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That takes me from Third Person Limited to Omniscient.And Omniscient narrators are decades out of fashion.By far, the most common choice for modern fiction is third-person past tense.
My fingers stretch out, seeking Prim’s warmth but finding only the rough canvas cover of the mattress. This point of view uses “you, your” construction, and the narrator makes “you,” the reader, become the protagonist.
She must have had bad dreams and climbed in with our mother. Though rare in fiction and far more popular in nonfiction, it’s been said that because it plunges the reader into the action of the story, second person can bring a sense of immediacy to a novel. Jay Mc Inerney used second-person present tense in Bright Lights, Big City this way: You are not the kind of guy who would be at a place like this at this time of the morning.
Things to understand about Point of View before we break it down: A. Not to be confused with the as your writing attitude), this is your choice to tell it in First Person (I), Second Person (you), or Third Person (he, she, or it). (Yes, that’s a common amateur mistake, and it results in head-hopping—a giant Point of View no-no I cover in more detail below.) Point of View is worth stressing over, it’s that important.
Even pros have to remind themselves to avoid sliding into an Omniscient viewpoint.
Veteran editor Dave Lambert says, “No decision you make will impact the shape and texture of your story more than your choice of Point of View.” So let’s straighten it out, shall we? ” Limit yourself to one Perspective Character per scene, preferably per chapter, ideally per .
After you read this post, you’ll know the crucial POV rules and techniques use (and publishers look for)—and how to apply them to your story. That means no switching POV characters within the same scene, let alone within the same paragraph or sentence.
landing at Heathrow, Rayford had pushed from his mind thoughts of his family. Rowling, however, whose bestselling Harry Potter series gloriously breaks this rule, you have my wholehearted permission to ignore this advice. Here’s an example of what it would have looked like, had I forgotten to limit myself to a single camera (Rayford) as the Perspective Character in Left Behind: Rayford Steele’s mind was on a woman he had never touched.
As I mentioned above, the cardinal rule of POV is to limit yourself to one perspective character per scene, preferably per chapter, ideally per book. Meanwhile, his co-pilot was wondering what Rayford was thinking as he gazed out the cockpit window.
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.
While I recommend first-person, I think you’d find present tense awkward and difficult to sustain.