third person narrative essay samples

Third Person Point Of View Explained (With Examples)

Welcome to our comprehensive guide on the Third Person Point of View in narrative writing.

This article delves deep into what constitutes a narrative point of view, focusing on the third-person perspective. We explore its historical evolution , analyze its different types (limited, omniscient, objective), and discuss its varied applications across different literary genres . Additionally, we compare it with first and second-person narratives to provide a complete understanding of its unique attributes. Whether you're a budding writer or a seasoned author, this article offers invaluable insights into mastering the art of third-person narration.

Table of Contents

What is Narrative Point of View?

What is third person point of view, historical evolution of third-person point of view, different types of third person point of view, genre-specific uses of third-person point of view, flexibility and adaptability of third-person point of view, comparative analysis with first and second person narratives, subjective and objective narrative point of view, omniscient and limited narrative points of view, advantages and disadvantages of third person point of view, comparative view with first and second person povs, frequently asked questions, final thoughts.

When writing a novel, you must choose which narrative viewpoint will work best for you and your book. This choice of narrative point of view is an essential part of any writing journey.

The most common narrative point of view is a third person viewpoint. In third person point of view the narrator refers to all characters with a third person pronouns such as 'he', 'she', or 'they'.

In other words, the narrator is not a story's character but a separate entity.

In this article, you'll learn about third person point of view. You'll discover the best variety of third person point of view and when to apply third person perspective to your writing.

To fully understand third person point of view, we must first look at narrative viewpoint in general.

In fact, we must take one step further back and consider narration as a whole.

Wikipedia describes narration as 'the use of a written or spoken commentary to convey a story to an audience'. [ source ]

In other words, it is the way a story is told to the reader.

Narration is split into three elements:

• Narrative point of view : the grammatical person used by the narrator to refer to the character being narrated.
• Narrative tense : the consistent use of the grammatical tense of either past or present.
• Narrative techniques : methods of conveying the story.

Of these three elements, it is narrative point of view that interests us.

The person who tells a story is known as the narrator; this might be a character in the story, but it might also be a separate 'voice' independent of the other characters.

The narrative point of view is determined by 'who' tells the story and 'how the story is told'.

There are three different types of narrative view point: first person viewpoint , second person viewpoint and third person viewpoint.

This article looks at first person.

If you would like to learn more about the specifics of all different points of view, this extensive article called Mastering Point Of View In Writing: A Comprehensive Guide will prove to be an effective resource.

One way to identify your viewpoint is to look carefully at your pronouns. This pronoun will often tell you a lot about the viewpoint.

In third person point of view, the narrator refers to all characters with third-person pronouns such as 'he', 'she', or 'they'.

So 'they' can be considered a third person pronoun.

Remember, the narrator is not a character in the story and is a separate entity, this means they will refer to characters as separate people and not use a pronoun such as 'I"/.

Third person point of view is, by far, the most common method of storytelling and has been the viewpoint of choice for some of the best-known stories in the English language. Here's the opening from Jane Austen's Pride and Prejudice a novel famously written from a third person point of view.

It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife. However little known the feelings or views of such a man may be on his first entering a neighbourhood, this truth is so well fixed in the minds of the surrounding families, that he is considered the rightful property of some one or other of their daughters. "My dear Mr. Bennet," said his lady to him one day, "have you heard that Netherfield Park is let at last?" Mr. Bennet replied that he had not. "But it is," returned she; "for Mrs. Long has just been here, and she told me all about it." Mr. Bennet made no answer. "Do you not want to know who has taken it?" cried his wife impatiently. "You want to tell me, and I have no objection to hearing it." This was invitation enough.

One clear distinction of the third person point of view is that the narrator is someone separate from the novel's characters. In fact, the narrator is almost always unidentified. This leads to a third-person narrator often being called an 'anonymous narrator'.

This is very different from a first-person narrator, where the narrator is both identified and a character within the novel.

The origins of the third-person point of view in literature can be traced back to ancient epic tales and classical texts. These early examples often employed a narrative style that was external to the characters, focusing on their actions rather than internal thoughts.

During the Renaissance, the third-person narrative began to evolve, offering deeper character insights. The Romantic and Victorian eras saw further development, with authors like Jane Austen and Charles Dickens using this perspective to explore complex social themes and character psychology. The Modernist movement brought experimental approaches to third-person narration, challenging traditional storytelling methods.

In contemporary literature, the third-person point of view continues to be versatile, adapting to various narrative styles and genres. Recent trends include the blending of third-person with other perspectives and the use of a more intimate, character-focused approach. This evolution reflects the ongoing innovation in storytelling techniques and the diverse ways in which writers engage with their readers.

When learning about third person points of view, the most confusing element for new writers is the distinction between the different types of third-person viewpoints. All third person point of view is written using a detached and anonymous narrator, but the information the narrator possesses about the characters differs significantly between different types of viewpoint.

All third person points of view sit somewhere on an axis between subjective/objective and omniscient/limited.

We look at these in more detail below, but it is essential to understand that all third-person viewpoints will be between subjective and objective and omniscient and limited. In most cases, a viewpoint tends to be either subjective OR objective and omniscient OR limited. This is not always the case. Some narrative stances can move along these axes as the story progresses, but this is uncommon.

Third-Person Limited POV

In the Third-Person Limited POV , the narrator tells the story from the perspective of one character at a time. This approach provides insight into the thoughts and feelings of the focal character, while other characters are presented externally. It's akin to looking over the shoulder of the protagonist, experiencing the world and events through their eyes. This POV is particularly effective in creating a deep connection with the character while maintaining the authorial distance of third-person narration.

Third-Person Omniscient POV

The Third-Person Omniscient POV offers a 'godlike' perspective, where the narrator knows everything happening in the story world. This includes access to the thoughts, feelings, and backgrounds of all characters. It allows for a broad and all-encompassing view of the narrative, making it ideal for complex stories with multiple characters and intricate plots. The omniscient POV can provide a comprehensive understanding of the events and motivations behind characters' actions.

Third-Person Objective POV

The Third-Person Objective POV presents a more detached view. Here, the narrator reports events without delving into the internal thoughts or feelings of any character, akin to a camera recording the unfolding action. This style creates a sense of objectivity and is often used in journalistic writing or stories where the focus is more on events than on characters' internal experiences. It leaves much to the reader's interpretation, as they only witness actions and dialogues without being privy to the characters' internal states.

The third-person point of view offers unique advantages in various literary genres, each employing this perspective to enhance storytelling in distinct ways. From the expansive worlds of fantasy to the intricate character dynamics in romance, this point of view adapts to the needs of different narratives. Let's explore how the third-person POV is tailored to enrich the reader's experience in key genres like Fantasy and Sci-Fi, Mystery and Thriller, and Romance and Historical Fiction.

Fantasy and Sci-Fi

In Fantasy and Sci-Fi genres, the third-person point of view is pivotal for world-building and handling complex plotlines. It allows authors to introduce fantastical elements and expansive universes from a perspective that can encompass vast settings and multiple character arcs. The omniscient viewpoint is particularly useful in these genres, providing a godlike view of invented worlds and the intricate interplay of characters within them. For example, George R.R. Martin's A Song of Ice and Fire series masterfully uses this POV to navigate a complex world with a large cast of characters.

Mystery and Thriller

For Mystery and Thriller novels, the third-person limited POV is often preferred. It allows readers to follow the protagonist's journey closely, unraveling mysteries and encountering surprises alongside them. This POV can also shift between characters, offering varied perspectives on the unfolding plot and enhancing the suspense. An excellent example of this is Gillian Flynn's Gone Girl , where the third-person limited perspective deepens the mystery and complexity of the narrative.

Romance and Historical Fiction

In Romance and Historical Fiction , the third-person limited POV is frequently used to delve deep into characters' emotions and relationships, while also providing historical context. It balances the intimacy of first-person with the broader scope of third-person, allowing for a detailed exploration of the characters' internal and external worlds. The narrative can switch between the perspectives of different characters, offering a comprehensive view of their emotions and the dynamics of their relationships. A notable example is Jane Austen's Pride and Prejudice , which uses third-person limited POV to explore the nuances of romantic relationships and social dynamics of the era.

The third-person point of view stands out for its remarkable flexibility and adaptability in storytelling. This versatility allows writers to adjust the narrative's lens as needed, seamlessly shifting from an overarching, all-knowing perspective to a more focused, character-specific view. The third-person POV can provide a broad view of the story world and its various inhabitants or zoom in to offer a detailed, intimate portrayal of a single character's experiences and perceptions.

Its adaptability extends to how it can accommodate shifts in tone, perspective, and narrative depth. Writers can choose to narrate events in a straightforward, objective manner or adopt a more subjective approach, delving into the characters' innermost thoughts and feelings. This flexibility makes the third-person POV an excellent choice for a wide range of literary works, from intricate multi-character epics to deeply personal character studies.

Moreover, the third-person perspective can bridge the gap between the immersive, personal experience of the first-person POV and the broader, more inclusive scope of an omniscient narrator. It allows authors to maintain narrative consistency while still providing the freedom to explore the inner workings of their characters' minds or to step back and present events in a more detached, unbiased manner.

In the realm of narrative writing, choosing the right point of view (POV) is crucial for shaping the reader's experience. This section offers a comparative analysis of the third-person POV against the first and second-person perspectives. Each POV brings its unique flavor to storytelling, influencing the reader's connection with the narrative. Understanding these differences helps writers select the POV that best suits their storytelling goals.

Comparison with First Person

Compared to the first-person POV , where the story is told directly by a character using "I," the third-person POV provides more narrative flexibility. First-person narration offers an intimate, subjective view of the story, deeply immersing readers in the narrator's personal experiences and emotions. In contrast, third-person narration can offer varying degrees of objectivity and omniscience, enabling a wider view of the story world and multiple characters' perspectives.

Comparison with Second Person

The second-person POV , which addresses the reader as "you," creates a unique, direct engagement with the narrative, often placing the reader in the protagonist's shoes. This POV is less common and can offer an intense, immersive experience. The third-person POV, by comparison, provides a more traditional storytelling format, allowing readers to observe the story from a distance, without the direct involvement implied by second-person narration.

Balancing Perspective

Choosing between first, second, and third-person POVs depends on the desired narrative impact. The third-person POV strikes a balance between the intimate connection of first-person and the immersive directive of second-person. It can be tailored to either bring readers closer to the characters' inner worlds or provide a panoramic view of the story, making it a versatile tool for storytellers to achieve their desired narrative effect.

Third person point of view subjective narration involves a narrator with access to one or more character's personal feelings and thoughts. In other words, the narrator understands the thoughts and feelings of, at least, one character.

This is a common type of storytelling. The narrator typically focuses on one character (though not always), who is the main character.

A great example of Third-person subjective narration is Hemingway's The Old Man and the Sea .

He was an old man who fished alone in a skiff in the Gulf Stream and he had gone eighty-four days now without taking a fish. In the first forty days a boy had been with him. But after forty days without a fish the boy's parents had told him that the old man was now definitely and finally salao, which is the worst form of unlucky, and the boy had gone at their orders in another boat which caught three good fish the first week. It made the boy sad to see the old man come in each day with his skiff empty and he always went down to help him carry either the coiled lines or the gaff and harpoon and the sail that was furled around the mast. The sail was patched with flour sacks and, furled, it looked like the flag of permanent defeat.

Third person point of view objective narration sees the narrator not describing the feelings or thoughts of any characters but, rather, just the exact facts of the story.

The narrator tends to be very 'de-humanized' and detached from the story. This approach is often called "fly-on-the-wall" or "camera lens", since the narrator will describe events and actions but provide no explanation or character thoughts.

This type of viewpoint was popular in the 19th century with large, sweeping narratives. It is also occasionally called 'over the shoulder' narration. It sees the focus with one character and the narrator describing only the events perceived and information known by this character.

This approach is very similar to first-person, but produces a narrower and more claustrophobic version of the third person viewpoint.

Perhaps the most famous example of this type of third person viewpoint is Hills Like White Elephants by Ernest Hemingway.

The hills across the valley of the Ebro' were long and white. On this side there was no shade and no trees and the station was between two lines of rails in the sun. Close against the side of the station there was the warm shadow of the building and a curtain, made of strings of bamboo beads, hung across the open door into the bar, to keep out flies. The American and the girl with him sat at a table in the shade, outside the building. It was very hot and the express from Barcelona would come in forty minutes. It stopped at this junction for two minutes and went on to Madrid. "What should we drink?" the girl asked. She had taken off her hat and put it on the table. "It's pretty hot," the man said.

Third person omniscient point of view is an approach that sees the narrator knowing everything that is happening within the story's world, including what each of the characters is thinking and feeling.

This viewpoint stance is very common and is used by some of the most famous writers, including Charles Dickens. It is the approach that works best when looking to produce complicated plots with deep, complex characters. One major drawback is that it is impossible to create an unreliable narrator since the reader has access to events, thoughts, and feelings throughout the world.

Below is the opening to Charles Dickens' A Tale of Two Cities , an example of third person omniscient point of view.

It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way – in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only.

Third person limited point of view sees the narrator conveying the knowledge and subjective experience of just one character. In other words, the narrator is focussed on a single character and only knows this character.

This is a very common narrative approach and is, perhaps, the most common storytelling format for popular novels in the Twentieth Century. One of the most successful uses of First-person limited narration is J.K. Rowling's Harry Potter series.

The example below is taken from Jack London's To Build a Fire .

"Day had dawned cold and gray when the man turned aside from the main Yukon trail. He climbed the high earth-bank where a little-traveled trail led east through the pine for- est. It was a high bank, and he paused to breathe at the top. He excused the act to himself by looking at his watch. It was nine o'clock in the morning. There was no sun or promise of sun, although there was not a cloud in the sky. It was a clear day. However, there seemed to be an indescribable darkness over the face of things. That was because the sun was absent from the sky. This fact did not worry the man. He was not alarmed by the lack of sun. It had been days since he had seen the sun."

Third person point of view offers several advantages and disadvantages to writers that should be considered when choosing the narrative voice for their work. Understanding the benefits and drawbacks of this point of view can help writers make the best decision for their particular story. Here are some of the key advantages and disadvantages of third person point of view:

Advantages:

Multiple perspectives: Third person point of view allows for the narrative to switch between different characters' perspectives, giving the reader a more well-rounded understanding of the events and emotions of the story. This can be particularly useful for complex stories with multiple protagonists or for exploring different sides of a conflict.

Objectivity: Third person point of view creates a more neutral and objective tone, allowing the reader to form their own opinions and judgments about the events and characters in the story. This can be especially important in writing that deals with controversial or sensitive subjects.

Distance: Third person point of view can provide a sense of distance between the narrator and the events of the story, making it easier for the reader to step back and analyze what is happening without being overly emotionally invested. This can be useful for conveying a more detached or analytical perspective.

Disadvantages:

Limited emotional connection: One of the main drawbacks of third person point of view is that it can be more difficult for the reader to form an emotional connection with the characters and events in the story. This can result in a less immersive and impactful reading experience.

Conveying inner thoughts and feelings: Another challenge with third person point of view is conveying the inner thoughts and feelings of the characters. In order to do this, the writer must use indirect methods such as dialogue, actions, and descriptions, which can be less effective than showing the reader directly what the characters are thinking and feeling.

Limited intimacy: Third person point of view can also create a sense of distance between the reader and the story, making it harder for the reader to become fully immersed in the world of the story. This can limit the intimacy and emotional impact of the writing.

In conclusion, third person point of view can be a powerful tool for writers, but it is important to weigh the advantages and disadvantages carefully when making the decision to use it. Understanding the strengths and limitations of third person point of view can help writers make the best choice for their story and create the most effective narrative voice for their work.

For more information on the different types of third person point of view, you can refer to Wikipedia's article on third person point of view .

Understanding the distinctions between first, second, and third-person points of view is essential for writers aiming to choose the best narrative style for their story. This section provides a comparative view, highlighting how each POV uniquely shapes the narrative and influences the reader's experience.

The first-person POV offers a deep, personal insight into the narrator's mind, creating an intimate bond with the reader. The second-person POV , though less common, directly addresses the reader, often creating an immersive, interactive experience. The third-person POV , with its varying degrees of knowledge and objectivity, provides a more flexible and encompassing narrative tool. It allows writers to move seamlessly between the subjective experiences of characters and an objective, broader view of the story world.

Each POV has its strengths and is suited to different types of stories and narrative techniques. The choice depends on the story’s requirements and the experience the writer wishes to convey to the reader.

Below are some frequently asked questions that will provide you more information.

What is an example of a third person point of view?

In third-person point of view, the most common choice for writers, the narrator refers to all characters with third-person pronouns like 'he', 'she', or 'they'.. In other words, the narrator is not a character in a story and is a separate entity. For example, 'Jason used his pocket money to buy himself comic books.'

What is 1st, 2nd, and 3rd person examples?

First person uses the pronouns: I, me, my, mine, myself, we, our, ours, ourselves. Second person uses: You, your, yours, yourself. Third person uses: She, her, hers, herself, he, him, his, himself, they, them, themselves, their, theirs.

What are the 3 types of third person point of view?

• Third-person omniscient point of view.
• Third-person limited omniscient.
• Third-person objective.

These are all outlined in this article.

What is third person point of view in writing?

Third person point of view in writing refers to the narrator describing the events and characters in the story using third-person pronouns such as "he", "she", and "they".

What are the different types of third person point of view?

There are three types of third person point of view: third person limited, third person omniscient, and third person objective.

What are the advantages and disadvantages of using third person point of view in writing?

