first point of view essay

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First-Person Point of View: Definition and Examples

4-minute read

• 13th August 2023

The first-person point of view is a grammatical person narrative technique that immerses the reader into the intimate perspective of a single character or individual.

In this literary approach, the story unfolds through the eyes, thoughts, and emotions of the narrator, granting the reader direct access to their inner world. Through the narrator’s use of pronouns such as I and me , readers gain a personal and subjective understanding of the narrator’s experiences, motivations, and conflicts. For example:

If the author uses the third-person point of view , the sentence would read like this:

Why Write From the First-Person Point of View?

This point of view often creates a strong sense of immediacy, enabling readers to form a deep connection with the narrator while limiting the reader’s knowledge to what this character or narrator knows. It’s a dynamic viewpoint that allows the rich exploration of a character’s or narrator’s growth and provides the opportunity to delve into their personal struggles.

First-person narration shouldn’t be used or should be considered carefully in some situations. Familiarize yourself with genre style and tone before making this decision.

Using the First-Person Point of View in Fiction

The first-person point of view is a powerful tool in fiction because it can create an intimate and engaging connection between the reader and the narrator. It is particularly effective for the following purposes.

Developing a Character’s Voice and Personality

First-person narration facilitates a deep exploration of a character’s or narrator’s unique voice, thoughts, and personality. It enables readers to experience the story through the lens of the narrator or a specific character, giving the reader direct insight into their emotions, motivations, and growth.

Portraying Subjective Experiences

When the story relies heavily on the narrator’s or a character’s subjective experience, emotions, and perceptions, the first-person point of view can help the reader connect on a personal level. This bond is especially beneficial in stories that explore complex internal conflicts and psychological themes.

Enhancing Reader Empathy

First-person narratives can foster empathy by enabling readers to see the world through the eyes of the narrator. This perspective can lead to a more emotional and immersive reading experience, allowing readers to relate to and invest in the narrator’s or a character’s journey.

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Conveying Unreliable Narrators

First-person narration is excellent for stories featuring unreliable narrators . Readers can uncover discrepancies between what the narrator says and what they actually do, revealing layers of intrigue and mystery.

Delivering Engaging Storytelling

When the narrative requires a strong and engaging storyteller, the first-person point of view can make the story feel more like a conversation or confession, drawing the reader in.

It’s also important to note that using the first-person point of view comes with limitations. The narrator’s perspective is confined to what they personally experience, possibly limiting the scope of the story’s atmosphere and the portrayal of events that occur outside the narrator’s awareness. Consider how authors of classic novels have utilized point of view in their writing.

The First-Person Point of View in Research Essays

Generally, it’s preferable to avoid the first person in academic and formal writing. Research papers are expected to maintain an objective, unbiased, and impartial tone, focusing on presenting information, data, and analyses clearly. The use of I or we may introduce subjectivity and personal opinions, which can undermine the credibility and professionalism of the research.

Instead, the third-person point of view is preferred because it allows a more neutral and detached presentation of the material. Follow the guidelines and style requirements of the specific field or publication you’re writing for: some disciplines may have different conventions regarding the use of first-person language.

The first person can lend itself to some types of research description when the researcher is discussing why they made a particular decision in their approach or how and why they interpret their findings.

But be aware that when writers attempt to write without reverting to the first person, they often overuse the passive voice . In nonfiction or academic writing, staying in the first person may sometimes be better than using the passive voice.

Ultimately, the decision to use the first person in fiction or nonfiction depends on the specific goals of the author. Fiction authors should consider how this narrative choice aligns with the story’s themes, characters, and intended emotional impact. Research writers should carefully consider whether the use of the first person is necessary to convey their findings and decisions or whether that information could be described as or more effectively without it.

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• Scriptwriting

What is First Person Point of View? Definition and Examples

I , me , we , and us , are all words used to articulate ourselves in the first person point of view – but what is first person point of view? We’re going to explore how the first person point of view, or POV, is used in prose, poetry, cinema, and video games as both a writing and framing technique. But before we dive into our examples, let’s review what makes the first person POV, the first person POV.

1st Person Point of View Explained

What is 1st person point of view.

There are a lot of different ways to articulate yourself in the first person, some singular, some plural. It’s important to maintain grammatical consistency in first person writing, so that we as the readers know which characters are being referenced. We’ll get to some first person POV examples in a bit, but first let’s define point of view!

FIRST PERSON POINT OF VIEW DEFINITION

What is first person point of view.

A first person point of view is a character perspective that’s used to relay the thoughts and feelings of a character or entity within a story. First person is defined by the use of I, me, we, us, etc. In video games and movies, the term “first person point of view” is used in reference to the perspective of the camera. For instance, the “first person shooter” is a video game genre in which the player controls a character (shooter) from their vantage point. 

First Person Point of View Characteristics

• Offers insight to alternate views
• Focus on internal thoughts and feelings of a character
• Creates intimacy between the piece of work and reader/viewer/player

What’s First Person Point of View in Grammar?

1st person pov examples in grammar.

Now that we’ve reviewed the first person point of view definition, let’s move on to some first person point of view examples in grammar. Here are some first person point of view examples in the singular:

• My (possessive)
• Mine (possessive)

And in the plural:

• Our (possessive)
• Ours (possessive)

Every language has its own intricacies. Fortunately, first, second and third person point of view in English is much easier to communicate than it is in other languages. That’s because English doesn’t tie the predicate to the tense and “gender” of verbs like other languages.

For example, in English, if we wish to describe a plan to purchase something, we’ll say, “I will buy” or “I’ll buy,” with the I always preceding the tense and verb. In Italian, the point of view is conjugated into the tense and verb, so the same statement “I will buy” is translated into a single word: comprero. 

What Does First Person Point of View Mean in Writing?

First person point of view in writing.

How do we explain what we did today? How we felt? Where we went? We express ourselves constantly in the first person. Everytime we say, I did this , I feel that , or I went here , we’re using 1st person point of view. By me writing the actionable we , rather than the hypothetical you , I’m choosing to use the first person rather than the second person.

Our default, reactionary perspective is first person – so it makes sense that first person comes most natural to many writers. Think about a story you like to tell. If you were to put it to pen and paper, how would it look? Well, there would probably be a lot of I , me, we, us , and our . This next video explores in further detail how writers use the first person POV.

What is 1st Person Point of View?  •  All About Writing in First Person

As storytellers, we’re naturally inclined to tell our stories in first person. As such, narrative essays, short stories, lectures, and blog posts, are all most commonly relayed in the 1st person POV. Some writers make a conscious decision to write in first person while others subconsciously do it because it feels natural. 

For creative writing, there’s no “right or wrong” choice of perspective, just be mindful that each contains its own strengths and weaknesses. If you’re a fiction writer looking to subvert the expectations of your reader, consider using an unreliable narrator .

And always be mindful of the difference between first person limited point of view and first person omniscient point of view.

1st person limited point of view is when a story is told from the first person perspective by a narrator who has limited knowledge.

1st person omniscient point of view is when a story is told from the first person perspective by a narrator who has omniscient (all-knowing) knowledge.

First Person Point of View Movies Explained

First person point of view in movies.

There are a myriad of different types of camera shots that cinematographers and directors use to uniquely frame their movies – the point of view shot is certainly one of the most audacious. The point of view shot, more commonly referred to as the POV shot, places the camera in a position so that the frame shows what a character or inanimate object sees.

Let’s take a look at a video essay that shows how some of the best POV shots of all time were constructed:

What is First Person Point of View?  •   Subscribe on YouTube

Some POV shots last just a few frames while others last the entire length of the movie. There aren’t many films that were shot entirely, or even mostly in the first person POV, but there are a few; most notably, The Blair Witch Project , Cloverfield , and Hardcore Henry .

How do screenwriters communicate this perspective in movies? Well, one way is through dialogue. Charlie Kaufman’s Being John Malkovich cleverly places its protagonist inside the body of the title character.

First Person Point of View Movies  •   Being John Malkovich Except

Here, Kaufman uses dialogue to allow his character to express how it feels to “see the world through John Malkovich’s eyes.” Essentially, it’s a supernatural instance of turning the 3rd person POV into the 1st person POV.

1st Person POV in Video Games

First person point of view in games.

The 1st person perspective is also used in video games as a technique to put the player behind the eyes of a character. The best selling video game of all-time, Minecraft , defaults to this perspective, as do the Call of Duty and Elder Scrolls games. 

Some experimental games, which are widely regarded as “walking simulators,” use the first person alongside the use of a third person narrator to bend perspective, and subvert our perception of what interactive stories can be.

Two such games are The Stanley Parable and The Beginner’s Guide , both designed by writer/director Davey Wreden. This next video examines how interactive storytelling is changing the game for how POV works in gaming. 

What is First Person Point of View?  •  Philosophy of The Stanley Parable and The Beginner’s Guide

The Stanley Parable and The Beginner’s Guide aren’t the only games to challenge our view of first person. Some other games include: The Unfinished Swan , The Return of the Obra Dinn , Gone Home , Firewatch , and Jazzpunk .

Due to the burgeoning adoption of virtual reality and augmented reality machines, it seems almost certain that our perception of what POV is capable of will continue to change over the next few years.

Dive deeper into point of view

In this article, we focused only one type of POV – but what about other points of view? Up next, we break down all the basic ideas behind point of view, with examples from literature, movies, and games. By the end, you’ll know how to recognize first, second, and third person point of view.

Up Next: POV explained →

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Collaboration, information literacy, writing process, using first person in an academic essay: when is it okay.

• CC BY-NC-ND 4.0 by Jenna Pack Sheffield

Related Concepts: Academic Writing – How to Write for the Academic Community ; First-Person Point of View ; Rhetorical Analysis; Rhetorical Stance ; The First Person ; Voice

In order to determine whether or not you can speak or write from the first-person point of view, you need to engage in rhetorical analysis. You need to question whether your audience values and accepts the first person as a legitimate rhetorical stance. Source:Many times, high school students are told not to use first person (“I,” “we,” “my,” “us,” and so forth) in their essays. As a college student, you should realize that this is a rule that can and should be broken—at the right time, of course.

By now, you’ve probably written a personal essay, memoir, or narrative that used first person. After all, how could you write a personal essay about yourself, for instance, without using the dreaded “I” word?

However, academic essays differ from personal essays; they are typically researched and use a formal tone . Because of these differences, when students write an academic essay, they quickly shy away from first person because of what they have been told in high school or because they believe that first person feels too informal for an intellectual, researched text. While first person can definitely be overused in academic essays (which is likely why your teachers tell you not to use it), there are moments in a paper when it is not only appropriate, but also more effective and/or persuasive to use first person. The following are a few instances in which it is appropriate to use first person in an academic essay:

• Including a personal anecdote: You have more than likely been told that you need a strong “hook” to draw your readers in during an introduction. Sometimes, the best hook is a personal anecdote, or a short amusing story about yourself. In this situation, it would seem unnatural not to use first-person pronouns such as “I” and “myself.” Your readers will appreciate the personal touch and will want to keep reading! (For more information about incorporating personal anecdotes into your writing, see “ Employing Narrative in an Essay .”)
• Establishing your credibility ( ethos ): Ethos is a term stemming back to Ancient Greece that essentially means “character” in the sense of trustworthiness or credibility. A writer can establish her ethos by convincing the reader that she is trustworthy source. Oftentimes, the best way to do that is to get personal—tell the reader a little bit about yourself. (For more information about ethos, see “ Ethos .”)For instance, let’s say you are writing an essay arguing that dance is a sport. Using the occasional personal pronoun to let your audience know that you, in fact, are a classically trained dancer—and have the muscles and scars to prove it—goes a long way in establishing your credibility and proving your argument. And this use of first person will not distract or annoy your readers because it is purposeful.
• Clarifying passive constructions : Often, when writers try to avoid using first person in essays, they end up creating confusing, passive sentences . For instance, let’s say I am writing an essay about different word processing technologies, and I want to make the point that I am using Microsoft Word to write this essay. If I tried to avoid first-person pronouns, my sentence might read: “Right now, this essay is being written in Microsoft Word.” While this sentence is not wrong, it is what we call passive—the subject of the sentence is being acted upon because there is no one performing the action. To most people, this sentence sounds better: “Right now, I am writing this essay in Microsoft Word.” Do you see the difference? In this case, using first person makes your writing clearer.
• Stating your position in relation to others: Sometimes, especially in an argumentative essay, it is necessary to state your opinion on the topic . Readers want to know where you stand, and it is sometimes helpful to assert yourself by putting your own opinions into the essay. You can imagine the passive sentences (see above) that might occur if you try to state your argument without using the word “I.” The key here is to use first person sparingly. Use personal pronouns enough to get your point across clearly without inundating your readers with this language.

Now, the above list is certainly not exhaustive. The best thing to do is to use your good judgment, and you can always check with your instructor if you are unsure of his or her perspective on the issue. Ultimately, if you feel that using first person has a purpose or will have a strategic effect on your audience, then it is probably fine to use first-person pronouns. Just be sure not to overuse this language, at the risk of sounding narcissistic, self-centered, or unaware of others’ opinions on a topic.

Recommended Readings:

• A Synthesis of Professor Perspectives on Using First and Third Person in Academic Writing
• Finding the Bunny: How to Make a Personal Connection to Your Writing
• First-Person Point of View

Brevity – Say More with Less

Clarity (in Speech and Writing)

Coherence – How to Achieve Coherence in Writing

Flow – How to Create Flow in Writing

Inclusivity – Inclusive Language

The Elements of Style – The DNA of Powerful Writing

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Scholarly Voice: First-Person Point of View

First-person point of view.

Since 2007, Walden academic leadership has endorsed the APA manual guidance on appropriate use of the first-person singular pronoun "I," allowing the use of this pronoun in all Walden academic writing except doctoral capstone abstracts, which should not contain first person pronouns.

In addition to the pointers below, APA 7, Section 4.16 provides information on the appropriate use of first person in scholarly writing.

Inappropriate Uses:   I feel that eating white bread causes cancer. The author feels that eating white bread causes cancer. I found several sources (Marks, 2011; Isaac, 2006; Stuart, in press) that showed a link between white bread consumption and cancer.   Appropriate Use:   I surveyed 2,900 adults who consumed white bread regularly. In this chapter, I present a literature review on research about how seasonal light changes affect depression.

Confusing Sentence:   The researcher found that the authors had been accurate in their study of helium, which the researcher had hypothesized from the beginning of their project.   Revision:   I found that Johnson et al. (2011) had been accurate in their study of helium, which I had hypothesized since I began my project.

Passive voice:   The surveys were distributed and the results were compiled after they were collected.   Revision:   I distributed the surveys, and then I collected and compiled the results.

Appropriate use of first person we and our :   Two other nurses and I worked together to create a qualitative survey to measure patient satisfaction. Upon completion, we presented the results to our supervisor.

Make assumptions about your readers by putting them in a group to which they may not belong by using first person plural pronouns. Inappropriate use of first person "we" and "our":

• We can stop obesity in our society by changing our lifestyles.
• We need to help our patients recover faster.

In the first sentence above, the readers would not necessarily know who "we" are, and using a phrase such as "our society " can immediately exclude readers from outside your social group. In the second sentence, the author assumes that the reader is a nurse or medical professional, which may not be the case, and the sentence expresses the opinion of the author.

To write with more precision and clarity, hallmarks of scholarly writing, revise these sentences without the use of "we" and "our."

• Moderate activity can reduce the risk of obesity (Hu et al., 2003).
• Staff members in the health care industry can help improve the recovery rate for patients (Matthews, 2013).

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• APA Formatting & Style: Pronouns (video transcript)

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Writing First Person Point of View: Definition & Examples

by Alex Cabal

The first-person point of view (or PoV) tells a story directly from the narrator’s perspective, and using it can help the reader connect with your work. This is because first-person point of view uses language that mirrors how individual people naturally speak. It’s a way for a writer to share thoughts, ideas, or to tell a story in a close and relatable way, and brings the reader directly into the perspective of the narrator.

What is first-person PoV?

First-person perspective is when the protagonist tells a story from their own point of view using the pronoun “I.” This storytelling technique focuses on the internal thoughts and feelings of the “I” narrator, offering a deep immersion into the protagonist’s perspective. This creates the sensation that the character is speaking directly to the reader.

In conversation, first-person language would sound like “I went to the store earlier,” or “I saw a great movie on TV last night!” Internal thoughts may sound like “I wish he would just say how he feels,” or “Why can’t I be brave and just do it!”

Writing a first-person narrator provides the opportunity for both the writer and the reader to directly step into the “shoes” of the protagonist—if done well, it can deeply connect the reader to the work and allow them to experience the story directly from the perspective of the first-person narrator.

First-person narration can also be a great tool to use in non-fiction work, such as autobiographical and memoir pieces where the author is telling a true first-person account of their lived experience. For example, “I was there in Berkeley in 1969, and bore witness to rioting youth and the roots of the revolution.”

Writing in first-person narration brings the reader intimately—and at times empathetically—into the story, as they experience the world of the story directly from the character’s mind.

A writer can also use multiple first-person perspectives told through different characters in a story. Doing this can immerse the reader in each person’s unique perspective of what’s occurring in the plot.

A writer can also use first-person point of view to tell a story in both the past and present tense to offer direct opinions on the narrator’s personal experience through both reflection on the past and action in the present.

First-person point of view words and language

The words most often used in the first-person narrative include both singular and plural first-person pronouns.

Singular first-person point of view words list:

Plural first-person point of view words list:.

The language used follows the perspective of the narrator: “I did this,” or “he held my hand,” or “we went to the store together.”

What’s the difference between first, second, and third-person point of view?

You’ll often hear writers talking about first-person point of view, second-person point of view, and third-person point of view. But what’s the difference?

First-person PoV , as we looked at above, tells a story from just one character’s perspective (or, from one character at one time) using the pronoun “I.”

Second-person PoV is similar to first-person in that it follows just one character. In this case, however, second-person point of view uses the pronoun “you.” This perspective treats the reader as if they were part of the story.

Second-person point of view is challenging, and is generally best suited to the short story form. However, some authors have taken on the second-person PoV in novels, such as Italo Calvino’s If on a Winter’s Night a Traveler . You might also recognize second-person narration from “Choose Your Own Adventure” books.

Third-person PoV is a perspective in which the reader is kept at a distance from the story. These stories use the third-person pronouns “He,” “She,” and “They.” Reading about a third-person narrator is like watching a film; you can see everything that’s happening, but you’re not part of it.

There are two common types of third-person perspective: third-person limited narration and the third-person omniscient narrator. The limited third-person narrative voice uses the he, she, they pronouns but follows only one character at a time.

The third-person omniscient point of view can see into all the characters, all the time. This type of third-person narration allows the reader to know more than any one character knows at any given time. An omniscient narrator mimics the experience of watching a stage play; the reader can see everything happening on the stage, even if the characters can’t.

Third-person point of view is popular and timeless because it’s the classic storytelling voice. It’s what we hear when someone says, “ Once upon a time… ” You’ll find that the majority of classic literary fiction, and much of contemporary fiction, uses this narrative point of view.

To learn more about using each of these point of view styles in your writing, why not visit the lesson series in our writing academy ?

What’s the difference between first-person and fourth-person point of view?

Writers often confuse first-person point of view and fourth-person point of view because they both tell a story from the perspective of the protagonist. The difference is that first-person PoV uses a singular voice, while fourth-person PoV uses a collective voice.

This isn’t quite the same thing as first-person plural. When plural first-person pronouns are used in first-person PoV—that would be words like “we” and “us”—it’s describing a shared experience between the narrator and another person.

For example, “We went to the movies, and Jim bought me some popcorn” is told in first person, even though it uses “we” to describe two people.

Fourth-person point of view treats a group of beings as one narrator. This is an experimental narrative form that’s become more popular in recent years and is effective in communicating large social issues. Your fourth-person narrator might be a group of suppressed office workers, a generation of young people facing a broken housing market, or a multilayered collective consciousness from outer space.

If you want to experiment with writing a fourth-person story, you’ll want to take a look at our detailed lesson here .

Types of first-person point of view

When we talk about first-person point of view, there are several types that we might be referring to. Let’s take a look at the different ways you might use the first-person voice in your story.

First-person central

In first-person central, the story is told from the protagonist’s point of view—the main character who is driving the plot. Using a first-person central PoV immerses the reader directly into the main character’s thoughts, feelings, and actions, as if the reader is the central character.

A classic example of first-person central PoV is Catcher in the Rye . Holden Caulfield, the novel’s protagonist, tells the story directly from his point of view. This provides the author the opportunity to address complex social issues from the perspective of a teenager.

First-person peripheral

In first person peripheral, the narrator tells the story as a witness, but is not the main character. Using the first-person peripheral perspective in storytelling allows the writer to keep the focus on the protagonist, yet keep the reader removed from the thoughts and feelings of the main character.

