Let’s Talk About Point of View in Storytelling…

I don’t mean from the textbook’s point of view, but from the writer’s lens.

Personally, I’ve played with a lot of different POVs in my fiction over the years. First person, third person limited, even second person… Yes. I went there…

It actually worked!

A short story I wrote in second person ended up getting published in The Write Mind Literary Magazine. That surprised me, honestly. It was one of those experimental pieces. You tell the reader “you do this” and “you feel that.” Somehow, it struck a chord with readers.

The feedback I received was both enlightening and encouraging, so I decided to expand the concept into a satirical novel:

God with a Blog.  Yes, it’s exactly as irreverent and somewhat philosophical as it sounds.

In it, one protagonist, God, speaks to Morgan, the other protagonist, in second person.

Morgan, in turn, speaks back in first person.

It creates this weird double narrative where the reader is both inside the character and being spoken to from outside.

Satire seemed like the right genre for this experiment in point of view. And yes, I’m still writing it. (Apparently, God also struggles with time management.)

Writing satire has been a creative challenge I’ve wanted to take on for years. It pushes me to think more critically and practice my craft. I’ve also written another satire, a short screenplay titled “Blue Dirt.”  

I use tools like irony, hyperbole, and wavy line/straight line. These, along with many other comedy techniques, help me balance between humor and meaning.

I’ll be doing a series on writing satire and comedy in the coming months, so stay tuned for that.

But back to POVs…

Second person has become a weird favorite of mine. But I struggle the most with third-person omniscient. I’m using this perspective to adapt my full screenplay, La Piscina Inn, into a novel.

Being the god-voice in a story can be daunting because the characters need to feel like real people. So a close connection to all of them is important, even the flat ones.

Writing it well takes practice in pacing and balance:

Knowing when to dive into someone’s thoughts.

Pacing it to avoid head-hopping and confusing the reader, especially if you’re using deep point of view.

And of course, that balance between narration and inner monologue.

In my La Piscina novel, I’m using a framing device, so my point of view shifts…

In the beginning, I use the first-person narrator to hint to the reader that something happened a year prior, as he’s now writing the story for a book.

I then shift from first to third, but because he’s a peripheral narrator, he jumps back into first when he’s in a scene.

So, yes, it’s a bit convoluted as a POV, yet I feel like it’s working.

So there I go again playing with POVs. It’s honestly a lot of fun!

What point of view do you love to write in?

Is there one that feels like home? Or one that drives you a little nuts but still intrigues you?

Drop your thoughts in the comments. I’d love to hear how you’ve played with POV in your writing.

What POV has taught you the most about your voice?

What’s it taught you about a particular story you’re writing?

Has it taught you something about yourself?

POV isn’t just a craft decision; it’s finding your voice. And shifting point of view can change everything for better or worse.

~ M.C. Convery