Advantages of third person point of view in writing include the ability to easily switch between different characters' perspectives, and creating a more neutral and objective tone. Disadvantages include limited emotional connection with the reader and difficulty conveying the inner thoughts and feelings of characters.

The majority of mainstream novels published are written in third person. The chances are that if you have never considered viewpoint when writing your novel, then you are writing in third person point of view.

The biggest choice faced by many writers will be what type of third person point of view to adopt. Here, the most common choice is third-person limited, with a focus on a single character.

Perhaps the most important factor in deciding which narrative viewpoint to adopt is the type of story you are trying to tell. Stories with wide, overarching, and epic storylines tend to suit third person omniscient point of view. However, closer, more personal stories may well be better suited to third-person limited.

Third person point of view is not the only kid on the block. You might also consider writing from first person point of view. This is when the narrator and character are the same person The main advantage of first person point of view is that you are able tell a story in a way that allows the reader to connect fully with the main character. The main disadvantage of first person point of view is that it can sometimes be difficult to pass information to the reader if the main character is unaware of that information. You can read this article to find out more about first person point of view.

If you are looking for professional feedback on your novel, we can provide affordable book editing . Alternatively, our mentoring service allows you to work one-on-one with a professional editor.

Further Reading

• What Is 1st Person 2nd Person 3rd Person With Examples
• What Are The Three Points Of View?
• What Is The Point Of View?
• Mastering The Second Person Viewpoint: A Comprehensive Guide To Engaging Your Readers
• Mastering Point Of View In Writing: A Comprehensive Guide
• First Person Point Of View A Comprehensive Overview For Writers [Including Examples]

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Last updated on Nov 10, 2022

Third Person Point of View: The ‘He Said, She Said’ Narrative Style

Third person point of view is narrative style in which the narrator refers to all characters using the pronouns he , she , or they . An example of a sentence written in third person would be: 

She sat in the café waiting for her food to arrive. “What is taking so long?” she thought.

Writers can zero in on individual characters using third person limited , or zoom out and tell the story in third person omniscient , where the narrator is an all-knowing figure. Your POV choice will depend on what kind of story you want to tell, as you’ll discover in the next two posts in this series!

Here, however, we’ll simply cover everything you need to know about third person as a whole, and why writers might choose to use it over first or second person perspectives.

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Third person stories often have a wider scope

First and second person stories are great for their immediacy, placing the reader right in the action. However, can be restrictive if you want readers to see the bigger picture. Complex stories with a large primary cast often benefit from a narrator who can swiftly move between characters and locations instead of being tethered to your viewpoint character. An example would be George R.R. Martin’s Song of Ice and Fire series, an epic fantasy series sprawling in scope that features an entire chorus of POV characters. 

With each chapter break, Martin shifts to a new viewpoint character (while staying in third person), allowing him to span vast gaps in the geography of his world and give insight into each character’s personality.

The morning had dawned clear and cold, with a crispness that hinted at the end of summer. They set forth at daybreak to see a man beheaded, twenty in all, and Bran rode among them, nervous with excitement. This was the first time he had been deemed old enough to go with his lord father and his brothers to see the king's justice fine. It was the ninth year of summer, and the seventh of Bran's life.

The man had been taken outside a small holdfast in the hills. Robb thought he was a wildling, his sword sworn to Mance Rayder, King-beyond-the-Wall. It made Bran's skill prickle to think of it.

A Game of Thrones , George R.R. Martin

Martin’s third person narrator has the flexibilty to play this scene through the eyes of a nervously excited seven-year-old while also revealing useful expositional details like the idea of a “King-beyond-the-Wall” and Westeros’s decade-long gaps between winters.

Of course, one could argue that it’s possible to write a sprawling novel written from multiple first-person perspectives. But having an enormous cast all narrating in first person can be confusing, and would put a lot of pressure on the writer to sustain multiple convincing character voices. 

(Psst! For more help with characterization when dealing with a large chorus of characters, you can check out our free character profile resource below.)

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While third person narration can allow the reader a great deal of intimacy with viewpoint characters, there are added benefits to staying out of your protagonist’s head.

It’s great for intrigue and suspense

One challenge of writing in first person is knowing how to toe the line between what your narrator knows and what they should reveal. Third person adds a little more distance, making it easier to flesh out main characters or move the story along without divulging information you wish to reveal later on.

This lends itself particularly well to thriller and mystery novels, where some holding back certain bits of exposition is essential to heightening the suspense. It can also be useful when writing any kind of novel that wants to deploy backstory or character history at a time when it can have maximum impact.

On the other hand, the third person isn’t just great for characters keeping secrets from the reader. An all-knowing narrator can also be useful for creating dramatic irony , revealing details that the characters don’t know themselves. For example, in the final act of Shakespeare’s Romeo and Juliet, Romeo discovers Juliet’s body. Unwilling to live in a world without the girl he has loved (for all of five days), he downs a vial of poison.

Come, bitter conduct, come, unsavoury guide!

Thou desperate pilot, now at once run on

The dashing rocks thy sea-sick weary bark!

Here’s to my love. O true apothecary,

Thy drugs are quick. Thus with a kiss I die.

— Romeo and Juliet (Act V, Scene III), William Shakespeare

At this point, the audience knows that Juliet is not dead — but merely sedated in a ploy to escape her family. The gulf between what the audience or reader knows and what the character knows creates an almost unbearable tension, bringing the story to its climax as Juliet awakens to discover her beloved’s corpse beside her.

Of course, dramatic irony can also be deployed more light-heartedly — for example, in comedies of error where humor is driven by a character misinterpreting the world around them. And speaking of understanding the world…

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Third person can help you build up your world

A third person point of view can be a great choice when your story requires a certain amount of descriptive worldbuilding. Whilst first and second person narrators certainly talk about their environment, third person narratives can offer a more natural way to include worldbuilding exposition, especially when extended passages of description might be required. 

A first person narrator probably might not take the time to intricately describe something they’ve seen a thousand times. If you live in a world where society is ruled by a giant brain from outer space, you probably wouldn’t pause your story to arbitrarily explain the backstory of ‘President Lobularr the Cruel.' But a third person narrator will have no limits to what they might want to zero in on at any point in the story.

Though an all-seeing narrator gives writers the freedom to reveal setting and backstory in any way they see fit, don’t forget that one of the effective ways to draw readers into a setting is by showing how a character experiences that world. For example, in this passage from The Vanishing Half , author Brit Bennett describes a humid Louisiana rainstorm from the perspective of her protagonist, Desiree.

Instead of telling the reader that “it was a hot, rainy day,” this passage employs several “showing” devices, including strong verbs and sensory descriptions (“the sky hung heavy and hot,” “water splattering against their ankles”). Bennett evokes one of Desiree’s memories packed with specificity — the girls duck under “eaves” rather than just roofs, and the word “shrieked” conjures a very particular sound. The result practically drops the reader next to Desiree as she braids her daughter’s hair, half-lost in a ripple of nostalgia. 

Written in third person, this passage is just as intimate and personal as it would have been were being narrated directly by Desiree, once again showing the versatility of this viewpoint.

Want to learn more about "show, don't tell"? You can check out our free 10-day course all about this golden rule of writing — it's useful for more than just third person narratives.

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It’s a viewpoint that doesn’t distract from the narrative

In its enduring popularity, third person narratives have become the default mode of storytelling around the world, pre-dating even thelikes of Homer (the epic poet, not the animated nuclear engineer). As a result of its long and impressive history, this viewpoint has thebenefit of instant familiarity.

Starting a story in third person helps readers settle in right away, rather than asking them to adjust to the particular voice of a first-person narrator or the unusual directness of second person . Ever found a story’s first chapter hard to settle into? This may be because of an unconventional narrative style or unanswered questions about who is doing the talking distracting you. Third person narratives are relatively easy to get into the swing of.

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While many writers are keen to develop an utterly unique way of writing, most of the time, readers aren’t looking for something particularly experimental or opaque. In that way, the third person can be a writer’s best friend — a straightforward, versatile, and easily digestible narrative perspective that has stood the test of time.

And with that, we've concluded our post on third person point of view and how to write it! For more in-depth guidance on the two different styles of third person, limited and omniscient, be sure to check out the next couple of posts in this series.

In those posts, you’ll learn even more about which type of third person would best suit your own project, plus bonus tips on how to write in third person — to help you create a story that will be enjoyed by many more than three people, as it were.

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• Scriptwriting

What is the Third Person Point of View – Definition and Examples

W hat is third person point of view? Perhaps she knows; or he knows; or they know. The third person point of view is used to keep distance between the writer and reader. As a result, characters serve as a buffer so that the focus remains on the narrative. We’re going to break down the third person point of view, or third person POV, with examples from The Lord of the Rings and Uncharted , but first, let’s review some grammar details.

3rd Person Point of View Explained

A grammar guide to third person writing.

The third person point of view uses he, she, they, descriptors, or names to communicate perspective. Let’s look at some examples:

• He was a great student.
• She succeeded in every way.
• They worked tirelessly to finish the project on time.
• The man with the funny hat sneered at those who passed by.
• Stella played the violin with maestro-like skill.

This next video does a great job of explaining the grammatical rules used to define third person point of view:

What is Third Person Point of View?  •  All About Third Person Writing by Diane Callahan

Now that we’ve reviewed some grammar guidelines, let’s dive into a third person point of view definition!

THIRD PERSON POINT OF VIEW DEFINITION

What is third person point of view.

A third person point of view is a narrative perspective in which the writer doesn’t directly refer to themself as the narrator, nor you as the reader. The third person POV is arguably the most popular storytelling perspective. In video games and movies, the third person POV refers to a perspective in which the camera is locked onto a character, either behind them or overhead. 

Characteristics of Third Person POV

• Creates distance between writer and reader
• Used often by writers
• Can also refer to a locked camera perspective

Third Person Examples

Third person point of view in writing.

There are two types of third person point of view in writing: third person limited point of view and third person omniscient point of view. Let’s break down third person limited point of view vs. third person omniscient point of view in detail:

Third person limited point of view : The perspective is limited to the view of one or more character.

Third person omniscient point of view : The perspective is shown from “above,” through an “all-knowing” entity.

This next video explains some of the intricacies of using the third person omniscient point of view.

3rd Person Point of View  •  How to Use Third Person Omniscient by Reedsy

Although “omniscient” and “limited” are both third person points of view, they’re very different. For example, the third person limited point of view works much better than the third person omniscient point of view in mystery novels. Imagine an Agatha Christie novel in which the narrator already knows who “committed the crime” — it just wouldn’t work well.

Take this excerpt from Murder on the Orient Express for example:

Murder on the Orient Express

'It is a good phrase that,' said Poirot. 'The impossible cannot have happened, therefore the impossible must be possible in spite of appearances.'

Poirot is our protagonist ; and he is a brilliant detective, but he doesn’t know everything. Christie keeps us on the edge of our seat by concealing essential information in dialogue. 

Conversely, third person omniscient works much better for world-building novels like The Lord of the Rings . Let’s take a look at an excerpt from The Fellowship of the Ring to see how it’s done: 

The Fellowship of the Ring

“Bilbo was very rich and very peculiar, and had been the wonder of the Shire for sixty years, ever since his remarkable disappearance and unexpected return. The riches he had brought back from his travels had now become a local legend, and it was popularly believed, whatever the old folk might say, that the Hill at Bag End was full of tunnels stuffed with treasure. And if that was not enough for fame, there was also his prolonged vigour to marvel at. Time wore on, but it seemed to have little effect on Mr. Baggins. At ninety he was much the same as at fifty. At ninety-nine they began to call him well-preserved; but unchanged would have been nearer the mark. There were some that shook their heads and thought this was too much of a good thing; it seemed unfair that anyone should possess (apparently) perpetual youth as well as (reputedly) inexhaustible wealth.”

Tolkien delivers an incredible amount of exposition in this opening passage. Think about all that we learn about Bilbo: 

• He’s incredibly wealthy
• He lives in Bag End in the Shire
• He made a fortune on some mysterious adventure
• He doesn’t seem to age

We’re able to learn all of this information so quickly because of the use of the third person omniscient POV. This opening mystifies us as the reader, and sets up the perfect opportunity for flashbacks .

When there’s so much backstory to relay, like there is in Tolkien’s world, we don’t really want to doubt whether or not the narrator knows what they’re talking about. Don’t forget that the third person omniscient point of view is also a great perspective for using dramatic irony .

What is Third Person Point of View in Video Games?

Third person pov in video games.

The third person point of view can also refer to a fixed camera angle , used most commonly in video games. Perhaps the most acclaimed third person video game series is Uncharted , from developer Naughty Dog.

If you’re unfamiliar with the fixed “ over the shoulder ” camera perspective, check out the video below.

3rd Person Point of View in Video Games  •  Uncharted 4: A Thief’s End Trailer

The purpose of the third person POV in video games is similar to its purpose in writing — to create a buffer between us, the reader/player, and the character we’re controlling/following. Usually, third person games use a limited POV. In Uncharted , we control treasure hunter Nathan Drake, privy almost exclusively to his thoughts and actions.

But sometimes, games tell or foreshadow what our character is going to walk into. One could argue that this gives us an omniscient third person point of view of the game-world.

The “over the shoulder” angle used in Uncharted isn’t the only third person perspective used in video games though. In addition, many games use the “overhead” or isometric angle, like the recently acclaimed Disco Elysium did:

Third Person Point of View Examples  •  Disco Elysium Trailer

Disco Elysium combines a top-down (isometric) perspective with a limited omniscient narrator. The result is a graphically beautiful game that allows you to explore perspective and perception in new and insightful ways.

Dive deeper into point of view

We covered how the third person POV is used in writing and gaming, but what about the first and second person? Don’t worry, we have you covered on those categories as well, with blog posts that go into similar detail on how each perspective is used by writers, designers, and filmmakers to expert effect.

Up Next: Types of Point of View →

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How to Write in Third Person

Last Updated: March 27, 2024 Fact Checked

This article was co-authored by Alicia Cook . Alicia Cook is a Professional Writer based in Newark, New Jersey. With over 12 years of experience, Alicia specializes in poetry and uses her platform to advocate for families affected by addiction and to fight for breaking the stigma against addiction and mental illness. She holds a BA in English and Journalism from Georgian Court University and an MBA from Saint Peter’s University. Alicia is a bestselling poet with Andrews McMeel Publishing and her work has been featured in numerous media outlets including the NY Post, CNN, USA Today, the HuffPost, the LA Times, American Songwriter Magazine, and Bustle. She was named by Teen Vogue as one of the 10 social media poets to know and her poetry mixtape, “Stuff I’ve Been Feeling Lately” was a finalist in the 2016 Goodreads Choice Awards. There are 7 references cited in this article, which can be found at the bottom of the page. This article has been fact-checked, ensuring the accuracy of any cited facts and confirming the authority of its sources. This article has been viewed 1,134,665 times.

Writing in third person can be a simple task, with a little practice. For academic purposes, third person writing means that the writer must avoid using subjective pronouns like “I” or “you.” For creative writing purposes, there are differences between third person omniscient, limited, objective, and episodically limited points of view. Choose which one fits your writing project.

Writing in Third Person Academically

• Third person helps the writing stay focused on facts and evidence instead of personal opinion.

• Third person pronouns include: he, she, it; his, her, its; him, her, it; himself, herself, itself; they; them; their; themselves.
• Names of other people are also considered appropriate for third person use.
• Example: “ Smith believes differently. According to his research, earlier claims on the subject are incorrect.”

• First person pronouns include: I, me, my, mine, myself, we, us, our, ours, ourselves. [3] X Research source
• The problem with first person is that, academically speaking, it sounds too personalized and too subjective. In other words, it may be difficult to convince the reader that the views and ideas being expressed are unbiased and untainted by personal feelings. Many times, when using first person in academic writing, people use phrases like "I think," "I believe," or "in my opinion."
• Incorrect example: “Even though Smith thinks this way, I think his argument is incorrect.”
• Correct example: “Even though Smith thinks this way, others in the field disagree.”

• Second person pronouns include: you, your, yours, yourself. [4] X Research source
• One main problem with second person is that it can sound accusatory. It runs to risk of placing too much responsibility on the shoulders of the reader specifically and presently reading the work.
• Incorrect example: “If you still disagree nowadays, then you must be ignorant of the facts.”
• Correct example: “Someone who still disagrees nowadays must be ignorant of the facts.”

• Indefinite third person nouns common to academic writing include: the writer, the reader, individuals, students, a student, an instructor, people, a person, a woman, a man, a child, researchers, scientists, writers, experts.
• Example: “In spite of the challenges involved, researchers still persist in their claims.”
• Indefinite third person pronouns include: one, anyone, everyone, someone, no one, another, any, each, either, everybody, neither, nobody, other, anybody, somebody, everything, someone.
• Incorrect example: "You might be tempted to agree without all the facts."
• Correct example: “ One might be tempted to agree without all the facts.”
• This is usually done in an attempt to avoid the gender-specific “he” and “she” pronouns. The mistake here would be to use the “they” pronoun with singular conjugation. [5] X Research source
• Incorrect example: “The witness wanted to offer anonymous testimony. They was afraid of getting hurt if their name was spread.”
• Correct example: “The witness wanted to offer anonymous testimony. They were afraid of getting hurt if their name was spread.”

Writing in Third Person Omniscient

• For instance, a story may include four major characters: William, Bob, Erika, and Samantha. At various points throughout the story, the thoughts and actions of each character should be portrayed. These thoughts can occur within the same chapter or block of narration.
• Writers of omniscient narratives should be conscious of “head-hopping” — that is, shifting character perspectives within a scene. While this does not technically break the rules of Third Person Omniscience, it is widely considered a hallmark of narrative laziness.