This type of distance puts the reader in the shoes of the narrator while the narrator relates their thoughts, opinions, and perception of the main character.

One example of first-person peripheral point of view is the Sherlock Holmes canon. In these stories, the narrator is John Watson, who tells the story from the perspective of witnessing his best friend solve mysteries. Writing from a peripheral perspective allowed the author to create intrigue, mystery, and suspense.

First-person subjective

In addition to the central and peripheral narrative point of view, your first-person PoV character will also use the subjective or objective voice.

Most first-person protagonists in literature are subjective. This means they tell the story through the lens of their own thoughts, feelings, cultural biases, and ambitions. This narrative choice adds richness to your story world, but also narrows the reader’s understanding to the way your protagonist sees the world around them.

First-person objective

The objective first-person point of view is less common, but can be very effective—particularly in genres like speculative fiction and horror. In this narrative style, the PoV character doesn’t interject their own preconceptions and ideas; it’s simply the narrator telling the reader what happens.

This makes the story sound a bit like a witness statement, and allows the impact of the events to come through the actions of the characters rather than through their emotions.

What is first-person limited and first-person omniscient point of view?

Choosing to write from a first-person limited or first-person omniscient point of view allows the author to decide what insight is shared with the reader, and how much the narrator knows about what’s occurring within the plot.

First-person limited point of view

First-person perspective typically takes on a limited perspective—the story is told directly, and only, from the narrator’s internal thoughts, feelings, and personal experiences. This means the entire story has a limited view of how the character sees and experiences the world.

An example of first-person limited point of view is the novel To Kill a Mockingbird . The story is told through the main character, a child named Scout, and the reader is only offered limited information from a child’s point of view. Writing from first-person limited offered Harper Lee the opportunity to approach complex topics from the eyes of a child.

First-person omniscient point of view

First-person omniscient is a more uncommon use of first person, as omniscient narration takes on a god-like understanding of what’s happening within the plot. Sometimes, this type of narration can be unnerving for a reader and cause them to disengage from a story. However, that doesn’t mean it can’t be done successfully.

An example of first-person omniscient narration is Saving Fish From Drowning , by Amy Tan. The story is written from the perspective of a ghost, Bibi Chen, a central yet peripheral character.

Having the story recounted by the spirit of the narrator allows the reader a vast amount of insight into all the characters’ thoughts and feelings without breaking the cadence of the story—at times offering comedic relief for experiences that might be deeply uncomfortable for the reader to experience first-hand.

Why do authors love first-person PoV?

First-person narrators allow the reader to get rooted in their character’s head and thereby achieve a tighter emotional connection with the reader. To make the connection even stronger, the character lets the audience in on secrets or insights that no one else knows.

First-person point of view is often used in autobiography and memoir writing, where the story must be told from one central perspective. Using first-person narrative in memoirs and autobiographies makes the story feel more genuine, authentic, and authoritative because the story is told directly as a first-hand account from the person who experienced the events themselves.

First-person novels are also popular with fiction writers, because they offer deep insight into the theme, story, and plot directly from the “I” narrator. This helps the writer connect with their demographics, their age, sex or gender, social status, and so forth.

First-person point of view in fiction writing can instill a sense of a narrator’s authority or credibility in the story, yet also offers the writer the opportunity to play with having the story told from an unreliable narrator or an unusual perspective.

Consider the earlier example of To Kill a Mockingbird and the way Lee used a child’s perspective to illuminate a theme of justice and complex social issues—a theme that might otherwise alienate a reader from the story, rather than create a sense of empathy.

While it may seem that writing in the first-person voice may be limiting in storytelling power—as the story focuses solely on the internal thoughts and feelings of the narrator—the role of the narrator can assist in weaving complexity and intricacy into the story.

Advantages of first-person point of view

First-person point of view can create a compelling, emotional story—sometimes even stronger than a story written in third-person PoV—because the character and reader are connected through intimate, one-on-one communication.

Advantages of first-person narrative include:

Creating a sense of mystery and intrigue; the first-person PoV shields the reader from certain information until a major moment unfolds in the plot, when both reader and narrator learn something new.

Lending a story credibility by building rapport with the reader, and thus making the narrator seem more reliable. This sense of connection can make the narrator and reader feel as if they’re sharing a private conversation.

Positioning the narrator as an unreliable narrator part way through the story can be used to subvert the reader’s expectations.

First-person PoV prose is highly character driven, leaning into who the character is as a person, their motivations, world views, the strengths and weaknesses of their personality. This perspective can evoke a deep sense of empathy and compassion that connects the reader to the story.

Disadvantages of first-person point of view

While first-person PoV can create an empathetic connection between the character and the reader, the reader is also limited to that one perspective—which can become very insular.

Disadvantages of first-person point of view include:

Given that first-person PoV is generally used as a limited perspective, it tends to the personal biases of the narrator. While bias from the narrator’s perspective may not fully be negative, it can turn away readers that don’t or can’t align with the inclinations, preferences, and perspectives of the narrator.

First-person PoV limits a story to the singular perspective of the narrator, which can make additional subplots more challenging since the reader can’t see into the mind of alternative characters.

Using a first-person perspective can also make it difficult for the narrator to describe themselves and their physical characteristics to give further context and details of the story.

Tips for writing in first-person PoV

The following tips for writing in the first-person point of view will lay out some best practices and give you some insight into how to avoid common mistakes.

1. Quickly establish who the narrator is

Open your story by establishing a strong character voice that demonstrates who this person is and why their voice is unique. Consider this example of an introductory paragraph to a story:

I’ll never understand why hospitals don’t use better lighting. No one wants ugly blue light shining into their eyes while as they look for the soft light everyone says calls to you from the end of the tunnel. I don’t see a tunnel, all I see is the burning glare of this light, reflecting at me from all of these too shiny metallic surfaces.

In this example, the character’s tone is immediately established as critical, unhappy, and bitter. Additionally, the reader is given clear details about the character—that they’re in a hospital, possibly dying, and that the story is told directly from their perspective.

2. Stay in character

Think about the demographics of your character, their background, culture, education, and influences, and remain true to who the character is.

This is especially true when it comes to writing dialogue, and if you’re using any kind of vernacular. For example, if a story is told from the perspective of an exhausted waitress who grew up in a big city on the east coast, it would be unlikely that she would approach a table and say:

“Hi y’all, you feelin’ hungry? What looks good today?”

She would probably use terse and maybe even sharp language that gets straight to the point, and wouldn’t use southern vernacular or phrases such as “y’all” or “feelin’.” Instead, she might say: “Did you look at the menu? Are you ready to order?” Make sure your PoV character uses their own voice.

3. Follow your narrator

Don’t lose scope of what the narrator knows within the story—not only pertaining to the thoughts and emotions of other characters, but also to what’s occurring in the plot and world around them.

For example, if your main character is sitting in a jail cell waiting to hear back from their lawyer about the verdict of the trial, there’s no way for them to know the events that are unfolding in the courtroom until a scene takes place where the character is told what happened.

4. Avoid head hopping

Avoid head hopping and don’t change characters’ perspectives within a single paragraph or chapter. If you choose to use more than one first-person narrator within a story, ensure that the transitions between the other characters and perspectives are easily identifiable within the text.

For example, a story about a relationship between two people could be told from each person’s first-person PoV, but the author would need to make it clear which character is telling each part of the story. To avoid slipping into another character’s head, consider this example:

She looked at me, thinking about how I had eaten the last piece of her chocolate birthday cake.

The narrator can’t know what “she” is thinking. Instead, consider the following example that strictly stays in the thoughts and perspective of the narrator:

She looked at the empty plate, and then at me. I felt the accusation in her glare. How dare she think I would eat the last of her chocolate birthday cake?

You can find out more about this cardinal sin of fiction writing through our lesson on head hopping here.

5. Limit the use of “I” and repetitive language

Overuse of “I” language within a story can be monotonous and repetitive for a reader, especially if “I” is used heavily at the beginning of sentences. To avoid the overuse and repetition of “I,” consider the following example:

“I love that particular flavor of ice cream…” vs. “That particular flavor of ice cream is a favorite of mine.”

Or, “I know this room…” could also be written in the passive voice as: “This room feels familiar.”

Playing with both active and passive voice and seeking creative ways to share information about a narrator can keep the text from becoming overwhelmingly repetitive with the use of “I.”

In addition, when writing dialogue in the first person, avoid repetition of “he said” and “she said.” In these instances using character names and descriptive language can assist in alleviating overly repetitive text.

For example:

“Angela, I want out of this wedding.” “You can’t,” she sighed. “My mother already bought the dress and my father put a downpayment on the venue.” “Do you think I care about a dress or a downpayment? I want out.” A single tear rolled down her cheek. “Fine. Leave, and don’t ever come back.” “I won’t.”

To dive deeper, you can check out our lesson on active and passive voice , and our detailed article on mastering dialogue tags !

First-person PoV examples from literature

One of the best ways to learn how to write in the first person is to read books and novels that have been written in first-person point of view. Here are a few novels written in this narrative style:

The Hunger Games , by Suzanne Collins.

The Fault in Our Stars , by John Green.

Elmet , by Fiona Mozley.

Into the Jungle , by Erica Ferencik.

The Adventures of Huckleberry Finn , by Mark Twain.

Moby-Dick , by Herman Melville.

Never Let Me Go , by Kazuo Ishiguro.

Goodbye, Vitamin , by Rachel Khong.

The Time Traveler’s Wife , By Audrey Niffenegger.

First-person point of view opens new worlds

First-person point of view has a lot to offer the writer, no matter what genre you’re writing in. Unlike third-person point of view, which puts some distance between the reader and the story, using first-person pronouns effectively brings the reader right into the heart of your story.

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Point of View

Point of View Definition

What is point of view? Here’s a quick and simple definition:

Point of view refers to the perspective that the narrator holds in relation to the events of the story. The three primary points of view are  first person , in which the narrator tells a story from their own perspective ("I went to the store");  second person , in which the narrator tells a story about you, the reader or viewer ("You went to the store"); and third person , in which the narrator tells a story about other people ("He went to the store"). Each point of view creates a different experience for the reader, because, in each point of view, different types and amounts of information are available to the reader about the story's events and characters.

Some additional key details about point of view:

• Each different point of view has its own specific qualities that influence the narrative. It's up to the author to choose which point of view is best for narrating the story he or she is writing.
• Second person point of view is extremely rare in literature. The vast majority of stories are written in either the first or third person. 
• You may hear "point of view" referred to simply as "perspective." This isn't wrong, it's just another way of referring to the same thing.

The Three "Modes" of Point of View

Stories can be told from one of three main points of view: first person, second person, or third person. Each of the different modes offers an author particular options and benefits, and the point of view that an author chooses will have a tremendous impact on the way that a reader engages with a story.  

First Person Point of View

In first person point of view, the narrator tells the story from his or her own perspective. You can easily recognize first person by its use of the pronouns "I" or "We." First person offers the author a great way to give the reader direct access to a particular character's thoughts, emotions, voice, and way of seeing the world—their  point of view  about the main events of the story. The choice of which  character gets to have first person point of view can dramatically change a story, as shown in this simple scenario of a thief snatching a lady's purse

• Thief's POV: "I was desperate for something to eat. Judging by her expensive-looking shoes, I figured she could afford to part with her purse."
• Victim's POV: "He came out of nowhere! Too bad for him, though: I only had five dollars in my bag."

Consider also one of the most famous examples of first person point of view, the very first line of Herman Melville's  Moby-Dick :

Call me Ishmael.

Melville uses first person here because he wants to establish a confessional tone for the protagonist. He wants the reader to feel like Ishmael has just sat down next to him on a bar stool, and is about to tell him his life's story. Only first person can have this colloquial and intimate effect. Saying, "His name was Ishmael," for instance, would insert more distance between the reader and the character Ishmael, because the third person narrator would sit between  the reader and Ishmael. First person, in this way, can have the effect of connecting the reader directly with the story.

First Person Point of View and the Protagonist

In a story told in the first person, the character who acts as narrator will often also be the protagonist of the story. However, some stories told from the first person do  not  make the narrator the protagonist:

• First person in which the narrator is the protagonist: In The Catcher in the Rye , the first person narrator Holden Caulfield is the clear protagonist of the story. His voice dominates the story, and the story he tells is his own.
• First person in which the narrator is  not  the protagonist:  The novel The Great Gatsby is narrated by Nick Carraway, but the protagonist of the novel is Jay Gatsby. Nick Carraway tells the story, and the reader is limited to understanding the story through what Nick himself sees, knows, and thinks, but nevertheless the story that Nick tells is not his own but rather Gatsby's.

Second Person Point of View

Second person point of view uses the pronoun "you" to immerse the reader in the experience of being the protagonist. It's important to remember that second person point of view is different from simply addressing the reader. Rather, the second person point of view places the reader "on the playing field" by putting them in the position of the protagonist—the one to whom the action occurs. Few stories are appropriate for such a perspective, but occasionally it is quite successful, as in Jay McInerney's  Bright Lights, Big City , a novel in which the reader is taken on a wild night through Manhattan.

Eventually you ascend the stairs to the street. You think of Plato's pilgrims climbing out of the cave, from the shadow world of appearances toward things as they really are, and you wonder if it is possible to change in this life. Being with a philosopher makes you think.

Of the three points of view, second person is the most rarely used, primarily because it doesn't allow the narrator as much freedom as first person and third person, so it's hard to sustain this style of narration for very long.

Third Person Point of View

In third person point of view, the narrator is someone (or some entity) who is  not  a character in the story being told. Third person point of view uses the pronouns "he," "she," and "they," to refer to all the characters. It is the most common point of view in writing, as it gives the writer a considerable amount of freedom to focus on different people, events, and places without being limited within the consciousness of a single character. Below is an example of dialogue written in third person by Joseph Heller in his novel  Catch-22 :

"What are you doing?" Yossarian asked guardedly when he entered the tent, although he saw at once. "There's a leak here," Orr said. "I'm trying to fix it." "Please stop it," said Yossarian. "You're making me nervous."

The exchange above is narrated by a narrator who is outside the interaction between Yossarian and Orr; such distance is the hallmark of third person point of view.

Third Person and Degree of Distance

The third person mode is unique from first and second person in another way as well: third person has different variants. These variants depend on how far removed the narrator is from the events of the story, and how much the narrator knows about each character:

• Third Person Omniscient Point of View: "Third person omniscient" means that the narrator knows all the thoughts and feelings of every character and can dip in and out of the the internal life of anyone, as needed. Omniscient just means "all-knowing." This type of narrator is more god-like than human, in the sense that their perspective is un limited.
• A story like Young Goodman Brown , which follows one character closely and reports on that character's thoughts and feelings (but not the thoughts and feelings of others), is an example of third person limited point of view. This type of story gives the reader the feeling that they are inside one person's head  without  using first person pronouns like "I."

Alternating Point of View

Many stories are told from alternating points of view—switching between different characters, or even between different modes of storytelling.

• Stories can switch between third person points of view: Many novels switch between different third person points of view. For instance, the chapters of George R.R. Martin's The Song of Ice and Fire books are all named after characters, and each chapter is told from the limited third person point of view of the named character. 
• Stories can switch between first person points of view: William Faulkner's novel As I Lay Dying is structurally similar to the Song of Ice and Fire books in the sense that each chapter is named after a character. However, each chapter is told in the first person by the named character. The Darl chapters are told in the first person by Darl, the Cash chapter are narrated by Cash, the Vardamon chapters by Vardamon, and so on. 
• Stories can even switch between modes of storytelling:  Though less common than other sorts of alternating points of view, some stories can shift not only between different character's points of view, but between actual modes of storytelling. For example, Faulkner's The Sound and the Fury has four parts. The first three parts are all narrated in the first person, with the first part narrated by Benjy, the second part by Quentin, and the third part by Jason. But the fourth part is told in the third person omniscient and follows a bunch of different characters at different times.

Point of View Examples

Every work of literature has a point of view, and so there are essentially endless examples of point of view in literature. The examples below were chosen because they are good examples of the different modes, and in the case of The Metamorphosis the the subtle shift in the nature of the narrator's point of view also shows how an author can play with point of view to suit the themes and ideas of a story.  

Third Person Point of View in Kafka's  Metamorphosis

A great example of third person point of view in literature is the first line from Kafka's  The Metamorphosis . 

As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into a gigantic insect.

For the remainder of the book, Kafka follows the protagonist, Gregor Samsa, in a limited third person point of view as he struggles to come to terms with his sudden transformation into an insect. For as long as Gregor remains alive, the third person narrator remains limited by Gregor's own consciousness—the story is told in the third person, but the narrator never knows or sees any more than Gregor himself does. 

However, in the few pages of the story that continue after Gregor dies, the narrator shifts into a third person omniscient point of view , almost as if Gregor's death has freed the narrator in a way not so dissimilar to how his death tragically relieves a burden on his family. 

Point of View in Tolstoy's  Anna Karenina

Leo Tolstoy's  Anna Karenina   is a great example of the omniscient third person point of view. In the novel, the narrator sees and knows all, and moves around between the lives of the different characters, dipping into their internal lives and thoughts, and commenting on the narrative as a whole. In Part 5, Chapter 6, the internal lives of two characters are commented on at once, in the moment of their marriage to one another:

Often and much as they had both heard about the belief that whoever is first to step on the rug will be the head in the family, neither Levin nor Kitty could recall it as they made those few steps. Nor did they hear the loud remarks and disputes that, in the observation of some, he had been the first, or, in the opinion of others, they had stepped on it together.

Point of View in Thoreau's  Walden

Henry David Thoreau's transcendental meditations on isolation were based on his actual lived experience. It makes sense, then, that  Walden  (his account of time spent alone in the woods) is written in the first person point of view :

When I wrote the following pages, or rather the bulk of them, I lived alone, in the woods, a mile away from any neighbor, in a house which I had built myself, on the shore of Walden Pond, in Concord, Massachusetts, and earned my living by the labor of my hands only. I lived there two years and two months. At present I am a sojourner in civilized life again.

What's the Function of Point of View in Literature?

Point of view is the means by which an author relays either one or a multiplicity of perspectives about the events of their story. It is the lens crafted by the writer that allows the reader to see a story or argument unfold. Depending on how much information the writer wants to give the reader, this lens will be constructed differently—or in other words, a different mode of point of view will be chosen:

• If the writer wants the reader to have full access to a particular character's internal life, then they might choose either first person or a closely limited third person point of view.
• If the writer wants the reader to know select bits and pieces about every character, they might choose an omniscient third person point of view.
• If the writer wants the reader to know about the rich internal lives of multiple characters, they might choose an alternating first person point of view.
• Lastly, if the writer wants the reader to feel like they themselves are in the center of the action, they might choose a second person point of view.

Other Helpful Point of View Resources

• The Wikipedia Page on Point of View:  An overview of narration with a focus on literary point of view.
• The Dictionary Definition of Point of View:   A very basic definition of the term point of view.
• Examples of Second Person:  A page with some examples of writing in the less common second person point of view.

• PDFs for all 136 Lit Terms we cover
• Downloads of 1900 LitCharts Lit Guides
• Teacher Editions for every Lit Guide
• Explanations and citation info for 39,983 quotes across 1900 books
• Downloadable (PDF) line-by-line translations of every Shakespeare play
• Protagonist
• Characterization
• Stream of Consciousness
• Rhetorical Question
• Climax (Figure of Speech)
• Extended Metaphor
• End-Stopped Line
• Verbal Irony

What Is First-Person Point Of View? What You Should Know With Examples

What does it mean to write from the first-person point of view?

And what are the top benefits and pitfalls of a first-person narrative ? 

Think of the stories you’ve enjoyed reading.

How many of them used first-person perspective instead of third person (limited or omniscient)? 

If you’re debating whether to use first or third person (or even second) with your work in progress, we hope this post will help you decide. 

Let’s start with the obvious question: what is first-person ? 

What Is First-Person Point Of View? 

Examples of first-person point of view , benefits of writing in 1st person point of view , read the best-published examples of first-person pov. , decide on the tense you’ll use., create a detailed profile for your first-person character. , consider the benefits of an unreliable narrator. , make first-person pov evident from the beginning. , don’t italicize the first-person character’s thoughts. , share your narrator’s opinions. , go easy on the “i” filters. , vary your sentence structure. , stay true to your narrator’s voice. , stick with one first-person narrator (at a time)..

Point of view, in writing, has to do with the perspective from which you tell your story. First-person perspective is the default with nonfiction works like memoirs and other autobiographical pieces. 

You’ll know first-person point of view by the use of first-person pronouns, “I” and “we.” And when we talk about first-person in a story, we mean one of the two different types: 

• First-Person Central — where the narrator is the protagonist in the story and has an insider perspective (think Holden Caulfield from Catcher in the Rye)
• First-Person Peripheral — where the narrator is a peripheral character and has more of an outsider perspective (think Nick Carraway from The Great Gatsby )

Here are some examples of sentences written in both central and peripheral POV. 

