Third person writing is the most common writing form, not because it’s easy, but because it’s versatile. You can use more tenses in third person than you can in first person, but I’ll leave it to a previous article I wrote on verb tenses to show you that one.
Writing in third person, however, requires a little more thought. There are three common third person writing styles, which we will discuss: objective, omniscient and limited. All three are used interchangeably, none of which overrule the other in the imaginary third-person hierarchy. Simply put, you have to figure out which benefits your story the most.
Third Person
I won’t go into detail about what third person point of view is. It removes the first person perspective, “I,” and replaces it with an indirect pronoun: he, she, it, his, hers, they, them, its, etc. A proper noun is used, too, but the list of proper nouns is…un-listable…so just take my word for it.
Third Person Objective
If you think of a feature news article you read about political candidates, you’re most likely reading a piece written in the third person objective. This is an unbiased replication of a scene, whether fiction or non-fiction, although you will see this used more with non-fiction pieces.
Don’t think this isn’t used in literature, however. Of Mice and Men by John Steinbeck is an example of a third person objective piece of literature—I promise, this isn’t the only thing I’ve read and enjoyed; somehow, this book fits in with a lot of my articles. Another example of this perspective, which offers another approach, is Hills Like White Elephants by Ernest Hemingway.
The third person objective has a few specific characteristics that stand out from most others, which make it difficult to write but interesting to read when done well:
- unbiased
- the narrator is essentially an “eavesdropper”
- the reader never knows the characters’ direct thoughts
- the reader might know of things the character does not
This is a great perspective for stories that have a lot of dialogue that explains the story. It’s also great for stories that have a lot of symbolic meaning to them. There are dozens more, but keep in mind what stands out in your story—what makes your story important—and figure out what fits best from there.
Third Person Omniscient (infographic below)
This perspective isn’t only popular, but it’s one of the most convenient. When writing in third person omniscient, you have your characters, as well as your narrator. Your readers can know things before your character knows things. Keep in mind, however, that this perspective is far from easy and it’s not commonly used because it’s confusing for readers. It’s flexible because you can do a lot with it, but it’s not a free-for-all excuse to use ten perspectives with a narrator who tells the reader about the guy watching the main character through a window every night. If you use this POV because it’s convenient, you’re using it wrong.
Don’t think this perspective offers an easy way out of delving into a single character—consider this as a way to get into the head of multiple characters to explain the complex story you can’t seem to expound upon with one or two characters. It’s the huge, original story that can’t be seen through one pair of eyes.
There are a few neat characteristics about the omniscient perspective:
- knowing multiple thoughts in the same scene
- action-driven
- narrator with insight into multiple characters
Keep in mind that you have to separate these bullets. You can jump in the same mind as a character to share their thoughts. If you have a scene where three people are talking, you can, as the narrator, know exactly what each character is thinking. But this is hard to master and if done wrong, the writer will simply look like an amateur and every reader will be confused.
If you’re looking at the last bullet, understand that you can have both or one. You can use multiple perspectives: Scarlet, Graham, and Carlos.
Example for multiple perspectives: Carlos stared at the sand, counting the random black specks while Scarlet ranted about her boyfriend. He didn’t care, though he knew he needed to act like he did if he wanted her story to end.
The sun burned Scarlet’s skin, reminding her that she forgot to bring sunblock. Although she hated asking for help, she wondered if Carlos would have any that he would share with her. “Carlos?” she started, pausing when she realized he wasn’t paying attention. She shouldn’t have been surprised; he never listened anyway.
These are two different scenes with two different perspectives. This is possible, but notice I remained in one head at a time? It’s necessary. Now, let’s look at the distant narrator as … the narrator.
Carlos tried to listen to Scarlet’s rambling about her cheating boyfriend. Scarlet didn’t actually care if he listened, but she needed to get it off her chest. Carlos had experienced a cheating ex in his past, and although he knew what she felt now, he didn’t feel like reliving his own past.
I still struggle with writing the third person omniscient narrator, but that’s a general idea. Don’t jump in someone’s head because it’s convenient. Figure out what you’re doing, first.
Stories that benefit from this perspective are those that are mostly plot-driven and don’t have a lot of emotion required to understand or empathize with the characters. Since there isn’t a dominant character-narrator, stories without an emotional allure might benefit in a fast-pace-encouraged style.
Here’s a handy infographic offered by Reedsy for this post.
Third Person Limited
Now we have the most commonly chosen third-person POV: limited. This is most common for one reason—intimacy. We’re human, it’s okay. We love to hate, hate to love, and the other way around for both. What the limited perspective has that the others don’t is the power of emotion. Throughout the story, you can have a few different perspectives, but only one at a time. The narrator is the character. You cannot separate to have an overview or birds-eye view of a scene. You’re in a character’s head at all times.
The difficult thing about this limited perspective is that you can’t tell as often. You have to “show” things. It’s not enough to say: “Bella hated the beer.” No. “Bella swallowed again, hoping to rid herself of the bitter taste that remained after her first sip of the brew.” This is better.
You have to use all senses with the limited perspective. Where writers get this wrong is in mixing omniscient with limited. You cannot do this. They’re separated for a reason. This isn’t a writing rule but a courtesy to your readers. Let them know what they’re supposed to expect, not what they need to adapt to since it was easier for you to write.
Here are a few characteristics of the limited POV:
- intimate
- in one character’s head
- the character is the narrator
- no overview of a scene (if your character doesn’t know, neither does the reader)
With the limited perspective, you have the ability to use your character’s internal dialogue and thoughts when laying out a scene or emotion. This perspective is best for stories that are character-driven or stories that need a character’s input to move the story forward.