• In a sense, the writer of a third person omniscient story is somewhat like the “god” of that story. The writer can observe the external actions of any character at any time, but unlike a limited human observer, the writer can also peek into the inner workings of that character at will, as well.
• Know when to hold back. Even though a writer can reveal any information they choose to reveal, it may be more beneficial to reveal some things gradually. For instance, if one character is supposed to have a mysterious aura, it would be wise to limit access to that character's inner feelings for a while before revealing his or her true motives.

• Do not use first person and second person points of view in the narrative or descriptive portions of the text.
• Correct example: Bob said to Erika, “I think this is creepy. What do you think?”
• Incorrect example: I thought this was creepy, and Bob and Erika thought so, too. What do you think?

Writing in Third Person Limited

• The thoughts and feelings of other characters remain an unknown for the writer throughout the duration of the text. There should be no switching back and forth between characters for this specific type of narrative viewpoint.
• Unlike first person, where the narrator and protagonist are the same, third person limited puts a critical sliver of distance between protagonist and narrator. The writer has the choice to describe one main character’s nasty habit — something they wouldn’t readily reveal if the narration were left entirely to them.

• In other words, do not use first person pronouns like “I,” “me,” “my,” “we,” or “our” outside of dialog. The main character's thoughts and feelings are transparent to the writer, but that character should not double as a narrator.
• Correct example: “Tiffany felt awful after the argument with her boyfriend.”
• Correct example: “Tiffany thought, “I feel awful after that argument with my boyfriend.”
• Incorrect example: “I felt awful after the argument with my boyfriend.”

• Note that the writer can offer insight or guesses regarding the thoughts of other characters, but those guesses must be presented through the perspective of the main character.
• Correct example: “Tiffany felt awful, but judging by the expression on Carl's face, she imagined that he felt just as bad if not worse.”
• Incorrect example: “Tiffany felt awful. What she didn't know was that Carl felt even worse.”

• Correct example: “Tiffany watched from the window as Carl walked up to her house and rang the doorbell.”
• Incorrect example: “As soon as Tiffany left the room, Carl let out a sigh of relief.”

Writing in Episodically Limited Third Person

• Limit the amount of pov characters you include. You don't want to have too many characters that confuse your reader or serve no purpose. Each pov character should have a specific purpose for having a unique point of view. Ask yourself what each pov character contributes to the story.
• For instance, in a romance story following two main characters, Kevin and Felicia, the writer may opt to explain the inner workings of both characters at different moments in the story.
• One character may receive more attention than any other, but all main characters being followed should receive attention at some point in the story.

• Multiple perspectives should not appear within the same narrative space. When one character's perspective ends, another character's can begin. The two perspectives should not be intermixed within the same space.
• Incorrect example: “Kevin felt completely enamored of Felicia from the moment he met her. Felicia, on the other hand, had difficulty trusting Kevin.”

• In a novel-length work, a good time to switch perspective is at the start of a new chapter or at a chapter break.
• The writer should also identify the character whose perspective is being followed at the start of the section, preferably in the first sentence. Otherwise, the reader may waste too much energy guessing.
• Correct example: “Felicia hated to admit it, but the roses Kevin left on her doorstep were a pleasant surprise.”
• Incorrect example: “The roses left on the doorstep seemed like a nice touch.”

• For instance, if Kevin had a talk with Felicia's best friend about Felicia's feelings for him, Felicia herself would have no way of knowing what was said unless she witnessed the conversation or heard about it from either Kevin or her friend.

Writing in Third Person Objective

• There does not need to be a single main character to focus on. The writer can switch between characters, following different characters throughout the course of the narrative, as often as needed.
• Stay away from first person terms like “I” and second person terms like “you” in the narrative, though. Only use first and second person within dialog.

• Imagine that you are an invisible bystander observing the actions and dialog of the characters in your story. You are not omniscient, so you do not have access to any character's inner thoughts and feelings. You only have access to each character's actions.
• Correct example: “After class, Graham hurriedly left the room and rushed back to his dorm room.”
• Incorrect example: “After class, Graham raced from the room and rushed back to his dorm room. The lecture had made him so angry that he felt as though he might snap at the next person he met.”

• Correct example: “When no one else was watching her, Isabelle began to cry.”
• Incorrect example: “Isabelle was too prideful to cry in front of other people, but she felt completely broken-hearted and began crying once she was alone.”

• Let the reader draw his or her own conclusions. Present the actions of the character without analyzing them or explaining how those actions should be viewed.
• Correct example: “Yolanda looked over her shoulder three times before sitting down.”
• Incorrect example: “It might seem like a strange action, but Yolanda looked over her shoulder three times before sitting down. This compulsive habit is an indication of her paranoid state of mind.”

Examples of Third Person POV

Expert Q&A

You Might Also Like

• ↑ https://stlcc.edu/student-support/academic-success-and-tutoring/writing-center/writing-resources/point-of-view-in-academic-writing.aspx
• ↑ http://studysupportresources.port.ac.uk/Writing%20in%20the%20third%20peson.pdf
• ↑ http://www.grammar-monster.com/glossary/third_person.htm
• ↑ https://www.grammarly.com/blog/use-the-singular-they/
• ↑ Alicia Cook. Professional Writer. Expert Interview. 11 December 2020.
• ↑ https://www.merriam-webster.com/words-at-play/point-of-view-first-second-third-person-difference
• ↑ https://ojs.library.dal.ca/YAHS/article/viewFile/7236/6278

About This Article

To write in third person, refer to people or characters by name or use third person pronouns like he, she, it; his, her, its; him, her, it; himself, herself, itself; they; them; their; and themselves. Avoid first and second person pronouns completely. For academic writing, focus on a general viewpoint rather than a specific person's to keep things in third person. In other types of writing, you can write in third person by shifting your focus from character to character or by focusing on a single character. To learn more from our Literary Studies Ph.D., like the differences between third person omniscient and third person limited writing, keep reading the article! Did this summary help you? Yes No

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How to write in third-person

Although there are three narratives you can use in any form of writing when it comes to your papers and anything academic you produce, it’s best to choose the third-person. It’s pretty simple with a bit of practice, but if you’re completely new to this writing style, here’s what you need to know about how to write in third-person.

What does writing in third-person mean?

Writing in third-person is one of the three styles you can use when describing a point of view. Even though you might not know it, chances are you’ve used first, second and third person in writing projects throughout your education.

It’s a narrative where you’re totally independent of the subject you’re analyzing and writing about. You don’t take sides. You don’t try to influence what readers feel. It’s a completely unbiased, objective way of writing that tells a story or dissects a topic right down the middle.

There’s a lot of information out there about how you can differentiate between the three in roundabout ways, making it unnecessarily complicated. Here’s a quick breakdown to understand the differences for when you write your following paper:

First-person

This is from the I/we perspective. It’s where we talk about us , ourselves, and our opinions. If we go down the first-person route, writing will include pronouns like I , me , myself, and mine .

Second-person

This point of view belongs to the person you’re addressing — so its a you perspective. In your writing, you’d use second-person pronouns such as you , your, and yourselves .

Third-person

The third-person point of view is aimed at the person or people being talked about, which is the type of writing you’d find in stories. In this perspective, you’d use pronouns like he , she , him , her , his , hers , himself , herself , it , them , their, and themselves . Or, you’d use a name. But that tends to happen more in stories than research papers.

Notice the difference between the three?

When to write in third-person

The third-person point of view tells the reader a story and it’s often the go-to when you’re taking an authoritative stance in your papers, which is why it’s so common in academic writing.

So, always choose the third-person stance when writing academic copy, such as essays and research papers.

The reason for this is it’ll make your papers less personal and more objective, meaning the objectivity will make you come across as more credible and less biased. Ultimately, this will help your grades as the third-person view keeps you focused on evidence and facts instead of your opinion.

You can break third-person perspectives into three other types, including omniscient, limited, and objective. Although they’re more associated with creative writing than academic work and essays, your writing is likely to fall under the third-person objective point of view.

A third-person objective point of view is about being neutral and presenting your findings and research in an observational way, rather than influencing the reader with your opinions.

How to use the third-person point of view

Rule number one: Never refer to yourself in your essay in the third-person. That’s a no-no.

For instance, here’s how you shouldn’t write a sentence in your essay if you’re writing about virtual learning as an example.

“I feel like students perform better at home because they have more freedom and are more comfortable.”

It’s a simple sentence, but there’s a lot wrong with it when you’re talking about research papers and adopting a third-person narrative. Why? Because you’re using first-person pronouns and, as it sounds like an opinion, you can’t back up your claims with a stat or any credible research. There’s no substance to it whatsoever.

Also, it isn’t very assertive. The person marking your work won’t be impressed by “I feel like,” because it shows no authority and highlights that it came from your brain and not anywhere of note.

By including terms like “I think” or “I feel” like in the example above, you’re already off to a bad start.

But when you switch that example to the third-person point of view, you can cite your sources , which is precisely what you need to do in your essays and research papers to achieve higher grades.

Let’s switch that sentence up and expand it using the third-person point of view:

“A psychological study from Karrie Goodwin shows that students thrive in virtual classrooms as it offers flexibility. They can make their own hours and take regular breaks. Another study from high school teacher, Ashlee Trip, highlighted that children enjoy freedom, the ability to work at their own pace and decide what their day will look like.”

With a third-person narrative, you can present evidence to the reader and back up the claims you make. So, it not only shows what you know, but it also shows you took the time to research and strengthen your paper with credible resources and facts — not just opinions.

6 tips for writing in third-person

1. understand your voice won’t always shine in your essays.

Every single piece of writing tends to have a voice or point of view as if you’re speaking to the reader directly. However, that can’t always happen in academic writing as it’s objective compared to a novel, for example. Don’t try to ‘fluff’ up your piece to try and cram your personality in, as your academic work doesn’t need it.

2. Don’t focus on yourself or the reader — focus on the text

An academic piece of work always has a formal tone as it’s objective. When you write your next paper, focus on the writing itself rather than the writer or the reader.

3. Coach yourself out of using first-person pronouns

This is easier said than done if all you’ve ever done is first- or second-person writing. When you write your next paper, scan through it to see if you’ve written anything in first-person and replace it with the third-person narrative.

Here are a few regular offenders that pop up in academic papers — along with how you can switch the statements to third-person:

• I argue should be this essay argues
• I found that should be it was found that
• We researched should be the group researched
• I will also analyze should be topic X will also be analyzed

The same applies to second-person, as there are plenty of cases where it tends to slip through in academic writing. Again, it’s pretty straightforward to switch the more you practice. For instance:

• Your paper will be marked higher if you use a citation tool should be the use of a citation tool will improve one’s grades

4. Be as specific as possible

This is where things can get a little bit confusing. Writing in third-person is all about including pronouns like he, she, it, and they. However, using them towards the beginning of sentences can be pretty vague and might even confuse the reader — this is the last thing you want from your essay or paper.

Instead, try using nouns towards the beginning of sentences. For example, use the actual subject, such as the interviewer or the writer, rather than he, she, or they when you begin the sentence.

The same applies to terms like it. Start the sentence with the ‘it’ is that you’re describing. If it’s a citation tool, begin the sentence by referencing what you’re discussing, so you aren’t vague. Clarity is key.

5. Write in the present tense when using third-person

In any form of academic writing, you need to write your reports, essays, and research papers in the present tense, especially when introducing different subjects or findings.

So, rather than saying “This paper analyzed” (which does seem correct as technically that part was in the past and the writing is in the present), you should write “This report analyzes” — as if you’re analyzing right here and now.

However, the difference is when you highlight how you did the research, that should be in the past tense. This means you’d use third-person phrases like “The equipment that was used” or “The results were analyzed by”, for instance.

6. Avoid adding your own thoughts

If your report is on a subject that’s close to your heart, it can be super tempting to sprinkle in your own thoughts. It’s a challenge, but you need to coach yourself out of it.

In academic writing, you aren’t a commentator. You’re a reporter. You need to let readers draw their conclusions without over-analyzing them or making the reader lean one way or another.

The easiest way to get to grips with writing your academic papers in the third-person is to be consistent and practice often. Criticize your work and analyze it until it becomes the norm. Yes, it can be a little complex in the early days, but before you know it, you’d have mastered the technique, helping you take your papers and reports up a level.

Frequently Asked Questions about writing in third-person

In third-person, you’d use pronouns like he , she , him , her , his , hers , himself , herself , it , them , their, and themselves . Or, you’d use a name.

You is used in second person and is therefore not used in third person. The second person is used for the person that is being addressed.

The third-person point of view is aimed at the person or people being talked about, which is the type of writing you’d find in stories. When writing in third-person view, make sure to write in the present tense and avoid adding your own thoughts.

When writing in third person, you should actually always write in the present tense since you are mostly presenting results in this view.

The second person point of view belongs to the person you’re addressing — so its a you perspective. In your writing, you’d use second-person pronouns such as you , your, and yourselves .

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What Is Third-Person Point of View and How Can You Use It in Your Writing?

Walter Akolo

Have you ever read a book in which you felt like a bird sitting on the shoulder of the protagonist?

From the very first page, the author placed you in a position to see beyond what the character is seeing. So you can hear the door opening, or know when someone’s opening it, even if they don’t see it happening. It is books like this that are often so easy to consume—and that consume you, eventually.

And the technique that makes these books tick? Third-person point of view (POV).

If you’re looking to write a story that will grip your readers and put them on the edge of their seats, third-person perspective is your secret weapon. But what exactly is third-person point of view and how can you use it in your writing?

What Is Third-Person Point of View (POV)?

What are the different types of third-person pov, is it okay to mix perspectives, how do you write effectively in the third person, third-person pov examples, advantages of writing in third-person pov.

The third-person point of view is a common form of storytelling—a staple in works of fiction—in which the narrator uses third-person pronouns such as they , he , and she to best relate the action in the story.

Most new writers shun writing in the third-person perspective but, unknown to them, it affords a writer much more freedom in how they tell the story.

It’s the only perspective where the author can change the level of reader immersion in relation to the character.

In the first-person perspective , the reader is focused on the point of view of the character—who they are, what they think and feel, and what they want to tell the reader. The author can add a more significant voice to the novel to flesh out the character and make them come alive.

In the second-person perspective , the reader is so deeply interacting with the story that they more or less become that character. It’s like you’re interacting with a character in a video game.

But the third-person perspective is less personal. Since the reader isn’t sitting in the character’s head or becoming the character, the author has the freedom to immerse the reader in the character however they desire—or even withhold knowledge of people and events to create tension and suspense.

Immersing your readers in different levels of the third-person perspective adds pizazz to your story and grips your reader.

In Elements of Fiction Writing: Characters & Viewpoint , Orson Scott Card lists three types of third-person point of view:

1. Third-Person Point of View Omniscient

Card explains that the omniscient third-person point of view gives the reader a line into the character’s eyes. Think of it as an insider’s view of every character’s thoughts, memories, dreams, longings, and deep-seated desires, as well as any point in time—whether present or future.

As a writer, third-person omniscient makes you the all-knowing narrator that relates and interprets events, thoughts, and feelings of all characters in the story. The novels Charlotte’s Web by E. B. White and Middlemarch by George Eliot use third-person omniscient POV.

2. Third-Person Point of View Limited

In the third-person limited POV, the narrator can access the thoughts and feelings of a single character in the story from the third-person perspective. The reader sees what the character is seeing but can only guess what is in another character’s mind.

But this viewpoint doesn’t prevent you from hopping into another character’s mind. Instead, it provides you with a clear division when switching characters (as in a new chapter break or an extra line space to help readers keep up with the story).

For example, if you’re writing inside John’s head and are switching to Ben’s POV, open the next section with Ben’s name, location, and point in time to keep the reader grounded in the story. It’s used to heighten suspense and build interest. The short story Miss Brill by Katherine Mansfield employs a third-person limited point of view.

3. Third-Person Point of View Objective

The third-person objective is a type of third-person POV in which the narrator is essentially a "fly on the wall." The narrator is neutral and is not privy to the inner thoughts and feelings of any characters in the story.

It’s an ambitious feat to write a book in third-person POV objective, but Ernest Hemingway used it to write his short story, Hills like White Elephants .

It can be tricky. But it all depends on how you do it for your story and your perspective.

There are plenty of existing books with sections in first-person POV and others with occasional interludes in third-person POV. The trick is to make sure the reader understands what’s going on and that they aren’t taken by surprise as you jump about in your point of view.

The best way to switch points of view is when you start a new chapter and then make it clear in the first few lines of that chapter what POV is in use. In the famous novel The Great Gatsby , F. Scott Fitzgerald’s opening sentence (of the first chapter) clearly shows that the first-person point of view is in use:

"In my younger and more vulnerable years, my father gave me some advice that I’ve been turning over in my mind ever since.”

If you make a switch between POV mid-chapter, have a clear scene break. The idea is to avoid swapping into third-person for a few lines then transition back to the protagonist in first-person, then off to another character in another POV. If your novel involves multiple perspectives, you can use ProWritingAid’s Pronoun Check to keep track of all of your clever point of view switches.

But there are no hard and fast rules for narrative perspectives. Some readers will like the point of view switches, some will not. In the end, it’s down to you and what you think of it. But has this ever been done before? The answer is almost always yes. Charles Dickens did it in his novel Bleak House —and so can you.

1) Read a variety of books that display an effective use of the third-person point of view. Then use those you think are the best as an example—after all, those who want to write have to read books regardless of the narrative perspective they want to master.

Good examples of third-person literature from classic fiction include Pride and Prejudice by Jane Austen, Catch-22 by Joseph Heller, and Moby Dick by Herman Melville.

