Definition of Point of View
Point of view in fiction refers to the source and scope of the narrative voice. In the first-person point of view, usually identifiable by the use of the pronoun "I," a character in the story does the narration. A first-person narrator may be a major character and is often its protagonist. For example, the point of view in Jamaica Kincaid's "Girl" becomes evident when the protagonist responds, "I don't sing benna at all on Sundays, and never in Sunday school." A first-person narrator may also be a minor character, someone within the story but not centrally involved, as in William Faulkner's "A Rose for Emily," which is told by a member of the town who is not active in the plot but has observed the events. The author's choice of point of view has a significant effect on the story's voice and on the type of information given to the reader. In first-person narration, for example, what can be shown is limited to the character's observation and thoughts, and any skewed perceptions in the narrator will be passed on to the reader. Third-person point of view occurs when the narrator does not take part in the story. "I don't sing benna at all on Sundays" might become, in the third person, "She never sings benna on Sundays." There are three types of third-person point of view. In third-person omniscient, the narrative voice can render information from anywhere, including the thoughts and feelings of any of the characters. This all-knowing perspective allows the narrator to roam freely in the story's setting and even beyond. In third-person limited, sometimes called third-person sympathetic, the narrative voice can relate what is in the minds of only a select few characters (often only one, the point-of-view character). In third-person objective, the narrator renders explicit, observable details and does not have access to the internal thoughts of characters or background information about the setting or situation. A character's thoughts, for example, are inferred only by what is expressed openly, in actions or in words. This point of view is also known as third-person dramatic because it is generally the way drama is developed. While the second-person point of view exists, it is not used very often because making the reader part of the story can be awkward: "You walk to the end of the road and pause before heading towards the river."
narrative voice: The voice of the narrator telling the story
point-of-view character: The character focused on most closely by the narrator; in first-person point of view, the narrator himself
Point of View Exercise
Consider the following versions of part of a well-known fairy tale.
Third-person omniscient:
Goldilocks was a proud and defiant little girl who’d been told many times by her mother to stay out of the woods, but she paid little attention to others, especially her elders, giving lots of attention instead to herself and her own desires. One day, just to show that she could, she wandered deep into the center of the forest, farther from home than ever before. In a clearing she noticed a small cottage, smoke issuing from the chimney. She thought it was quite an ugly little cottage, but she also thought it might be a place where she could get a little something to eat and drink.
The front door swung open when she touched it. “Hello,” she said. “Is anyone home?“ No one answered, but she stepped inside anyway. Immediately the smell of fresh-cooked porridge drew her toward the kitchen, where she saw three steaming bowls sitting on the counter.
First person:
Make your bed, she says. Read your lessons. Fold your clothes. Stay out of the woods. Blah blah blah. Ha! I'm in the woods now, dear mother, and going deeper. As if anything out here would dare to harm a girl like me.
I've followed the weaving trail through the trees farther than ever before, and what can she do about it? I'm deep in the woods now, and there's a cottage in a clearing, a muddy-looking wooden thing so small I almost miss it. What a hovel! Who could stand to live there? I want to get inside and see. Besides, I'm thirsty, and a little bit hungry after the long walk, and these country folk do so love to share.
They don't use locks out here, of course, and as soon as I touch the door it swings wide open for me. I say hello, but no one answers. Even if they catch me here, who would care? A proper little girl like me can't harm a thing. I step inside.
They must have known I was coming, because someone’s made a tasty-smelling porridge. When I see the brown bowls steaming on the plain wooden counter, I feel so hungry I could eat all three.
INSTRUCTIONS
Compare and contrast these two perspectives in terms of their style, content, character development, and overall effect on the reader.
Why do you think most traditional fairy tales are expressed in the third person?