First-Person Central

• I clearly remember the day he walked into my life, and my world changed from that moment on.
• We were confounded by her refusal even to consider our offer.
• I wish I could go back and experience that day again, as I didn’t appreciate then how exceptional it was.
• The day we discovered that little stream in the woods marked the beginning of a magical year.

First-Person Peripheral

• Eleanor told me she would never be the love of his life but always remain his dearest friend. 
• I wish I had known Michael when we were both young, before the weight of the world brought us together.
• My friendship with Sarah was never about common interests or anything like that but rather our twin souls.  
• Looking back, I see how it was inevitable that Tyler would have a meteoric rise to success and wealth.

If you’ve read any of the first-person point of view examples listed below, you know better than anyone how the use of first-person perspective drew you in and made the story more important to you. 

• Jane Eyre by Charlotte Bronte 
• Alias Grace by Margaret Atwood  
• Great Expectations by Charles Dickens
• The Adventures of Huckleberry Finn by Mark Twain
• To Kill a Mockingbird by Harper Lee
• The Great Gatsby by F. Scott Fitzgerald
• The Fault in Our Stars by John Green

As a writer and storyteller, think about how your own experiences have formed your perspective and voice. 

Now that we’re clear on what first-person is, let’s explore the benefits of using it. Whether central or peripheral, your first-person narrator brings certain advantages over a third-person storyteller: 

• Because the narrator is in the story, their perspective draws the reader into it 
• First-person POV makes it easier for the reader to get to know the main character
• First-person POV is easier for newer fiction authors 

That last point is worth making. Authors who feel immersed in the story find it easier to draw their readers more deeply into it, too. And even with nonfiction, the first-person narrator’s personal experience lends credibility to the content they’re sharing. 

How to Write in First-Person Point of View 

Having a story to share and a preference for first-person perspective doesn’t guarantee you’ll find it easy to write or even get started. 

The following steps can help with that. 

The best place to start as a writer is to read the kinds of books you want to write. 

If you want to earn a living as a writer of sci-fi romances, for example, find and read stacks of highly-rated sci-fi romances, as well as sci-fi and romance novels of various types. 

If you’re not sure which ones use first person, download a sample and read it before buying the book.

Create a reading list and tackle it one title at a time. 

Will this story occur in the present, or is your first-person narrative telling a story from their past, relating it from memory (as if it were only yesterday)? 

The past tense works for both the central and peripheral types of first-person POV since either one could be telling the story from memory, as long as they survive. 

Present tense can make your story feel more urgent, though, because the narrator is living the moments as they share them. 

They don’t know how the story ends because, to them, it’s still unfolding. 

Interview your first-person character and build a profile based on their answers and what you picture when you think of them. Make them real enough to speak and to have opinions of their own. Put them to the test and see how they handle it. 

Give your first-person character a backstory, even if they’re not the protagonist. And decide how much of it you’ll share throughout the story. How much does the reader need to know to feel connected to (or at least interested in) the narrator’s perspective? 

One of the pitfalls of first-person POV is all-knowing characters whose omniscience robs the reader of the chance to figure things out along with the narrator. 

As with the present tense, an unreliable narrator raises the stakes and makes a satisfying outcome less of a given. There’s a chance it will all go wrong, so the reader has to keep reading to find out whether or not it will.  

Make it clear as soon as possible whose point of view you’re using and what role they play in the story.  This is one thing your reader shouldn’t have to guess. 

Think of openings like “Call me Ishmael” from Moby Dick — or the first line from David Copperfield : “Whether I shall turn out to be the hero of my own life, or whether that station will be held by anybody else, these pages must show…. ” 

Both authors make it clear from the beginning who’s speaking. 

You’re already telling the entire story from the first-person narrator’s perspective. Everything that isn’t another character’s dialogue comes from this character’s head. 

In most cases, italics are more distracting than helpful: “Icicles as long as my arm hang from the gutters over the garage. When will this winter end?”

Italics can be helpful, though, when the narrator remembers someone else’s words, which come to mind at a moment when their full meaning hits home.

The italics set the spoken words apart from present-moment thoughts and dialogue.

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Those opinions can be stronger than those of other characters, or they can be more flexible. 

As with real people, a character with strong opinions—and zero qualms about sharing them—but who can still laugh at themselves is more endearing than one with more flexible views who can’t bear to be criticized. 

That said, your narrator doesn’t have to be the most likable character in your story. 

Just because your narrator is the one telling the story doesn’t mean you have to make it extra obvious whose senses are involved in the description of the story’s setting and other characters. 

• “I saw the fog on the surface of the lake and could barely make out the hills on the opposite shoreline.” 
• Better: “The fog hovered over the surface of the lake and hid all but the shape of the hills on the opposite shoreline.” 

Reading a series of sentences starting with “I” gets old in a hurry. Mix it up by interspersing these I-sentences with less I-centric ones, as in the following example: 

“I felt the presence of someone behind me before I heard the sound of their boots on the snow-covered sidewalk. The snow fell in flakes the size of dandelion heads, and when one landed between my jacket and the back of my neck, I felt a hand sweep it away before it melted and dripped down my back. He stopped beside me and gently pulled up my hood…. “

The more familiar you are with your narrator’s unique voice, the easier it is to stay true to it throughout the story.

If the main story doesn’t do enough to help you develop the narrator’s voice, spend some time voice journaling as the narrator about anything that matters to them. 

• an opinionated rant about a movie they just watched
• a childhood memory that haunts them 
• thoughts about something related to the story

Be your narrator’s ghostwriter, and write the way they would speak. 

At the very least, each chapter should have only one character with a first-person point of view. The only way to be inside everyone’s head all at once is with third-person omniscient, which doesn’t use first-person pronouns (except in dialogue). 

Too many first-person speakers confuse the reader. They should know who is speaking as “I.” Readers tend not to finish books that confuse them. 

One voice at a time is enough for anyone to process. 

Now that you have a better handle on first-person point of view, which stories come to mind as great examples? And how will you use first-person perspective in a story of your own? 

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Writing Help

Essay writing: first-person and third-person points of view, introduction.

People approach essay writing in so many different ways. Some spend a long time worrying about how to set about writing an informative piece, which will educate, or even entertain, the readers. But it is not just the content that's the issue; it is also the way the content is - or ought to be - written. More may have asked the question: what should I use, the first-person point of view (POV) or the third-person?

Choosing between the two has confused more than a few essay-writing people. Sure, it can be easy to fill the piece up with healthy chunks of information and content, but it takes a deeper understanding of both points of view to be able to avoid slipping in and out one or the other - or at least realize it when it happens. Sure, a Jekyll and Hyde way of writing may be clever, but it can be very confusing in non-fiction forms, like the essay.

Why is all this important?

Continually swapping from the first-person to the third-person POV may leave the reader confused. Who exactly is talking here? Why does one part of the essay sound so detached and unaffected, while the next suddenly appears to be intimate and personal?

Indeed, making the mistake of using both points of view - without realizing it - leaves readers with the impression of the essay being haphazardly written.

Using first-person: advantages and disadvantages

The use of the first-person narration in an essay means that the author is writing exclusively from his or her point of view - no one else's. The story or the information will thus be told from the perspective of "I," and "We," with words like "me," "us," "my," "mine," "our," and "ours" often found throughout the essay.

Example: "I first heard about this coastal island two years ago, when the newspapers reported the worst oil spill in recent history. To me, the story had the impact of a footnote - evidence of my urban snobbishness. Luckily, the mess of that has since been cleaned up; its last ugly ripple has ebbed."

You will see from the above example that the writer, while not exactly talking about himself or herself, uses the first-person point of view to share information about a certain coastal island, and a certain oil spill. The decision to do so enables the essay to have a more personal, subjective, and even intimate tone of voice; it also allows the author to refer to events, experiences, and people while giving (or withholding) information as he or she pleases.

The first-person view also provides an opportunity to convey the viewpoint character or author's personal thoughts, emotions, opinion, feelings, judgments, understandings, and other internal information (or information that only the author possesses) - as in "the story had the impact of a footnote". This then allows readers to be part of the narrator's world and identify with the viewpoint character.

This is why the first-person point of view is a natural choice for memoirs, autobiographical pieces, personal experience essays, and other forms of non-fiction in which the author serves also as a character in the story.

The first-person POV does have certain limitations. First and most obvious is the fact that the author is limited to a single point of view, which can be narrow, restrictive, and awkward. Less careful or inexperienced writers using first-person may also fall to the temptation of making themselves the focal subject - even the sole subject - of the essay, even in cases that demand focus and information on other subjects, characters, or events.

Using third-person: advantages and disadvantages

The third-person point of view, meanwhile, is another flexible narrative device used in essays and other forms of non-fiction wherein the author is not a character within the story, serving only as an unspecified, uninvolved, and unnamed narrator conveying information throughout the essay. In third-person writing, people and characters are referred to as "he," "she," "it," and "they"; "I" and "we" are never used (unless, of course, in a direct quote).

Example: "Local residents of the coastal island province suffered an ecological disaster in 2006, in the form of an oil spill that was reported by national newspapers to be worst in the country's history. Cleaning up took two years, after which they were finally able to go back to advertising their island's beach sands as 'pure' and its soil, 'fertile.'"

Obviously, the use of the third-person point of view here makes the essay sound more factual - and not just a personal collection of the author's own ideas, opinions, and thoughts. It also lends the piece a more professional and less casual tone. Moreover, writing in third-person can help establish the greatest possible distance between reader and author - and the kind of distance necessary to present the essay's rhetorical situations.

The essay being non-fiction, it is important to keep in mind that the primary purpose of the form is to convey information about a particular subject to the reader. The reader has the right to believe that the essay is factually correct, or is at least given context by factual events, people, and places.

The third-person point of view is more common in reports, research papers, critiques, biography, history, and traditional journalistic essays. This again relates to the fact that the author can, with the third-person POV, create a formal distance, a kind of objectivity, appropriate in putting up arguments or presenting a case.

Types of Point of View: The Ultimate Guide to First Person and Third Person POV

by Joe Bunting | 72 comments

In my experience as an editor, point of view problems are among the top mistakes I see new writers make, and they instantly erode credibility and reader trust. Point of view isn't easy though, since there are so many to choose from: first person point of view, third person limited, third person omniscient, and second person.

What do those even mean? And how do you choose the right one for your story?

All stories are written from a point of view. However, when point of view goes wrong—and believe me, it goes wrong often—you threaten whatever trust you have with your reader. You also fracture their suspension of disbelief.

However, point of view is simple to master if you use common sense.

This post will define point of view, go over each of the major POVs, explain a few of the POV rules, and then point out the major pitfalls writers make when dealing with that point of view.

Table of Contents

Point of View Definition The 4 Types of Point of View The #1 POV Mistake First Person Point of View Second Person Point of View Third Person Limited Point of View Third Person Omniscient Point of View FAQ: Can you change POV in a Series? Practice Exercise

Point of View Definition

The point of view, or POV, in a story is the narrator's position in the description of events, and comes from the Latin word, punctum visus , which literally means point sight. The point of view is where a writer points the sight of the reader.

Note that point of view also has a second definition.

In a discussion, an argument, or nonfiction writing, a point of view is an opinion about a subject. This is not the type of point of view we're going to focus on in this article (although it is helpful for nonfiction writers, and for more information, I recommend checking out Wikipedia's neutral point of view policy ).

I especially like the German word for POV, which is Gesichtspunkt , translated “face point,” or where your face is pointed. Isn't that a good visual for what's involved in point of view? It's the limited perspective of what you show your reader.

Note too that point of view is sometimes called narrative mode or narrative perspective.

Why Point of View Is So Important

Why does point of view matter so much?

For a fiction writer, point of view filters everything in your story. Everything in your story must come from a point of view.

Which means if you get it wrong, your entire story is damaged.

For example, I've personally read and judged thousands of stories for literary contests, and I've found point of view mistakes in about twenty percent of them. Many of these stories would have placed much higher if only the writers hadn't made the mistakes we're going to talk about soon.

The worst part is these mistakes are easily avoidable if you're aware of them. But before we get into the common point of view mistakes, let's go over each of the four types of narrative perspective.

The Four Types of Point of View

Here are the four primary types of narration in fiction:

• First person point of view.  First person perspective is when “I” am telling the story. The character is in  the story, relating his or her experiences directly.
• Second person point of view. The story is told to “you.” This POV is not common in fiction, but it's still good to know (it is  common in nonfiction).
• Third person point of view, limited. The story is about “he” or “she.” This is the most common point of view in commercial fiction. The narrator is outside of the story and relating the experiences of a character.
• Third person point of view, omniscient. The story is still about “he” or “she,” but the narrator has full access to the thoughts and experiences of all  characters in the story. This is a much broader perspective.

I know you've seen and probably even used most of these point of views.

While these are the only types of POV, there are additional narrative techniques you can use to tell an interesting story. To learn how to use devices like epistolary and framing stories, check out our full narrative devices guide here .

Let's discuss each of the four types, using examples to see how they affect your story. We'll also go over the rules for each type, but first let me explain the big mistake you don't want to make with point of view.

The #1 POV Mistake

Do not begin your story with a first person narrator and then switch to a third person narrator. Do not start with third person limited and then abruptly give your narrator full omniscience. This is the most common type of error I see writers make with POV.

The guideline I learned in my first creative writing class in college is a good one:

Establish the point of view within the first two paragraphs of your story.

And above all, don't change your point of view . If you do, it creates a jarring experience for the reader and you'll threaten your reader's trust. You could even fracture the architecture of your story.

That being said, as long as you're consistent, you can sometimes get away with using multiple POV types. This isn't easy and isn't recommended, but for example, one of my favorite stories, a 7,000 page web serial called Worm ,  uses two point of views—first person with interludes of third-person limited—very effectively. (By the way, if you're looking for a novel to read over the next two to six months, I highly recommend it—here's the link to read for free online .) The first time the author switched point of views, he nearly lost my trust. However, he kept this dual-POV consistent over 7,000 pages and made it work.

Whatever point of view choices you make, be consistent. Your readers will thank you!

Now, let's go into detail on each of the four narrative perspective types, their best practices, and mistakes to avoid.

First Person Point of View

In first person point of view, the narrator is in the story and telling the events he or she is personally experiencing.

The simplest way to understand first person is that the narrative will use first-person pronouns like I, me, and my.

Here's a first person point of view example from Herman Melville's  Moby Dick :

Call me Ishmael. Some years ago—never mind how long precisely—having little or no money in my purse, and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world

First person narrative perspective is one of the most common POVs in fiction. If you haven't read a book in first person point of view, you haven't been reading.

What makes this point of view interesting, and challenging, is that all of the events in the story are filtered through the narrator and explained in his or her own unique narrative voice.

This means first person narrative is both biased and incomplete, but it can also deliver a level of intimacy other POVs can't.

Other first person point of view examples can be found in these popular novels :

• The Sun Also Rises  by Ernest Hemingway
• Twilight by Stephenie Meyer
• Ready Player One by Ernest Cline
• The Hunger Games  by Suzanne Collins
• The Great Gatsby by F. Scott Fitzgerald
• Jane Eyre by Charlotte Brönte

First Person Narrative is Unique to Writing

There's no such thing as first person in film or theater—although voiceovers and mockumentary interviews like the ones in The Office and Modern Family provide a level of first person narrative in third person perspective film and television.

In fact, the very first novels were written in first person, modeled after popular journals and autobiographies which were first-person stories of nonfiction..

First Person Point of View is Limited

First person narrators are narrated from a single character's perspective at a time. They cannot be everywhere at once and thus cannot get all sides of the story.

They are telling their  story, not necessarily the  story.

First Person Point of View is Biased

In first person novels, the reader almost always sympathizes with a first person narrator, even if the narrator is an anti-hero with major flaws.

Of course, this is why we love first person narrative, because it's imbued with the character's personality, their unique perspective on the world.

The most extreme use of this bias is called an unreliable narrator. Unreliable narration is a technique used by novelists to surprise the reader by capitalize on the limitations of first person narration to make the narrator's version of events extremely prejudicial to their side and/or highly separated from reality.

You'll notice this form of narration being used when you, as the reader or audience, discover that you can't trust the narrator.

For example, Gillian Flynn's Gone Girl  pits two unreliable narrators against one another. Each relates their conflicting version of events, one through typical narration and the other through journal entries. Another example is  Fight  Club , in which *SPOILER* the narrator has a split personality and imagines another character who drives the plot.

Other Interesting Uses of First Person Narrative:

• The classic novel Heart of Darkness is actually a first person narrative within a first person narrative. The narrator recounts verbatim the story Charles Marlow tells about his trip up the Congo river while they sit at port in England.
• William Faulkner's Absalom,  Absalom  is told from the first person point of view of Quentin Compson; however, most of the story is a third person account of Thomas Sutpen, his grandfather, as told to Quentin by Rosa Coldfield. Yes, it's just as complicated as it sounds!
• Salman Rushdie's award-winning  Midnight's Children  is told in first person, but spends most of the first several hundred pages giving a precise third person account of the narrator's ancestors. It's still first person, just a first person narrator telling a story about someone else.

Two Big Mistakes Writers Make with First Person Point of View

When writing in first person, there are two major mistakes writers make :

1. The narrator isn't  likable. Your protagonist doesn't have to be a cliché hero. She doesn't even need to be good. However, she must  be interesting .

The audience will not stick around for 300 pages  listening to a character they don't enjoy. This is one reason why anti-heroes make great first person narrators.

They may not be morally perfect, but they're almost always interesting. (Remember Holden Caulfield in The Catcher in the Rye ?)

2. The narrator tells but doesn't show. The danger with first person is that you could spend too much time in your character's head, explaining what he's thinking and how he feels about the situation.

You're allowed to mention the character's mood, but don't forget that your reader's trust and attention relies on what your character does , not what he thinks about doing.

Second Person Point of View

While not used often in fiction—it is used regularly in nonfiction, song lyrics, and even video games—second person POV is still helpful to understand.

In this point of view, the narrator relates the experiences using second person pronouns like you and your. Thus, you  become the protagonist, you  carry the plot, and your  fate determines the story.

We've written elsewhere about why you should try writing in second person , but in short we like second person because it:

• Pulls the reader into the action of the story
• Makes the story   personal
• Surprises the reader
• Stretches your skills as a writer

Here's an example from the breakout bestseller  Bright Lights, Big City by Jay Mclnerney (probably the most popular example that uses second person point of view):

You have friends who actually care about you and speak the language of the inner self. You have avoided them of late. Your soul is as disheveled as your apartment, and until you can clean it up a little you don't want to invite anyone inside.

Second person narration isn't used frequently, however there are some notable examples of it.

Some other novels that use second person point of view are:

• Remember the Choose Your Own Adventure series? If you've ever read one of these novels where you get to decide the fate of the character (I always killed my character, unfortunately), you've read second person narrative.
• The Fifth Season  by N.K. Jemison
• The opening of The Night Circus by Erin Morgenstern

There are also many experimental novels and short stories that use second person, and writers such as William Faulkner, Nathaniel Hawthorne, and Albert Camus played with the style.

Breaking the fourth wall:

In the plays of William Shakespeare, a character will sometimes turn toward the audience and speak directly to them. In  A Midsummer Night's Dream , Puck says:

If we shadows have offended, think but this, and all is mended, that you have but slumbered here while these visions did appear.

This narrative device of speaking directly to the audience or the reader is called breaking the fourth wall (the other three walls being the setting of the story).

To think of it another way, it's a way the writer can briefly use second person in a first or third person narrative.

It's a lot of fun! You should try it.

Third Person Point of View

In third person narration, the narrator is outside of the story and relating the experiences of a character.

The central character is not the narrator. In fact, the narrator is not present in the story at all.

The simplest way to understand third person narration is that it uses third-person pronouns, like he/she, his/hers, they/theirs.

There are two types of this point of view:

Third Person Omniscient

The all-knowing narrator has full access to all  the thoughts and experiences of all  the characters in the story.

Examples of Third Person Omniscient:

While much less common today, third person omniscient narration was once the predominant type, used by most classic authors. Here are some of the novels using omniscient perspective today.

• War and Peace  by Leo Tolstoy
• Middlemarch  by George Eliot
• Where the Crawdad's Sing by Delia Owens
• The Old Man and the Sea by Ernest Hemingway
• Still Life by Louise Penny (and all the Inspector Gamache series, which is amazing, by the way)
• Gossip Girl by Cecily von Ziegesar
• Strange the Dreamer by Laini Taylor
• Little Women by Louisa May Alcott
• Crazy Rich Asians by Kevin Kwan (one of my favorites!)
• A Wizard of Earthsea by Ursula Le Guin
• Pride and Prejudice by Jane Austen
• More third person omniscient examples can be found here

Third Person Limited

The narrator has only some, if any, access to the thoughts and experiences of the characters in the story, often just to one  character .

