Writing a Novel: The Omniscient Point of View

There are many points of view you can use when writing a novel. You might choose first person, which is popular in literary fiction, or you might wish to use third person limited as many genre fiction writers do. You might even decide to play with second person, though this point of view rarely works for anyone.

But what if none of these are right for your story? What if you need something more expansive simply because you have dozens of characters in dozens of locations that you need your readers to follow. You probably even need them to sympathize with more than one of your characters. If this is the case, you might need more flexibility than even third person limited can provide.

If you find yourself needing to dip into the lives and even thoughts of multiple characters, you might consider the omniscient point of view. This point of view is, technically speaking, third person, but it is far from limiting. It is different than other forms of narration because it comes from above and is almost godlike in its usage. With this point of view, you can see all and go anywhere. You can dip into the thoughts of any character at any time, describe scenes witnessed by none of your principle characters (or even scenes witnessed by no one at all), or even go backward or forward in time to further expand your story. And why not?

It does sound infinitely attractive, doesn't it? There are no limits on a story written from the omniscient point of view, making it tempting to write all your stories just like this. But hold on a minute. Just because this method of narration is attractive doesn't mean you should automatically use it.

Am I saying you shouldn't use it? Of course not. I've used it many times, as have hundreds of other authors throughout the ages. It's handy and fun and can serve the story well, but that's the point right there. It can serve the story, but it doesn't always serve the story. So before you head off and jump into a novel written from the omniscient point of view, ask yourself single question.

Does this point of view serve the story? Consider this carefully. Just because a point of view is easier, or a little more fun, doesn't necessarily mean it is right for your story. If your story is centred around a single character, the omniscient point of view might be a little too cold, a little too distant. So think before jumping in.

You'll hear some people say that this particular point of view makes it hard to involve the reader in the story, that it can be difficult to keep the readers interest, or that readers will become confused when they don't have a single consistent character to relate to. You might even hear that it's harder to cast and sustain the spell writers try so hard to conjure. This is all the purest nonsense. If the point of view fits the story, then you're all set. Don't believe me? Look no further than the great classic War and Peace. It is written from the omniscient point of view, and I think no one can argue its quality, or dismiss the powerful spell it casts over the reader.

There is, however, one potential pitfall of this type of narrative. You have to be careful of head-hopping. This generally means sweeping from one character to another without warning and without telling the reader whose head they're in now. Thankfully, this is actually quite easy to avoid when you give readers just a little credit. Your readers are not stupid. They're perfectly capable of following along most of the time. If you are clear about whose head you are in each time you dip into a different character's thoughts, your readers will stick with you.

So how do you indicate whose head you're in? Anyway you like, really. Some writers like to use chapters, as in a different chapter for each point of view. Perhaps you'd prefer to divide up a chapter using headings or an asterisk, or something along those lines. Or maybe you just change paragraphs. All of these are fine provided you make sure the reader knows what's what. So get someone (preferably an editor) to read over your story just to make sure there's no unnecessary confusion.

Don't be afraid of the omniscient point of view. If it fits your story, and you can avoid confusing your readers, then the omniscient point of view might be exactly what you need.

Writing a Novel: Sustaining the Spell

A good book should cast a spell over the reader. The reader should be drawn into the story, should be so engrossed in it that they're more seeing and hearing the events on the page than they are reading them. A good book should be experienced.

Maintaining this spell is the primary job of the author. When I'm writing, I'm thinking about this more than anything. Everything that hits the page, perfect or not, should serve this purpose.

And one of the most often-cited causes of breaking the literary spell is head-hopping, or a sudden change in point of view. You must establish your point of view early on and maintain consistency, even if that consistency means moving from one point of view to another. As long as it's done seamlessly, and as long as you continue to do it in the same manner, the spell remains intact.

But point of view isn't the only way to sustain or break the spell. Sudden changes in location, time, etc. are also jarring for the reader. Sometimes too jarring. Now, all stories need transitions. It's just the way of things. One scene ends while another begins. Characters move from one location to another. Maybe characters die. But these are okay because they are natural and intended transitions. They jar the reader, but only a little bit. And that's okay.