2) Learn to write with authority. The reader wants a narrator they can fully trust to transition the story to the next chapter or scene with ease. Create an authoritative third-person narrator that sits on the shoulder of the reader—creating a bird’s-eye view of the story.

3) Empower the narrator with a reliable voice and the ability to know the character’s thoughts. This is possible when using third-person omniscient and limited POV.

4) Avoid transitioning into the first-person point of view. The first-person POV uses the pronouns I , me , mine , we , us , our , and more. The third-person POV calls for the author to stay in the narrator character’s voice while staying consistent with the pronouns he , she , it or they .

5) Choose the best type of third-person POV for your story and remain consistent. You have the plot and are ready to write. But before you do, think of the third-person perspective that’ll work best for your story.

Are you writing an epic saga with important characters? Use the third-person omniscient POV (with an all-knowing narrator). Do you want to keep your reader in suspense and only know what the character knows? Then write the story in third-person limited POV.

The third-person perspective transcends time. It’s been in use since time immemorial in a wide range of fiction from E. B. White’s children’s tales to George Orwell’s classics Animal Farm and 1984 —and to now J. K. Rowling’s famous magical series.

In fiction, third-person perspective allows the writer to place the reader in the character’s head—explaining all the important plot points and details for the story whilst staying impartial.

"The goose shouted to the nearest cow that Wilbur was free, and soon all the cows knew. Then one of the cows told one of the sheep, and soon all the sheep knew. The lambs learned about it from their mothers. The horses, in their stalls in the barn, pricked up their ears when they heard the goose hollering; and soon the horses had caught on to what was happening." E. B. White, Charlotte’s Web "They all remembered or thought they remembered, how they had seen Snowball charging ahead of them at the Battle of the Cowshed, how he had rallied and encouraged them at every turn, and how he had not paused for an instant even when the pellets from Jones’s gun had wounded his back." George Orwell, Animal Farm "Harry moved in front of the tank and looked intently at the snake. He wouldn’t have been surprised if it had died of boredom itself." J. K. Rowling, Harry Potter and the Philosopher’s Stone

Choosing the right third-person POV can sometimes be challenging, but getting it right can make all the difference. Third-person viewpoint has important advantages in a story:

1) The third-person POV has a wider narrative scope than the first and second. The writer experiences a robust character development because there is a broader range of options for language choice. You can shift a melodramatic moment in an overreacting character’s mind to something that might let the reader sympathize better.

2) The third-person POV allows you to put several characters in the spotlight . You can do this while giving the reader an all-around view of the plot, which creates a rich and complex story by including information the the characters do not know.

3) Third-person POV is more flexible. As a narrator, you can switch between different character stories, helping the reader see everything including thoughts, feelings, and sensations, and you can go everywhere you want. You can go from being omniscient to limited to an objective third-person POV.

Point Your Story in the Right Direction

Point of view is an important consideration when writing fiction. Writers have favorite points of view, which can become our defaults. This isn’t a problem, as the same POV may suit most of our writing. However, to tell better stories with characters that exude power, it’s important to choose the point of view that has the biggest impact on your story. Try using third-person point of view to bring your writing to life.

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How to Write in the Third Person

You may have heard someone talking about third person POV in an English class or on a writers’ panel. What does it mean? POV stands for point of view, and any piece of prose writing has one. The point of view helps anchor the reader, and it makes the text easier to understand. Even in a story that doesn’t appear to come from a particular character’s voice, we can still assign the narration a point of view. When the point of view isn’t yours (second person) or mine (first person), then we call it third person narration. In this article, we’ll give you some tips to help you learn to write this way.

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Avoid First Person

First person emphasizes the subjective point of view, and you can easily identify this writing style through the use of the pronouns “I” and “me”. Imagine an autobiography. The narrator explains his or her life by using phrases like this one: “I was born in a small town.” In a biography, written by another person, the text might read: “She was born in a small town.” That’s the difference between first person and third person. In first person, the narrator is the main character or, if not the main character, a character in the action. On the other hand, when a book is written in the third person, the story does not come from the point of view of a character. Instead, the writing describes things that happen to other people, characters besides the writer or the reader. 

First person writing can be identified by the use of the following pronouns:

Avoid Second Person

Second person narration comes from the point of view of the reader. A second person point of view can often be found in the self-help or how-to genres, as well as in choice-based adventure books. “Choose Your Own Adventure® gamebooks began life in 1979 as the first publishing effort of a new division at Bantam Books focused on younger readers,” according to Chooseco LLC . Today, 265 million books have been published in this style. Let’s look at the summary of one of these books for a memorable example of second person narration:

“ You are a mountain climber, headed to the Himalayas to find proof that the mysterious yeti really exists. When your best friend Carlos goes missing from base camp, the fate of the expedition is in your hands.” — The Abominable Snowman 

We added the bold font above to draw attention to some important pronouns. It’s easy to identify second person narration because it features second person pronouns:

What Is Third Person?

When a piece of writing does not assume the perspective of either the reader or the writer, it’s written in the third person point of view. Third person narratives have three distinct styles, known as third person objective, third person omniscient, and third person limited omniscient. You can recognize all three of these points of view through the use of third person pronouns, which include:

Third Person Objective

Imagine a history essay or a science article, written by a distant and neutral third party. The writer does not attempt to explain the perspective of any character; instead, he or she reports on the events with dispassion. If any opinions made their way into the text, they are properly attributed to the source. 

Congressman Smith said, “X, Y, Z.” His constituent disagreed, arguing A. 

The author of a third person objective article would never presume to speak for another person’s inner thoughts. Instead, the writer aims to present the facts and events in an orderly way, attributing the actions and dialogue to the proper characters. 

This writing style is frequently used in academic writing and professional writing, but it can be used by fiction writers as well. As long as the author does not place thoughts inside the heads of characters, third person objective can work for any style of prose writing. If a writer wanted the reader to understand a character’s emotional state, he or she would have to make reference to body language, facial expression, and dialogue; otherwise, the character’s thoughts would remain opaque. The internal monologue of any character remains off limits from the objective point of view. 

Third Person Omniscient

The third person omniscient point of view frequently appears in fiction writing. With this style, an all-knowing narrator has the ability to get inside any character’s head. That’s why an omniscient point of view can be thought of as “head-hopping.” The narrator has knowledge of everything. The characters have nowhere to hide—even their most intimate thoughts may be plumbed. Personal opinions and internal dialogue are all fair game, for any of the characters. In this style of writing, you can expect to see different points of view. As a reader, you can expect to know more about the different characters than the characters know about each other. 

Third Person Limited Omniscient

Sometimes a writer engages a third person perspective, but they elevate one character above the rest. The writer may expound on that character’s thoughts, inner dialogue, and perspective. The focal character for the third person limited point of view is often called the viewpoint character. Typically, the viewpoint character is a main character in the story. The writer provides the reader with comprehensive access to this character’s thoughts, but all the other characters must be understood through actions, gestures, and dialogue. The reader must get by with limited information, since they rely on what the viewpoint character knows. 

Still, the reader does not go “inside the head” of the viewpoint character completely. Rather than writing from the main character’s perspective in the first person point of view, the writer maintains a third person writing style. Without using first person pronouns, the author explores the thoughts of a single character. The narrator describes she and her, not I and me. 

She worried that she would be late, but didn’t bother to tell her sister. 

In the example above, the reader understands what the viewpoint character is thinking. On the other hand, the sister cannot read the viewpoint character’s thoughts. Likewise, the reader is not privy to the sister’s thoughts. 

The omniscient limited and omniscient POV appear most commonly in creative writing. In general terms, third person objective or first person would be a more common choice for essays, articles, and nonfiction books. 

Blending Perspectives

Now that you know the conventions for writing in first person, second person, third person objective, third person limited, and third person limited omniscient, you may want to revisit some of your favorite works of literature. Try to figure out their points of view, and think about why the author picked that perspective. 

In your research, you may come across some books that defy categorization. Moby Dick by Herman Melville and Ulysses by James Joyce come to mind. Both books shift between third person and first person narration. Many fiction writers, especially modernist writers, flout convention by using a number of different narrative styles within the same work. 

In creative writing, you should feel free to break the rules. Just be sure to understand the rules as you break them!

• https://examples.yourdictionary.com/examples-of-point-of-view.html
• https://www.britannica.com/art/novel/Narrative-method-and-point-of-view
• https://www.dictionary.com/e/1st-person-vs-2nd-person-vs-3rd-person-pov/
• https://www.merriam-webster.com/words-at-play/point-of-view-first-second-third-person-difference
• https://www.cyoa.com/

Kari Lisa Johnson

I’m an award-winning playwright with a penchant for wordplay. After earning a perfect score on the Writing SAT, I worked my way through Brown University by moonlighting as a Kaplan Test Prep tutor. I received a BA with honors in Literary Arts (Playwriting)—which gave me the opportunity to study under Pulitzer Prize-winner Paula Vogel. In my previous roles as new media producer with Rosetta Stone, director of marketing for global ventures with The Juilliard School, and vice president of digital strategy with Up & Coming Media, I helped develop the voice for international brands. From my home office in Maui, Hawaii, I currently work on freelance and ghostwriting projects.

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What Is Third-Person Point of View in Writing? Definition & Examples

The perspective from which a story is told is known as its point of view, showcasing the narrator's position and connection to the narrative. Commonly abbreviated as POV, it determines how near or far, and potentially biased, the narrator is.

In narratives using a third-person point of view, the storyteller addresses characters by their names and employs third-person pronouns. This creates a feeling for the readers as if they are observers of the protagonist and other characters, equipped with varying degrees of insight. We'll explore how to differentiate third-person point of view from other viewpoints, its various forms, and ways to effectively incorporate it into your storytelling! 

What is the third-person point of view?

In third-person point of view, the narrator is external to the story and doesn't directly address the reader. They depict characters' actions using names and third-person pronouns like "he" or "she."

“Ella cursed herself under her breath. With planning, her current situation could be so much better, or wouldn’t even exist. But once more, she hadn’t trusted her gut feelings. “When will I ever learn,” she muttered to herself.”

When employing the third-person point of view, a writer can closely follow a main character, switch between characters, or provide an overarching viewpoint. An omniscient narrator knows every character's thoughts; third-person limited centers on one character, and third-person objective narrates events without internal insights. The third-person perspective can vary in its focus, and a writer can adjust its proximity or bias. It's widely used in fiction but is also suitable for non-fiction. 

Third person compared to other points of view

Third-person point of view is distinct from other narrative styles due to its unique pronoun use. While third-person POV uses the third-person pronouns "he/she," first and second person deploy "I" and "you," respectively. Here's a brief breakdown:

First-person point of view: The narrator is a character within the story, often the protagonist, and uses "I" to describe events from that character's point of view. They typically convey their own opinions, emotions, and knowledge, although exceptions exist. First-person point of view can be both limited and biased, sometimes shifting between multiple characters. The Great Gatsby by F. Scott Fitzgerald is a notable example, with Nick Carraway narrating while the story revolves around Jay Gatsby and Daisy.

Second-person point of view: This unique style features a detached narrator addressing a character, usually the protagonist, using "you." It immerses readers by making them feel they're in the protagonist's shoes. The narrator can possess omniscient or limited knowledge. This POV is rare and results in an ambiguous protagonist characterization.

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Which types of third-person perspectives exist?

The third-person point of view offers the freedom to either center on one character or focus on multiple. This viewpoint can be tailored to craft either an omniscient or limited narrator. The chosen type of third-person POV determines the narrator's proximity to the story. Let's delve into the different types of third-person points of view.

Third-person limited

Often referred to as "close third," the third-person limited point of view can be likened to a video game 'camera' that follows a character from behind or above. Here, the narration zeroes in on one character, potentially sticking with them throughout the narrative or shifting between different characters for various sections or chapters.

The "limited" aspect means the story is channeled through the current character, revealing only their experiences, actions, and thoughts. As a writer, you can delve deep into this character's emotions and inner workings. However, the character remains unaware of other characters' thoughts.

This third-person perspective, abbreviated as third-person limited, is effective for building suspense. Since readers and characters uncover details simultaneously, it's apt for genres like thrillers, mysteries, and crime dramas. If the narrative jumps between characters in distinct settings, it can depict simultaneous events across a vast (fictional) landscape.

While the narrator knows every facet of the story, they restrict their lens to one character at a time. This "limited omniscient" point of view enables a narrative where the broader story unfolds in the reader's mind, even if no character possesses the complete picture.

If the narrative imparts information unknown to the central third-person character, it feels as if the narrator is directly engaging the reader, creating a unique bond. This technique can break the fourth wall or introduce meta-fiction elements. However, it's essential to establish this narrative device early on. Introducing it abruptly can jar readers, potentially disrupting their engagement.

Third person omniscient

The term "omniscient" denotes complete knowledge. In the third-person omniscient point of view, the narrator has comprehensive insight into all characters, sharing this knowledge with the reader. They can seamlessly transition between characters, unveiling any character's innermost thoughts and emotions. This ability can be leveraged to build tension, such as by revealing underlying motives in a character conflict.

While the omniscient narrator knows all, they aren't necessarily impartial. They might show favoritism, perhaps by giving more narrative weight to the protagonist. The third-person omniscient point of view may also interject their personal beliefs, praising or critiquing characters and their actions. Due to this expansive perspective, third-person omniscient point of view narrators often directly engage readers, more so than their third-person limited counterparts.

Third person objective

In the third-person objective point of view, the narrator remains entirely neutral and detached. Unlike other third-person viewpoints, this narrator neither delves into a character's mind nor accesses their emotions and motivations. Instead, they relay events, actions, and dialogues as an unbiased observer, akin to a camera capturing scenes without commentary.

The objective point of view prioritizes factuality and observation. This absence of the narrator's voice, opinions, or judgements lends a voyeuristic feel to the narrative. Readers witness events unfold and draw their own inferences, creating an immersive experience. While particularly effective in short stories, this point of view can also be utilized in longer narratives when the story's essence aligns with such a detached narration.

Examples of third-person perspective in literature

Let's delve into a few notable works by renowned authors to better understand the nuances of the various third-person viewpoints.

Third-person limited examples

J.K. Rowling's Harry Potter series of novels use the third-person limited point of view. While the narrator remains outside the story, they closely follow Harry Potter, the central character and budding wizard. Through this point of view, readers gain insight into Harry's thoughts and emotions, but the omniscient narrator also provides glimpses into events outside of Harry's knowledge:

“A breeze ruffled the neat hedges of Privet Drive, which lay silent and tidy under the inky sky, the very last place you would expect astonishing things to happen. Harry Potter rolled over inside his blankets without waking up. One small hand closed on the letter beside him and he slept on, not knowing he was special, not knowing he was famous, not knowing he would be woken in a few hours time by Mrs. Dursley's scream as she opened the front door to put out the milk bottles, nor that he would spend the next few weeks being prodded and pinched by his cousin Dudley... He couldn't know that at this very moment, people meeting in secret all over the country were holding up their glasses and saying in hushed voices: “To Harry Potter - the boy who lived!””

In a similar vein, George R.R. Martin's Game of Thrones series has a rotating focus. Though the narrative circles through a myriad of characters, it zeroes in on one at a time, confining the point of view to that individual for specific chapters or sections of the story.

More examples of the third-person limited point of view include:

Third-person omniscient examples

In Anna Karenina by Leo Tolstoy, the third-person omniscient point of view is evident. The following passage provides insight into both characters' minds simultaneously:

“Often and much as they had both heard about the belief that whoever is first to step on the rug will be the head in the family, neither Levin nor Kitty could recall it as they made those few steps. Nor did they hear the loud remarks and disputes that, in the observation of some, he had been the first, or, in the opinion of others, they had stepped on it together.”

Jane Austen's Pride and Prejudice also employs this all-knowing third-person point of view:

“When Jane and Elizabeth were alone, the former, who had been cautious in her praise of Mr. Bingley before, expressed to her sister how very much she admired him. “He is just what a young man ought to be,” said she, “sensible, good-humored, lively; and I never saw such happy manners! So much ease, with such perfect good breeding!” ”

Further examples of third-person omniscient are:

Third-person objective examples

Ernest Hemingway's Hills Like White Elephants serves is a quintessential representation of the third-person objective narrative. The third-person narrator provides a view into the scene without adding any internal thoughts, feelings, or biases, solely presenting observable actions and dialogue:

“"What should we drink?" the girl asked. She had taken off her hat and put it on the table. "It's pretty hot," the man said. "Let's drink beer." "Dos cervezas," the man said into the curtain. "Big ones?" a woman asked from the doorway. "Yes. Two big ones." The woman brought two glasses of beer and two felt pads. She put the felt pads and the beer glasses on the table and looked at the man and the girl. The girl was looking off at the line of hills. They were white in the sun and the country was brown and dry. "They look like white elephants," she said. "I've never seen one," the man drank his beer. "No, you wouldn't have."”

Another narrative employing the third-person objective point of view is John Reed’s The Rise of Pancho Villa . Similarly, Shirley Jackson’s The Lottery gives us a scene through the lens of an unbiased onlooker:

“The people of the village began to gather in the square, between the post office and the bank, around ten o'clock; in some towns, there were so many people that the lottery took two days and had to be started on June 25th. But in this village, where there were only about three hundred people, the whole lottery took less than two hours, so it could begin at ten o'clock in the morning and still be through in time to allow the villagers to get home for noon dinner.”

Why use the third-person point of view in your writing?

Many emerging writers gravitate towards the first-person point of view, finding solace in the intimacy it offers with the protagonist. This approach sometimes feels easier as it merges the narrative and authorial voices seamlessly.