Examples of Third Person Limited

Here's an example of a third person limited narrator from  Harry Potter and the Sorcerer's Stone  by J.K. Rowling:

A breeze ruffled the neat hedges of Privet Drive, which lay silent and tidy under the inky sky, the very last place you would expect astonishing things to happen. Harry Potter rolled over inside his blankets without waking up. One small hand closed on the letter beside him and he slept on, not knowing he was special, not knowing he was famous…. He couldn't know that at this very moment, people meeting in secret all over the country were holding up their glasses and saying in hushed voices: “To Harry Potter—the boy who lived!”

Some other examples of third person limited narration include:

• Game of Thrones s eries by George R.R. Martin (this has an ensemble cast, but Martin stays in one character's point of view at a time, making it a clear example of limited POV with multiple viewpoint characters, which we'll talk about in just a moment)
• For Whom the Bell Tolls by Ernest Hemingway
• ​The Way of Kings by Brandon Sanderson
• The Da Vinci Code  by Dan Brown
• The Girl with the Dragon Tattoo by Stieg Larsson
• Ulysses by James Joyce
• Love in the Time of Cholera  by Gabriel Garcia Marquez
• 1984  by   George Orwell
• Orphan Train by   Christina Baker Kline
• Fates and Furies by Lauren Groff

Should You Use Multiple Viewpoint Characters vs. a Single Perspective?

One feature of third person limited and first person narrative is that you have the option of having multiple viewpoint characters.

A viewpoint character is simply the character whose thoughts the reader has access to. This character become the focus of the perspective during the section of story or the story as a whole.

While it increases the difficulty, you can have multiple viewpoint characters for each narrative. For example,  Game of Thrones  has more than a dozen viewpoint characters throughout the series.  Fifth Season has three viewpoint characters. Most romance novels have at least two viewpoint characters.

The rule is to only focus on one viewpoint character at a time (or else it changes to third person omniscient).

Usually authors with multiple viewpoint characters will change viewpoints every chapter. Some will change after section breaks. However, make sure there is  some  kind of break before changing so as to prepare the reader for the shift.

Should You Use Third Person Omniscient or Third Person Limited

The distinction between third persons limited and omniscient is messy and somewhat artificial.

Full omniscience in novels is rare—it's almost always limited in some way—if only because the human mind isn't comfortable handling all the thoughts and emotions of multiple people at once.

The most important consideration in third person point of view is this:

How omniscient are you going to be? How deep are you going to go into your character's mind? Will you read their thoughts frequently and deeply at any chance? Or will you rarely, if ever, delve into their emotions?

To see this question in action, imagine a couple having an argument.

Tina wants Fred to go to the store to pickup the cilantro she forgot she needed for the meal she's cooking. Fred is frustrated that she didn't ask him to pick up the cilantro on the way home from the office, before he had changed into his “homey” clothes (AKA boxer shorts).

If the narrator is fully omniscient, do you parse both Fred and Tina's emotions during each back and forth?

“Do you want to eat ? If you do, then you need to get cilantro instead of acting like a lazy pig,” Tina said, thinking, I can't believe I married this jerk. At least back then he had a six pack, not this hairy potbelly . “Figure it out, Tina. I'm sick of rushing to the store every time you forget something,” said Fred. He felt the anger pulsing through his large belly.

Going back and forth between multiple characters' emotions like this can give a reader whiplash, especially if this pattern continued over several pages and with more than two characters. This is an example of an omniscient narrator who perhaps is a little too comfortable explaining the characters' inner workings.

“ Show, don't tell ,” we're told. Sharing all  the emotions of all  your characters can become distraction. It can even destroy any tension you've built.

Drama requires mystery. If the reader knows each character's emotions all the time, there will be no space for drama.

How do You Handle Third Person Omniscient Well?

The way many editors and many famous authors handle this is to show the thoughts and emotions of only one character per scene (or per chapter).

George R.R. Martin, for example, uses “ point of view characters ,” characters whom he always has full access to understanding. He will write a full chapter from their perspective before switching to the next point of view character.

For the rest of the cast, he stays out of their heads.

This is an effective guideline, if not a strict rule, and it's one I would suggest to any first-time author experimenting with third person narrative. Overall, though, the principle to show, don't tell should be your guide.

The Biggest Third Person Omniscient Point of View Mistake

The biggest mistake I see writers make constantly in third person is  head hopping .

When you switch point of view characters too quickly, or dive into the heads of too many characters at once, you could be in danger of what editors call “head hopping.”

When the narrator switches from one character’s thoughts to another’s  too quickly, it can jar the reader and break the intimacy with the scene’s main character.

We've written about how you can get away with head hopping elsewhere , but it's a good idea to try to avoid going into more than one character's thoughts per scene or per chapter.

Can You Change POV Between Books In a Series?

What if you're writing a novel series? Can you change point of view or even POV characters between books?

The answer is yes, you can, but whether you should or not is the big question.

In general, it's best to keep your POV consistent within the same series. However, there are many examples of series that have altered perspectives or POV characters between series, either because the character in the previous books has died, for other plot reasons, or simply because of author choice.

For more on this, watch this coaching video where we get into how and why to change POV characters between books in a series:

Which Point of View Will You Use?

Here's a helpful point of view infographic to help you decide which POV to use in your writing:

Note that these distances should be thought of as ranges, not precise calculations. A third person narrator could conceivably draw closer to the reader than a first person narrator.

Most importantly, there is no best point of view. All of these points of view are effective in various types of stories.

If you're just getting started, I would encourage you to use either first person or third person limited point of view because they're easy to understand.

However, that shouldn't stop you from experimenting. After all, you'll only get comfortable with other points of view by trying them!

Whatever you choose, be consistent. Avoid the mistakes I mentioned under each point of view.

And above all, have fun!

How about you? Which of the four points of view have you used in your writing? Why did you use it, and what did you like about it? Share in the comments .

Using a point of view you've never used before, write a brief story about a teenager who has just discovered he or she has superpowers.

Make sure to avoid the POV mistakes listed in the article above.

Write for fifteen minutes . When your time is up, post your practice in the Pro Practice Workshop (if you’re not a member yet, you can join here ). And if you post, please be sure to give feedback to your fellow writers.

We can gain just as much value giving feedback as we can writing our own books!

Happy writing!

Joe Bunting

Joe Bunting is an author and the leader of The Write Practice community. He is also the author of the new book Crowdsourcing Paris , a real life adventure story set in France. It was a #1 New Release on Amazon. Follow him on Instagram (@jhbunting).

Want best-seller coaching? Book Joe here.

72 Comments

My book is a memoir so first person is what I chose.

That was my choice for memoir, but am exploring other avenues for better character development.

I hate to be such a nag but isn’t the plural “points of view” and not “point of views”? As in brothers in law and not brother in laws

Joe, excellent post on POV. Probably the best I’ve read. Thanks!

I go for third person deep. In the PoV character’s head, using her unique voice, no author intrusion, no filter words. Am I doing it right? Far from it, but I’ve attended deep writing classes, an it’s easier to pinpoint slips.

Greetings from Greece!

Thanks for sharing this tit bit. I will be looking out for a deep writing class!

When deciding your POV, I strongly believe genre and tense should be considered as well.

Here is my first time ever uploading a “practice.” I chose to try second person, please be kind!

I couldn’t believe it when you called me, waking me from an intense fantasy dream, to tell me that you had been somehow magically transformed overnight into some type of superhero. You cannot blame me if my reaction appeared to be less than awe and more of disbelief and worry for your current state of mind. You will not want me to ask this, but have you started doing drugs? Remember, Freshman Health class, one of the signs to look for was if your friend suddenly changes or acts crazy. Well dude, you are acting more than just a little bit crazy.

Can you really fly? I have been waiting for 15 minutes for you to appear at my bedroom window, and so far nothing. I can envision you, at this very moment, running down the alley and between the houses. You will get to my back gate, jump over, and scurry behind the bushes; all bent over and believing that I can’t see you. When you are sure of your timing and that I have no idea at your mastery, you will jump out and try to convince me that you flew to your location. Please try to remember that I have known you since Kindergarten. Very little about you surprises me anymore, yet you are entertaining.

Although, you did sound different on the phone this morning, you voice had a quality I had never heard before. I would call it confidence. You weren’t trying to convince me that you had a special new talent. You were telling me, informing me.

You need new boots, I know this because I noticed the hole in the bottom of the left one as you slowly descended from the top of my window. Your smile was radiant, your arms crossed confidently across your puffed out chest. You are transformed.

You don’t look peaceful, but you look at peace. Morphine will do that to you. Your flaky, red eyes flutter in your sleep—do you dream, there? “The eyes are the windows to the soul,” so they say; with the curtains drawn, does your gaze turn inward? Do you dream of me amidst the pain, or are you cradled in the gentle embrace of the abyss?

This was your fault, you know; waving that gun in my face, pushing me around; what did you expect?

Certainly not this; no one could have expected this. Dazzling cords of fire springing from the fingertips of your would-be, should-be victim—perhaps it would’ve been wiser to hand over the money—but then, who next? Woudl you have let me go in the first place?

It wasn’t for anything venial, was it? Not for clothes or jewelry—not from what I can tell; you don’t seem the type. But it’s hard to tell. There’s not much left of your clothes, you know.

There’s not much left of you.

They’ll pour maggots over your chest and into your eyes, and flake off the blackness with gentle sponges, and alcohol over everything. That will hurt.

Your hair was so pretty. The doctor says most of it will grow back.

The cops are taking your side, you know. Figures. At least guns don’t burn. I wouldn’t be sticking around if they hadn’t cuffed me to the bed, and set it beside yours—someone in blue has a sick sense of irony.

There are birds fluttering by the windowpane, and whispers of white amidst pastels of blue. Your burns will heal. Mine have only just begun.

Yeah, having superpowers would actually be terrifying. Especially fire. Fire is bad.

I’ve used second-person before, but very rarely, so I went with it, since I’ve used all the points of view you mentioned.

Changing point of view is not only acceptable, it’s quite common. You just italicize it. I don’t know how to do that in a comment, but the general form would be something akin to: He felt around for the plot device. *Damn; I can’t find this thing. Woe is me, I am woe, woe unto me, woe betides me, etc.* He found it. *Huzzah!*

Further, your example for third-person POV includes a sputter of second-person: “the very last place *you* would expect astonishing things to happen.” This is the rhetorical “you,” not an actual pronoun—that is, “you” isn’t referring to anyone—but it still counts.

I think the argument shouldn’t be “never switch POV,” but, rather, “use the turn signal;” that is to say, give the reader an indication that the POV is changing, and why. Italics for brief periods, chapters for changing the individual narrator (you can have lots in one book), etc. Much like turning in traffic, problems generally arise not from the turn, but from the surprise. “Head hopping” is easy to avoid with, for instance, section separators—a vertical space, or a line of three little stars if the space breaks across a page, so that the reader knows a shift is happening. After familiarizing the reader with the mechanism, you can abuse it as much as you want.

Hemingway’s way works too, although I was never a big fan of Hemingway.

P.S. Give away an antique typewriter; brilliant—plenty of nostalgia; tangled ribbons, torn sheets, jammed keys; I can see why you want to inflict it on somebody else!

Wow, that was amazing descriptions. I loved your opening and closing lines as well. You did a great job of setting the dark mood of the story. Very well done.

Great post! It is quite thorough and engaging, and you offered plenty of terrific examples and practical tips.

I tend to write my stories more in the third person POV, I tend to focus on one main character but sometimes try to give some insight on another character’s perspective. The only reason I shy away from first person is because it can be emotionally exhausting to write. The funny thing is my most dramatic story was written in first person (though I did switch between two people) but I felt it would come off stonger in first person rather than third.

I’m not sure I qualify for this practice, because I’ve written in pretty much every POV: My novel is 3rd person deep, my short stories are first person, my articles are second, and my songs cover all of the above plus the others. 🙂 In my book I have several POVs, but I make sure to change the scene completely before changing the person. (Like Jerry Jenkins’/Tim Lahaye’s Left Behind.) I’m not breaking any rules like that, am I? This is a great and informative article that I’ll definitely reference in the future. Thanks for sharing your knowledge!

“Whatsoever ye do, do unto the Glory of God” Reagan

Nice post! Very helpful of keeping them strait. I tend to lean toward first person or third person limited, so I decided to try out second person for the prompt. I also used a dialogue prompt, which is the first line of the story. Here goes nothing!

“The last time I said yes to you, a lot of people died.” You say it low, under your breath, perhaps because you don’t really want him to hear you or perhaps because you don’t want to hear yourself, don’t want to remember that it happened.

“You know,” He reaches out to you, and you pull away, not wanting to touch his hands, hands that could have prevented the deaths of so many, but that have always been so gentle with you. He turns his face to the ground and, you realize, he is just as pained by the memory as you. “You know that I couldn’t have done it.”

“No.” The word comes out all wrong, because of your still upper lip, “You couldn’t have. I knew that then and I know that now.” You lock eyes with him, “Don’t you understand that’s what I’m saying? Don’t you understand that the answer is no?”

“But I can’t…” He grimaces, as though someone has twisted a knife in his gut, “I can’t just let you kill yourself.”

And now it’s your turn to grimace, to feel the pain twisting your stomach into knots. You don’t really know why you do it though. Are you afraid to die? No. That’s not it. You’re afraid for him. For the pain your death will cause him.

“You have to be strong.” You say, “For me.” This time it’s you that reaches out, to lay a hand gently on his shoulder, “You know if I don’t do this, a lot of people will die. Because I know, if I go berserk again, you won’t be able to pull the trigger. And it wouldn’t be fair to ask you to do that anyway. So the answer is no, I won’t let you be my safety net anymore.” His only response is a nod. You slide the hand gently off of his shoulder. That will be your only goodbye. It will be easier that way.

The cup that holds the poison looks normal. Just a regular coffee cup, containing your favorite blend of Colombian roast, and, of course, the substance that will kill you, quickly and painlessly, which is more then you deserve. You are not afraid. You are ready. You pick the cup up off the table and bring it close to your lips but then hesitate, because you see that shining in his eyes, the shining that means he’ll start crying. There is that twisting feeling in your stomach again. Seeing him in pain has always hurt the worst. But you can’t risk it anymore. You can’t let yourself live at the cost of more deaths.

Before you can hesitate, you take a gulp, the coffee burning your throat as it goes down. The room wobbles and you fall, but he catches you, like you knew he would, so that your head doesn’t crack open on the concrete floor.

You are paralyzed, but still conscious, and you know you only have a few seconds before the world grows dark.

He sinks to his knees, cradling you in his arms, like a child. He is no longer holding back his tears. Perhaps because he already thinks you dead.

“I wish,” He says, through sobs and tears and unbecoming bubbles of snot, “I wish you would have said yes.”

He puts his forehead to yours and you feel warm drops of moisture fall on your cheeks. In that moment you, too, wish you had said yes. That things could have been different. That you could have been alive and happy.

But you do not doubt your decision, not in the last seconds that you have breath. Because the last time you said yes to him, a lot of people died and this time, the death tole would be a single, solitary, one.

That was amazing and beautiful and very very emotional. You’ve used second person very effectively! I love it. Did this just come from the top of your head or is there a longer story behind it?

Thanks! It was a sort of top of my head thing. I used this writing prompt and also a dialogue prompt. Also, I’ve been thinking of werwolfs a lot lately for some odd reason (which is what the main character is). The rest of it kinda flowed from there. I’m glad you liked it!

Wonderful story

Not knowing much about POV, I believe I’ve been hedge hopping between them, but appear to prefer Third Person Omniscient, but will have to first discover what that last big word means? Then a re-write may well be called for!

The post is excellent, extending a warm hug of inspiration to the budding writers. I prefer ‘third person omniscient’ POV, with no room for any boredom in my narration.

Peter had his normal “I’m paying attention” look plastered on his face, but his mind was chasing super villains, decimating evil minions with mighty punches that laid ten low at one swipe.

One ear caught, “Good morning, we have a guest speaker this morning, the Rev. Charles Birch, from the 2nd Baptist Church. Rev. Birch will present the creationist side to what we have been studying in the physical sciences. Rev. Birch.”

“Blah … blah … blah,” Peter heard in his public ear but his private ear heard Dr. Daemon spewing his maleficent threats, “Capt. Magnificent, you have no hope of defeating my eco-destroying minions!” On and on it went, Birch preaching “let there be light … the dominion of man over all things … everything in it’s proper order … on the first day God created the second day … and on the third day blah blah blah,” and of course during all of this Dr. Daemon and Capt. Magnificent continued their mighty struggle on the farside of the moon, until Peters public ear heard, “of course the universe can only be 10,000 years old …”

What? What was that his public ear just heard? The Universe is a maximum of 10,000 years old? Peter was now attentive to what the pompous windbag in front of the class was saying.

A single hand raised itself amongst the sea of blank faces.

“Yes, young man?”

“Uh, Rev. Birch, how can the universe be 10,000 years old?”

“Easy uh huh,” Ms. Murphy whispered into the Reverends ear, “yes, Peter, we know the age of the universe from the generations that are recorded in the Bible.”

“But … I was at a dig in Colorado last summer and the rock strata around the fossils …”

“Humph, all conjecture. I believe God made the fossil and the rocks surrounding it ten thousand years ago.”

“All fossils are like that then?”

“Well of course. Given He made the fossils He made the surrounding rock. We only think that it took millions of years.”

Peter’s hand shot up again.

Rev. Birch tried to avoid him, but Peter was a persistent little son of… “Yes?”

“So God’s just a practical joker, creating false evidence to fool the sciences?”

The class was coming out it’s “guest speaker” lethargy, as Peter again had his hand up and spoke before acknowledged, “Does the Bible say what the speed of light is?”

“Well, now I think that has no bearing …”

Susan piped up, adding onto Peter’s question “How can Andromeda be millions of light-years away if the universe is only 10,000 years old?”

“Uh well … Andromeda?”

“No wonder He didn’t have time to save my baby sister if He wasted all that time making fossils look millions of years old,” came a loud, whispered, comment from the back of the room.

Ms. Murphy quickly ushered Rev. Birch from the classroom, and shook his hand in the hall, “Thank you so much for coming. We do appreciate all view points.”

“Who are those kids?” the Reverend asked.

“Oh, the Anderson District Scholars Program. Basically our high school geniuses in sciences and math. It’s required we allow all view points to be presented.”

Interesting. Uh, Gary, how could you have written the story in 15 minutes? Or did you dig up a fossil story you wrote millions of years ago…?

Does it matter?

It took a day and a half to percolate through my gray matter. I then took approximately 15 to 20 minutes to rough it out and get it into Draftin. Then another while, hours, lots of minutes, to get it to where I wanted to post it. Once posted, I’ve gone back and edited it, probably dozens of times, making changes as it has continued to peroclate.

I loved the flashing between reality and a story he is telling himself in his head. That’s me about 90% of the time. lol

I would also just like to add, that all creationists aren’t young earth creationists. There are a lot of different theories. Take the gap theory and theistic evolution for example. Then you have people who take it as a literal six days and others who don’t because of the bible verse that says “a day is like a thousand years and a thousand years is like a day”. Then, there are two different meanings to the word “day” if you look at the translation of the bible from Hebrew to English. So there is argument over which version of the word “day” is being used sense one can be taken literally and the other figuratively. There are literally of books written on these subjects, with Christians arguing amongst themselves over which is right. I have actually meet very few people who think the way the reverend in this story does, especially sense when you go to seminary they teach you how to not look like an idiot in these situations.

I think It’s important to remember when you’re writing Christians (or any group that often gets stereotyped) that they are not stereotypes. I’ve written atheists and it’s really easy just to make them injured people who are angry at God and dissatisfied with life, but that’s just not the reality. A lot of atheists know their stuff and have good reason for their beliefs. The same applies to Christians. If you still want to debunk the Christian in the end, I’m totally cool with it. I would just say, have the Christian have a better argument then “God put the fossils their like that”. Make it harder for your main character to debunk him, create more conflict, and make us cheer him on all the more when he wins.

Just thought that was worth mentioning. All in all, the piece is very well written.

Assumption: Pastors and or reverends have been to seminary. Not true. In the Southern Baptist Convention, at least when I was in the SBC, pastors were not assigned by the convention, nor was any kind of, pre or post graduate, pastoral education required. Pastors were called by the local church, without guidance from the convention, and could easily not even have finished high school. There are many churches that have no affiliation with any established denomination, and therefore call whomever they want as their pastor.

Oh, yes, you handled POV nicely. I’m just the kind of person that will comment on every part of the story. And I’m sorry if the comment was too much, or you didn’t find it helpful. I just tend to say what I think. But for the exercise you did a good job on the POV.