Any perspective can be expanded upon, and there are many books on it that can help, as well as articles that go into detail. The best way to figure out what perspective to use isn’t just to write, but to think. Is your story driven by plot or character? Do the multiple backgrounds make the story? Is your story complex? Can your story be told from specific perspectives?
If you want me to go into detail on any of these three, let me know. Now, at least, I hope you understand that third person isn’t just a preferred perspective, but a versatile and detailed list of paths to take when writing in third person. Find which fits your story, then research it. Remember, breaking rules is only okay when you first know what rules you’re breaking, and why.
Here’s another handy infographic offered by Reedsy for this post.
Hi I have a question on third person subjective global.
When I’m in POV of Character A and I narrated what he see and do for example steal a car
And then the next chapter when I’m in POV of character B and talking with A, so as a narrator in that particular scene of POV B can I know that Character A had stole a car. For example like this two conversation.
1)
A looked at B suspiciously, waiting for his reply. However, B just kept silence, perhaps the thing that he did last summer was too embarrassing to tell it to A.
2)
A looked at B suspiciously, waiting for his reply. However, B just kept silence, perhaps he doesn’t want to tell B that he stole a car last summer.
So which one is right?
Thanks
I apologize for taking so long to reply. Your comment was marked as spam and I just saw it. If you’re working in the third person serial limited, which means you’re in one person’s head at a time, you cannot know Character A stole a car. Character B doesn’t know, so you can’t allow a random voice to tell him. Both would be incorrect.
Instead, if you were in B’s perspective, it would be simple. And this is sticking with A as the car thief.
“Where’d that car come from?” B asked, nodding toward the driveway. He didn’t remember Mom saying anyone would come over.
A glanced over, his eyes widening in surprise. “Whoa. Nice car.”
“Why’s it in our driveway, man?”
A shrugged. “Dunno. It’s not mine.”
See, I was in B’s perspective. A’s “surprised” eyes weren’t surprised at all. They were pretend. However, B doesn’t know. So they look like surprise unless A is a terrible liar, in which case, he might notice it and wonder what he could be lying about.
I hope this helps.
Hi thanks for clarifying. I think I phrase my question wrongly.
What I wanted to know actually is What type of POV story : when a narrator in the story for example like the one I mentioned above. When he in POV of A , he narrated that A stole a car. Now the Narrator knew A stole a car. And on later chapters with this knowledge the narrator acquired, While the narrator is in POV B character, and he used this knowledge of A stole a car to tell the reader even though the reader knew that A stole the car in previous chapter
Is this a third person Omni? or third person limited or others.
I just wanted to understand on how does a narrator mind work, does he make used of informations acquired as he goes along telling the story or just stick to what he see and hear at that particular time when he is in POV of one character when he narrating the story to the readers and don’t used informations from other characters what he see and hear from past chapters.
Many thanks for replying.
I understand, now. Yes, that would be third person omniscient. You’re able to see inside and out, and you can use your narrator to be as dependable as you wish.
In third person omniscient, you’re able to hide or show whatever you want. Be careful because you can easily confuse your reader. For example, if your narrator knows that Mike stole an expensive pen, your narrator might not let the reader know. The narrator might talk as if he/she already knows, but whether they reveal it or not is their decision.
“It’s a wonder the thief didn’t get caught. He didn’t bother hiding it, though I guess it was just a pen. Who would have known?”
It’s up to you. Create a particular voice for your narrator if that’s what you’re going for. Does that answer your question?
Hi ,
Yes, thank you very much. I just have one question about a book I just wrote, soon to be publish. And I having a hard time understand my own POV I’m using. 🙂 So in case the readers ask me questions why I wrote this POV this way in my book. I can answer them correctly.
The book is fantasy\Mystery
So because of this I need to dip into multiple characters to narrate the story because there is a lot of info (about them, their part of the story) I need to relate to readers and I cannot used first person or third person objective. I need to dip into the characters’ mind when I’m in their POV. So I thought third person subjective Global is best for the story. Now when I in one character POV, I did not relate the other characters what are they thinking, But the narrator will make guesses of what they are thinking (like what you said above:(narrator might not let the reader know)
But there also parts in the story I need to relate like events of the past, a description of a place etc in which the characters won’t be telling them during their POV but the narrator will and because of this the narrator will need to become Omni, (I’m doing this because I don’t want my book to be long)
So my question is is my book is third person Omni , or third person subjective global or mix of both of this.
Thank you very much for your time and your answers
If Bob stole a candy and your narrator was in that perspective when he stole a candy but now your narrator is in Sam’s perspective, omniscient would allow you to know what Bob did. Subjective global, as you call it (limited serial) does not allow you to do this. Limited serial perspective limits you to one character’s mind at a time, and you can only think what the character is thinking. Omniscience provides the freedom to do what you need—in your case, a narrator who makes their own assumptions or guesses based on their knowledge.
Subjective global allows you to also make assumptions, to clarify, but you cannot make assumptions based on what you know about both characters unless you’re in omniscient.
Thank You very much. I think I’m clear with what I’m writing. It’s a third Omni. I can now answer if there are questions about the POV I’m writing. Again thanks for the help.
Thanks for this. It;s timely as I’m just trying to sort out the nuances of which type of third person narration I”m using in my book.
Glad to help. 😀
third person objective is really awesome thanks for sharing