Others are drawn to third-person point of view simply believing that it exudes a more literary tone. However, it's crucial that the story's essence and character dynamics guide your choice of narrative stance. Whichever point of view you adopt, maintain it consistently. Shifting perspectives can disorient readers, pulling them out of the narrative.

Here are some reasons why writers might opt for the third-person point of view:

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The term ‘omniscient’ may appear overwhelming. But possessing knowledge doesn't mean disclosing everything. Your narrator needn't divulge every event or penetrate every mind continually. Concentrate on the immediate plot progression and the pivotal characters.

A pitfall inexperienced writers may fall into is “head-hopping”, or abruptly shifting points of view. To create suspense, concentrate on the evolving plot, divulging only essential backstories. Propel the narrative forward!

Always consider the information imperative for readers to grasp the storyline, recognizing that this might diverge from a character's knowledge at specific junctures. Balancing character limitations with the chosen point of view can be tricky, but mastering it ensures a captivating read and a gratifying writing journey.

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Demystifying the Third Person Point of View: An Expert‘s In-Depth Guide

Hey there! As an avid reader and writer, I‘ve always been fascinated by the third person point of view. While it may seem straightforward on the surface, there‘s actually a lot more complexity and art to third person narration than meets the eye. In this comprehensive guide, I‘ll break down everything you need to know to master third person POV in your own writing.

A Brief History of Third Person Narration

Before diving into the nitty gritty details, it helps to understand a little of the history behind the third person perspective. While first person POV dates back to ancient times, third person narration really took off in the 19th and 20th centuries as novelists began experimenting with more complex perspectives.

In the 1800s, you start to see examples of omniscient third person narrators who freely access characters‘ thoughts and interpret events. Novels like Middlemarch by George Eliot and Vanity Fair by William Makepeace Thackeray utilized an omniscient "storyteller" to provide commentary on the action.

By the early 1900s, third person limited came into vogue, as writers like Virginia Woolf and James Joyce focused the narrative through one character‘s point of view at a time. This increased psychological realism and identification with the character.

In more contemporary works, you see authors like George R.R. Martin skillfully switch between limited third person POVs from chapter to chapter to provide a multifaceted view of the story world.

So third person narration has evolved from the detached omniscient narrator to a more intimate, character-driven approach focused on specific POVs. Writers today have a full toolbox of third person techniques to work with!

Defining Features of Third Person Narration

Now that we‘ve got a bit of backstory, let‘s clarify what exactly defines the third person perspective:

Pronouns: Uses pronouns like he, she, they, him, her, them, his, hers, their, etc. Does not use "I" or "you".

Detached narrator: The narrator is an outside observer, not a character within the story.

Access to characters‘ thoughts/feelings: Degree of access varies based on type of third person POV used.

Multiple character perspectives : Can switch between perspectives, unlike first person POV.

This contrasts with first person POV, where the story is told using "I" and directly from a specific character‘s perspective.

The detachment from any one character‘s thoughts in third person creates more narrative distance. This flexibility can be powerful, but also requires more work to connect readers to the characters emotionally.

Types of Third Person Narration

Now let‘s dig into the three main types of third person narration and how they differ:

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As you can see, third person objective provides the most limited access to characters‘ inner states, while omniscient gives full access to multiple characters‘ thoughts and emotions.

Let‘s explore the pros and cons of each approach…

Third Person Omniscient POV

This was the most common approach in classic literature. The narrator acts as a "storyteller" with god-like knowledge of characters‘ motives, private thoughts and feelings.

• Allows you to switch perspectives fluidly within a scene
• Builds suspense by revealing information characters don‘t know themselves
• Provides flexibility to pull back and give broader commentary
• Can feel intrusive or contrived if thoughts/motives revealed seem unrealistic
• Hard to sustain consistent "all knowing" narrator throughout full book
• Difficult to connect intimately with individual characters

The key is to use omniscient judiciously and intentionally to enhance specific moments, rather than letting it become a random free-for-all.

Third Person Limited POV

This focuses the narrator‘s access to one character‘s point of view per scene or chapter. It creates a more intimate, nuanced perspective.

• Readers identify strongly with chosen POV character
• Allows close examination of a single psyche over time
• Can increase suspense when POV character has limited knowledge
• Restricts narrative access to external behavior when POV character not present
• Can‘t reveal thoughts/feelings of other characters
• Requires transitions when changing POV characters

Limited third person is common in modern fiction because it combines flexibility with deep character examination. When well-executed, transitions between POV characters are seamless.

Third Person Objective POV

In this approach, the narrator simply reports external details and dialogue without revealing characters‘ inner states. It creates the most distance.

• Allows readers to interpret characters‘ emotions/motives themselves
• Can increase tension and uncertainty about characters‘ thoughts
• Suited to reserved, minimalist writing styles
• Hard to convey intricate characters when restricted to externals
• Difficult to build empathy without understanding characters‘ perspectives
• Can feel clinical or detached if used exclusively

Objective POV works best when combined judiciously with limited POV segments to add variety and new dimensions.

Usage Across Genres and Mediums

Third person narration is common across all major fiction genres and mediums:

• Literary Fiction: The Kite Runner, Atonement, The Poisonwood Bible
• Mystery: Gone Girl, The Girl on the Train, Sherlock Holmes
• Historical Fiction: The Help, Code Name Verity, All the Light We Cannot See
• Fantasy: Lord of the Rings, Game of Thrones, The Name of the Wind
• Science Fiction: Dune, The Martian, Ready Player One
• Romance: Twilight series, The Hating Game, Bridgerton books
• Young Adult fiction: The Hunger Games, Harry Potter, The Fault in Our Stars

It is also frequently used in TV, film, and games when the story requires expanding beyond a single character‘s point of view. For example, Game of Thrones shifts between limited third person chapters in the books, while using film language like shot framings and music cues onscreen to convey POV.

So third person dominates mainstream fiction because it provides the versatility needed to weave complex, multi-perspective narratives.

According to a corpus analysis of over 4500 novel samples by researchers Hoover and Culpeper, third person narration was used in around 80% of published fiction. First person POV accounted for only 17% of books on average. So you‘re in good company using third person perspective!

Impacts on Pacing, Tension, and Emotional Engagement

The type of third person narration you choose can profoundly shape a story‘s pacing, dramatic tension, and ability to engage readers emotionally. Let‘s analyze some of these effects:

Pacing: Objective scenes often feel faster paced as readers must make quick inferences about characters based on actions described. Meanwhile, omniscient or limited POV scenes can slow pacing when the narrator reveals extensive insights into a character‘s thoughts and emotions.

Tension: Limited POV builds tension effectively because readers know only what the POV character knows. Omniscient POV can dissipate tension more easily by revealing information ahead of characters.

Emotional engagement: Limited POV encourages close identification with the chosen character. Omniscient POV can make readers feel more detached by jumping between many characters‘ perspectives.

So in summary, limited third person tends to build pacing and tension most effectively, while also drawing readers closer to a central character emotionally. Omniscient POV provides more flexibility at the cost of emotional proximity.

These are, of course, general guidelines. In the hands of a skilled writer, any third person approach can work brilliantly. It all depends how you hone and restrict the perspective to fit your narrative goals.

Smooth Perspective Shifting in Third Person Limited

Earlier I mentioned transitions are key when changing between third person limited POVs. Here are some tips to guide readers seamlessly between viewpoints:

Use scene or chapter breaks when changing POV characters. Avoid head-hopping within a single scene.

Establish the new POV character quickly using their name or telling details. E.g. "Tom walked through the door and surveyed the room closely."

If characters are in the same location, acknowledge the shift explicitly. E.g. "Seeing this from across the room, Sarah thought…"

Repeat key details, locations, or reminders of recent events to orient readers in the new POV.

Avoid abrupt perspective shifts at climactic moments. Shift POV either before or after key scenes.

Use transitions like changes in location, time lapses, or external events to motivate POV changes.

Follow these principles, and you can change POV characters seamlessly. It‘s all about maintaining clear context and foregrounding the new perspective strongly.

Pros and Cons of Third Person Narration

Now that we‘ve covered the major types and techniques, let‘s analyze the overall advantages and disadvantage of the third person point of view:

Flexibility: Can access multiple characters‘ perspectives and experiences

Objectivity: Detached narrator can provide distance and impartial commentary

Expansive: Power to describe settings, backgrounds, and external events in detail

Dramatic irony: Ability to create tension by revealing information characters don‘t have

Disadvantages

Impersonal: Can be harder to connect readers deeply with individual characters‘ emotions

Distancing: Removes the intimate, conversational tone of first person narration

Inconsistent insights: Omniscient POV may struggle to justify wide knowledge of characters‘ thoughts

Constraints: Limited POV restricts narrative to one perspective per scene

The main trade-off is flexibility versus intimacy. Third person gives you range, while first person provides depth. Ultimately, choose based on which aligns with your specific story needs.

Common Mistakes to Avoid in Third Person POV

Some pitfalls to keep in mind when writing third person narration:

• Suddenly shifting perspectives within a scene
• Providing unrealistic access to characters‘ thoughts for the POV chosen
• Forgetting to close narrative distance in key moments with sensory details
• Neglecting transitions when changing limited POV characters
• Allowing an omniscient narrator‘s voice to become intrusive or heavy-handed

Essentially, inconsistencies in knowledge, access, closeness, or transitions can undermine third person narration. Stick rigorously to the parameters you establish.

My Personal Experience Using Third Person POV

In my own writing, I almost always default to third person limited POV. I enjoy getting into the psyche of complex characters and feel this perspective gives me narrative flexibility while still encouraging intimacy.

However, in one of my short stories I successfully used an objective narrator reporting just dialogue to increase tension and uncertainty in a tense family exchange.

I also have a novel outline using alternating close third person limited chapters between three protagonists. Writing this will be a fun challenge to distinguish the narrative voices and transition smoothly between POVs.

Overall, third person narration allows me to experiment and find the best perspective to tell each unique story. The versatility keeps things exciting!

Tips for Mastering Third Person POV

If you‘re feeling inspired to attempt third person narration in your own writing, here are some tips:

Pick one main type of third person POV to maintain consistency.

Establish narrative distance using sensory details woven into action.

Vary sentence structure to distinguish narrative voice from dialogue.

Restrict insights to fit your chosen perspective – don‘t cheat!

Use transitions between chapters or scenes when changing POV characters.

Reread from different characters‘ perspectives occasionally to check consistency.

Read books utilizing third person POV to analyze how the pros do it.

With practice and a keen understanding of the different forms, you‘ll have all the tools needed to bring multi-layered stories to life using third person narration.

Hope this guide has demystified the third person point of view and provided some useful tips! Feel free to get in touch if you have any other POV questions. Happy writing!

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How to Write in Third Person Multiple PoV: Examples & Meaning

by Alex Cabal

Third person multiple provides your readers with varying points of view, to enrich your plotline and familiarize readers with what’s happening in your characters’ heads and hearts. As the author, you’re already in your characters’ heads. Third person multiple PoV is what will bring your readers there, too.

Leveraging third person multiple PoV is a heavy-hitting strategy of the greats like Tolkien and more. When executed properly, this shifting perspective will bring your readers further into the inner worlds of your characters.

In this article, we’ll focus on how to write in third person point of views and being able to do so with multiple characters—or simply put, “third person multiple PoV.” We’ll go through the advantages and disadvantages, tips, rules, and examples. By the end, you should be well on your way to using this powerful tool to breathe new life into your work and enhance your storytelling.

What is the Third Person Multiple PoV?

Third-person multiple PoV is a narrative point of view in which the narrator follows several different characters using the pronouns “she,” “he,” or “they.” The story alternates between various characters such as two love interests, a protagonist and antagonist, or a group of friends. Unlike omniscient PoV, the narrator can only see inside the head of one character at one time.

Multiple third person PoV involves writing separate scenes from the viewpoints of each of your characters . The author must stay in the one characters’ head for the entire scene and maintain proper PoV rules, such as not relaying to the reader what the thoughts of the opposite character are.

Advantages and disadvantages of Third Person Multiple Point of View

As with any style of PoV, there are different advantages and disadvantages when writing in third person multiple.

One advantage is the ability to move into each of your characters’ heads, giving an in-depth look at characters who normally may not have the chance to voice their thoughts. It provides you, the writer, the opportunity to grow and develop a character every time you get in their head. The reader learns first-hand not just why the character is doing something and why they’re acting a certain way, but they also learn more intimate details about the character as the reader witnesses the character’s inner thoughts.

Say, for instance, you’re reading a crime thriller written in third person multiple PoV. The reader is then able to follow along with both the antagonist and the protagonist, and watch what drives them both to make the decisions they do. The reader will be in the head of the killer when they commit their crimes, get to know them as an individual, and—if the author is skilled—learn about the character on a whole different level than they would have had the author not used this PoV. This makes the overall storytelling more effective and compelling.

That said, using third person multiple isn’t always necessarily advantageous, with pitfalls that many new and seasoned authors alike can fall into. Choosing whether or not to use this shifting perspective will depend on your genre, plotline, and what you want your readers to feel or know at any given moment.

Third Person Point of View pros

Multiple points of view allow your reader to learn what drives each of your characters to do things they may do.

It helps the author to broaden the scope of who should be included in the story, from main characters to secondary ones.

Different third person points of view keep up the tension. You don’t want your readers bored, and this PoV lets you shift perspectives in different scenes, keeping the reader on their toes and providing them with more dynamic insight into the plot.

It keeps the pace moving. You want your plot to move briskly and you want your reader looking forward to the next chapter. Moving from one character to another gives the story that momentum.

Third person PoV offers the reader a variety of perspectives and can make a story more complex and intriguing for a reader. For example, allowing the reader to watch the antagonist plot his crimes, while in tandem, showing the intricate details of what drives the hero or heroine.

Third Person Point of View cons

As an author, you have to stay on your toes and methodically maintain a character’s PoV in each scene, rather than head-hopping between characters and confusing your reader with too many perspectives at once.

If you shift PoV too much, you can lose momentum, and ultimately, the reader.

Shifting third person can sometimes put emotional emphasis on the wrong characters. If you’re attempting to shift perspective simply for the sake of it, you risk throwing your character development out of whack.

The third person multiple PoV won’t be applicable to all genres. It’s obviously not ideal for memoir-style fiction, books for younger readers, and novels with parallel narratives that are better off in the first person.

Should I use Third Person Multiple Pov?

An author who’s mastered the third person multiple PoV can wind up with a really compelling story. Getting into the heads of characters can help the reader grow to love them almost as much as the author who created them did. If you can nail the third person multiple, your readers will have a better understanding of the inner workings of the hearts and minds of your characters. Whether they grow to love or hate them, readers will be emotionally invested.

If you have more than one character (you probably do) with whom you want your readers to intimately connect, third person multiple PoV will provide the lens to do just that. For this reason, third person multiple PoV is popular in the romance and fantasy/adventure genres, and in novels with many parallel narratives.

However, if you’re writing in the style of a memoir, or any story in which you want the PoV to be coming solely from one character or from a non-omniscient observer, third person multiple isn’t the best choice.

When should I use it?

As far as when the best time is to adapt third person multiple in your work, stick with scene changes, new chapters, and the idea of change in general. The easiest way to confuse people is to use third person multiple PoV just for the sake of it. Instead, make the PoV change correspond to a change in events or scenery that necessitates getting into the head of another character. That way, you’ll maintain your story’s flow and momentum.

Tips For how to write in Third Person Multiple

A lot of novice writers sometimes try to use this PoV and get confused, break the rules, and lose their readers. Multiple third person PoV and head-hopping often get mixed up when in fact they’re two entirely different matters. Learning how to write multiple PoV isn’t necessarily difficult, as long as you attack it methodically.

Remember to keep a strong grasp on how your novel is paced and to strictly discipline the number of different views, and third person multiple can be a great tool for your author’s toolbox. If you stick to the following three tips for writing in third person multiple, you’ll be able to effectively harness shifts in PoV without falling prey to common mistakes.

Develop a Distinct Persona, Purpose, and Voice for Each Character

One of the most important rules for writing in third person multiple PoV is to make sure each of your characters is different enough so that when the PoV changes, the reader isn’t confused about which character is in focus. Technically this falls more under character building than PoV, but it’s a very important point to consider. To avoid this problem, make sure your characters all have original and distinct traits. Give each of them very different backgrounds, jobs, ages, and personalities.

TIP: Think of the third person multiple as a tool for character building: that is, constructing the inner world—thoughts, emotions, and motivators—of your characters. Be sure to stay true to each character’s inner voice and not intermingle it with those of the others, as this can seriously dilute character development and confuse readers.

How to Switch Point of View When Writing Third Person Multiple

One of the best indicators for switching character PoV within a story is when something changes that necessitates inner input from a different character. This change in perspective can be used to provide greater insight or understanding for your reader and heighten the impact of the plot on the characters.

Most commonly, this will be a scene change. Be sure to make scene changes distinct. If you change PoVs in the middle of the scene, make it 100% clear that you’ve changed. When changing scenes, make sure the story picks up where the last scene left off.

Another common error writers make when switching point of view is doing so too frequently. Some writers may use the PoV as an excuse to enter the heads of several different characters within one chapter too quickly. There’s no real rule about how long a particular scene should be for any character, but switching back and forth too quickly can make the prose confusing. If you find yourself shifting heads more than two or three times in a scene, there might be a problem, and you might want to take a step back to see which character will benefit the scene the most and then rewrite the scene to hold that one person’s PoV. An easy rule of thumb is to avoid head-hopping completely and stick to one PoV for one scene, especially when you’re new to using the third person multiple.

TIP: Watch the number of times you switch PoV. You want to make sure to use the character that’s getting the most benefit from the scene and stay in their PoV before you start writing from another character’s perspective. Remember that something should change, i.e. the scene, the mood, etc., to make the PoV shift natural and not superfluous or confusing.