Oh the comment wasn’t too much. After 68 years my hide is pretty tough and criticism I tend to take in a constructive manner and/or with a grain of salt.

But you assumed something in your comment that, in my experience is simply not true. In my experience, the pastors that had graduated college, let alone ever attended seminary were zero. My denomination, at the time, was lucky to have pastors that finished high school.

68 years, wow that’s a lot of time and experience! You have the respect of a young Padawan.

You’re right. I was looking at it from a United Methodist view point (sense that’s the denomination I belong to). Our denomination is pretty strict with schooling and is very organized when it comes to chain of command. I discounted the fact that not all denominations and churches are like mine. My current pastor actually has a PhD and really knows what he’s talking about, so were lucky in that. I’ve also grown up in a home where ignorance isn’t tolerated. We learn about our religion (and everything else we can learn about) and are not victims of blind acceptance.

I’m sorry you had experiences with uneducated pastors. I hope they weren’t all as bad as the one in the story. If they were, then that stinks. And I do realize that there are, sadly, some pastors like the one from your story who don’t have very good arguments when it comes to the science of their faith. But I also hope that people know that all Christians aren’t, to put it frankly, stupid.

Again, assumptions. Christianity was never equated to stupidity, and above all else no attempt to equate uneducated to stupid was ever made. In all those 68 years I have seen incredibly educated people, read that doctorates, that were, above all else, stupid. I have also encountered uneducated people that could best be described as genius.

Birch was, at best, unprepared. His fault, Murphy’s fault, irrelevant, not what I was striving for. It was simply the vehicle used to convey POV switching from character to character. Birch could have been Islamic and quoting the Torah.

I wrote for 20 minutes before I realized it, so here’s what I got.

“Okay, calm down, calm down. You must get a hold of yourself” I murmured frantically to myself, I had to calm down before I blew another hole through the wall, or worse. I sat still on the hard floor, and I still couldn’t believe what had happened, it didn’t make sense at all, but there was evidence of it right before my eyes: a brick wall that now had a wide circle in its middle, still glowing hot from what I had done. Yet it was nothing compared to the silver glow that came from my hands, it felt strange, alien yet oddly comfortable, like I was wearing a glove while sparks coursed throug my arms.

I kept staring at my hands for a long time, trying to find some explanation for what had happened, it couldn’t have been me who did that, I wasn’t that special, I didn’t have some special blood, nor had I gone through any experiment, I didn’t even fit in any origin story of any Super. I was sure of that, I had even taken the tests at the Dome.

“This can’t be happening!” I screamed, letting loose all the emotions I had tried to hold back. “ARGGGHhhh!”

Then, it happened again, the room was bathed again in a silver hue as another silver beam left my hands and destroyed the wall a bit more, leaving behind only one third of what had been an sturdy wall once. That flash had confirmed my fears, this was the reality I had been the one to destroy the wall. I was angry, scared and happy at the same time, these emotions clashing one against the other as I witnessed the destruction I had wrecked in less than 10 minutes.

A grave sound pierced the old room I was in, it sounded like a lament, a sorrowful lament from a strange lonely monster. It only lasted a few seconds, and then, a piece of the roof fell about 5 meters from me. It was followed by another one, and another one bigger than the first two. Soon the whole roof was falling in, and fear once again took a hold of me. I was going to die, I knew I was going to die, buried beneath the rubis of the room.

“I, I don’t want to die” I screamed with all the force of my lungs while I tried to protect my head with my hands, I knew it wasn’t going to be enough, it wasn’t going to be enough if I wanted to live. I want to live. That thought was the last one I had before a surge of power coursed through my body, engulfing my vision in a white blanket before I passed out.

When I woke up, I felt groggy, moving my body was hard, and the air was packed with dust. But I didn’t hurt anywhere, not did I feel like I was buried under something. I slowly made my way to my knees, looking at myself for any sign of injuries, but there was none, in fact except for the dust my clothes were exactly the same as they had been before the fall in.

“This is impossible” I said out loud to no on, but how did this happen? I thought I was done for sure. It was only then that I looked around me and I was shocked for the fifth time that day.

There wasn’t any rubis near me, no for a meter around me. Was that possible? How?

Well done. There are a couple of times where the protagonist is thinking, not speaking. It would help to clarify that like using italics, or at least quoting.

Thanks for the advice- I usually use italics when it comes to thoughts, but I wasn’t sure if they were going to copy that way from writer. So I’ll try to use them next time.

I wrote one short story in the first person POV twenty five years ago. I never tried it again. Since I decided to face my fears, here I go again.

I had just opened my eyes and before I could see clearly, I was standing next to the bed jumping up and down. All of a sudden, i was standing next to the dresser drawer. did I run? I had so much energy. It seemed as if I had four cups of coffee and six energy pills. I looked across the room at the hamper. The hamper was empty and the clothes that were stuffed there were clean and folded. Last night the hamper was full of dirty clothes.. I head a soft voice that sounded like mine. “Esther, you now have super human power. The clothes were washed and folded last night. If you go to the kitchen, there is no longer a pile of dirty dishes. They have all be washed and put away. That’s all I have to say.” “What are you talking about? Who are you?” Suddenly, I was jumping up and down next to my dresser drawer.. I paused and looked into my mirror. I still looked the same. A long braid with a hair pin fastened to the left close to may ear. I did feel energized. At once I felt like I needed or wanted to run. I walked down the stairs toward the front door. The moment that i stepped out. I had dashed down the block, turned to the right and dashed down that block and Paused, standing in right in from of me was me. she looked exactly like me. She had a long braid that was pinned to the side like i did. She was wearing a light tan tee-shirt and black short shorts, blue gym shoes. Just like I am wearing. We both stood there, sweating, jumping up and down as though there were springs.under our shoes. ” Who are you?” ” I just you told you when we were in the house.” Then, she said “I’ll just tell you this much. Let’s race back to the house and up the stairs and stand next to the bed. Whoever get there first wins. “Win what,” “You’ll find out.” she dashed past me to the right. I spun back around so fast that I became dizzy. I dashed down the block and turned left. Before I knew it, I was in the kitchen. Mama was there. I was downstairs sitting at the table with her. “I am impressed. you have fixed breakfast and washed the dishes and I see you have been running.” Thanks mama, I said. Then in my mind and my ear I heard my own voice. There are two Esther. The one who procrastinate and don”t get things done and the one that get things done immediately without being told.. Then mama looked at me and smiled. She never smiles in the morning. but today, she did. She said, well today you cooked the breakfast and washed the dishes without waiting until you got home from school. I like this part of you, Esther. Then, I knew what had happened, KEN Well, there it is. Now, this means that I have used the first person again. I feel okay because, even if it’s terrible. I tried.

My go to POV is 3rd Person, limited.

Oops!! Just realized I completely blew the prompt.

Oh well … back to he drawing board (or computer).

This app helps me understand a lot about the 3d person

The first time it happened took me by surprise. It would anyone wouldn’t it? I was standing in line at the grocery store with my mom. I was tapping my foot to the beat of my own boredom, impatiently waiting for the guy ahead of us to move his cart; which if you ask me he didn’t even need. I added in some finger snaps. 1…2…and…3. The third snap brought with it an echo. When I looked around, I wasn’t in the grocery store anymore. I was in a cave.

I had waited for my eyes to adjust to the dark. The only light that was coming through was a small crack far ahead of me to my left side. I looked down at my feet for a path. Right in front of me the rock I was standing on dropped off into an abyss of black. Behind me stood the edge of the cave. I remember hyperventilating. I was so scared I couldn’t move. I started snapping my fingers again and said out loud, “think, think, think,” matching my snaps to the words in my head. On the third snap, I was back in the grocery store. Police were there talking with my mother. I had been gone a long time.

After that day I tried experimenting with my new formed ability. I started thinking of specific places that I wanted to visit; I wanted to see if I could control it. After a few failed attempts ending up in grungy basements, restaurant cooler storages, and an actor’s cottage, I got a hold of the pattern.

The success of my teleportation was contingent on my ability to breathe evenly. I needed to remain completely calm. When I realized that my ability was never going away, my excitement is what kept me from perfection. Failure after failure brought an increased frustration with myself.

It’s good. You haven’t overdone anything. You’ve shown what happened through your character really well. I particularly like the line “dropped off into an abyss of black.”

This was my attempt at using 2nd person. I rarely use it. Any advice would be appreciated. Thank you 🙂

“Now what can you tell me about God? Anybody? Yes, yes, um Alice?” “Alicia, Miss. God is often described with the three Os. He is omnipotent, all powerful, omnipresent, everywhere and omniscient, all knowing.” You suppress a groan. “Which textbook did she swallow to spew that out?” you whisper to your friend. She giggles quietly. “Shhhh,” she replies. You sigh and put your head on the table. You’ve been stuck in this stuffy classroom for half an hour and you really won’t last for another half. You can practically eat religion in this school.

“Hey you, you, sleepy child,” the teacher says. For a moment you’re confused but then your friend nudges you and you realise the woman is talking to you. ‘Can’t she learn our names?’ you think. “Yes, Miss?” you dare to risk saying. “What can you tell me about God?” she asks. ‘Oh for God’s sake,’ you think before realising the irony. “Um,” you reply. You could almost swear that time was slowing down. Everyone’s eyes turn towards you almost in slow motion before they stop as if frozen. You wish the ground would hurry up and swallow you. It takes you a moment to realise that no one is blinking. “Hello?” you say, hoping you don’t sound like an idiot. Nobody responds. ‘Okay, this is really creepy.’ You poke your friend but she doesn’t move. A bead of sweat trickles down your forehead that has nothing to do with the heat. What is going on? A cold feeling washes over you and you sit back in your seat feeling dizzy. You try to control your breathing but it is rapid and coming in gasps. You glance at the clock only to see that the second hand has stopped moving. Hands clammy, you glare at it willing it to move. Millimetre by millimetre it does. You sigh with relief when everybody’s movement resumes only to find yourself under the scrutiny of 30 pairs of eyes.

“Well?” asks the teacher. Suddenly desperate, you look at the clock and wonder if you can make time go faster.

Who’s point of view;

So there’s this guy, this one guy I never liked, he’s constantly stealing my ideas, getting credit for the success, or if the idea fails, that’s when he throws me under the bus. Oh it’s so aggravating when he takes the words right outta my mouth, when I try to participate in the discussion, he cuts me off, I swear he thinks he knows everything he’s talking about. Oh, yeah and he’s always making an ass out of me, no matter what it is, especially at every work party. This guy thinks he’s so slick, two steps ahead of everyone, but he’s not quick, I know every move he’s gonna make before he makes them. It’s also extremely embarrassing he always seems to wear what I have on, then to hear people say how good he looks, I swear his heads swelling from the compliments. Have you seen him? That car he’s driving, that watch he’s wearing, his house, and kids, and his wife, most people only dream of marrying. He has everything I ever wanted, yet he takes it all for granted, he won’t let anyone else enjoy the spot light, like it’s impossible for him to share it. He never talks to me, which makes it that much more awkward, because I always see him in the bathroom, and every time I wash my hands, there he is, just starring, blocking my reflection. When I try to move, he moves too, it’s so obvious he’s doing it on purpose, but I don’t like drama, quite frankly his demeanor makes me a little nervous. So I just ignore it, I’m starting to wonder if I should report him, but what if the boss thinks I’m jealous? I much rather prefer waiting until the day he quits, or who knows maybe he’ll get fired, I just hope he’s not still here up until the day that I retire.

Until the age of five almost six, I thought everyone could figure out how to walk through walls. The morning my mom was walking me to my first day of school she broke the news to me. Once we reached the first intersection, and we were standing at the corner waiting for the light to change, she first asked me, “Maddy, remember that I mentioned to you every person in the world is unique?” I nodded while I kept my eye on the street light. “and what did I say was so unique about you?” “That I have three freckles on my nose.” “Maddy! Not that but the one thing nobody can tell by looking at you.” I looked up at her and said, “That I am a smart kid and I figured out that walls don’t divide or separate?”

Chapbook 25

Last night I was scared, I had another bad dream I just wanted my mommy there but she was in another room asleep. It was a nightmare, the one I often have, about a monster, who’s over 6ft. He chases me down, grabs me by my hair, thrown me into walls, I don’t know why he’s so angry, he’s even kicked me down the stairs.

I woke up sweating, my eyes filled with tears, and what scared me the most was bruises had appeared. They covered me from head to toe, I couldn’t hide them underneath my clothes. Today I was supposed start my first day of school, but mommy said I couldn’t go.

Back to sleep, I don’t even remember getting ready for bed, I just blacked out, when I woke up a pain filled my head. My dream had some how become real, there was the monster, standing over my body, breathing, and grunting, where is my mommy. Why doesn’t she come and help, why isn’t she protecting me, can’t she hear me if I yell.

Can anyone hear me, why can’t anyone figure it out, I wish my daddy was here, but mommy won’t let him around. When will this nightmare finally end, what will it take for him to leave, one of us dead, or broken and bleeding?

Years have gone by, I’m learning to deal, he’s still in our lives, drinking his meal. He is always mad always drunk, never caring, incapable of feeling love. Beating satisfies a need inside him, one that reminds him he’s alive, he’s in control, that everyone’s beneath him, we do as were told.

My other siblings have dealt with it their own way, my oldest sibling has different personality traits. One minute he’s him, by the next someone else, he swears one day he’ll be free of this hell, and when he does he never wants to see any of us again, he disowns our family, he can’t be my friend. The pain is so much more than anyone should take, it won’t be long from now till one of us breaks.

It finally happened, as I began to prepare my food, cutting up vegetables, trying not to listen to them argue, but low and behold i couldnt ignore the thump, at that very moment I snapped into somebody else.

Someone stronger than who I thought I’d become, with a knife in one hand, and a plan in the other, I made my way to the second floor, and found the that thud was my mother. As the plaster in the wall shaped like her head, I looked for the monster, and seen him covered in red.

Like a bull I charged toward him, digging the knife in his gut, 1,2,3 times ain’t enough. Like the monster he’s always been, courage from his bottle, the pierces in his side didn’t stop him, he was numb from the booze, and like a mad man, he retaliated, nothing could keep him from trying to kill me.

I just woke up from a terrible dream, just to find myself in a worse reality. Laying at the bottom if the stair case, in a puddle of my own blood, flashing lights reassured me help had finally come, but I couldn’t move, my body paralyzed, what had I done? I see my mother screaming she is covered in blood, Then I seen the monster sitting up with tape across his abdomen arms crossed in cuffs, finally he will get what he deserves, but what does this mean or us?

The only girl out of eight kids, the second eldest of the bunch, I thought we stuck together this long, and through such hell, we’d most likely stay together, but only time could tell. If only the words for what’s felt could every truly be spoken, perhaps only then could anyone listening would know just what was dealt, but sometimes you can’t mutter out the words that would allow others to understand what kind of welt gets lashed across a tiny body when beaten with a belt.

Even after hundreds of beatings, thousands of black and blue marks, fractured bones like ribs and wrists, almost on a daily basis. I bet your thinking how the hell does this go on for so long, when a parent allows another adult to enter their home, use them for everything they own, get drunk and stands by as that person takes their angers and frustration out on the innocent lives they should be protecting. When a mother or father chooses a stranger over their own little ducklings. That is how monsters get away with it so long, because an active parent allows it to go on.

The truth is of all the afflictions none bare as much pain as the very thought that a mother could prefer a stranger, a monster, putting her babies in danger, actually acts like she doesn’t see what she did wrong. She won’t acknowledge her errors, and the ultimate worst, the day she would choose another guy over us, again, this guy just another monster, and yet he is her life, treats her like crap, calls her an asset, not as his wife. Let her keep him, and the life she’s made, I have my own daughter now, I will never allow her to grow up this way, I will be nothing like my momster, this is the ultimate promise I make, and would die before I’d ever let it break.

Great piece about a super villain, and how this kind of thing does not happen in a vacuum. Your POV was consistent, first person, but there are places where you need to highlight that these are the thoughts of the protagonist. Italics would work, or even quotes.

I only just came across this site today an I was immediately intrigued. I’ve always been self conscious about my writing but I like the idea of being about to just practice like this and get genuine feedback. Anyway I wrote mine in third person limited, I trying to practice how to use better descriptions without overdoing it and getting to fluffy. Here goes..

I remember the day Melissandra first told me she had superpowers. I would have laughed right then and there if I hadn’t learned to recognize the tension burrowed between her brows. Her pale youthful skin now sagged to that of a woman three times her age. The bags beneath her eyebrows had become so swollen and dark you would have thought she hadn’t slept in weeks. The dark shadows behind her eyes gave way to little life. She hunched over me, her body twitching like little jolts of electricity pulsed through her. In health classes we had often seen videos of the effects of hard drugs on addicts, the way they scratched and clawed, itching to escape their bodies. Could she had gotten herself into hard drugs? No, I definitely would have noticed. This was something worse, as a tenth grader living in the suburbs true terror had never struck me very hard, but the fear that gripped her eyes sent a chill through my spine.

“Mel, is everything okay?” I ask as we push our way through the crowded cafeteria.

Mel leans in close looking over her shoulder with unease checking to see that no one else is listening. She whispers, almost inaudibly.

“I think I have superpowers Suz.”

Laughter roars through my belly, which is quickly stifled by the lifeless expression on her face. I’ve never seen her so afraid.

“I’m sorry, did you say superpowers Mel?” I ask in disbelief.

Her eyes fix on me with a cold hard expression, there’s no laughter in her eyes, no punch line at the end of this story.

She lowers her voice as she begins to explain.

“Last night I went for a climb on Bears Peak. I must of got 150 feet when I lost my footing on the rocks. I was so sure I had all my ropes secured, but as I started to fall nothing caught. In that moment I thought I was going to die. Than, just before my body hit the ground I stopped. My body just suspended, hovering in mid air. It wasn’t long, only a moment, a few seconds at best, but enough time for my body to correct itself and find its footing on the ground.”

I stare at her in bewilderment, she’s not saying what I think she is, is she.

“Suzan!” she exclaims as her eyes show a flicker of light. “Last night I flew.”

I just discovered this site tonight, I like it already. I wrote mine in third person limited.

I remember the day Melissandra first told me she had superpowers. I would have laughed right then and there if I hadn’t learned to recognize the tension burrowed between her brows. Her pale youthful skin now sagged to that of a woman three times her age. The bags beneath her eyes had become so swollen and dark you would have thought she hadn’t slept in weeks. The dark shadows behind her eyes gave way to little life. She hunched over me, her body twitching like little jolts of electricity pulsed through her. In health classes we had often seen videos of the effects of hard drugs on addicts, the way they scratched and clawed, itching to escape their bodies. Could she had gotten herself into hard drugs? No, I definitely would have noticed. This was something worse, as a tenth grader living in the suburbs true terror had never struck me very hard, but the fear that gripped her eyes sent a chill through my spine.

Great article, Joe! I really appreciate the detail you went into. You made the different points of view so clear. The breadth of your knowledge of literature is awesome, and your two graphics were helpful and concise.

Katherine Rebekah, great story! You did the second-person POV seamlessly.

All the best, Deena

Well thanks, Deena. 🙂

My genre is romantic suspense, or romantic thrillers, if you will. I always write third person point of view, omniscient, and steer clear of first person for exactly the reasons you’ve stated above. I find first person too limited and stifling. When I read a novel written in first person I find myself distracted, wondering what the other main character(s) are thinking or feeling. Particuarly in a romance – I don’t want to spend my entire reading experience wondering: Is he feeling the same way way or she on her own here?

Granted, the authors that I habitually read do not typically write in first person, but when they do, I will admit, they’re pretty good at showing me the thoughts and feelings of the other party without actually going into their POV. But, I would say it is a tough thing to accomplish, and only the best writers do.

Any feedback would be nice, thanks!

There are no more villains to fight you. No more evil-doers who wish to challenge your right—the right the people gave you to defend their lives. The monument that watched over the city like an old father is the tribute they built for you. The responsibility that you now stand in. Watching over them. An extraterrestrial guardian.

You look up to see grey clouds swirling, forming some odd shape. You take flight, and burst through the glass pane, as people below begin to chant your name. The clouds merge with one another, swirling in and out of each other. With your vision you can see the faces of the ones you swore to protect, even at the cost of your life. Some are smiles, the faces of those that believe in you—the ones if they could would join you without a second thought. Others had grief-stricken eyes; doubt lined their faces. How could you protect them forever? Surely someone greater than you, stronger than you would destroy everything that you deemed worth saving. Maybe there was someone that could take your place, someone that made all this easier. Hopefully.

