Imagine starting a story with these lines: “I am an invisible man,” “Mrs. Dalloway said she would buy the flowers herself,” or “You are about to begin reading Italo Calvino’s new novel.” These openings, from Ralph Ellison’s Invisible Man, Virginia Woolf’s Mrs. Dalloway, and Italo Calvino’s If on a winter’s night a traveler, each introduce a different narrative perspective. The choice of who tells the story and from what viewpoint is crucial, as it can completely transform the narrative.
Consider the classic fairytale of Rapunzel. Typically, it’s told from a third person perspective: “Rapunzel, Rapunzel,” the Prince called, “let down your hair.” Here, the narrator is outside the story, describing events as they happen. But what if the story was told from a first person perspective, by a character within the story? Imagine the prince narrating: “The tail end of Rapunzel’s locks plopped down at my feet. I grabbed on and began to climb… I couldn’t untangle myself.” This shift can dramatically change the story, offering a more personal view.
Now, picture Rapunzel narrating: “I hope he appreciates how long it takes to unbraid 25 feet of hair,” I thought. “Can you climb any faster?” In this first person narrative, we get a glimpse into Rapunzel’s thoughts and feelings. Alternatively, in a second person narrative, the story addresses the reader directly: “He calls your name. He wants you to let your hair down. You just finished braiding it, but you don’t get a lot of visitors.” Each perspective—third person, first person, and second person—offers unique possibilities and limitations.
Deciding on a point of view for your story involves considering these constraints, which can actually enhance your storytelling. A third person narrator, for instance, is somewhat detached from the characters, which can be beneficial for stories where distance is important. This narrator can be limited, focusing on one character’s thoughts, or omniscient, knowing everything about all characters.
First person narratives create intimacy between the reader and the narrator but are limited by the narrator’s knowledge. This can build suspense as the reader discovers information alongside the character. Interestingly, a first person narrator might not always be reliable—they could be delusional or dishonest. In Kazuo Ishiguro’s The Remains of the Day, the narrator, Stevens, is an aging butler who fails to see the flaws in the man he serves, revealing deeper cultural issues.
Justin Torres’s novel, We the Animals, starts with a plural first person narrator: “We were six snatching hands, six stomping feet; we were brothers, boys, three little kings locked in a feud for more.” As the story progresses, the perspective shifts to first person singular, reflecting one brother’s growing sense of alienation.
Second person is a less common choice, requiring the reader to step into the character’s shoes. This can create urgency and suspense, but sometimes it’s used to distance the narrator from their own story, referring to themselves as “you” instead of “I.”
Writers are always experimenting with new ways to use point of view. With the rise of virtual and augmented reality technologies, the possibilities for storytelling are expanding. By placing people at a specific vantage point in virtual space, we might revolutionize how stories are told and experienced.
Choose a classic fairytale and rewrite a short scene from it using a different narrative perspective. For example, take a scene from “Cinderella” and write it from the first person perspective of the fairy godmother. Share your version with the class and discuss how the change in perspective alters the story.
Form small groups and choose a story or novel you have read. Each group will argue for why a particular narrative perspective (first, second, or third person) would be the most effective for that story. Present your arguments to the class and vote on which perspective would enhance the story the most.
Pick a character from a book you are currently reading and write a diary entry from their first person perspective. Focus on their thoughts and feelings about a key event in the story. Share your diary entry with a partner and discuss how this exercise helps you understand the character better.
Write a short story or scene using the second person perspective. Address the reader directly and immerse them in the action. Consider how this perspective affects the reader’s engagement with the story. Share your work with the class and discuss the challenges and benefits of writing in second person.
Experiment with writing a short story that shifts between different points of view. Start with a third person perspective, then switch to first person, and finally to second person. Reflect on how each shift changes the reader’s experience and understanding of the story. Discuss your findings with the class.
Here’s a sanitized version of the provided transcript:
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“I am an invisible man.” “Mrs. Dalloway said she would buy the flowers herself.” “You are about to begin reading Italo Calvino’s new novel.” These three opening lines, from Ralph Ellison’s “Invisible Man,” Virginia Woolf’s “Mrs. Dalloway,” and Italo Calvino’s “If on a winter’s night a traveler,” each establish a different point of view. Who is telling a story and from what perspective are some of the most important choices an author makes. Told from a different point of view, a story can transform completely.