How to Balance Character PoVs

If you’re a beginning author trying out writing multiple PoV, choose which characters are most important to you and stick to their heads. Don’t sweat not being able to write from the mind-body-spirit of every single character in your story. Switch heads only when there’s a need, and never switch characters just because you can! The result can be confusing and can feel forced.

Also, limit the number of characters in your book if you want to consistently leverage third person multiple. Too many characters with separate PoVs can end up confusing the reader and even you as the author. You can still have many different characters, but strictly limit the number of head changes in the manuscript.

TIP: Keep your story focused. Just because you’re giving the view of many characters doesn’t mean you can’t maintain pace. Give each character their own emotional weight and their own specific hopes and fears. Place emotional/cognitive emphasis where the readers need it, not for the sake of getting into every single head in your story.

At the end of the day, always put yourself in your reader’s shoes. No matter what, don’t force the shift. If you don’t need it, don’t do it.

Shift in Point of View examples

Let’s look at some examples effectively and ineffectively shifting the PoV between characters.

An example of an effective PoV shift

The following passage is an example of switching from a group point of view to a singular third person PoV.

Grandma Elisabeth headed into the dining room and took her seat at the head of the table. Atop every plate was a small folded piece of paper, each adorned with a name in a long cursive sprawl. The rest of the family awkwardly shuffled into the dining room. Their eyes darted from plate to plate, their faces attempting to conceal their inner thoughts—soft smiles of relief of a seat out of the line of fire, or resignation pulling at their eyes and the corners of their lips as they found their chairs closer to the head of the table. The family mechanically sat down in their respective seats in reserved silence.

“It wasn’t dad’s fault,” Joe whispered in the silence of the room. He sat in a chair at the far end of the table. Half the family looked quickly to Joe in astonishment, the other half looked downward, deeply concentrated with the pattern of leaves and flowers on the cleanly pressed tablecloth. Grandma Elisabeth’s blue eyes shone piercingly; no one spoke in the broken silence. Joe felt the dread of the upcoming battle, and then a surge of anger boiled up in his stomach. He let the rage wash over him and spoke again, this time more loudly with every word. “It wasn’t his fault, and you know it.”

In this passage, the beginning PoV is that of the family as a group, and then shifts to Joe’s perspective. At the beginning of the passage, the reader is shown information about the family’s actions that indicate how the family feels—how they move awkwardly and shuffle, how their eyes “dart” in anxiety.

The PoV shift occurs when Joe takes an action by “speaking” and breaks the tension of quiet anticipation in the room. At this point, the reader is prepared for the argument to take place, and more specifically, from Joe’s personal perspective.

Using this shift in perspective from the collective to the individual is an example of how to give your reader an overview of the overall group feeling, and then shift to the feelings of the individual character. Everyone knows what it’s like to feel awkward and uncomfortable in a group, and the burning desire to state how you really feel no matter the consequences. This particular PoV shift is highly effective not only at setting the emotional scene but at making the character more relatable.

An example of an ineffective PoV shift

In this passage, the antagonist is the murderer Bill and the protagonist is Detective Smith:

Detective Smith sat back in the chair, draped his laced fingers over his chest and eyed the man across the silver table. The room, set up for interview and interrogations only, had no paintings on the walls, nothing to adorn the tabletop sitting between them, and only held a two-way mirror, which sat directly behind his head._ He set his feet flat on the ground and leaned forward, moving his elbows to the hard metal separating them. He’d been chasing this guys for months and now all Smith needed was a confession._ “So Bill, how about you tell me where you were on the night of January 9th?”_ Bill’s eyed widened briefly before the mask of granite came back in place, then opened his mouth and promptly shut it again. Detective Smith eyed the man, and fear levels spiked in Bill._ Bill hesitated, didn’t know what the Detective had on him, but had a sudden feeling that he might not make it out of this room without a brand new set of bracelets adorning his wrists.

Can you spot the PoV error? There’s two: “fear levels spiked in Bill,” and “Bill hesitated, didn’t know what the Detective had on him but had a sudden feeling that he might not make it out of this room without a brand new set of bracelets adorning his wrists.”

Why are these PoV errors? Because Detective Smith can’t tell what Bill is thinking and feeling unless Bill says so. This is a common PoV error and one many novice writers make.

You’ll also note that there isn’t a scene change in this passage. While using a scene change isn’t cardinal rule, something tangible should shift to compel the corresponding shift in perspective. Going back to the effective example: In the first passage, Joe’s interjection into the silence of the group marks a change in mood and sets up the scene for the argument to occur from Joe’s perspective. In the second passage, Detective Smith and Bill remain in the same room, under the same circumstances, making the PoV switch awkward and superfluous.

If I had placed a scene cut after Detective Smith asked his question, I would have written it to immediately pick up on Bill thinking about the answer. This would be a more effective way to shift the PoV in this particular example.

Third Person Multiple PoV examples to learn from

Books with alternating points of view give heightened dimension to characters and are regarded as highly enjoyable by readers, provided the author is skilled. If you take a look at the current NYT Best Sellers List, you’ll see that the majority of the fiction on the list is written in third person multiple. It’s an uber-popular technique in the modern novel that’s not going away anytime soon.

If you want a masterclass in third person multiple, pick up something by Tolkien. Tolkien is known as one of the greatest worldbuilders of all time, but his seamless shifts in PoV are partly why readers of all ages become emotionally attached to his characters.

Third person multiple is also frequently used in romance writing. You can quickly recognize the style by the use of pronouns such as “she” and “he.” Romance authors like to use this PoV because it’s extremely helpful in showing how the budding relationship expands between both the protagonist and their love interest. Even though romances are intimate by nature, dual PoV romance novels allow the reader to make an even deeper connection with each character.

Finally, it’s easy to observe the benefits of writing in third person multiple in works of parallel narratives. In fact, shifting PoV is part of the essence of these novels where readers are taken on a ride bouncing between characters and their version of events.

Here’s a short list of books written in third person multiple that’s a great go-to resource as you sharpen your skills:

The Lord of the Rings trilogy by J. R. R. Tolkien

Anything by George R. R. Martin

The Time Traveler’s Wife by Audrey Niffenegger

All the Light We Cannot See by Anthony Doerr

Clap When You Land by Elizabeth Acevedo

Throne of Glass by Sarah J. Maas

The Chronicles of Narnia by C. S. Lewis

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Point of View: It's Personal

What to Know The point of view of a story determines who is telling it and the narrator's relationship to the characters in the story. In first person point of view the narrator is a character in the story telling it from their perspective. In third person point of view the narrator is not part of the story and the characters never acknowledge the narrator's presence. Less common than first and third is second person point of view. In second person point of view the reader is part of the story. The narrator describes the reader's actions, thoughts, and background using "you."

It's all about how you look at it.

When you tell a story, an important thing to choose is the point of view that the story should take. Point of view determines who tells the story, as well as the relationship that the narrator has to the characters in the story. A story can have a much different feel depending on who is doing the telling.

The main points of view are first person and third person, with second person appearing less frequently but still common enough that it gets studied in writing classes. These are also the terms used to distinguish the personal pronouns. The pronouns I and we are first-person pronouns; they refer to the self. The pronoun you , used for both singular and plural antecedents, is the second-person pronoun, the person who is being addressed. The third person pronouns— he , she , it , they —refer to someone or something being referred to apart from the speaker or the person being addressed. Narratives are often identified as first, second, or third person based on the kinds of pronouns they utilize.

First Person Point of View

In first-person narration, the narrator is a person in the story, telling the story from their own point of view. The narration usually utilizes the pronoun I (or we , if the narrator is speaking as part of a group). The character who tells the story might be in the middle of the action or more of a character who observes the action from the outer limits, but in either case you are getting that character’s recounting of what happens.

It also means that impressions and descriptions are colored by that character’s opinions, mood, past experiences, or even their warped perceptions of what they see and hear.

There was no possibility of taking a walk that day. We had been wandering, indeed, in the leafless shrubbery an hour in the morning; but since dinner (Mrs. Reed, when there was no company, dined early) the cold winter wind had brought with it clouds so sombre, and a rain so penetrating, that further outdoor exercise was now out of the question. I was glad of it: I never liked long walks, especially on chilly afternoons: dreadful to me was the coming home in the raw twilight, with nipped fingers and toes, and a heart saddened by the chidings of Bessie, the nurse, and humbled by the consciousness of my physical inferiority to Eliza, John, and Georgiana Reed. — Charlotte Brontë, Jane Eyre , 1847

In Jane Eyre , the narration is provided by the story’s title character, a governess. The information shared comes from her memories and impressions—of the weather, her knowledge of Mrs. Reed’s dining habits, and her dread at receiving a lecture from Nurse Bessie. We are likewise shielded from information that Jane doesn’t know.

Many classic works of fiction feature characters made memorable by their first-person voices: The Catcher in the Rye (Holden Caulfield), The Handmaid's Tale (Offred), or To Kill a Mockingbird (Scout Finch). In some stories, such as in F. Scott Fitzgerald's The Great Gatsby , the first person narrator (Nick Carraway) is an observer of the character around whom the story is centered (Jay Gatsby).

Second Person

Second-person narration is a little-used technique of narrative in which the action is driven by a character ascribed to the reader, one known as you . The reader is immersed into the narrative as a character involved in the story. The narrator describes what "you" do and lets you into your own thoughts and background. The most well-known piece of fiction that employs second-person narration might be Jay McInerney’s novel Bright Lights, Big City .

At the subway station you wait fifteen minutes on the platform for a train. Finally a local, enervated by graffiti, shuffles into the station. You get a seat and hoist a copy of the New York Post. The Post is the most shameful of your several addictions. — Jay McInerney, Bright Lights, Big City , 1984

You will also find second-person narration used in the "Choose Your Own Adventure" style of books popular with younger readers, in which readers determine where the story goes by which page they turn to next. Allowing the reader to "be" the central character in the story provides an immersive reading experience, enhancing what is at stake for the character and reader.

Third Person Point of View

In third-person narration, the narrator exists outside the events of the story, and relates the actions of the characters by referring to their names or by the third-person pronouns he, she, or they.

Third-person narration can be further classified into several types: omniscient, limited, and objective.

Third Person Omniscient

Omniscient means "all-knowing," and likewise an omniscient narrator knows every character’s thoughts, feelings, and motivations even if that character doesn’t reveal any of those things to the other characters.

Little Women by Louisa May Alcott serves as a good example of third-person omniscient narration:

"Christmas won't be Christmas without any presents," grumbled Jo, lying on the rug. "It's so dreadful to be poor!" sighed Meg, looking down at her old dress. "I don't think it's fair for some girls to have plenty of pretty things, and other girls nothing at all," added little Amy, with an injured sniff. "We've got Father and Mother, and each other," said Beth contentedly from her corner. The four young faces on which the firelight shone brightened at the cheerful words, but darkened again as Jo said sadly, "We haven't got Father, and shall not have him for a long time." She didn't say "perhaps never," but each silently added it, thinking of Father far away, where the fighting was. — Louisa May Alcott, Little Women , 1868

The story is not told from the point of view of Meg, Jo, Beth, or Amy, but from someone who is observing the four sisters as they talk to one another. Each character is therefore referred to by their names or the third-person pronoun she . The narrator does not exist as a character in the story, and the girls do not acknowledge the narrator’s presence.

However, the narrator is omniscient, which means that they know what the characters are thinking. This is demonstrated in the last line of the excerpt, when the girls silently ponder the thought of their father never returning from the war.

Third Person Limited

In third-person limited narration, the narrator still exists outside the events of the story, but does not know the motivations or thoughts of all the characters. Rather, one character is the driver of the story, and the reader is given a closer peek into that character’s psyche than the others.

J. K. Rowling utilizes third-person limited narration in the Harry Potter novels. Even though the narrator is not Harry, and Harry is referred to as 'he,' the reader is allowed into Harry's thoughts—what he is wondering without saying out loud. We are also, like Harry, left uncertain about what other characters are thinking:

Three days later, the Dursleys were showing no sign of relenting, and Harry couldn't see any way out of his situation. He lay on his bed watching the sun sinking behind the bars on the window and wondered miserably what was going to happen to him. What was the good of magicking himself out of his room if Hogwarts would expel him for doing it? Yet life at Privet Drive had reached an all-time low. Now that the Dursleys knew they weren't going to wake up as fruit bats, he had lost his only weapon. Dobby might have saved Harry from horrible happenings at Hogwarts, but the way things were going, he'd probably starve to death anyway. — J. K. Rowling, Harry Potter and the Chamber of Secrets , 1999

Third-Person Objective

In third-person objective narration, the narrator reports the events that take place without knowing the motivations or thoughts of any of the characters. We know little about what drives them until we hear them speak or observe their actions. The resulting tone is often matter-of-fact, not colored by any opinions or commentary, nor of knowledge of what takes place outside the scene.

The people of the village began to gather in the square, between the post office and the bank, around ten o'clock; in some towns there were so many people that the lottery took two days and had to be started on June 25th. But in this village, where there were only about three hundred people, the whole lottery took less than two hours, so it could begin at ten o'clock in the morning and still be through in time to allow the villagers to get home for noon dinner. — Shirley Jackson, "The Lottery," 1948

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7 Essential Tips for Writing in the Third Person

Table of contents

Alana Chase

Whether you’re a student, business professional, or writer, knowing how to write well in the third person is an essential skill.

But you may not be sure of all the rules or how to make your third-person writing shine.

As an editor and writing coach of 11 years, I’ve taught students and writers at all levels how to master the third-person point of view (POV). All you need to get started is a good understanding of third-person pronouns and a bit of practice for consistency. 

By the end of this article, you’ll know when and how to use third-person perspective. You'll also find helpful tips for taking your third-person writing to the next level.

Key takeaways 

• In the third-person perspective, the narrator is separate from the story. 
• Third-person perspective uses he/him/his, she/her/hers, and they/them/their pronouns. 
• Consistency is key: Don’t switch between perspectives in a single document.
• Practicing third-person writing and editing your work is vital to improving your skills.

What is third-person point of view (POV)?

In writing, there are three ways to tell a story: first-person, second-person, or third-person POV. 

First-person POV is from the narrator’s perspective: 

“ I saw the bird steal my sandwich, and I ran after it.”

Second-person POV is from the reader’s perspective: 

“ You saw the bird steal your sandwich, and you ran after it.”

Third-person POV, however, separates the narrator from the story and uses third-person pronouns (like he/him, she/her, and they/them) to describe events, actions, thoughts, and emotions. Characters are referred to by name or one of these pronouns: 

“ Alex saw the bird steal his/her/their sandwich, and he/she/they ran after it.”

Third-person POV is used in all kinds of writing — from novels to research papers, journalistic articles, copywriting materials, and more. Check out some examples below.

Examples of third-person perspective

• In a novel: “Robb and Jon sat tall and still on their horses, with Bran between them on his pony, trying to seem older than seven, trying to pretend that he’d seen all this before.” (From A Game of Thrones by George R. R. Martin)
• In a news article : “This weekend, Iceland experienced nearly 2,000 earthquakes within 48 hours. And they’ve kept coming since then – in swarms.” (From “Thousands of earthquakes have scientists watching for a volcanic eruption in Iceland” on NPR’s website )
• In copywriting : “Balm Dotcom’s formula has antioxidants and natural emollients to nourish dry lips.” (Website copy describing Glossier’s Balm Dotcom lip product )

7 tips for writing in the third person

Just like the first and second person, you’ve probably already written in the third person before. But to do it well , you’ll need some key tips and tricks in your writing toolkit. 

Let’s dive into the seven essentials for third-person writing.

Tip 1: Use third-person determiners and pronouns 

In grammar, determiners introduce and modify nouns. They’re used to specify what a noun refers to (like “ my laptop”) or the quantity of it (like “ many sandwiches”). 

Meanwhile, pronouns are substitutes for nouns, referring to people, places, or things. For example, “Caroline [noun] is a skilled musician, and she [pronoun] especially loves playing the piano.”

When you write in the third person, use only third-person determiners and pronouns. Let’s take a look at the different types of pronouns. 

Tip 2: Use names for clarity

In third-person writing, using names is crucial for clarity, especially when multiple people/characters share similar pronouns. Strategically incorporate names into your writing to help readers keep track of who’s who. 

For example:

‍ “She submitted the script draft to her, and she made suggestions for changes.”

‍ “Mira submitted the script draft to Lynn, and Lynn made suggestions for changes.”

Tip: Use a character or person’s name when introducing them in your writing. Then, alternate between using pronouns and their name to prevent confusion.

Tip 3: Keep the narration neutral

When you write in the third person, your narrator is an uninvolved observer. They have no opinions on the people, places, things, or events they describe. Their words and tone should be neutral (but not boring).

To achieve this in your writing:

• Think of your narrator as a reporter. Their job is to detail what’s happening, when and why it’s occurring, who’s involved, and any background information that can give context. They don’t offer a personal interpretation of events. Instead, they provide facts and supporting details.
• Save the judgment for characters. Rather than having your narrator share their critique of events or individuals, have a character offer their opinion — either through dialogue, actions, or reactions. For instance, instead of writing, “Dr. Shaw was a courageous woman,” let a character convey admiration by telling Dr. Shaw, “I’ve always admired your fearlessness.”
• Be objective with your descriptions. Avoid subjective adjectives and focus on observable features. For example, instead of describing a landscape as “breathtaking,” write that it’s “marked with snow-capped mountains and patches of tall pine trees.” 

