What is first person and how does it affect your story?
First person means the story is told by a character using “I” or “we.” It lets readers experience the world directly through that character’s eyes. This creates intimacy and immediacy but limits the perspective to what that character knows or feels. (I once wrote an entire story in first person and realised my character was a bit of a chatterbox. Took me a while to keep up.)
Examples:
- The Catcher in the Rye by J.D. Salinger is a classic first person narrative full of personal voice
- The Hunger Games by Suzanne Collins uses first person to draw readers deep into Katniss’s thoughts
Tips:
- Use first person for strong, distinctive voices
- Remember you can only reveal what the narrator knows or observes
- Be careful with reliability as your narrator might not tell the whole truth
- An unreliable narrator doesn’t tell the full truth. They might lie, forget things, or see events in a biased way. This makes your story more interesting because readers have to figure out what really happened. It also shows more about the narrator’s personality and flaws. For example, Holden Caulfield in The Catcher in the Rye often isn’t sure what’s true himself.
Further reading: Point of View: How to Write First Person Narrative by Orson Scott Card
What is third person and what are its advantages?
Third person uses “he,” “she,” or “they” to tell the story. It can be limited to one character’s perspective or omniscient, where the narrator knows everything about all characters and events. Third person offers more flexibility and scope but can feel less intimate than first person. (Writing a novel in third person allows you to enjoy slipping into different characters’ heads like a literary secret agent.)
Examples:
- Harry Potter by J.K. Rowling uses third person limited, mainly following Harry’s point of view
- Pride and Prejudice by Jane Austen uses third person omniscient to explore many characters
Tips:
- Choose third person for stories with multiple viewpoints
- Use omniscient narration carefully to avoid info-dumping
- Keep character thoughts clear and distinct
Further reading: Narrative Voice and Point of View by Jane Fryer
When should you choose first person over third person?
First person works best when you want to create a close connection between reader and narrator. It suits stories where the character’s personal experience, voice, or bias is central. (I once chose first person for a diary-style story and it felt like writing a long letter to a friend.)
Examples:
- The Fault in Our Stars by John Green, where Hazel’s voice makes the story personal
- Gone Girl by Gillian Flynn uses dual first person to build mystery and unreliability
Tips:
- Use first person for character-driven stories
- Make sure the narrator’s voice is engaging and distinctive
- Consider if limiting perspective enhances suspense or drama
Further reading: First Person Narrative Techniques by Lisa Cron
When is third person a better choice?
Third person is ideal for stories with large casts, complex plots, or where you want to show multiple viewpoints. It also works well when you want to provide a broader understanding of the story world. (I once juggled three main characters in third person and felt like a literary circus performer.)
Examples:
- Game of Thrones by George R.R. Martin uses multiple third person perspectives to build a huge world
- The Great Gatsby by F. Scott Fitzgerald uses third person limited to focus on Nick’s observations
Tips:
- Use third person to explore different characters and settings
- Make sure each viewpoint has a clear purpose
- Avoid head-hopping between characters in the same scene
Further reading: Third Person Limited vs Omniscient by K.M. Weiland
How does narrative reliability change between first and third person?
First person narrators can be unreliable because we see the story only through their eyes and biases. Third person narrators, especially omniscient ones, tend to be more reliable but can still have bias or limitations. (Third person omniscient is a type of narration where the storyteller knows everything about all characters and events. The narrator can share any character’s thoughts, feelings, and background, as well as details about the past, present, and future. It gives a “god-like” view of the story.)
Examples:
- The unreliable narrator in Fight Club by Chuck Palahniuk (first person)
- The more objective narrator in Middlemarch by George Eliot (third person omniscient)
Tips:
- Use unreliable narration to create mystery or surprise
- In third person, be careful about how much the narrator reveals
- Decide how much readers should trust your narrator
Further reading: Unreliable Narrators by Elizabeth George
How does point of view affect reader engagement?
First person often creates strong empathy because readers get direct access to thoughts and feelings. Third person can engage readers by showing different sides of the story and providing broader context. (I like reading first person novels that are so immersive that it feels like I’m trapped inside the protagonist’s head.)