Take this fairytale: “Rapunzel, Rapunzel,” the Prince called, “let down your hair.” Rapunzel unbraided her hair and slung it out the window. The prince climbed her tresses into the tower. Rapunzel is typically told like this, with the narrator outside the story. This point of view is called third person. But Rapunzel can also be told by a character in the story—a first person narrator. The tail end of Rapunzel’s locks plopped down at my feet. I grabbed on and began to climb… I couldn’t untangle myself. Strands came off all over me, sticking to my sweat. In a first person narrative, the story can change dramatically depending on which character is the narrator.
Say Rapunzel was narrating instead of the prince: I hope he appreciates how long it takes to unbraid 25 feet of hair, I thought. “Can you climb any faster?” I yelled. In second person, the narrator addresses the story to the reader: He calls your name. He wants you to let your hair down. You just finished braiding it, but you don’t get a lot of visitors. Third person, first person, and second person perspectives each have unique possibilities and constraints.
So how do you choose a point of view for your story? Constraints aren’t necessarily a bad thing—they can help focus a story or highlight certain elements. For example, a third person narrator is necessarily a bit removed from the characters. But that can be good for stories where a feeling of distance is important. A third person narrator can be either limited, meaning they stick close to one character’s thoughts and feelings, or they can be omniscient, able to flit between characters’ minds and give the reader more information.
A first person story creates closeness between the reader and the narrator. It’s also restricted by the narrator’s knowledge. This can create suspense as the reader finds out information along with the character. A first person narrator doesn’t necessarily have to represent the character’s experience faithfully—they can be delusional or dishonest. In Kazuo Ishiguro’s novel “The Remains of the Day,” Stevens, an aging British butler in 1956, recounts his many years of service but fails to acknowledge the flaws of the man he serves. The cracks in his narrative eventually draw the reader’s attention to the under-acknowledged failings of the culture and class system he inhabits.
Justin Torres’s novel, “We the Animals,” begins with a plural first person narrator: “We were six snatching hands, six stomping feet; we were brothers, boys, three little kings locked in a feud for more.” Partway through the story, the point of view shifts to first person singular, from we to I, as the boys come of age and one brother feels alienated from the others. Second person is a less common choice. It requires the writer to make the reader suspend disbelief to become another “you.” Placing the reader in a character’s perspective can build urgency and suspense. Sometimes, though, second person is intended to distance the narrator from their own story, rather than bring the reader closer to the story. In these cases, second person narrators refer to themselves as “you” rather than “I.”
Writers are constantly experimenting with fresh variations on point of view. New virtual and augmented reality technologies may expand the possibilities for this experimentation. By placing people at a particular vantage point in virtual space, how might we change the way we tell and experience stories?
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This version maintains the essence of the original content while ensuring clarity and coherence.
Narrative – A spoken or written account of connected events; a story. – The narrative of the novel unfolds through a series of letters exchanged between the protagonists.
Perspective – A particular attitude toward or way of regarding something; a point of view. – The author provides a unique perspective on the historical events by incorporating multiple voices in the narrative.
Character – A person or being that takes part in the action of a literary work. – The main character in the novel undergoes significant development, transforming from a naive youth to a wise leader.
Storytelling – The activity of telling or writing stories. – Storytelling is a powerful tool in literature, allowing authors to convey complex themes and emotions.
Reader – A person who reads or who is fond of reading. – The reader is drawn into the world of the novel through the vivid descriptions and engaging plot.
Intimacy – A close, familiar, and usually affectionate or loving personal relationship with another person or group. – The intimacy between the characters is portrayed through their heartfelt dialogues and shared experiences.
Unreliable – Not able to be relied upon; not trustworthy. – The unreliable narrator in the story leaves the reader questioning the truth behind the events described.
Viewpoint – A particular attitude or way of considering a matter; an opinion. – The novel shifts its viewpoint between different characters, offering a multifaceted understanding of the plot.
Third Person – A narrative perspective where the narrator refers to characters as ‘he’, ‘she’, or ‘they’. – The third person narrative allows the author to explore the thoughts and feelings of multiple characters simultaneously.
First Person – A narrative perspective where the narrator refers to themselves as ‘I’ or ‘we’. – The first person perspective provides a deep insight into the protagonist’s inner thoughts and emotions.
