privy to what the
protagonist sees, hears, tastes, feels, or smells. Omni does not share
anything that this protagonist does not experience.
That’s the clue. If in doubt
as to whether you’ve succeeded in creating a truly 3rd person POV, go
back and jump inside that character’s head. Does your protagonist
experience anything that he or she couldn’t possibly?
There are rules and each
writer does have literary license to take risks in breaking them.
Switching from one character to another inside one chapter today
requires a simple blank spot or space between paragraphs. Something as
simple as a line break alerts the reader to a change coming. New
paragraph, an extra space, and suddenly the reader feels comfortable in
making a switch.
In my novel Dead Witness,
I show the story through the eyes of three characters: Valerie, Canaday,
and DeOlmos. I even sneak in a few openings by using Omni to set up the
scene. Those occasions are used when the setting is vital to the story.
I hope that the omniscient summation is brief enough so the reader is
unaware of the POV shift.
What I don’t do is switch
from Valerie, Canaday, or DeOlmos in the same scene. If I do
occasionally start off in Omni, using the all-knowing narrator to show
the reader the setting, stuff that my protagonist couldn’t experience or
would ever know, then as quickly as possible, I jump into the
protagonist’s head and stay there the remainder of the scene. Not once
do I show the reader anything that my protagonist doesn’t experience
firsthand. That’s not to say it’s an unspeakable crime to do so; it
lessens the intimacy.
In one of my many
manuscripts, I stretch my wings and share the story with 3rd person:
Danny Killian, and 1st person: Sally Warner. I choose 1st for Sally for
two reasons. I hope an intimate relationship will develop between the
reader and Sally, and most of Sally’s conflicts are inside her head. 3rd
works for Danny because he is a man of action; plus, it provides me with
You’ve heard the story of
Fitzgerald, who after writing The Great Gatsby in Gatsby’s POV,
realized the story needed to be told through Nick Carraway’s POV because
of Nick’s naiveté and fascination for Gatsby. Imagine if Gatsby, Tom
Buchanan, or an all-knowing character had told the story. Nick’s 1st
person narrator works. We bond with Nick. Like a tight focus or camera
lens, he shows us everything his senses experience. If he doesn’t see
it, smell it, hear it, taste or touch it, then neither do we. Think back
to the TV series The Wonder Years, where the grown up Kevin
Arnold (Daniel Stern) narrates the story of his life during high school
in the turbulent sixties. Winnie Cooper’s character was adorable, but
had the producers chosen her for voice-over, it would have changed the
feel of the show drastically.
While Omni tends to be more
formal and less intimate, on the grand scale of things, as in epics like
Michener’s, Omni is your man. One suggestion though, when choosing Omni,
make him or her a unique, formidable, and intriguing character. Give him
a voice just as entertaining and endearing as any character. Or make him
as non-descriptive as possible. And limit head hopping. Every time a
writer jumps from one protagonist in a scene into the head of another,
they risk disrupting the intimate (there’s that word again) relationship
forming between reader and character. And in a world of quick access and
unlimited volume, the risk is too great.
As a proud author, choose
your POV wisely. Remember: If your story’s important enough to write,
then the right person should be telling the story.
Dead Witness ISBN:
9780981030500 Author: Joylene N. Butler