By B.D. Lawrence @BDLawrence3
Lately, I’ve read a lot of books with different variations of point of view. There are the traditional private eye novels that are always first person. I’ve read third-person point of view. No surprise. There are novels with multiple first-person points of view – by chapter. Multiple third-person points of view, usually by chapter, but not always. And those with the protagonist as first person and the antagonist as third person.
Then there’s the pseudo-omniscient point of view. Also, known as head-hopping. Sometimes with the occasional reference to something that could not be in anyone’s head. These are the points of view gaffs that make experienced writers cringe. But do readers notice, and do they care?
I’ll cut to the chase. No. If readers notice, they don’t care. I’ll pause for all you experienced writers who are card-carrying point of view police to stop reading. For the rest of us…
Back in the early nineties when I started writing, I belonged to several online critique groups for beginning writers. One of the important topics that always came up in these sessions was point of view. We discussed how to use point of view to reveal deeper insights into characters. We discussed maintaining a consistent point of view. I, along with several others, joined the point of view police. Any violation of point of view we jumped on. Head hopping was a no-no. Wait, how could that character have possibly known that at that time? For us beginning writers strictly adhering to a defined point of view was sacrosanct.
Why the almost religious stance on maintaining a strict first-person or third-person point of view? Like many writing “rules”, the beginning writer needs to learn them so that when they break them, they know they are breaking them and why they are breaking them. Interestingly, though, there are many novels published these days where the point of view can only be explained as omniscient. However, I suspect the author is not intending this. I recently read a police procedural series where there is a heavy narrator. For any experienced writers still reading this, I heard your moan. But does it bother readers? Again, I contend no, it does not.
Do non-writing readers care about point of view violations? @BDLawrence3 #ACFW #writing #writingtips Share on XI love Lord of the Rings. If you haven’t read this series or haven’t in a long time, Tolkien skillfully employs omniscient point of view with a heavy narrator who is almost a character. Apparently, the point of view police wasn’t around to correct him.
Here’s the bottom line. While point of view is an interesting thing to discuss and an important technique to understand and master, it’s something that many writers can latch onto and be overly dogmatic about. And it’s not something non-writing readers care about. If we write a compelling story about important topics, readers are not going to complain because we hopped a head or let something slip in the narration that the current point of view character would not know.
Yes, I can hear the shouts of protest from the writers reading this. But here’s an example. Had I read any Mary Higgins Clark back when I was a badge carrying member of the point of view police, I would have been horrified. In I’ll Be Seeing You, she head hops all the time. Guess what? It didn’t impact her sales. This book was written in 2000 and as of the date this blog was written, its rank is 312 in Private Investigator Mysteries. That’s a huge market. And she’s been writing since 1975 and sold millions of books. Apparently, Mary Higgins Clark fans don’t care about head hopping.
Do they care about your point of view? Here’s the challenge. Search the reviews. See if anyone comments on point of view. And if they do, check that person out and see if they are a writer. My bet is that person who complains about head hopping is a writer. Happy writing everyone. And don’t forget to stick to your point of view.
During his writing journey B.D. Lawrence dabbled in several genres, including mystery, suspense, science fiction, fantasy, and literary fiction. He currently is focusing on crime stories of justice, vengeance, and redemption. His latest release is The Marble Hill Crime Blotter, a collection of novellas and short stories inspired from true crimes.
Comments 7
You can change POV as long as you don’t lose the reader.
Great article. The bottom line is always the reader: did they get the message; did they enjoy the read; dis they have a good time with the story? POV is a tool to relate the message and create an interesting read, nothing more than that. Nice choice citing Mary Higgins Clark. I’ve read all her work and love it.
Hey, B.D.! I admit to being a POV policewoman. But I think you’ve made me rethink things, thanks for that. Congratulations on the recent release of The Marble Hill Crime Blotter and the five-star reviews it’s gotten!
Thank you! I’ve been writing for a few years, but haven’t published anything yet outside of a short story in our 2024 anthology, Time Passages. I still consider myself a novice. POV has been tough for me and it has caused me actual stress. I am in my local ACFW chapter and appreciate the feedback I’ve gotten from fellow members. POV in my stories has been the thing I seem to have the most trouble with. I get discouraged and they always encourage me which has been a lot of help. Thank you for this newsletter. It helps so much, too.
I’ve read best-selling novels that break all the rules (even JK Rowling and Agatha Christie could use line edits). In one highly successful YA series, the POV character who’s introduced in chapter 1 isn’t the MC–he dies shortly after chapter 1. The MC arrives in chapter 2 or 3. The story is told from multiple POVs in alternating chapters. Numerous flashbacks. A librarian who loves the book told me the flashbacks helped her get to know the characters better. Readers open a book for the story and emotions, not to look for rules to nit pick.
100% agree that most readers don’t mention POV in their reviews, but that doesn’t mean they don’t notice–they just don’t know what to call it. When readers don’t connect with or feel the emotions of the character, it can often be a POV issue. The same with books that are confusing or hard to follow–those can be POV issues. Not to mention the group of readers who refuse to read first person POV books.
Just because a reader doesn’t properly identify an issue as a POV problem doesn’t mean it doesn’t exist.
Thanks everyone for your comments on my article.