Examples:
- The intense emotional connection in The Perks of Being a Wallflower by Stephen Chbosky (first person)
- The panoramic view of characters in Les Misérables by Victor Hugo (third person omniscient)
Tips:
- Match point of view to the emotional tone of your story
- Use voice and perspective to deepen connection
- Be consistent with point of view to avoid reader confusion
Further reading: Point of View by Orson Scott Card
Can you combine first person and third person in one story?
Yes. Some stories use multiple perspectives, switching between first and third person to highlight different characters or themes. It can be powerful but tricky to manage without confusing readers. (I like to colour-code my manuscript to keep track.)
Examples:
- The Poisonwood Bible by Barbara Kingsolver uses multiple first person narrators
- The story is told by the four Price sisters and their mother. Each one talks in their own way and shares what they think and feel. This lets us see the story from different points of view and understand the family better.
- The Night Circus by Erin Morgenstern switches third person viewpoints
- “Celia weaves her magic through the air, shaping illusions with delicate grace. Meanwhile, Marco watches quietly, planning his own moves in the silent game between them.”
Tips:
- Clearly signal viewpoint changes to readers
- Keep distinct voices for each narrator
- Use different perspectives to reveal new information
Further reading: Multiple Perspectives by Nancy Kress
How does point of view affect what information the reader gets?
In first person, readers only get what the narrator knows, thinks, or sees. This can limit the story but also create suspense or mystery. Third person can reveal more information, either limited to one character or all-knowing. (I once wrote a thriller in first person and loved how clueless my narrator kept me.)
Examples:
- The limited but intimate view in The Curious Incident of the Dog in the Night-Time by Mark Haddon (first person)
- The all-seeing narrator in War and Peace by Leo Tolstoy (third person omniscient)
- “Prince Andrei looked at the vast plain before him with a mixture of awe and despair, while Natasha, miles away, felt a flutter of hope and excitement she could barely contain. Meanwhile, Pierre sat alone, wrestling with his doubts and searching for meaning in the chaos around him.”
This kind of narration lets Tolstoy give us insight into several characters at once, showing their different emotions and perspectives, which you wouldn’t get with a single first-person narrator.
Tips:
- Decide how much information helps or hinders your story
- Use limited knowledge for suspense or character-driven stories
- Use omniscient viewpoint for epic or complex tales
Further reading: Narrative Perspective by John Gardner
What are common challenges with first person narration?
Challenges include maintaining a consistent voice, avoiding telling instead of showing, and limiting the story to one perspective. Sometimes it can be hard to explain events outside the narrator’s experience naturally. (Don’t have your narrator explain everything like a tour guide.)
Tips:
- Keep your narrator’s voice natural and distinct
- Show important events through dialogue or action, not just explanation
- Use other characters’ dialogue or letters to reveal outside information
Further reading: First Person POV by Jerry Jenkins
What are common challenges with third person narration?
Challenges include head-hopping between characters, maintaining consistent tone, and keeping character voices distinct. Omniscient narration can feel intrusive if not handled carefully. (Don’t confuse readers by switching characters mid-sentence.)
Tips:
- Limit viewpoint shifts to new scenes or chapters
- Use close third person to keep focus tight
- Develop unique voices for different characters if using multiple viewpoints
Further reading: Third Person POV by James Scott Bell
How can I decide which point of view suits my story best?
Think about your story’s needs: Do you want intimacy and bias or a broader scope? Are you telling a personal journey or an epic saga? Try writing key scenes in both first and third person to see what feels right. (I once switched from third to first person halfway through a draft and felt like I was rewriting my own story. Worth it though.)
Tips:
- Consider your protagonist’s voice and role
- Think about how much information readers need
- Experiment and get feedback from others
Further reading: The Writer’s Guide to Point of View by Nancy Kress
Where can I find more resources on point of view and narration?
There are many excellent books, articles and courses about narrative voice, point of view and storytelling techniques. Studying your favourite books with strong narration can also teach a lot. (I spent weeks analysing my favourite novels just for point of view alone. Nerd alert.)
Tips:
- Join writing forums and workshops focused on narration
- Read widely across genres to see different POVs in action
- Practice writing scenes in different points of view
Further reading: Point of View and Perspective by Peter Selgin