The problem is when these transitions are unnatural and perhaps even entirely accidental. Perhaps you're writing in one point of view one moment, then dip into another for just a paragraph. Perhaps this is the only spot in the book where you do so. If this is true, you are almost surely breaking the spell you've woven, and this will not serve you well. And it's not just about point of view (though some so-called 'experts' would have you think so).

One of the other ways to quickly break the literary spell is to have a character do something they'd never do. Readers like characters. They depend on them. And they need those characters to act...well, in character. If your hero always jumps into a situation to save the damsel in distress, then suddenly doesn't because you think it serves the plot, expect your readers to be jarred out of the story completely. Plot is secondary sometimes, and it's important to recognize when this might be the case.

So if you're writing a novel of any kind, remember that you're really doing more than that. You're casting a spell, or trying to. Your job, as a writer, is to keep the reader's attention for as long as is necessary to tell the story. Craft your words carefully to avoid breaking your spell unnecessarily.

Writing a Novel: The Reminiscent Point of View

Changing the point of view of your story is typically frowned upon. There is one type of story, however, we're changing your point of view--or at least the expression of your point of view-- is necessary for the story. Though this point of view doesn't necessarily have an official designation, I like to call it the reminiscent point of view. I call it that because the story is framed as a reminiscence. In most cases, the reminiscence starts with the character firmly in adulthood until something happens to trigger a past memory. Because everyone changes as they get older, the point of view immediately changes to match the old self of the character. In some cases the difference will be negligible, but if you're dealing with an adult reliving a childhood memory the point of view and entire writing style will, of necessity, undergo a metamorphosis.

With this type of story, you might opt to use the same point of view for both present and past, altering only the voice of the character. This might mean using a third person narrative for both parts of the story. Or perhaps you'd like to use first person. Either can work effectively.

But there's a third option, one which makes a reminiscence stand apart from most other narratives. You have the option to work in both first person and third person for the same character in the same body of work. The present might be written as third person well the past is written as first person. And you could also opt to reverse this. Most other types of stories don't allow quite so much versatility.

But a reminiscence requires more than simply shifting your point of view. There should also be a shift in the writing as thoughts and actions are betrayed by the past self. Syntax, vocabulary, idioms, and styles of speech may all be different. Sometimes dramatically so if your past and present characters are separated by a great many years. A grandparent doesn't speak or think the way a child might, after all. This can be a difficult thing to accomplish and usually takes much practice. Playing around with the reminiscent point of view can enhance your writing skills and further your understanding of the nuances of writing a novel. This is especially true if you explore the many variations a reminiscence allows.

Personally, I don't often write a reminiscence, though I will sometimes insert a small scene detailing a memory a character is had. But since these tend to be recent memories, they aren't quite a reminiscence. If you like to play around with different styles of writing, a reminiscence might be a good way to do so.

Writing a Novel: The Relationship Between First Person and Third Person Point of View

Most fictional stories (though certainly not all) are told through the eyes of a single character. Sometimes two characters. When this is done, the author typically has a choice to make. Do I tell the story in first person, or do I open up a little bit and use third person? Both have their benefits, and both have their own unique drawbacks. But the really interesting thing about these two points of view is how close they can actually be.

Consider this first person sentence:

I stepped out my door, felt the wind brush across my skin, and knew it would be a beautiful day.

Then consider this third person sentence:

He stepped out his door, felt the wind brush across his skin, and knew it would be a beautiful day.

There really is very little difference, at least in this single example. But the connection here is not simply in the way the words are arranged. It is that in both examples, the action is perceived through the point of view of a single character. Changing the I to a he didn't really alter the story. He still stepped outside, felt the wind, and drew a conclusion about how the day would unfold. The same conclusion. Both examples also deny the reader access to certain things, most noticeably the inner thoughts of other possible characters.

So first person and third person have a lot in common. But there is a key difference, and this difference involves the reader's distance from the point of view (POV) character. In first person, you're right in the mind of the POV character. You get the joy (or the agony, depending on the book) of having access to all the POV character's innermost thoughts. Because of the nature of first person narration, you get all the thoughts of that one character. All of them. It can be fun. Or very annoying, depending on how the author handles it all.