No. Your chest bursts out and the veins in your arms feel ready to explode. Your fists clench tighter with each breath. Your eyes narrow. Never will you doubt yourself ever again. A crash of lightning hit a nearby building, signifying your resolve. You charge into the vortex still swallowing the sky. The mass of clouds block your path and out the whirlwind a humanoid shape takes form. You. You face off against yourself. “Of course. A hero’s greatest challenge is his or herself,” you say.

How I hate head-hopping! This is a common mistake my students make – and an easy one that can slip into our drafts. Hence, the importance of revision and beta readers.

Thank you for this thorough discussion of such an important element of story!

The worst limitation I find writing in first person is exactly what Joe pointed out, that you cannot be everywhere at once. I find myself getting frustrated at having to switch POV’s between characters in order to be able to tell the story better and show how different characters are feeling because of certain situations; or in my story’s case: one very sinister character.

But since I’m using my past experiences as a means to write the way I do, I kind of need to stay in first person. It’s both a blessing and a curse.

How interesting that a man who has written a 7000-page story is the author of a bestselling book about writing a short story. 😉

“Tina, what the heck. Put me down.”

“Sorry Charlie, I just ate a spinach salad.”

“Clever, but not humorous. Popeye wouldn’t be so frivolous. What if mom and dad had seen you showing off, or worse, if one of the Dancings is spying on us.”

“You’re no fun, you’re boring and paranoid. Brother or not, I may look for another partner”

“Be my guest. I’ll find someone who takes our mission seriously. Who won’t jeopardize our friends and family out of boredom, and the childish need for attention. Grow up a little. You’re sixteen years old.”

“And, you’re eighteen going on eighty. It’s true what they say about friends and family.”

“Whose they?

“Idiot. They’re the consensus.”

“What does the consensus have to say on the subject?”

“Family is the luck of the draw. Friends are deliberate choices.”

“I’d mention a few of your choices but that won’t get this conversation on track. I, we, need to find out what the Dancings are up to. You need to get close enough to read their daughter’s mind. I’ve got a plan. It could work if you can augment your powers with a dash of maturity.”

My sister Tina and I were abducted a month ago while hiking in the Grand Canyon. If I had the words to describe the aliens or their vessel, I’d share them, but I don’t. They were spirits as much as anything and I may have been sedated somehow. They separated us. Apparently Tina was more qualified for mental and physical superpowers than I was. She can read minds and has the strength of The Hulk. My power is cooler though. My eyes shoot lasers when I squint and concentrate. If it was just a matter of squinting, the neighborhood would be ablaze. My vision is less than perfect. I’ve been squinting for years. Maybe that’s why I got this power? Whatever. If the Dancings are building a dirty bomb in their basement, I may need to set fire to them and their house. Soon maybe. First, I need to know that my suspicions are warranted.

Tina needed to befriend the Dancing’s daughter Tanya, an introvert who spoke to no one at school. If she couldn’t befriend her, Tina at least needed to sit by her at lunch, hopefully to learn something from her thoughts. My sister gets bored easily, so sitting near a person who won’t acknowledge her was going to be a challenge. That’s why I was so irritated with Tina and her circus tricks just now. I’m convinced our neighbors are terrorists. But I can’t just burn their house down. What if somebody died and I was wrong? It was time for my sister to step up and put her powers to good use.

Appreciate the write up Joe. Laura

I am having a lot of difficulty with point of view. For instance, Let’s say you have a Memoir or “Diary” type fiction. You want to it to be from the point of view of the person writing the diary; however, you need your reader to know facts about the characters the speaker interacts with that he couldn’t possible know. (perhaps he just met them, etc.) How can you give the reader information about a person that the speaker deosn’t know yet?

hey, I am in the same boat as you, and I uncovered something called First Person Omniscient, which is– if you are still not away after a year of writing the comment I am replying back to– the character is in first person, still uses “I” and “we” and such, but also knows information about other characters that he/she does not yet know, precisely as what you described in your comment. However, this type of first person is rare, as very few novels and authors decide to use this method. But whatever floats your boat! Hope I helped, even though I am clearly late!

Try second person

One question I have in regards to POV and which to choose, is suppose you’re writing a story about something that’s already happened. The story is being told by the main character in the story, years later after the story is “over” (kind of like in a journal of what happened, how it ended- to a certain point- leaving out what has happened to the main character due to his choices made). But, one of the unique situations is that the main character is not just one person, but a person literally divided into 3 separate selves. He himself is the Present self, the other two are what has already happened (past- alternate choice of reality) and the last one is “what could be if” situation” (future). The main (present) is part of the three, but only knows the whole story after it’s happened and how the other two responded to events as they occurred. How would the story be told in what point of view? Both first and third? I know it probably sounds confusing; so if you’re willing to give me advice and need some clarification I can do that. Thanks.

Amanda stared at herself in the mirror. She lifted her hands and gazed at all of the blood on them. “Why am I not dead?” she asked herself puzzled. “It was a head on collision…with a truck!” she exclaimed to herself in amazement. She turned on her heel and marched to her kitchen and grabbed a large knife. She waved the knife around in the air before placing it on her wrist. “If I can’t make it look like an accident, I guess my parents would have to deal with the fact I wanted to die.” Amanda spat. She winced as the blade dug deep into her delicate flesh and watched her blood flow. But the seconds later it stopped. Blinking, she brought her arm closer to her face and stared at her smooth skin -without a single scratch on it. In disbelief she dropped the knife and ran back into the bathroom and wiped her arm of its blood and confirmed there wasn’t a wound. Desperate, Amanda ran down into the basement and grabbed her father’s rifle. “Heal from this if you can.” Amanda put the point under her chin and pulled the trigger. Everything went black and she felt herself crash to the floor. Moments later, Amanda woke up with a huge headache. “What happened?” she groaned but then gasped when she remembered what she had tried to do. “What is happening to me?!” she cried. “I don’t want to be in this world anymore, let me die!” she screamed. Amanda got up from the floor and shuffled up stairs to take a warm shower. “Maybe drowning would work…”

You forgot deep pov; close third. >:(

Deep POV is still third person limited.

Great write-up! Worth sharing and bookmarking.

As for me, I prefer to write (and read) in either first person or third person limited.

Good article except that the plural of point of view is points of view and NOT point of views! C’mon!

Though I’ve only started writing in earnest this year, POV is a topic that has been pointed out to me again and again concerning my WIP. TODAY, as I go through the comments I received overnight POV is the stumbling block I inadvertently put in my story. I’m consciously employing the third person omniscient POV, but it’s not coming through to my readers. I’ve read this article before and anew and I still don’t get it… I’m doomed.

talented writer, Noddy, mentioned this article . is good read . reread since wanted to make the third person omniscient viewpoint cleaner without head hopping . soon peruse Italo Calvino book written in second person pov to see how a master wrote .

Write two pieces of 750 words. One will be from the point of view of a traveller travelling to a foreign country. The other will be from the point of view of a native of that country who receives that traveller which person do I write form the first person, second person or the third person please help

You know, i had a dream once… I wanted to redo my entire life, I’m getting a divorce from my wife, Scarlett. We have two children, Alex and Maggie, and they’e both seniors in the high school I used to attend. I was driving to Ned’s house one rainy night and saw a man on a bridge. I got out and ran after him. When I got there he jumped, i looked over the edge and then I fell off. I woke up in Ned’s house and looked in the mirror. I was my young self again… I was 17 again.

What about this post is actual, and what part’s a dream? It’s hard to distinguish what dialogue this follows, and what efforts are trying to be accomplished.

Everything about this was my dream… I woke up after i fell and thought, I need some pancakes.

Hi- I’m writing a novel in 3rd omniscient. I struggle with the point of view on a micro level, never dipping into 1st or second person. Here is an example of what I mean is this… ‘While Eunice and Barbara were in the nursery spending a few minutes with the baby boy, Margaret walked away from a group and then grabbed a quick nibble of cheese from the buffet. She continued on to the bar where she picked up a full glass of vodka with a twist of lemon. On her way out the door to the patio, she looked back over her shoulder directly to where Jules stood, as if she had known his position to the inch.’ Does ‘she looked back over her shoulder’ now put the reader in Margaret’s POV???

I could use some advice.

I have a novel focusing on the relationship of two people. This is entirely written in 3rd person limited with occasional internal dialogue.

Initially, this story was focused on one character (A); however, I realised the protagonist was the other character (B). I re-wrote the novel to be inside B’s head, and generally this works *much* better.

Here’s the problem. Although the entire novel is written in 3rd person limited for B, there are several action points within the novel that follows A, not B because there is not much going on with B during this time.

There’s no head hopping or reading of A’s mind in these few scenes, but nothing is happening to B at this point, so narrative-wise, it seems okay to follow A through action (not thought).

So, question 1) because there’s no head hopping, is following A occasionally too distracting for this story? And if so, 2) I’m open to suggestions on how to handle this, because it’s what happens to A in these scenes that changes things.

Very good article. Great examples.

Nice article

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How to write a First Person Essay and Get a Good Grade

First-person essays are fun essays to write. The reason is that they are usually written in the first-person perspective. In this article, you will discover everything crucial you need to know about first-person essay writing.

By reading this article, you should be able to write any first-person essay confidently. However, if you need assistance writing any first-person essay, you should order it from us. We have competent writers who can write any first-person essay and deliver ASAP.

What is a first-person Essay?

A first-person essay is an academic writing task written from the first-person perspective. A typical first-person essay will involve the author describing a personal experience. This is the reason why first-person essays are also known as personal essays .

Since first-person essays are personal, they are usually written in a casual tone and from the first-person point of view. However, there are occasions when such essays must be written in a formal tone (calling for using citations and references). Nevertheless, as stated, they are often written in a casual tone.

The best first-person essays are those with a casual tone and a solid first-person point of view (POV). A casual tone is a conversational tone or a non-formal tone.

And a solid first-person POV writing is writing that is characterized by the generous use of first-person pronouns, including “I,” “me,” and “we.” It differs from the academic third-person POV writing that is characterized by the use of third-person pronouns such as “her,” “he,” and “them.”

Types of First-person Essays

There are several types of first-person essays in the academic world. The most popular ones include admission essays, reflective essays, scholarship essays, statement of purpose essays, personal narrative essays, and memoirs.

1. Admission essays

An admission essay, a personal statement, is a first-person essay that potential students write when applying for admission at various universities and colleges. Most universities and colleges across the US require potential students to write an admission essay as part of their college application.

They do this better to understand students beyond their academic and extracurricular achievements. As a result, the best college admission essays are often descriptive, honest, introspective, meaningful, engaging, and well-edited.

2. Reflective essays

A reflective essay is a first-person essay in which the author recalls and evaluates an experience. The objective of the evaluation is usually to determine whether an experience yielded any positive or negative change. Professors typically ask students to write reflective essays to encourage critical thinking and promote learning.

Reflective essays can be written in various styles. The most popular style is the conventional introduction-body-conclusion essay writing style. The best reflective essays follow this style. In addition, they are introspective, precise, well-structured, and well-edited.

3. Scholarship essays

A scholarship essay is a first-person essay you write to get a scholarship. Most competitive scholarships require students to submit an essay as part of their application. The scholarship essay submitted is one of the things they use to determine the scholarship winner.

Usually, when scholarship committees ask applicants to write a scholarship essay, they expect the applicants to explain what makes them the most suitable candidates/applicants for the scholarship. Therefore, when you are asked to write one, you should do your best to explain what makes you deserve the scholarship more than anyone else.

The best scholarship essays are those that are honest, direct, useful, and precise. They also happen to be well-edited and well-structured. 

4. Statement of purpose essays

A statement of purpose essay is a first-person essay that graduate schools require applicants to write to assess their suitability for the programs they are applying to. A statement of purpose is also known as a statement of intent. The typical statement of purpose is like a summary of an applicant’s profile, including who they are, what they have done so far, what they hope to achieve, and so on.

When you are asked to write a statement of purpose essay, you should take your time to assess what makes you a good candidate for the program you want to join. You should focus on your relevant academic achievements and what you intend to achieve in the future. The best statement of purpose essays is those that are well-structured, well-edited, and precise.

5. Personal narrative essays

A personal narrative essay is a first-person essay in which the author shares their unique experience. The most successful personal narrative essays are those that have an emotional appeal to the readers. You can create emotional appeal in your personal narrative essay by using vivid descriptions that will help your readers strongly relate to what you are talking about. You can also create emotional appeal in your personal narrative essay by generously using imageries.

The typical personal narrative essay will have three parts: introduction-body-conclusion. In addition, the best ones usually have good descriptions of various settings, events, individuals, etc. Therefore, to write an excellent personal narrative essay, you should focus on providing a detailed and engaging description of whatever you are talking about.

A memoir is a first-person essay written to provide a detailed historical account. Memoirs are usually written to share confidential or private knowledge. Retired leaders often write memoirs to give a historical account of their leadership era from their perspective.

You may not be worried about the prospect of being asked to write a memoir as a college student, but it is good to know about this type of first-person essay. It may be helpful to you in the future. Moreover, you can always write a memoir to be strictly read by your family or friends.

 Structure and Format of a First-Person Essay

You are not required to follow any specific format when penning a first-person essay. Instead, you need to write it just like a standard format essay . In other words, ensure your essay has an introduction, a body, and a conclusion.

1. Introduction

Your essay must have a proper introduction paragraph. An introduction paragraph is a paragraph that introduces the readers to what the essay is all about. It is what readers will first read and decide whether to continue reading the rest of your essay. Thus, if you want your essay to be read, you must get the introduction right.

The recommended way to start an essay introduction is to begin with an attention-grabbing sentence. This could be a fact related to the topic or a statistic. By starting your essay with an attention-grabbing sentence, you significantly increase the chances of readers deciding to read more.

After the attention-grabbing sentence, you must include background information on what you will discuss. This information will help your readers know what your essay is about early on.

The typical essay has a body. It is in the body that all the important details are shared. Therefore, do not overshare in the introduction when writing a first-person essay. Instead, share your important points or descriptions in the body of your essay.

The best way to write the body of your first-person essay is first to choose the most important points to talk about in your essay. After doing this, you are supposed to write about each point in a different paragraph. Doing this will make your work structured and easier to understand.

The best way to write body paragraphs is, to begin with, a topic sentence that sort of declares what the writer is about to write. You should then follow this with supporting evidence to prove your point. Lastly, you should finish your body paragraph with a closing sentence that summarizes the main point in the paragraph and provides a smooth transition to the next paragraph.

3. Conclusion

At the end of your first-person essay, you must offer a conclusion for the first-person essay to be complete. The conclusion should restate the thesis of your essay and its main points. And it should end with a closing sentence that wraps up your entire essay.

Steps for Writing a First-Person Essay

If you have been asked to write a first-person essay, you should simply follow the steps below to write an excellent first-person essay of any type.

1. Choose a topic

The first thing you need to do before you start writing a first-person essay is to choose a topic. Selecting a topic sounds like an easy thing to do, but it can be a bit difficult. This is because of two things. One, it is difficult for most people to decide what to write about quickly. Two, there is usually much pressure to choose a topic that will interest the readers.

While it is somewhat challenging to choose a topic, it can be done. You simply need to brainstorm and write down as many topics as possible and then eliminate the dull ones until you settle on a topic that you know will interest your readers.

2. Choose and stick to an essay tone

Once you choose a topic for your essay, you must choose a tone and maintain that tone throughout your essay. For example, if you choose a friendly or casual tone, you should stick to it throughout your essay.

Choosing a tone and sticking to it will make your essay sound consistent and connected. You will also give your essay a nice flow.

3. Create an outline

Once you have chosen a topic and chosen a tone for your essay, you should create an outline. The good news about creating an outline for a first-person essay is that you do not have to spend much time doing research online or in a library. The bad news is that you will have to brainstorm to create a rough sketch for your essay.

The easiest way to brainstorm to create a rough sketch for your essay is to write down the topic on a piece of paper and create a list of all the important points relevant to the topic. Make sure your list is as exhaustive as it can be. After doing this, you should identify the most relevant points to the topic and then arrange them chronologically.

Remember, a first-person essay is almost always about you telling a story. Therefore, make sure your points tell a story. And not just any story but an interesting one. Thus, after identifying the relevant points and arranging them chronologically, brainstorm and note down all the interesting details you could use to support them. It is these details that will help to make your story as enjoyable as possible.

3. Write your first draft

After creating your outline, the next thing to do is to write your first draft. Writing the first draft after creating a comprehensive outline is much easier. Consequently, simply follow the outline you created in the previous step to writing your first draft. You already arranged the most relevant points chronologically, so you shouldn’t find it challenging to write your first draft.

When writing this first draft, remember that it should be a good story. In other words, ensure your first draft is as chronological as possible. This will give it a nice flow and make it look consistent. When writing the first draft, you will surely remember new points or details about your story. Feel free to add the most useful and interesting ones.

4. Edit your essay

After writing your first draft, you should embark on editing it. The first thing you need to edit is the flow. Make sure your first draft has a nice flow. To do this, you will need to read it. Do this slowly and carefully to find any gaps or points of confusion in your draft. If you find them, edit them to give your story a nice flow.

The second thing you need to edit is the tone. Make sure the draft has a consistent tone throughout. Of course, ensure it is also in first-person narrative from the first paragraph to the last. The third thing you need to edit is the structure. Ensure your essay has a good structure with three parts: introduction, body, and conclusion.

5. Proofread your essay

After ensuring your essay has a nice flow, a consistent tone, and a good structure, you should proofread it. The purpose of doing this is to eliminate all the grammar errors, typos, and other writing mistakes. And the best way to do it is to read your essay aloud.

Reading your essay aloud will help you catch writing errors and mistakes. However, you should also proofread your essay using an online editor such as Grammarly.com to catch all the writing errors you may have missed.

After proofreading your essay, it will be crisp and ready for submission.

Topic ideas for a first-person essay

Below are some topic ideas for first-person essays. Since there are several distinct types of first-person essays, the ideas below may not be relevant to some types of first-person essays. However, the list below should give you a good idea of common first-person essay topics.

• A story about losing a friend
• A story about your first foreign trip
• A story about the best thing that happened to you
• A dangerous experience that happened to you
• A high school friend you will never forget
• A story about how you learned a new skill
• The most embarrassing thing that happened to you
• The first time you cooked your own meal
• The first time you did something heroic
• The first time you helped someone in need
• Your first job
• The most fun you’ve ever had
• The scariest thing that ever happened to you
• A day you will never forget
• The biggest life lesson you have learned
• How you met your best friend
• Your first time driving a car
• Your first time, feel depressed and lost
• A story from a vacation trip
• Your cultural identity

Sample Outline of a First-person Essay

Below is a sample outline of a first-person essay. Use it to create your first-person essay outline when you need to write a first-person essay.

• Attention-grabbing sentence
• Background info
• Thesis statement
• Body Paragraph 1
• First major point
• Closing sentence

2. Body Paragraph 2

• Second major point

3. Body Paragraph 3

• Third major point

4. Conclusion

• Thesis restatement
• Summary of major points
• Concluding statement

Example of a first-person essay

My First Job Your first job is like your first kiss; you never really forget it, no matter how many more you get in the future. My first job will always be remarkable because of the money it gave me and how useful it made me feel. About two weeks after my 17 th birthday, my mother asked me if I could consider taking a job at a small family restaurant as a cleaner. I agreed. I could say no if I wanted to, but I didn’t. My mother was a single mother working two jobs to care for my three younger siblings and me. She always came back home tired and exhausted every single day. I had always wanted to help her, and as soon as the opportunity presented itself, I grabbed it with my two hands. My mother had heard about the cleaner job from a close friend; hence she hoped I could do it to earn money for our family. Once I agreed, I went to the restaurant the next day. I took the train and arrived at about seven in the morning. The restaurant was already packed at this time, with the workers running around serving breakfast. I asked to speak to someone about the cleaning job, and I was soon at the back office getting instructions about the job. Apparently, I was the first to show genuine interest in taking the job. For the first three days, the other staff showed me around, and after that, I started cleaning the restaurant daily at $8 an hour. Now $8 an hour may seem like little money to most people, but to me, it meant the world! It was money I didn’t have. And within the first week, I had made a little over $400. I felt very proud about this when I got my first check. It made me forget how tired I was becoming from working every day. It also made me happy because it meant my mom didn’t have to work as hard as she did before. Moreover, within a month of working at the restaurant, I had accumulated over $250 in savings, which I was very proud of. The little savings I had accumulated somehow made me feel more financially secure. Every weekend after work was like a victory parade for me. The moment I handed over half my pay to my mother made me feel so helpful around the house. I could do anything I wanted with the remaining half of the pay. I used quite a fraction of this weekly to buy snacks for my siblings. This made me feel nice and even more useful around the house. After about three months of work, my mom got a promotion at one of her places of work. It meant I no longer needed to work at the restaurant. But I still went to work there anyway. I did it because of the money and how useful it made me feel. I continued working at the restaurant for about five more months before joining college.

Final Thoughts!