Tip 4: Use descriptive language

Showing — and not just telling — is essential when writing in the third person. Instead of stating emotions and experiences outright, immerse your reader in your character’s reality. Create vivid descriptions of their thoughts, feelings, and surroundings. Use language that engages the senses: sight, sound, smell, touch, and taste. 

For example: 

“Aisha was nervous.”

‍ “Aisha’s hands trembled, and her tongue felt dry against the roof of her mouth. The spotlight above the stage shone white-hot, causing beads of sweat to form along Aisha’s hairline.”

Tip 5: Be consistent

Once you establish a third-person POV, stick to it . Avoid switching from the third person to the first or second person. Otherwise, you’ll confuse the reader and disrupt the flow of your writing.

“Hannah felt a surge of excitement when her telephone rang, anticipating good news about her mortgage application. I felt my heart rate quicken as I answered.” (Switches from the third person to the first person)

“Hannah felt a surge of excitement when her telephone rang, anticipating good news about her mortgage application. She felt her heart rate quicken as she answered.” (Remains in the third person)

Tip 6: Practice

Writing in the third person might feel strange at first, especially if you’re used to using the first or second person. However, it’ll come more naturally to you with practice.

Here are two writing exercises you can try right now:

Writing Exercise #1

Take an excerpt from an article or book written in the first or second person and rewrite it in the third person. Below is an example using The Catcher in the Rye , whose main character is named Holden.

Before: “The other reason I wasn’t down at the game was because I was on my way to say good-by to old Spencer, my history teacher.”

After: “The other reason Holden wasn’t down at the game was because he was on his way to say good-by to old Spencer, his history teacher.”

Writing Exercise #2

Turn on a movie or television show, mute the sound, and closely observe two characters. Give them each a name. Using third-person pronouns and their names, describe the characters’ actions and what you believe they’re thinking and feeling. 

Above all, write in the third person as often as possible , following the tips in this guide. Remember, your writing skills are like muscles: The more you exercise them, the stronger they become. 

Tip 7: Carefully revise 

After you’ve written something in the third person, carefully review and revise your work. 

Check that your writing :

• Uses third-person determiners and pronouns accurately and consistently
• Incorporates names where pronouns may cause confusion
• Maintains a neutral tone, where your narrator doesn’t offer personal opinions or interpretations
• Doesn’t shift to the first or second person

Make changes where necessary, then read through your work a final time.

AI tip: Wordtune can help you self-edit and help improve your writing overall.

Paste your work into Wordtune’s Editor, or write in it directly, and use the features to shorten or expand your sentences, make your tone more casual or formal, and more. Wordtune will also automatically flag spelling and grammar errors and suggest ways to improve concision, clarity, and flow.

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Bonus tip (advanced): Learn the different types of third-person POV

Did you know there are three types of third-person POV? Getting familiar with them can help you make your writing even more impactful.

• Third-person objective , where the narrator is “a fly on the wall”: They provide an objective account of events without exploring people/characters’ emotions or thoughts.
• Third-person omniscient , where the narrator has unlimited knowledge of all events and characters’ thoughts and feelings. 
• Third-person limited , also called “close third,” where the narrator has access to just one character’s emotions, thoughts, and experiences. 

With this knowledge, you can choose the right perspective for your writing depending on its purpose, tone, and goals. 

For instance, use third-person omniscient to show readers what’s happening with everyone in your novel. Or, you could go for third-person objective in an academic paper where you must present facts without sharing your interpretation of them.

Writing well in the third person takes thought and effort. You must use third-person determiners and pronouns, weave in descriptive language, and keep your narration neutral. You also need to be consistent with your POV, ensuring you don’t accidentally switch to the first or second person. Finally, review and revise your work to make sure it’s clear and error-free. 

Using this guide — and Wordtune’s tools to polish your writing — you’ll get the hang of the third-person perspective in no time.

To continue sharpening your writing skills, read our articles on mastering tone of voice and writing concisely (with help from AI). Then, check out our proofreading guide to keep your work flawless . 

What is a third-person word example?

Third-person words are pronouns like “he,” “her,” “they,” “it,” “hers,” and “theirs.”

Should I write in the first or third person?

It depends on the closeness you want to create with your audience. The first person allows for a personal connection between the narrator and the reader, while the third person creates distance between the narrator and the audience.

What are the disadvantages of writing in the third person?

Third-person writing can lead to a lack of intimacy with the reader. This can be a disadvantage for some writers but an advantage for others, like those in academic and professional settings.

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• How to write a narrative essay | Example & tips

How to Write a Narrative Essay | Example & Tips

Published on July 24, 2020 by Jack Caulfield . Revised on July 23, 2023.

A narrative essay tells a story. In most cases, this is a story about a personal experience you had. This type of essay , along with the descriptive essay , allows you to get personal and creative, unlike most academic writing .

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Table of contents

What is a narrative essay for, choosing a topic, interactive example of a narrative essay, other interesting articles, frequently asked questions about narrative essays.

When assigned a narrative essay, you might find yourself wondering: Why does my teacher want to hear this story? Topics for narrative essays can range from the important to the trivial. Usually the point is not so much the story itself, but the way you tell it.

A narrative essay is a way of testing your ability to tell a story in a clear and interesting way. You’re expected to think about where your story begins and ends, and how to convey it with eye-catching language and a satisfying pace.

These skills are quite different from those needed for formal academic writing. For instance, in a narrative essay the use of the first person (“I”) is encouraged, as is the use of figurative language, dialogue, and suspense.

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Narrative essay assignments vary widely in the amount of direction you’re given about your topic. You may be assigned quite a specific topic or choice of topics to work with.

• Write a story about your first day of school.
• Write a story about your favorite holiday destination.

You may also be given prompts that leave you a much wider choice of topic.

• Write about an experience where you learned something about yourself.
• Write about an achievement you are proud of. What did you accomplish, and how?

In these cases, you might have to think harder to decide what story you want to tell. The best kind of story for a narrative essay is one you can use to talk about a particular theme or lesson, or that takes a surprising turn somewhere along the way.

For example, a trip where everything went according to plan makes for a less interesting story than one where something unexpected happened that you then had to respond to. Choose an experience that might surprise the reader or teach them something.

Narrative essays in college applications

When applying for college , you might be asked to write a narrative essay that expresses something about your personal qualities.

For example, this application prompt from Common App requires you to respond with a narrative essay.

In this context, choose a story that is not only interesting but also expresses the qualities the prompt is looking for—here, resilience and the ability to learn from failure—and frame the story in a way that emphasizes these qualities.

An example of a short narrative essay, responding to the prompt “Write about an experience where you learned something about yourself,” is shown below.

Hover over different parts of the text to see how the structure works.

Since elementary school, I have always favored subjects like science and math over the humanities. My instinct was always to think of these subjects as more solid and serious than classes like English. If there was no right answer, I thought, why bother? But recently I had an experience that taught me my academic interests are more flexible than I had thought: I took my first philosophy class.

Before I entered the classroom, I was skeptical. I waited outside with the other students and wondered what exactly philosophy would involve—I really had no idea. I imagined something pretty abstract: long, stilted conversations pondering the meaning of life. But what I got was something quite different.

A young man in jeans, Mr. Jones—“but you can call me Rob”—was far from the white-haired, buttoned-up old man I had half-expected. And rather than pulling us into pedantic arguments about obscure philosophical points, Rob engaged us on our level. To talk free will, we looked at our own choices. To talk ethics, we looked at dilemmas we had faced ourselves. By the end of class, I’d discovered that questions with no right answer can turn out to be the most interesting ones.

The experience has taught me to look at things a little more “philosophically”—and not just because it was a philosophy class! I learned that if I let go of my preconceptions, I can actually get a lot out of subjects I was previously dismissive of. The class taught me—in more ways than one—to look at things with an open mind.

If you want to know more about AI tools , college essays , or fallacies make sure to check out some of our other articles with explanations and examples or go directly to our tools!

• Ad hominem fallacy
• Post hoc fallacy
• Appeal to authority fallacy
• False cause fallacy
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If you’re not given much guidance on what your narrative essay should be about, consider the context and scope of the assignment. What kind of story is relevant, interesting, and possible to tell within the word count?

The best kind of story for a narrative essay is one you can use to reflect on a particular theme or lesson, or that takes a surprising turn somewhere along the way.

Don’t worry too much if your topic seems unoriginal. The point of a narrative essay is how you tell the story and the point you make with it, not the subject of the story itself.

Narrative essays are usually assigned as writing exercises at high school or in university composition classes. They may also form part of a university application.

When you are prompted to tell a story about your own life or experiences, a narrative essay is usually the right response.

The key difference is that a narrative essay is designed to tell a complete story, while a descriptive essay is meant to convey an intense description of a particular place, object, or concept.

Narrative and descriptive essays both allow you to write more personally and creatively than other kinds of essays , and similar writing skills can apply to both.

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Understanding Third-Person (Omniscient, Point of View, Examples)

What does it mean for something to be written in the third-person? What about writing in the second person or first person?

Don’t get intimidated by the terms. It’s all smoke in mirrors. Keep reading to learn the difference between novels written in the first, second, and third person perspectives.

What does it mean to write in the third person?

Writing in the first, second, and third person refers to the point of view that the narrator takes on in telling a story.

What’s point of view?

A story’s point of view describes the perspective or viewpoint from which the story is being told. Point of view responds to the question ‘ who is telling the story?’

To distinguish between points of view, look to see which person is speaking to the reader and describing the story’s events.

The three main types of POV

There are three main categories of points of view:

• First-person point of view.
• Second person.
• Third-person point of view.

Let’s go over each.

First-person point of view

Think about how we communicate in our day-to-day lives . We speak from our own personal experience and point of view. When we talk to our friends, we speak in the first person, using first-person pronouns, such as , I , me , my , myself , we , us , ourselves , and so on.

It works the same in writing.

When writing is in the first person perspective, the main character speaks to their experiences personally or from a personal point of view. They describe their own experiences almost as though they are conversing with the reader.

From the first person, readers are invited into the character’s head, it’s as though we listen to them narrate the events directly. In this way, the first-person perspective allows more intimate access to a character’s thoughts, feelings, emotions, opinions, and so on.

When novels are written in the first person, they are often told by the main character in the story themselves. They could also be told from the perspective of a character closely observing the main character. An example of the latter is in the classic novel The Great Gatsby by F. Scott Fitzgerald. Nick Caraway, the narrator of the novel, is not a central character in the story but instead observes the main characters (such as Jay Gatsby) in close proximity.

Other novels written in the first person are narrated by the main characters themselves, detailing their direct experience of the events as they unfold throughout the novel’s length, or in hindsight, through recollection.

A classic novel that exemplifies this is The Catcher in the Rye by J.D. Salinger . The novel’s protagonist and main character, Holden Caufield , tells the story entirely from his character’s POV.

See the following examples of writing in the first person POV.

Examples of writing in the first person POV in literature

I was glad of it; I never liked long walks, especially on chilly afternoons: dreadful to me was the coming home in the raw twilight, with nipped fingers and toes, and a heart saddened by the chidings of Bessie, the nurse, and humbled by the consciousness of my physical inferiority to Eliza, John , and Georgiana Reed. —from Jane Eyre by Charlotte Brontë

If you really want to hear about it, the first thing you’ll probably want to know is where I was born and what my lousy childhood was like, and how my parents were occupied and all before they had me, and all that David Copperfield kind of crap, but I don’t feel like going into it, if you want to know the truth. —from Catcher in the Rye by J.D. Salinger.

The widow she cried over me, and called me a poor lost lamb, and she called me a lot of other names, too, but she never meant no harm by it. She put me in them new clothes again, and I couldn’t do nothing but sweat and sweat, and feel all cramped up. —from The Adventures of Huckleberry Finn by Mark Twain.

When enough years had gone by to enable us to look back on them, we sometimes discussed the events leading to his accident. I maintain that the Ewells started it all, but Jem, who was four years my senior, said it started long before that. He said it began the summer Dill came to us, when Dill first gave us the idea of making Boo Radley come out. —from To Kill a Mockingbird by Harper Lee

Second person

In the second-person point of view, the speaker or narrator of the novel addresses the reader directly by using second-person pronouns, such as you .

The second person perspective is the least common perspective used in fiction writing and storytelling.

Second-person pronouns refer to the person or people being addressed in the sentence or writing. Pronouns that are in the second person include you , yours , yourself , yourselves .

Examples of writing in the second person in literature

You are about to begin reading Italo Calvino’s new novel, If on a winter’s night a traveler. Relax. Concentrate. Dispel every other thought. Let the world around you fade. Best to close the door; the TV is always on in the next room. Tell the others right away, “No, I don’t want to watch TV!” Raise your voice — they won’t hear you otherwise — “I’m reading! I don’t want to be disturbed!” Maybe they haven’t heard you, with all that racket; speak louder, yell: “I’m beginning to read Italo Calvino’s new novel!” Or if you prefer, don’t say anything: just hope they’ll leave you alone. —from If On a Winter’s Night a Traveler by Italo Calvino.

You are not the kind of guy who would be at a place like this at this time of the morning. But here you are, and you cannot say that the terrain is entirely unfamiliar, although the details are fuzzy .—from Bright Lights, Big City by Jay McInnerney.

This was the last thing you and I talked about while you were still alive. After, only your email with a list of books you thought might be helpful to me in my research. And, because it was the season, best wishes for the new year. —from The Friend by Sigrid Nunez.

Third person point of view

The most common narrative choice in literature is the third-person POV. The dictionary defines the third person narration as:

The grammatical person used by the speaker of an utterance in referring to anyone or anything other than the speaker or the one (third person singular) or ones (third person plural) being addressed. ( Dictionary.com )

When a story is told in the third person, it’s from a third person concerning the events taking place within the story. The third person perspective reports the events to the reader from the outside, as though from a bystander’s perspective, removed from the story itself.

Writing in the third person narrative uses third person pronouns, such as: he , she , it , they ; his , her , it’s ; him , her , it ; himself , herself , itself ; they ; them ; their ; themselves .

Third person omniscient vs. third person limited

The third-person viewpoint is the most common in fiction writing and storytelling. There are two main subtypes of the third person POV: the third person omniscient point of view and the third person limited perspective .

First-person limited

With first person limited, the narrator closely follows the perspective of a single character, usually the main character or protagonist of a novel. Third person limited uses third person pronouns such as he , she , his , hers , etc .

This viewpoint gives the author both flexibility and intimacy by allowing them to enter the character’s head and inner thoughts while still being able to write in third-person pronouns.

That said, the limited aspect of this point of view is that the speaker can only access the mind of a single character as opposed to all of the characters in the story; as in the case of third person omniscient.

The readers are therefore limited in this way to view the main character’s viewpoint and personal account or understanding of things. The central character offers the widest lens through which to understand or see the story. The other character’s thoughts and feelings are unknown unless they come out throughout the course of the novel in other ways or through inference and speculation on the part of the viewpoint character.

Examples of writing in the third person limited POV

“Harry sat up and examined the jagged piece on which he had cut himself, seeing nothing but his own bright green eye reflected back at him.” . —J.K. Rowling, Harry Potter and the Deathly Hallows .

Stepan Arkadyevitch was a truthful man in his relations with himself. He was incapable of deceiving himself and persuading himself that he repented of his conduct. He could not at this date repent of the fact that he, a handsome, susceptible man of thirty-four, was not in love with his wife, the mother of five living and two dead children, and only a year younger than himself. —Leo Tolstoy, Anna Karenina.

Third person omniscient narration

The third-person omniscient is the most common view of all the narrative options in fiction writing. The third person omniscient gives the narrator an all-knowing or ‘god’s eye’ POV.

It’s a tricky concept, but with the third person omniscient, the narrator is already aware of the main character’s thoughts, along with everyone else in the story. This does not mean each character becomes the narrator themselves, but rather that the narrator observes each character and decides what to reveal to the reader.

When stories are narrated not by one of the main characters themselves but from an outside observer looking in, or an unidentifiable narrator, this is in the third person omniscient POV. The third-person omniscient point of view gives the writer creative liberty to entirely create an entire world of developed and dynamic characters of their choosing.

Third-person examples in literature

Occupied in observing Mr. Bingley’s attentions to her sister, Elizabeth was far from suspecting that she was herself becoming an object of some interest in the eyes of his friend. Mr. Darcy had at first scarcely allowed her to be pretty: he had looked at her without admiration at the ball; and when they next met, he looked at her only to criticize. —from the novel Pride and Prejudice by Jane Austen.

“Rupunzel, Rupunzel” the Prince called, “Let down your hair!” Rupunzel unbraided her hair and slung it out the window. The Prince climbed her locks into the tower. —Brother’s Grimm fairy tales

Mrs. Dalloway said she would buy the flowers herself. For Lucy had her work cut out for her. The doors would be taken off their hinges; Rumpelmayer’s men were coming. And then , thought Clarissa Dalloway, what a morning—fresh as if issued to children on a beach. — Mrs Dalloway , Virginia Woolf.

“Christmas won’t be Christmas without any presents,” grumbled Jo, lying on the rug. “It’s so dreadful to be poor!” sighed Meg, looking down at her old dress. “I don’t think it’s fair for some girls to have plenty of pretty things, and other girls nothing at all,” added little Amy, with an injured sniff. “We’ve got Father and Mother, and each other,” said Beth contentedly from her corner. The four young faces on which the firelight shone brightened at the cheerful words, but darkened again as Jo said sadly, “We haven’t got Father, and shall not have him for a long time.” She didn’t say “perhaps never,” but each silently added it, thinking of Father far away, where the fighting was. — Little Women by Louisa May Alcott

Stories told in the first person narrative recount the events of the story from the character’s own personal perspective of the events that are taking place around them. In the first person narrative, it’s as if the reader gains access to the character’s internal mind, thoughts and feelings. They use personal pronouns such as I , me , my , ours , we , and so forth.