Third person, on the other hand, gives the author a few options. It can be very much like first person. If you replace the pronounces (and alter your grammar here and there), first person becomes third person. You can still access the innermost thoughts of the POV character and get to enjoy the same privileges you had in first person. But this is only one way to handle third person.

You can take a totally different approach to third person and lock yourself entirely out of the inner thoughts of the POV character. You may have no idea what he's thinking or why he's doing the things he does. You're simply following the action. This can be fun and a bit exciting, but it can also be irritating. Sometimes you simply have to know what the POV character is thinking because he's acting like a little idiot and all you see are the actions. The thoughts are hidden. In the hands of a master, this point of view works well. With a novice...not so much, but that can be said with most points of view.

Between these two extremes, there are a dozen other options for third person point of view, and most fictional stories fall somewhere in the middle. Close enough to satisfy but not close enough to irritate, as one of my creative writing professors once said. But remember that as you get further from the character, third person had less in common with third person.

So which is best? Neither, really. It depends on your story. But it should be noted that one of the greatest benefits of first person or close third person is allowing you to understand a character who isn't all that verbal. So if your main character doesn't like to talk? Break out the first person (or the close third person, if you like). Your narrative will be all the more special for it because--let's face it--everyone thinks.

Writing a Novel: Voice and Character

The term 'voice' is used in a few different ways when it comes to literature. Often it is used to describe the author's voice, the style that makes his or her writing truly unique. This kind of voice tends to be consistent between stories, even when it shouldn't be. But there is another kind of voice, the kind that doesn't travel from story to story. This is the voice of your character, or characters, and is highly dependent on the story itself. Character voice is inescapable, and it is vital to a quality story, novel or otherwise.

Character voice is a powerful tool for writers, and it is especially important when it comes to characterization. The voice, or tone, of a particular piece of writing gives the reader further insight into the characters the writer creates. You can't escape voice, even if you want to, because all stories are told by someone. There may not be a clear narrator (as is the case with many third person narratives), but there is always a voice, and that voice should be consistent throughout the piece.

Even though every story has a voice, it is easier to note when the story is told through the first person narrative. When a story is written from the first person point of view, you are reading the narrative of the character just as if you were listening to the character's thoughts. In first person stories, voice is usually easy to identify.

Third person narration, however, has far more variations, sometimes making it more difficult to notice the voice of the story. In some forms, third person narrative is just another form of first person, simply replacing I with he or she. Sometimes third person involves a neutral voice, one where the narrator is above the character, not inside the character's head. Third person can also mean dropping into the head of any character at any time. In many third person narratives, the voice of the novel is not consistent with any particular character, or may change to reflect essence of different characters throughout the piece, but that doesn't mean these narratives lack voice.

As a writer, you get to develop the overall voice of your novel. It is totally within your control. As such, it becomes a powerful tool in developing your characters, both major and minor. Too many authors overlook voice as it relates to character development, but it really is very simple. Start by checking yourself frequently. The story is not about you (unless it's an autobiography or a memoir). It's about the characters themselves, and the voice of your story should reflect that. Try to take yourself out of the writing and focus on the characters.

When you're writing, think about the characters who is closest to your point of view. If your point of view is first person, the character is obvious. Third person takes a little more thinking, but you are almost always closer to one character than any others. The focus character may shift if you're writing in third person omniscient, so pay attention to these shifts. A shift in focus character means a shift in voice.

Once you know who your focus character is, address the language you're using. Newer up in flowery language or lengthy words, but this isn't always appropriate for your focus character. The language you use should be consistent with the character in question. If your character doesn't even know what 'loquacious' means, he or she certainly wouldn't say or even think that particular word. Choose something more in keeping with the character you're developing.

This might seem like it applies only to dialogue, but that's not true at all. Your descriptions, your dialogue tags, and everything else should use the same grammar and vocabulary your focus character would use. To an extent, anyway. If your character speaks in gibberish, please clean it up. And don't make spelling errors even if your character would. The point is there shouldn't be a word your character doesn't know or couldn't pronounce, but your writing should still make sense.  Let the tone of the story reflect your characters, but don't use that as an excuse for poor writing or horrible grammar.