First-person essays are essays written from the first-person perspective. There are several first-person perspective essays, including personal narrative essays, scholarship essays, admission essays, memoirs, etc.

In this post, you learned everything crucial about first-person essays. If you need help writing any first-person essay, you should contact us. We’ve got writers ready to write any type of first-person essay for you.

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Who’s Talking: Dialogue and Point of View in Personal Essay

Lesson 3 of 8: finding your essay’s heartbeat.

Welcome back, writers! This workshop with Andrea. A Firth will run for 8 lessons, and arrive straight to your inbox. See what goodies lay ahead here and support us by becoming a subscriber here:

Today, we’re going to look at dialogue and point of view—who’s talking and how. Personal essays are often told from the point of view (POV) of a first-person narrator using the pronouns I, me, my, and mine. This is my story based on experiences from my life—so that choice for POV makes sense. But I/me isn’t the only point of view used in personal essay. We’ll explore other POVs and how to present dialogue, too. Let’s dive in.

Here are some thoughts about dialogue before we get into the readings. These questions always come up.

Memory and Dialogue . We don’t walk around recording our daily conversations, so dialogue is recreated. Even though personal essays are true stories, we won’t remember past conversations word for word, no one does. We do our best to represent what was said accurately. We won’t include every line and word from a conversation in our essays—it’s not a trial transcript. We’ll select the dialogue that best moves the narrative and shows the readers who is talking and how. 

Presentation. Dialogue can be external, like two people having a conversation, or internal, like an individual thinking in their head. Dialogue can be presented several ways, in quotations, in italics, or with no quotation or italics, and we’ve already seen these different styles in the essays we’ve read so far:

“Really?” he asks, eyeing the tubs. ( “Taste Test!” by Eric Lemay )

I’m sorry, I said… ( “Swerve” by Brenda Miller )

Oh yes, that’s strep , says the doctor on the screen. The color of that mouth, a dead giveaway. ( “Strawberry Tongue” by Danielle Harms )

Try me, he said. ( “Generation Gap” by Sarah Moss )

I thought, That sloth is as slow as grief. (Internal Dialogue: “The Sloth” by Jill Christman )

The key is to present dialogue in a consistent way throughout the essay so that your reader understands when someone is talking and who’s talking. Keep dialogue attribution, what comes at the end (or sometimes in middle or beginning), straight forward: he asks, I said, I thought . You can use more active verbs to attribute dialogue, such as he screamed or I shrieked , but do this sparingly. Let the dialogue and action show the emotion, how the words are spoken. And forget the adverbs: he screamed loudly , I shrieked hysterically. These adverbs are redundant. A good editor will strike these out. Again have the dialogue and action do the showing. 

Note: With every guideline for creative writing that you are told (by me or anyone else)—there will always be exceptions.

Here’s an example. When writing dialogue and the speaker changes, typically we’ve been told to hit return and start a new line. But in our first Readings, Brenda Miller doesn’t do this, neither does Kate Moss. Huh? But the writers Eric Lemay and Danielle Harms do separate speakers’ dialogue by white space. Phew! As you can see, there is no one set way to present dialogue—the key is to stay consistent and clear, so you don’t lose your reader.

And what’s white space?

The space on a page without words. The empty lines created by hitting return on the keyboard that create white space between lines and paragraphs. White space signals the reader to pause and/or to get ready for a change in speaker or content or approach, like POV.

What if the narrator speaks a language other than English or uses non-English words and phrases?

If the narrator occasionally uses non-English words or phrases in dialogue (or elsewhere in the prose) often the context will be sufficient for the reader to follow. Rely on the reader to “Google it” as needed. Footnotes or a glossary are not necessary in personal essays. If a narrator or other character always speaks in a language other than English, you can include a couple lines, or snippets of dialogue, in that language to show this. 

What do I do about accents and dialects in dialogue?

Including words and phrases that demonstrate an accent or dialect can show how the speaker sounds and add to the voice of the essay. But you don’t want the speech or verbal mannerism to distract the reader, a few examples may be all you need to show this. The same goes for slang and colloquialisms. Be careful not to stereotype—use a balanced, minimalistic approach.

“Whiting” by Deesha Philyaw

“The Game for Winners” by Kimberly Elkins

“Badge” by Wendy Fontaine

In “Whiting,” Deesha Philyaw uses yet another way to present dialogue. She starts with the attribution in italics and follows with the dialogue, not in italics but in quotations.

My father said , “I already buttered the grits and the biscuits for you. You know how to pick the bones out the whiting, don’t you?” 

She groups his dialogue together in three spots, My father said, My father said, My father said. And maybe she got “creative” with his first long paragraph of dialogue. Maybe that wasn’t said all at one time. What do you think? Does it matter? Does the dialogue still feel authentic and ring true?

Philyaw doesn’t show her responses to her father’s dialogue, or if she did respond. Why do you think Philyaw chose to show only her father’s spoken words? Could that be a way to show the imbalance in their father-daughter relationship? Could that say something about the value of his spoken words in the past and the focus she gives his words now? What do you think?

Please share what you think about Deesha Philyaw’s use of dialogue in the Comments.

Leave a comment

One of the great things about personal essay is that there are many ways to write one. As craft goes, there’s nothing off limits. (Your only constraint is telling a true story.) Point of View is another technique you can manipulate to tell your story in a different but authentic way.

First-person, the I POV . In ‘Whiting” the story is told from the daughter’s point of view using a first-person narrator and the pronoun I—and it works. Now let’s see how switching from that traditional POV can impact how a personal essay is told. 

First-person plural, the we POV. Kimberley Elkins’ essay, “The Game for Winners,” starts with the pronouns “we” and “us”—first-person plural, a group of kids from school, acting in unison.

We called it fainting. Gathered in a knot at recess or after lunch in an empty corridor or a corner of the gym, wherever the teachers, who’d been told to stop the game, couldn’t find us. 

Second-person, the you POV. But by the third sentence in “The Game of Winners,” the essay moves to the second-person POV and uses the pronoun “you,” a singular you, and stays in that POV through the end. 

The game went like this: you knelt and breathed deeply, one, two, three, and then jumped up as hard and as fast as you could, a boy’s arms wrapped around you from behind in a bear hug, squeezing the air from your diaphragm. 

Why does the narrator tell her story using the pronoun “you?” What effect does that have as you read the essay? 

Second-person narration implicates the reader bringing them directly into the story, the reader and narrator become one. Using second person to tell the story creates an interactive, connected, intimate experience for the reader. It can make the reader feel a range of emotions from discomfort and fear to understanding and empathy and more. How did it make you feel?

One person, Two Points of View—The Then and Now Narrators

Let’s look at the essay , “Badge,” by Wendy Fontaine.  The essay opens, in scene, with the narrator (in first person, using I) preparing to sell Girl Scout cookies. How old is she? 9? At most 11? Let’s say she’s 10. How do we know her age? From the details! 1. She’s a Girl Scout. 2. She needs her mom’s permission to go to the neighbor’s home. And 3. She is unaware of the slang use of the word pussy. 

Over the next five paragraphs the young narrator describes walking through the trailer park, her fear of spiders, and her neighbor’s trailer.

In paragraph six there’s a shift. The narrator says: I don’t know a lot things. And she lists the things she doesn't know at age 10, including the facts that the neighbor is probably stoned and that her father is an alcoholic and depressed. 

These are things I’ll learn in time, and there will be no badges for any of it.  

Here, the narrator who is speaking is older, more experienced, matured. We’ll call her the now narrator, who in the present moment looks back at herself at age 10, who we’ll call the then narrator. In both situations, now and then , the pronoun I is used—but the narrator is speaking in two different points of time, in two different states of mind—recalling scenes from her 10 -year-old perspective and reflecting as an adult.

Why is this relevant? Because when you write a personal essay you will often be looking at a situation from two perspectives— then and now . Your outlook on the event or situation that you remember, whether it was many years ago or not so long ago, will have changed with time. Your aim in writing personal essay is to uncover the new truth that is revealed in the exploration—that recognition, realization, or epiphany. You as the narrator, the essayist, change from then to now and learn something from the experience.

Can you switch the point of view within an essay? Yes —but have a reason and do it carefully. 

If you switch the POV, that change should serve the essay. We saw how Elkins’ switched from “we” to “you” early on in “The Game for Winners.” She started the essay explaining how we , a group of kids, played a furtive game of fainting. But overall this essay is about the narrator, an individual, how she felt when playing this game and how it manifested in her later in life, so Elkins’ moved to a singular POV with you. You want to use the writing craft to support the essay’s throughline. what’s it’s about and what it means.

Switching the narrator’s POV can easily confuse the reader. In a short essay, you can probably change POV once without losing the reader, but not more (there are always exceptions). Inserting white space, i.e., starting a new paragraph, when changing POV, can help the reader to follow and stay on track.

Here I point out some points of craft for each essay, but there’s lots more. Use The Language of Creative Nonfiction Writing Craft resource to help you identify other writing craft. Share what you find in the Comments.

View Resource Worksheet here

Uses similes (a comparison using like or as): 

… a fraction of what it cost me to gather up the pieces of a girl, shattered like broken seashells gathered from the sands of the ocean floor . This is your inheritance. Spread it like a balm on your broken heart: …

Uses repetition, which adds rhythm and emphasis.

Every bone in the whiting is an apology. Every grain of the grits, an apology. The cat’s head biscuit, a mound of apologies. Everything my father does not say. 

Uses sensory description and simile

—A tingle in your stomach, a hard trail of thrill burring up to your chest like the compression of body in the seconds an airplane’s wheels leave the ground. 

Marks time and creates new language

—Years later, you found the same whoosh of unbecoming with the drinking…

Uses specific details and simile:

spiders black and yellow, as big as Easter eggs.

Uses alliteration and simile:

…webs, white and wispy, like a dead man’s hair.

✍️Take an essay that you have written in the past or take one of the Readings we’ve covered and read it aloud changing the point of view. Change the I’s to you or we . Or change you to I . What effect does the change have? Do you find one POV works better than another? Why?

✍️ Let’s start to dig into what these essays are about on a deeper level. Here’s a question for each.

In “ Whiting,” Twice in the essay, Philyaw tells us what she doesn’t know. Why? What’s significant about that?

In the Game for Winners,” Elkins’ describes finding “euphoria” in the fainting game. What does she mean?

In “Badge,” Fontaine includes three paragraphs about spiders? What/how do the spiders add to the narrative?

Put your answers in the Comments. Let’s have a chat about this!

And Ask me anything. I’ll do my best to respond to each and every one.

Andrea A. Firth

Next up is  Lesson 4: Beginning, Endings and Titles . That lesson will arrive in your inbox on Wednesday, April 10. You can find the  introduction post here if you’re new to this course .

If you enjoyed this lesson, please consider becoming a paid subscriber and sharing it with your friends.

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Choose Your Test

Sat / act prep online guides and tips, what is point of view first, second, and third person.

General Education

One of the best ways to prepare for the AP Literature exam is to learn about different literary devices and how you can use them to analyze everything from poetry to novels. Not only will this help you on the multiple choice section of the test, it’s critical for earning perfect scores on your essays, too!

Today, we’re going to take a closer look at one specific device: point of view. First, we’ll give you the point of view definition, then we’ll explain how the work’s narrator affects its point of view. Then we’ll explain the four types of point of view and provide examples and analysis for each one.

By the end of this article, you’ll be a point of view expert! So let’s get started.

Point of View: Definition and Meaning

In literature and poetry, point of view is defined as the perspective from which a story is told. Put another way, a story’s point of view is a way to articulate and analyze the position of the narrator in relation to the story they’re telling. Is the narrator a participant in the story they’re telling? Or are they describing events that happened to someone else? Both of these perspectives are different types of point of view (which we’ll talk about in a lot more depth later in this article, so hang tight)!

So how do you figure out the point of view in a text? In order to find the point of view of a story, you first have to identify whose perspective the story is told from. That’s because the perspective of the story determines a piece of literature’s point of view! That means that in order to establish a text’s point of view, you have to figure out the narrator of the text first.

What Is a Narrator?

Okay...so obviously figuring out the narrator of a piece of literature is important. But what’s a narrator, exactly? No matter what type of text you’re reading—whether it’s a newspaper article, a textbook, a poem, or a best-selling novel—someone is communicating the story to the reader. In literary terms, we call that someone the text’s narrator.

In other words, the narrator of a piece of literature is the person telling the story. And you know what’s even more helpful than that? Almost all written texts—whether they’re fiction, non-fiction, poetry, or otherwise—have a narrator.

And since a narrator and point of view go hand in hand, that means that almost all texts have a point of view, too!

Finding the Narrator

So how do you figure out the narrator of a text? Sometimes the narrator of a text is pretty easy to determine. For example, for a newspaper article, the narrator of the story is obviously the reporter who’s written the piece to report the facts. They’re the person who followed the story’s trail, and now they’re sharing the story with you!

Another good example of an “easy to find” comes from Herman Melville’s Moby Dick . The very first sentence of the book reads, “Call me Ishmael.” Because that’s a line in the text rather than a piece of dialogue that uses quotation marks, you know it’s the narrator speaking to the audience. In other words, the narrator of Moby Dick identifies himself and tells you his name in the very first line of the book!

But figuring out the narrator of the text isn’t always that easy. For example, the Harry Potter books by J.K Rowling don’t have an easily identifiable narrator. Neither do some classic works, like The Giver by Lois Lowry or Pride and Prejudice by Jane Austen . What do you do in those situations? Well, just hang tight: we’ll walk you through how point of view can help you figure out the narrator in these tricky situations !

Narrator vs. Point of View: What’s the Difference?

Before we start really digging into point of view, it’s worth pausing a minute to talk about the differences between point of view and narration. Because narration and point of view are closely linked, it’s tempting to think of them as interchangeable terms.

But the narrator of a text and the point of view of a text are two different things. The narrator is who is telling the story. In contrast, a text’s point of view is the perspective the story is being told from. If you think of the narrator as a person, their point of view is the angle they’re taking on the story.

Think of it this way: in literature, point of view and narrators go together like...well, like thunder and lightning. You can’t have one without the other, but they’re definitely not the same thing.

The 4 Types of Point of View

Okay, let’s look more closely at the four different types of point of view found in literature . In the following sections, we’ll explain each type of point of view, give you tips for figuring out if something is written in that perspective, and then walk you through a real-life example of that point of view in literature.

In first person point of view, you see the story through the narrator's eyes

First Person Point of View

In first person point of view, the story is told from the narrator’s perspective. This allows the narrator to give readers their first-hand experience, including what they saw, felt, thought, heard, said, and did. Think of it kind of like The Blair Witch Project : in first person point of view, it’s like the narrator is wearing a GoPro camera strapped to their forehead. The reader sees exactly what the narrator sees and gets their singular perspective on the events that unfold. In other words, a first person point of view makes the narrator the eyewitness to the plot of the story.

Using a first person point of view allows an author to dive much more deeply into the narrator’s character, since the reader gets to hear the narrator’s inner thoughts and experience the narrator’s emotions. Additionally, it makes the narrator the main character, or protagonist, of the story. If something is written in first person, it’s a pretty big indicator that the narrator is going to play a pivotal role in communicating the text’s messages or themes.

But there are also some pretty major limitations to a first person point of view, too. Just like real life, readers won’t be able to get the thoughts and feelings of other characters in the novel. Also, the narrator’s observations might be skewed depending on how they feel about other people. Because of that, first person narrators can be unreliable, meaning that their perspective skews the accuracy of the story they’re telling. That means it's up to the reader to determine whether they believe the narrator is being truthful or not.

Tips for Identifying First Person Point of View

In many ways, a first person point of view is one of the easiest to pick out because it uses first person pronoun s, like I, we, me, my, our, and us. If the book is written using these terms, then you can pretty much guarantee that the author is using first person!

Keep in mind that not all first person narrators are the book’s main character, l ike Moby Dick’s Ishmael or The Hunger Games’ Katniss Everdeen. That’s because first person narrators aren’t always the main characters in the work. Take, for instance, the Sherlock Holmes stories, where Dr. John Watson is the narrator. While he’s an important character in the story, he’s definitely not the main character--Sherlock Holmes is!

Additionally, sometimes first person narrators are anonymous, like third person narrators often are. (Don’t worry: we’ll get into third person narration in just a minute.) That’s why it’s best to look for pronouns when trying to figure out a work’s point of view! If you’re trying to find the narrator’s name, it might not always be there. A good example of this is Shakespeare’s “Sonnet 130,” where the narrator is describing the woman he loves. The narrator of the poem is never named, but because he uses pronouns like “I” and “my,” you know it’s written in first person.

Example of First Person Point of View: Shakespeare’s “Sonnet 29”

Many of Shakespeare’s sonnets are written in first person, and “Sonnet 29” is no different. Let’s look at the full poem and see why it qualifies as being written in first person:

I all alone beweep my outcast state, And trouble deaf heaven with my bootless cries, And look upon myself and curse my fate, Wishing me like to one more rich in hope, Featured like him, like him with friends possessed, Desiring this man’s art and that man’s scope, With what I most enjoy contented least; Yet in these thoughts myself almost despising, Haply I think on thee, and then my state, (Like to the lark at break of day arising From sullen earth) sings hymns at heaven’s gate;      For thy sweet love remembered such wealth brings     That then I scorn to change my state with kings.

Remember, we can tell that something’s written in first person if it uses first person pronouns outside of dialogue. Since there’s no dialogue in this poem at all, we can look at the entire text to find evidence of the first person point of view.  

Notice that the narrator (or speaker, as the narrator is often referred to in poetry) uses words like “I,” “me,” and “myself” throughout the poem. This is a clear indicator that this poem is written in a first person point of view!  

Actually, “Sonnet 29” is a good example of something written in first person where the narrator isn’t named. But we can still learn quite a bit about them through the poem itself! For example, we learn that he’s an outcast (line 2) who is unhappy with his current status (line 4). Despite his all-encompassing misery (line 9), when he thinks upon his love, his spirits are lifted (lines 10, 11, and 12). As we start piecing the evidence together, we begin to get a clearer picture of who the narrator of the poem is, and the power love has to lift us out of even the bleakest circumstance.

Other Works Written in First Person Point of View

First person is a really popular writing technique, so it’s no surprise that there are tons of books written in this point of view! Here are a few other poems, books, and book series that you might be familiar with that use first person point of view:

• Shakespeare’s “Sonnet 18”
• Suzanne Collins’ The Hunger Games book series
• Harper Lee’s To Kill a Mockingbird
• Arthur Conan Doyle’s Sherlock Holmes stories

Second person point of view uses pronouns like "you" and "your" to tell the story.

Second Person Point of View

In second person point of view, the story is told from the perspective of another character. Sometimes this character is another person in the book, but it can also be the reader themselves! More importantly, when a writer uses second person, they want readers to connect emotionally with the topic they’re writing about!

Here’s an example of what we mean. Say you’re reading an article about the amount of plastic pollution in the ocean. If the writer wants to pull on your heartstrings and make you take the issue they’re writing about seriously, they might use a second person point of view and write something like this:

“Imagine you’re on the vacation of your dreams sailing across the Caribbean. You can’t wait to get out into the open water, where everything will be calm, peaceful, and gorgeous. You take a nap as the captain sets sail, and when you return to the deck, you’re shocked by what you see. Instead of a vast expanse of sparkling blue water, you see a huge, bobbing mound of trash. Fast food containers, plastic bags, and discarded water bottles bob along the surface as far as you can see. It looks like you’re sailing through a garbage dump, and you feel equal parts disgust and despair.”

Using the second person point of view in a passage puts the reader into the story—in this case, it’s a story about pollution. Second person makes the reader feel like they’re making every move...from the joy of going on vacation, to the shock of seeing so much plastic in the water, to the “disgust and despair” of realizing what pollution is doing to the sea. Suddenly, the reader becomes more invested in what the author has to say about the problem, since the second person point of view makes them feel like they’ve experienced it first-hand!

While it’s very rare to find a text that’s written completely in second person, many authors will switch to this perspective when they want readers to feel connected to the topic they’re writing about.

Tips for Identifying Second Person Point of View

Like first person point of view, it’s pretty easy to spot the second person point of view...when you know what you’re looking for, that is. When something is written in second person, the writer uses second person pronouns (like “you,” “yourself,” and “your”) in the text that falls outside of dialogue , too.

Like we just mentioned, it’s pretty rare to find a whole text that’s written this way. More than likely, you’ll find a few paragraphs written in second person, rather than an entire work. The one exception to this rule is the classic Choose Your Own Adventure book ! You probably remember these from when you were a kid: each book had a topic, and at the bottom of each page, you were given decisions to make. Depending on what you chose, you’d flip to a different page in the book, and your decisions would affect the story!

