There is another technique for this which is more popular and common modern fiction, which we’ll get to in the last section. We experience everything from Mary’s POV and only know what’s going on inside her head. It uses third person pronouns he/she/they, but instead of using the author’s voice the story is told in hero’s voice. The second brings you into Kali’s head by removing “interruptions” by the author like “she wondered” or “she knew.” The second example also uses more of Kali’s voice to reveal her thoughts, feelings, and perceptions–it’s almost as though she is the narrator, yet we stay in third person point of view.Examples of third person omniscient novels: by Jane Austen. Unlike omniscient POV which is limitless, in this POV we are “limited” to Mary’s perspective. This brings the reader deep into the hero’s head and allows them to experience the story through the hero, feeling what they feel. Kali’s fidgety impatience had driven the details from her memory. This point of view can be challenging to write and is still emerging in fiction, but it’s quickly gaining popularity in the writing world because of the intimacy it creates between the reader and character.Each witness had a different point of view of the assassination attempt from their place in the crowd.
This places the reader directly into the story as though they are the main character and has a very engaging effect.
Let’s look at an example from Leo Tolstoy’s short story trio, Yes !
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The plot revolved around an assassination attempt on the U. President, and in order to catch the would-be assassin government agents had to piece together clues from witnesses.
It also makes the events more personal; it makes us feel as though we have a stake in the story and forces more internal reflection on our thoughts and feelings about what is happening.
This point of view is rarely used, and when it is, it’s usually found in short stories or parts of a novel.The narrator might even slip into second person occasionally and address the reader (a huge no-no in modern fiction! Omniscient point of view is completely unlimited, and pretty much anything goes. All of the jumping around can be disorienting to the reader and leave them confused about whose story this is supposed to be.But what if you need the perspectives of multiple characters to tell your story? Deep point of view is a style of writing that is beginning to grow in popularity.Let’s look at the options available to you as a writer.You’ve probably come across this one before, as it’s one of the most popular points of view (POV) used in fiction, especially in Young Adult novels.This means we only hear their thoughts, feel what they feel, and know what they know. It stays in one character’s head at a time per scene or chapter.Let’s revisit our previous example of Mary and John, for a moment. When the writer needs to switch to a different character’s perspective, they skip a line between scenes or begin a new chapter to signal to the reader that they are changing to a new character.For commercial fiction written for entertainment, it’s best to skip it.Though it isn’t popular, authors can and have used second person successfully.From a police officer to a news reporter to an ordinary bystander, each had a different story to tell of the same event.And that, my friend, is point of view–the “lens” or perspective through which a story is told, and in whose voice. In fiction, different points of view use varying techniques to give the reader a different experience.