When diving into the world of storytelling, understanding the different points of view is crucial. Narratives are commonly categorized as first, second, or third person, based on the pronouns used. First-person employs “I” or “we,” second-person uses “you,” and third-person utilizes “he,” “she,” “it,” or “they.” While first and third-person perspectives are the most prevalent, second-person, though less common, holds a unique place in literature. This guide will focus on the third-person point of view, exploring its various types and providing examples to enhance your understanding.
Understanding First-Person Perspective
First-person narration involves a narrator within the story, sharing events from their perspective. This narration typically uses the pronoun “I” (or “we” when the narrator is part of a group). The narrator, a character in the story, recounts the events as they perceive them.
This perspective means that descriptions and impressions are shaped by the narrator’s opinions, emotions, past experiences, and even their biased perceptions.
“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 title character narrates the story from her perspective as a governess. The information shared stems from her memories and impressions – weather, Mrs. Reed’s dining habits, and her fear of Nurse Bessie’s lectures. The reader is limited to Jane’s knowledge.
Memorable characters, such as Holden Caulfield in The Catcher in the Rye, Offred in The Handmaid’s Tale, and Scout Finch in To Kill a Mockingbird, are narrated from a first-person perspective. Occasionally, like in F. Scott Fitzgerald’s The Great Gatsby, the first-person narrator (Nick Carraway) observes the central character (Jay Gatsby).
Exploring the Second-Person Narrative
Second-person narration is a less common technique where the reader becomes a character, referred to as “you.” The reader is placed directly into the narrative, experiencing the story as a character. Jay McInerney’s Bright Lights, Big City is a prominent example.
“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
Second-person narration is also found in “Choose Your Own Adventure” books, where readers influence the plot by choosing which page to turn to. This immersive style heightens the stakes for the reader and character.
Deep Dive: What is Third Person Point of View?
In third-person narration, the narrator exists outside the story’s events, relating the actions of the characters using their names or third-person pronouns like “he,” “she,” or “they.” This perspective offers a broader view compared to first-person, but its depth varies depending on the type.
Third-person narration is categorized into omniscient, limited, and objective. Each type offers a unique way to tell a story, influencing the reader’s understanding and engagement.
Third-Person Omniscient: The All-Knowing Narrator
Alt text: Classic book cover of Louisa May Alcott’s Little Women, showcasing the four March sisters.
“Omniscient” means all-knowing. An omniscient narrator knows every character’s thoughts, feelings, and motivations, even if those characters don’t express them. This narrator type is not restricted to a single character’s perspective, offering a god-like view of the story.
Louisa May Alcott’s Little Women exemplifies 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 view of any of the sisters, but from an outside observer. Each character is referred to by their names or the pronoun “she”. The narrator isn’t a character and the girls don’t acknowledge any narrator.
The narrator knows what the characters are thinking, shown in the last line when the girls silently ponder their father never returning from the war.
Third-Person Limited: Focusing on a Single Perspective
Alt text: Harry Potter and the Chamber of Secrets book cover, showcasing Harry Potter with a concerned expression.
In third-person limited narration, the narrator is outside the story but only knows the thoughts and motivations of one character. This character drives the story, and the reader gains deeper insight into their psyche.
J.K. Rowling uses third-person limited in the Harry Potter series. While the narrator isn’t Harry, and Harry is referred to as ‘he’, the reader is given access to Harry’s thoughts. We’re also left uncertain about what other characters are thinking, similar to Harry.
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: A Detached Observer
In third-person objective narration, the narrator reports events without knowing any character’s thoughts or motivations. Understanding comes from observing actions and hearing dialogue. The tone is often matter-of-fact, devoid of opinion or knowledge beyond what is observed.
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
Choosing the Right Point of View
The choice of point of view significantly impacts how a story is told and perceived. First-person offers intimacy and a subjective experience, second-person creates immersion, and third-person provides varying degrees of objectivity and scope. Understanding the nuances of each perspective, especially the different types of third-person narration, allows writers to craft compelling and engaging narratives. By carefully selecting the right point of view, writers can effectively convey their intended message and connect with their audience on a deeper level.