As a writer, you best serve your story by taking yourself out of the equation. In most cases, the novel shouldn't sound like you're narrating it at all. Your voice, the author's voice, should disappear in favor of your characters. This is a simple concept, but it can be hard to accomplish. You'll have to review every sentence, look at them with unbiased eyes. I don't pretend this is easy, but your story will be better for it.

Writing a Novel: Choosing a Point of View

One of the most crucial decisions you can make when crafting a novel is point of view. This is a choice that will drastically change the very nature of your novel. If you're not sure of the importance of point of view, take your favorite scene from your favorite novel and rewrite it from a different point of view. Changing from first person to third person omniscient (or the other way around) will result in a different novel entirely. So before you start writing, you'll have to decide which point of view (usually written as POV for short) best suits your story.

First Person Point of View

You can't get closer than first person POV. First person is written using "I" or "me" statements, all of these from the person telling the story. An example of first person point of view is:

I knew it wouldn't work out as soon as those words came out of his mouth.

Notice the use of "I" and the inner thoughts of the primary character. This defines first person POV. The benefit of this point of view is that it keeps things simple. You never have to worry about point of view because you're not jumping around at all. The drawback? You never get to learn anything the primary character doesn't know. This is a good point of view to use if you never need any additional information. If, however, you must introduce informatino the lead character doesn't know this is not a good choice. Unless you want to play with the idea of the interlude, but that's a different story entirely.

Third Person Limited Point of View

First person is very close. You're in the head of the primary character. If you want to stay in the head of the character, but have a little space between the reader and the story, you might want to try third person limited POV. The same sentence you read above can quickly and easily be changed to third person limited point of view like so:

She knew it wouldn't work out as soon as those words came out of his mouth.

You still only get to see the world through your primary character's eyes, but you get some distance. The same rules and limitations exist as with first person POV, but you do get some distance. This is a popular and time-honored POV, but you still don't get to know anything your lead character doesn't get to know. You can use chapters to move between two characters, but this becomes third person multiple point of view. It works just like third person limited but with more than one character. Be careful with this, as you might be accused of head hopping.

Third Person Omniscient Point of View

Are you writing a complex story involving multiple characters doing things that the reader must know? Then third person omniscient POV may be the way to go. This allows you to float around the story, kind of like a god, and be exactly where you need to be. You can be in the head of Character #1, Character #2, or Character #32. You can show any important scene through the eyes of whoever would best convey the information. An example:

She knew it wouldn't work out as soon as those words came out of his mouth. Unaware of her thoughts, he kept talking anyway.

Here you learn that she knew it wouldn't work and that he didn't know that she knew it. You're learning two separate things, and these things are not known by a single character. This is third person point omniscient point of view.

There are many benefits to this POV. You can get information across in less time because you don't have to wait for your lead character to learn it. You can reveal the inner thoughts and feelings of anyone you like. You can show whatever you like and you have great flexibility.

But this POV comes with its own drawbacks. You're no longer sitting directly beside a single character, which can prevent emotional attachment unless you're very good at third person omniscient. Getting your readers emotionally involved with the characters you create is what keeps readers coming back for more, and third person omniscient point of view can get in the way. This POV takes practice to master, at least if you want to do it well.

Second Person Point of View

You may have noticed that I went from first person to third person without stopping to talk about second person POV. I skipped it because it's almost never used in fiction writing. An example of second person is:

 You knew it wouldn't work out as soon as those words came out of his mouth.

Look at that sentence for a moment. Now pick your favorite paragraph from your favorite book and rewrite it using "you" and see what happens. Imagine writing an novel this way. It's not all that natural and it's rarely done. When it is done, it's often done poorly.

The benefit of this POV is also it's biggest drawback: you're taking the reader and actually plopping them inside the story. Not only that, but you're telling the reader what they're doing. Most readers will react poorly to this. They don't want to be told that they just ran out the door and jumped in the car, not when they're sitting in the living room reading a book. What works well for recipes and non-fiction articles doesn't work all that well in a fiction setting.

You can try it, but don't expect to find many readers.

Which Point of View is Best?

I get asked this question a lot, especially when I'm talking to aspiring writers. The question is complicated and involves several variables. The answer is simple. Use the point of view that best suits your story. If the story needs to be told through the eyes of Character #1, then do so. Never try to force a certain point of view on your story. Let the story dictate the point of view.