Example of Second Person Point of View: Bright Lights, Big City by Jay McInerny

Jay McInerny uses second person to open his book, Bright Lights, Big City , which tells the story of life in the fast lane in 1980s New York. Let’s look at the first paragraph to see the second person point of view in action:

Notice that all the pronouns in this section are either “you” or “your,” which is a clear indicator that this is written in second person! It’s also a good example of how using second person can immediately pull someone into a narrative by making the reader and the main character one in the same. In this case, McInerny is creating a whole backstory for your character—from giving you friends like Tad to hinting at your dysfunctional marriage.

Other Works Written in Second Person Point of View

Second person is probably the rarest of the points of view. Usually writers will use second person in sections of their work to emphasize a point, rather than throughout their entire work. Here are some pieces of literature that use a second person point of view (at least in part):

• Langston Hughes’ “Hard Luck”
• Italo Calvino’s If On A Winter’s Night A Traveller
• Claudia Rankine’s Citizen: An American Lyric
• Emma Campbell Webster’s Lost in Austen: Create Your Own Jane Austen Adventure

In third person omniscient point of view, the narrator is god-like and tells the reader everything!

Third Person Omniscient Point of View

The third type of perspective you can find in literature is a third person omniscient point of view. In third person omniscient, the narrator uses third person pronouns like “he,” “she,” “they,” and “their” to refer to all the characters in the work. As a result, the narrator removes themselves as a critical character in the work (unlike the narrators that use a first or second person point of view).

Additionally, because this is a third person omniscient perspective, the narrator is given god-like qualities over the story. ( Merriam-Webster defines an “omniscient” person as someone who has “universal or complete knowledge”! ) That means the narrator can dive into any character’s head and share their thoughts and emotions with the reader. Additionally, the narrator can move around in time and place to show the reader events that the characters themselves may not be aware of! That includes jumping around from location to location, or even moving backward and forward in time.

Using a third person omniscient narrator lets an author show the reader the whole gameboard, so to speak. There’s no real limit to what a narrator can show the readers! Consequently, it allows the author to build a robust world full of well-developed characters, since the author no longer has to contend with the single-character limits of a first or second person point of view. It’s also a particularly useful technique in works with large casts of characters, since the narrator can introduce the reader to each character more quickly—and with more detail—than other points of view would allow!

Example of Third Person Omniscient Point of View: Middlemarch by George Eliot

The narrator of George Eliot’s Victorian novel, Middlemarch, is an excellent example of how a third person omniscient narrator can give readers a comprehensive view of a text. Let’s take a look at the book’s opening paragraph to see this type of point of view in action:

Remember: omniscient narrators are god-like in that they can give you more information than a single character could provide from their limited perspective. In this case, Eliot’s omniscient narrator gives us tons of information about Miss Brooke. We know that she’s beautiful but not financially well off ( the narrator calls this living in “mixed conditions”), which is reflected in her “plain garments.” Regardless, Miss Brooke is also “remarkably clever.”

Beyond that, the narrator tells us about Miss Brooke’s family by looking into her past—which is easy given that the narrator is omniscient! We learn that she and her sister, Celia, aren’t aristocratic, but they come from a good family that includes admirals, clergymen, and politicians. This helps Eliot develop characters and situations quickly, which is important in a book with a large cast of characters like Middlemarch.

Other Works Written in Third Person Omniscient Point of View

Third person omniscient is a common point of view, especially in longer texts. Here are some examples of other works that feature an omniscient point of view:

• Louisa May Alcott’s Little Women
• Oscar Wilde’s The Importance of Being Earnest
• Nathaniel Hawthorne’s The Scarlet Letter
• Philip K. Dick’s Do Androids Dream of Electric Sheep?

In third person limited point of view, it's as if the narrator is standing behind one character's shoulder.

Third Person Limited Point of View

The last point of view an author can use is the third person limited point of view. Just like the omniscient perspective we talked about earlier, texts written in a third person limited point of view use third person pronouns to discuss characters outside of dialogue. The difference between the two is in how much information the narrator shares with the reader.

With a third person limited perspective, the narrator is limited to giving you the perspective of a single character. The narrator can peek inside the character’s head to share their thoughts, feelings, and experiences, similar to a first person point of view. Unlike first person, however, a narrator using a third person limited point of view can also zoom out to give readers a better understanding of how the character they’re following fits into the text’s plot, setting, or situation!

Here’s an easy way of understanding the difference between a first person, third person omniscient, and a third person limited point of view. Think of the narrator as a person holding a camera. You, as the reader, get to see everything the camera sees. With first person point of view, it’s like the character has had the camera implanted in their brain. You can see whatever the character looks at and nothing more. With a third person limited point of view, on the other hand, it’s like the narrator is standing behind one character and filming over his shoulde r. Not only can you get a sense of what the character is seeing, the narrator can also step back a little bit to show readers what’s going on around the character...as long as the character stays in the frame.

Third person omniscient is the most comprehensive view. It’s as if the narrator is filming from the rafters of the building. They can zoom out to show everyone for a global perspective, or they can zoom in on different events to give you a better idea of what’s happening in specific situations. So why would a writer use a third person limited point of view? Well, it’s great for situations where knowing every single detail of a story would spoil the plot. Mystery novels, for instance, often use third person limited point of view. It allows the narrator to give you the detective’s thoughts and feelings while not spoiling the whodunit! It also allows the writer to focus on developing a single character while giving readers a better view of what’s going on around that character.

Example of Third Person Limited Point of View: Harry Potter and the Sorcerer’s Stone by J.K. Rowling

Like we mentioned earlier, all texts have a point of view...which means that the Harry Potter stories do, too! Let’s look at a passage from Harry Potter and the Sorcerer’s Stone to get a better idea of how a third person limited point of view works. In this scene, Harry and his friends, Hermione and Ron, are looking through the library to learn more about the sorcerer’s stone :

It’s clear that this passage is written in third person: the narrator uses pronouns like “he,” “she,” and “them,” instead of first person pronouns like “I” or second person pronouns like “you.” But how do we know it’s third person limited? Well, we get Harry’s thoughts and feelings—like his curiosity about Nicholas Flamel—but no one else’s. We don’t know what Hermione and Ron are reading, or if they’re excited, nervous, or scared.

Rowling wrote all seven Harry Potter books using a third person limited point of view that made Harry the focal point. The narrator can tell us what Harry’s thinking, feeling, and seeing—as well as zoom out to tell us more about the precarious situations he finds himself in. But because the narrator is tied to Harry, they can’t give us a glimpse into other characters’ minds, nor can it show readers what’s happening in other parts of Hogwarts (where Harry isn’t) . That helps readers get to know Harry, even as it helps Rowling maintain the mystery around the sorcerer’s stone (or the chamber of secrets, or the half-blood prince, etc.).

Other Works Written in Third Person Limited Point of View The third person limited point of view is a popular perspective for writers to use, so there’s no shortage of examples! Here are a few works you might be familiar with that feature a third person limited point of view:

• Samuel Taylor Coleridge’s “Christabel”
• Eudora Welty’s The Golden Apples
• Jane Austen’s Pride and Prejudice
• Madeleine L’Engle’s A Wrinkle In Time

What’s Next?

If you’re studying for the AP Literature exam, you’ll need to know about more literary devices than point of view. Why not check out our other comprehensive guides, like this one on personification ? The more familiar you are with literary terms, what they mean, and how to use them, the better your test score will be!

Did you know that there are two English AP tests? One is the literature exam, which focuses on literary analysis and comprehension. The second test is the language exam, which tests your ability to understand argument and write persuasively. Click here to learn more about the AP Language exam, how it differs from the literature exam, and what you need to do to knock it out of the park !

After you learn the fundamentals, the best way to prepare for an AP exam is to take practice tests. Check out this article on how to find the best AP practice exams , and learn how to use them to boost your score!

These recommendations are based solely on our knowledge and experience. If you purchase an item through one of our links, PrepScholar may receive a commission.

Ashley Sufflé Robinson has a Ph.D. in 19th Century English Literature. As a content writer for PrepScholar, Ashley is passionate about giving college-bound students the in-depth information they need to get into the school of their dreams.

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Point of View: It's Personal

What to Know The point of view of a story determines who is telling it and the narrator's relationship to the characters in the story. In first person point of view the narrator is a character in the story telling it from their perspective. In third person point of view the narrator is not part of the story and the characters never acknowledge the narrator's presence. Less common than first and third is second person point of view. In second person point of view the reader is part of the story. The narrator describes the reader's actions, thoughts, and background using "you."

It's all about how you look at it.

When you tell a story, an important thing to choose is the point of view that the story should take. Point of view determines who tells the story, as well as the relationship that the narrator has to the characters in the story. A story can have a much different feel depending on who is doing the telling.

The main points of view are first person and third person, with second person appearing less frequently but still common enough that it gets studied in writing classes. These are also the terms used to distinguish the personal pronouns. The pronouns I and we are first-person pronouns; they refer to the self. The pronoun you , used for both singular and plural antecedents, is the second-person pronoun, the person who is being addressed. The third person pronouns— he , she , it , they —refer to someone or something being referred to apart from the speaker or the person being addressed. Narratives are often identified as first, second, or third person based on the kinds of pronouns they utilize.

First Person Point of View

In first-person narration, the narrator is a person in the story, telling the story from their own point of view. The narration usually utilizes the pronoun I (or we , if the narrator is speaking as part of a group). The character who tells the story might be in the middle of the action or more of a character who observes the action from the outer limits, but in either case you are getting that character’s recounting of what happens.

It also means that impressions and descriptions are colored by that character’s opinions, mood, past experiences, or even their warped perceptions of what they see and hear.

There was no possibility of taking a walk that day. We had been wandering, indeed, in the leafless shrubbery an hour in the morning; but since dinner (Mrs. Reed, when there was no company, dined early) the cold winter wind had brought with it clouds so sombre, and a rain so penetrating, that further outdoor exercise was now out of the question. I was glad of it: I never liked long walks, especially on chilly afternoons: dreadful to me was the coming home in the raw twilight, with nipped fingers and toes, and a heart saddened by the chidings of Bessie, the nurse, and humbled by the consciousness of my physical inferiority to Eliza, John, and Georgiana Reed. — Charlotte Brontë, Jane Eyre , 1847

In Jane Eyre , the narration is provided by the story’s title character, a governess. The information shared comes from her memories and impressions—of the weather, her knowledge of Mrs. Reed’s dining habits, and her dread at receiving a lecture from Nurse Bessie. We are likewise shielded from information that Jane doesn’t know.

Many classic works of fiction feature characters made memorable by their first-person voices: The Catcher in the Rye (Holden Caulfield), The Handmaid's Tale (Offred), or To Kill a Mockingbird (Scout Finch). In some stories, such as in F. Scott Fitzgerald's The Great Gatsby , the first person narrator (Nick Carraway) is an observer of the character around whom the story is centered (Jay Gatsby).

Second Person

Second-person narration is a little-used technique of narrative in which the action is driven by a character ascribed to the reader, one known as you . The reader is immersed into the narrative as a character involved in the story. The narrator describes what "you" do and lets you into your own thoughts and background. The most well-known piece of fiction that employs second-person narration might be Jay McInerney’s novel Bright Lights, Big City .

At the subway station you wait fifteen minutes on the platform for a train. Finally a local, enervated by graffiti, shuffles into the station. You get a seat and hoist a copy of the New York Post. The Post is the most shameful of your several addictions. — Jay McInerney, Bright Lights, Big City , 1984

You will also find second-person narration used in the "Choose Your Own Adventure" style of books popular with younger readers, in which readers determine where the story goes by which page they turn to next. Allowing the reader to "be" the central character in the story provides an immersive reading experience, enhancing what is at stake for the character and reader.

Third Person Point of View

In third-person narration, the narrator exists outside the events of the story, and relates the actions of the characters by referring to their names or by the third-person pronouns he, she, or they.

Third-person narration can be further classified into several types: omniscient, limited, and objective.

Third Person Omniscient

Omniscient means "all-knowing," and likewise an omniscient narrator knows every character’s thoughts, feelings, and motivations even if that character doesn’t reveal any of those things to the other characters.

Little Women by Louisa May Alcott serves as a good example of third-person omniscient narration:

"Christmas won't be Christmas without any presents," grumbled Jo, lying on the rug. "It's so dreadful to be poor!" sighed Meg, looking down at her old dress. "I don't think it's fair for some girls to have plenty of pretty things, and other girls nothing at all," added little Amy, with an injured sniff. "We've got Father and Mother, and each other," said Beth contentedly from her corner. The four young faces on which the firelight shone brightened at the cheerful words, but darkened again as Jo said sadly, "We haven't got Father, and shall not have him for a long time." She didn't say "perhaps never," but each silently added it, thinking of Father far away, where the fighting was. — Louisa May Alcott, Little Women , 1868

The story is not told from the point of view of Meg, Jo, Beth, or Amy, but from someone who is observing the four sisters as they talk to one another. Each character is therefore referred to by their names or the third-person pronoun she . The narrator does not exist as a character in the story, and the girls do not acknowledge the narrator’s presence.

However, the narrator is omniscient, which means that they know what the characters are thinking. This is demonstrated in the last line of the excerpt, when the girls silently ponder the thought of their father never returning from the war.

Third Person Limited

In third-person limited narration, the narrator still exists outside the events of the story, but does not know the motivations or thoughts of all the characters. Rather, one character is the driver of the story, and the reader is given a closer peek into that character’s psyche than the others.

J. K. Rowling utilizes third-person limited narration in the Harry Potter novels. Even though the narrator is not Harry, and Harry is referred to as 'he,' the reader is allowed into Harry's thoughts—what he is wondering without saying out loud. We are also, like Harry, left uncertain about what other characters are thinking:

Three days later, the Dursleys were showing no sign of relenting, and Harry couldn't see any way out of his situation. He lay on his bed watching the sun sinking behind the bars on the window and wondered miserably what was going to happen to him. What was the good of magicking himself out of his room if Hogwarts would expel him for doing it? Yet life at Privet Drive had reached an all-time low. Now that the Dursleys knew they weren't going to wake up as fruit bats, he had lost his only weapon. Dobby might have saved Harry from horrible happenings at Hogwarts, but the way things were going, he'd probably starve to death anyway. — J. K. Rowling, Harry Potter and the Chamber of Secrets , 1999

Third-Person Objective

In third-person objective narration, the narrator reports the events that take place without knowing the motivations or thoughts of any of the characters. We know little about what drives them until we hear them speak or observe their actions. The resulting tone is often matter-of-fact, not colored by any opinions or commentary, nor of knowledge of what takes place outside the scene.

The people of the village began to gather in the square, between the post office and the bank, around ten o'clock; in some towns there were so many people that the lottery took two days and had to be started on June 25th. But in this village, where there were only about three hundred people, the whole lottery took less than two hours, so it could begin at ten o'clock in the morning and still be through in time to allow the villagers to get home for noon dinner. — Shirley Jackson, "The Lottery," 1948

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Sovremennik" cinema square, Elektrostal Live Cam

Sovremennik" cinema square, elektrostal.

Live webcam shows the square in front of the cinema «Sovremennik» in real time. The camera is installed on the house number 18 on Mir Street in the city of Elektrostal, Moscow Region, Russia. The live camera is aimed at the monument to I.F. Tevosyan, which is located on the square of the Sovremennik cinema. The intersection of Tevosyan Street and Mir Street is in the field of view of the web camera. Therefore, this live camera can help assess the workload of this section of the road and the presence of congestion at the intersection. The main entrance of the school №13 and the pedestrian crossing in front of it also on the broadcating.

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Trains Moscow to Elektrostal: Times, Prices and Tickets

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Moscow to Elektrostal by train

The journey from Moscow to Elektrostal by train is 32.44 mi and takes 2 hr 7 min. There are 71 connections per day, with the first departure at 12:15 AM and the last at 11:46 PM. It is possible to travel from Moscow to Elektrostal by train for as little as or as much as . The best price for this journey is .

Get from Moscow to Elektrostal with Virail

Virail's search tool will provide you with the options you need when you want to go from Moscow to Elektrostal. All you need to do is enter the dates of your planned journey, and let us take care of everything else. Our engine does the hard work, searching through thousands of routes offered by our trusted travel partners to show you options for traveling by train, bus, plane, or carpool. You can filter the results to suit your needs. There are a number of filtering options, including price, one-way or round trip, departure or arrival time, duration of journey, or number of connections. Soon you'll find the best choice for your journey. When you're ready, Virail will transfer you to the provider's website to complete the booking. No matter where you're going, get there with Virail.

How can I find the cheapest train tickets to get from Moscow to Elektrostal?

Prices will vary when you travel from Moscow to Elektrostal. On average, though, you'll pay about for a train ticket. You can find train tickets for prices as low as , but it may require some flexibility with your travel plans. If you're looking for a low price, you may need to prepare to spend more time in transit. You can also often find cheaper train tickets at particular times of day, or on certain days of the week. Of course, ticket prices often change during the year, too; expect to pay more in peak season. For the lowest prices, it's usually best to make your reservation in advance. Be careful, though, as many providers do not offer refunds or exchanges on their cheapest train tickets. Unfortunately, no price was found for your trip from Moscow to Elektrostal. Selecting a new departure or arrival city, without dramatically changing your itinerary could help you find price results. Prices will vary when you travel from Moscow to Elektrostal. On average, though, you'll pay about for a train ticket. If you're looking for a low price, you may need to prepare to spend more time in transit. You can also often find cheaper train tickets at particular times of day, or on certain days of the week. Of course, ticket prices often change during the year, too; expect to pay more in peak season. For the lowest prices, it's usually best to make your reservation in advance. Be careful, though, as many providers do not offer refunds or exchanges on their cheapest train tickets.

How long does it take to get from Moscow to Elektrostal by train?

The journey between Moscow and Elektrostal by train is approximately 32.44 mi. It will take you more or less 2 hr 7 min to complete this journey. This average figure does not take into account any delays that might arise on your route in exceptional circumstances. If you are planning to make a connection or operating on a tight schedule, give yourself plenty of time. The distance between Moscow and Elektrostal is around 32.44 mi. Depending on the exact route and provider you travel with, your journey time can vary. On average, this journey will take approximately 2 hr 7 min. However, the fastest routes between Moscow and Elektrostal take 1 hr 3 min. If a fast journey is a priority for you when traveling, look out for express services that may get you there faster. Some flexibility may be necessary when booking. Often, these services only leave at particular times of day - or even on certain days of the week. You may also find a faster journey by taking an indirect route and connecting in another station along the way.

How many journeys from Moscow to Elektrostal are there every day?

On average, there are 71 daily departures from Moscow to Elektrostal. However, there may be more or less on different days. Providers' timetables can change on certain days of the week or public holidays, and many also vary at particular times of year. Some providers change their schedules during the summer season, for example. At very busy times, there may be up to departures each day. The providers that travel along this route include , and each operates according to their own specific schedules. As a traveler, you may prefer a direct journey, or you may not mind making changes and connections. If you have heavy suitcases, a direct journey could be best; otherwise, you might be able to save money and enjoy more flexibility by making a change along the way. Every day, there are an average of 18 departures from Moscow which travel directly to Elektrostal. There are 53 journeys with one change or more. Unfortunately, no connection was found for your trip from Moscow to Elektrostal. Selecting a new departure or arrival city, without dramatically changing your itinerary could help you find connections.

Book in advance and save

If you're looking for the best deal for your trip from Moscow to Elektrostal, booking train tickets in advance is a great way to save money, but keep in mind that advance tickets are usually not available until 3 months before your travel date.

Stay flexible with your travel time and explore off-peak journeys

Planning your trips around off-peak travel times not only means that you'll be able to avoid the crowds, but can also end up saving you money. Being flexible with your schedule and considering alternative routes or times will significantly impact the amount of money you spend on getting from Moscow to Elektrostal.

Always check special offers

Checking on the latest deals can help save a lot of money, making it worth taking the time to browse and compare prices. So make sure you get the best deal on your ticket and take advantage of special fares for children, youth and seniors as well as discounts for groups.

Unlock the potential of slower trains or connecting trains

If you're planning a trip with some flexible time, why not opt for the scenic route? Taking slower trains or connecting trains that make more stops may save you money on your ticket – definitely worth considering if it fits in your schedule.

Best time to book cheap train tickets from Moscow to Elektrostal

The cheapest Moscow - Elektrostal train tickets can be found for as low as $35.01 if you’re lucky, or $54.00 on average. The most expensive ticket can cost as much as $77.49.

Find the best day to travel to Elektrostal by train

When travelling to Elektrostal by train, if you want to avoid crowds you can check how frequently our customers are travelling in the next 30-days using the graph below. On average, the peak hours to travel are between 6:30am and 9am in the morning, or between 4pm and 7pm in the evening. Please keep this in mind when travelling to your point of departure as you may need some extra time to arrive, particularly in big cities!

Moscow to Elektrostal CO2 Emissions by Train

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