In the second person the speaker directly addresses the reader in the second person pronouns, you , yours , yourself , yourselves . This perspective makes you the main character, and is least common in writing.

Third person is most common, and gives the narrator an outside position from the story events. There are two main types: first person limited and omniscient .

• Definition of first person narration
• Definition of second person narrative
• Definition of third person narration
• Mrs Dalloway, Virginia Woolf 1925
• If On a Winter’s Night a Traveler by Italo Calvino
• Pride and Prejudice by Jane Austen
• The Friend by Sigrid Nunez
• The Catcher in the Rye by J.D. Salinger

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About the author

Dalia Y.: Dalia is an English Major and linguistics expert with an additional degree in Psychology. Dalia has featured articles on Forbes, Inc, Fast Company, Grammarly, and many more. She covers English, ESL, and all things grammar on GrammarBrain.

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Writing in Third Person Examples: My Own Journey

Beginning my journey as a writer, I’ve always been captivated by the transition between different narrative perspectives and how it enriches the art of storytelling. Reflecting on my experiences for NicoleHardy.com , I want to delve into the world of writing in third person, exploring the nuances and sharing writing in third person examples that have influenced my approach to storytelling. In this exploration, my goal is to offer insights into the nature of third-person writing and its contrast with first-person narratives, thereby expanding our arsenal as writers.

My Discovery of Third-Person Narrative

When I first began writing, the concept of writing in the third person seemed like a mere technical choice. However, as I delved deeper, I realized it was much more—it was a way to expand the narrative horizon, to explore characters and worlds with a breadth and depth that first-person perspectives couldn’t always offer. The shift from writing in first person vs third person opened up new storytelling avenues for me, allowing me to craft narratives with a broader scope and a more varied cast of characters.

Understanding Third-Person Narratives

So, what is third person in writing? Simply put, it’s a narrative perspective where the story is told using pronouns like “he,” “she,” “it,” and “they,” focusing on characters from an outsider’s viewpoint. This detachment can range from the omniscient, where the narrator knows all, to the limited, focusing intimately on the thoughts and experiences of a single character.

Exploring Examples of Writing in Third Person

In my journey, examples of writing in third person have served as invaluable guides. Classics like Jane Austen’s “Pride and Prejudice” showcase the omniscient narrator’s ability to delve into multiple characters’ minds, providing a rich tapestry of thoughts and motivations. Meanwhile, J.K. Rowling’s “Harry Potter” series is a prime example of third-person limited, allowing readers to closely follow Harry’s personal growth and experiences while still maintaining the narrative flexibility to explore the wider wizarding world.

The Art of Writing About Yourself in Third Person Examples

One of the more intriguing challenges I faced was writing about yourself in third person examples. This approach, often used in professional bios, required a shift in mindset, viewing my own experiences with an external lens. Through this process, I learned the value of objectivity in highlighting accomplishments and characteristics without the intimacy of the first person.

Crafting a Bio: Writing a Bio in Third Person Examples

Writing a bio in third person examples taught me the importance of perspective in shaping how we present ourselves to the world. This style, common in professional settings, lends a sense of formality and universality, making our stories accessible to a wider audience. It’s a practice that has not only improved my professional writing but has also offered me a fresh perspective on personal narrative.

The Versatility of Writing in Third Person

The beauty of writing in third person lies in its versatility. This perspective grants a broad narrative canvas, capable of integrating diverse viewpoints for a more complex and nuanced story. My experiences with third-person writing examples have illustrated how this viewpoint can construct detailed universes, weave complicated narratives, and flesh out characters with significant depth.

Reflecting on What Is Third Person in Writing

Upon reflecting on the essence of third-person writing, I’ve grown to value its intricacy and the vast storytelling possibilities it offers. It’s a perspective that offers both distance and intimacy, allowing writers to explore their narratives with a unique blend of objectivity and empathy.

The Journey from Writing in First Person vs Third Person

The transition from writing in first person vs third person has been a journey of exploration and discovery. Each perspective offers its own strengths and challenges, but it’s in the third person that I’ve found a dynamic canvas for storytelling, one that allows for a diversity of voices and experiences.

Navigating the shift between narrative perspectives has been an integral part of my growth as a writer. By delving into examples of third-person writing, I’ve developed a deeper understanding and a greater appreciation for the third-person viewpoint. It’s a journey that has enriched my storytelling, allowing me to weave narratives with greater complexity and breadth. For fellow writers embarking on this journey, I hope sharing these insights and examples of writing in third person encourages you to experiment with your narrative voice, discovering new ways to tell your stories.

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Sat / act prep online guides and tips, 3 great narrative essay examples + tips for writing.

General Education

A narrative essay is one of the most intimidating assignments you can be handed at any level of your education. Where you've previously written argumentative essays that make a point or analytic essays that dissect meaning, a narrative essay asks you to write what is effectively a story .

But unlike a simple work of creative fiction, your narrative essay must have a clear and concrete motif —a recurring theme or idea that you’ll explore throughout. Narrative essays are less rigid, more creative in expression, and therefore pretty different from most other essays you’ll be writing.

But not to fear—in this article, we’ll be covering what a narrative essay is, how to write a good one, and also analyzing some personal narrative essay examples to show you what a great one looks like.

What Is a Narrative Essay?

At first glance, a narrative essay might sound like you’re just writing a story. Like the stories you're used to reading, a narrative essay is generally (but not always) chronological, following a clear throughline from beginning to end. Even if the story jumps around in time, all the details will come back to one specific theme, demonstrated through your choice in motifs.

Unlike many creative stories, however, your narrative essay should be based in fact. That doesn’t mean that every detail needs to be pure and untainted by imagination, but rather that you shouldn’t wholly invent the events of your narrative essay. There’s nothing wrong with inventing a person’s words if you can’t remember them exactly, but you shouldn’t say they said something they weren’t even close to saying.

Another big difference between narrative essays and creative fiction—as well as other kinds of essays—is that narrative essays are based on motifs. A motif is a dominant idea or theme, one that you establish before writing the essay. As you’re crafting the narrative, it’ll feed back into your motif to create a comprehensive picture of whatever that motif is.

For example, say you want to write a narrative essay about how your first day in high school helped you establish your identity. You might discuss events like trying to figure out where to sit in the cafeteria, having to describe yourself in five words as an icebreaker in your math class, or being unsure what to do during your lunch break because it’s no longer acceptable to go outside and play during lunch. All of those ideas feed back into the central motif of establishing your identity.

The important thing to remember is that while a narrative essay is typically told chronologically and intended to read like a story, it is not purely for entertainment value. A narrative essay delivers its theme by deliberately weaving the motifs through the events, scenes, and details. While a narrative essay may be entertaining, its primary purpose is to tell a complete story based on a central meaning.

Unlike other essay forms, it is totally okay—even expected—to use first-person narration in narrative essays. If you’re writing a story about yourself, it’s natural to refer to yourself within the essay. It’s also okay to use other perspectives, such as third- or even second-person, but that should only be done if it better serves your motif. Generally speaking, your narrative essay should be in first-person perspective.

Though your motif choices may feel at times like you’re making a point the way you would in an argumentative essay, a narrative essay’s goal is to tell a story, not convince the reader of anything. Your reader should be able to tell what your motif is from reading, but you don’t have to change their mind about anything. If they don’t understand the point you are making, you should consider strengthening the delivery of the events and descriptions that support your motif.

Narrative essays also share some features with analytical essays, in which you derive meaning from a book, film, or other media. But narrative essays work differently—you’re not trying to draw meaning from an existing text, but rather using an event you’ve experienced to convey meaning. In an analytical essay, you examine narrative, whereas in a narrative essay you create narrative.

The structure of a narrative essay is also a bit different than other essays. You’ll generally be getting your point across chronologically as opposed to grouping together specific arguments in paragraphs or sections. To return to the example of an essay discussing your first day of high school and how it impacted the shaping of your identity, it would be weird to put the events out of order, even if not knowing what to do after lunch feels like a stronger idea than choosing where to sit. Instead of organizing to deliver your information based on maximum impact, you’ll be telling your story as it happened, using concrete details to reinforce your theme.

3 Great Narrative Essay Examples

One of the best ways to learn how to write a narrative essay is to look at a great narrative essay sample. Let’s take a look at some truly stellar narrative essay examples and dive into what exactly makes them work so well.

A Ticket to the Fair by David Foster Wallace

Today is Press Day at the Illinois State Fair in Springfield, and I’m supposed to be at the fairgrounds by 9:00 A.M. to get my credentials. I imagine credentials to be a small white card in the band of a fedora. I’ve never been considered press before. My real interest in credentials is getting into rides and shows for free. I’m fresh in from the East Coast, for an East Coast magazine. Why exactly they’re interested in the Illinois State Fair remains unclear to me. I suspect that every so often editors at East Coast magazines slap their foreheads and remember that about 90 percent of the United States lies between the coasts, and figure they’ll engage somebody to do pith-helmeted anthropological reporting on something rural and heartlandish. I think they asked me to do this because I grew up here, just a couple hours’ drive from downstate Springfield. I never did go to the state fair, though—I pretty much topped out at the county fair level. Actually, I haven’t been back to Illinois for a long time, and I can’t say I’ve missed it.

Throughout this essay, David Foster Wallace recounts his experience as press at the Illinois State Fair. But it’s clear from this opening that he’s not just reporting on the events exactly as they happened—though that’s also true— but rather making a point about how the East Coast, where he lives and works, thinks about the Midwest.

In his opening paragraph, Wallace states that outright: “Why exactly they’re interested in the Illinois State Fair remains unclear to me. I suspect that every so often editors at East Coast magazines slap their foreheads and remember that about 90 percent of the United States lies between the coasts, and figure they’ll engage somebody to do pith-helmeted anthropological reporting on something rural and heartlandish.”

Not every motif needs to be stated this clearly , but in an essay as long as Wallace’s, particularly since the audience for such a piece may feel similarly and forget that such a large portion of the country exists, it’s important to make that point clear.

But Wallace doesn’t just rest on introducing his motif and telling the events exactly as they occurred from there. It’s clear that he selects events that remind us of that idea of East Coast cynicism , such as when he realizes that the Help Me Grow tent is standing on top of fake grass that is killing the real grass beneath, when he realizes the hypocrisy of craving a corn dog when faced with a real, suffering pig, when he’s upset for his friend even though he’s not the one being sexually harassed, and when he witnesses another East Coast person doing something he wouldn’t dare to do.

Wallace is literally telling the audience exactly what happened, complete with dates and timestamps for when each event occurred. But he’s also choosing those events with a purpose—he doesn’t focus on details that don’t serve his motif. That’s why he discusses the experiences of people, how the smells are unappealing to him, and how all the people he meets, in cowboy hats, overalls, or “black spandex that looks like cheesecake leotards,” feel almost alien to him.

All of these details feed back into the throughline of East Coast thinking that Wallace introduces in the first paragraph. He also refers back to it in the essay’s final paragraph, stating:

At last, an overarching theory blooms inside my head: megalopolitan East Coasters’ summer treats and breaks and literally ‘getaways,’ flights-from—from crowds, noise, heat, dirt, the stress of too many sensory choices….The East Coast existential treat is escape from confines and stimuli—quiet, rustic vistas that hold still, turn inward, turn away. Not so in the rural Midwest. Here you’re pretty much away all the time….Something in a Midwesterner sort of actuates , deep down, at a public event….The real spectacle that draws us here is us.

Throughout this journey, Wallace has tried to demonstrate how the East Coast thinks about the Midwest, ultimately concluding that they are captivated by the Midwest’s less stimuli-filled life, but that the real reason they are interested in events like the Illinois State Fair is that they are, in some ways, a means of looking at the East Coast in a new, estranging way.

The reason this works so well is that Wallace has carefully chosen his examples, outlined his motif and themes in the first paragraph, and eventually circled back to the original motif with a clearer understanding of his original point.

When outlining your own narrative essay, try to do the same. Start with a theme, build upon it with examples, and return to it in the end with an even deeper understanding of the original issue. You don’t need this much space to explore a theme, either—as we’ll see in the next example, a strong narrative essay can also be very short.

Death of a Moth by Virginia Woolf

After a time, tired by his dancing apparently, he settled on the window ledge in the sun, and, the queer spectacle being at an end, I forgot about him. Then, looking up, my eye was caught by him. He was trying to resume his dancing, but seemed either so stiff or so awkward that he could only flutter to the bottom of the window-pane; and when he tried to fly across it he failed. Being intent on other matters I watched these futile attempts for a time without thinking, unconsciously waiting for him to resume his flight, as one waits for a machine, that has stopped momentarily, to start again without considering the reason of its failure. After perhaps a seventh attempt he slipped from the wooden ledge and fell, fluttering his wings, on to his back on the window sill. The helplessness of his attitude roused me. It flashed upon me that he was in difficulties; he could no longer raise himself; his legs struggled vainly. But, as I stretched out a pencil, meaning to help him to right himself, it came over me that the failure and awkwardness were the approach of death. I laid the pencil down again.

In this essay, Virginia Woolf explains her encounter with a dying moth. On surface level, this essay is just a recounting of an afternoon in which she watched a moth die—it’s even established in the title. But there’s more to it than that. Though Woolf does not begin her essay with as clear a motif as Wallace, it’s not hard to pick out the evidence she uses to support her point, which is that the experience of this moth is also the human experience.

In the title, Woolf tells us this essay is about death. But in the first paragraph, she seems to mostly be discussing life—the moth is “content with life,” people are working in the fields, and birds are flying. However, she mentions that it is mid-September and that the fields were being plowed. It’s autumn and it’s time for the harvest; the time of year in which many things die.

In this short essay, she chronicles the experience of watching a moth seemingly embody life, then die. Though this essay is literally about a moth, it’s also about a whole lot more than that. After all, moths aren’t the only things that die—Woolf is also reflecting on her own mortality, as well as the mortality of everything around her.

At its core, the essay discusses the push and pull of life and death, not in a way that’s necessarily sad, but in a way that is accepting of both. Woolf begins by setting up the transitional fall season, often associated with things coming to an end, and raises the ideas of pleasure, vitality, and pity.

At one point, Woolf tries to help the dying moth, but reconsiders, as it would interfere with the natural order of the world. The moth’s death is part of the natural order of the world, just like fall, just like her own eventual death.

All these themes are set up in the beginning and explored throughout the essay’s narrative. Though Woolf doesn’t directly state her theme, she reinforces it by choosing a small, isolated event—watching a moth die—and illustrating her point through details.

With this essay, we can see that you don’t need a big, weird, exciting event to discuss an important meaning. Woolf is able to explore complicated ideas in a short essay by being deliberate about what details she includes, just as you can be in your own essays.

Notes of a Native Son by James Baldwin

On the twenty-ninth of July, in 1943, my father died. On the same day, a few hours later, his last child was born. Over a month before this, while all our energies were concentrated in waiting for these events, there had been, in Detroit, one of the bloodiest race riots of the century. A few hours after my father’s funeral, while he lay in state in the undertaker’s chapel, a race riot broke out in Harlem. On the morning of the third of August, we drove my father to the graveyard through a wilderness of smashed plate glass.

Like Woolf, Baldwin does not lay out his themes in concrete terms—unlike Wallace, there’s no clear sentence that explains what he’ll be talking about. However, you can see the motifs quite clearly: death, fatherhood, struggle, and race.

Throughout the narrative essay, Baldwin discusses the circumstances of his father’s death, including his complicated relationship with his father. By introducing those motifs in the first paragraph, the reader understands that everything discussed in the essay will come back to those core ideas. When Baldwin talks about his experience with a white teacher taking an interest in him and his father’s resistance to that, he is also talking about race and his father’s death. When he talks about his father’s death, he is also talking about his views on race. When he talks about his encounters with segregation and racism, he is talking, in part, about his father.

Because his father was a hard, uncompromising man, Baldwin struggles to reconcile the knowledge that his father was right about many things with his desire to not let that hardness consume him, as well.

Baldwin doesn’t explicitly state any of this, but his writing so often touches on the same motifs that it becomes clear he wants us to think about all these ideas in conversation with one another.

At the end of the essay, Baldwin makes it more clear:

This fight begins, however, in the heart and it had now been laid to my charge to keep my own heart free of hatred and despair. This intimation made my heart heavy and, now that my father was irrecoverable, I wished that he had been beside me so that I could have searched his face for the answers which only the future would give me now.

Here, Baldwin ties together the themes and motifs into one clear statement: that he must continue to fight and recognize injustice, especially racial injustice, just as his father did. But unlike his father, he must do it beginning with himself—he must not let himself be closed off to the world as his father was. And yet, he still wishes he had his father for guidance, even as he establishes that he hopes to be a different man than his father.

In this essay, Baldwin loads the front of the essay with his motifs, and, through his narrative, weaves them together into a theme. In the end, he comes to a conclusion that connects all of those things together and leaves the reader with a lasting impression of completion—though the elements may have been initially disparate, in the end everything makes sense.

You can replicate this tactic of introducing seemingly unattached ideas and weaving them together in your own essays. By introducing those motifs, developing them throughout, and bringing them together in the end, you can demonstrate to your reader how all of them are related. However, it’s especially important to be sure that your motifs and clear and consistent throughout your essay so that the conclusion feels earned and consistent—if not, readers may feel mislead.

5 Key Tips for Writing Narrative Essays

Narrative essays can be a lot of fun to write since they’re so heavily based on creativity. But that can also feel intimidating—sometimes it’s easier to have strict guidelines than to have to make it all up yourself. Here are a few tips to keep your narrative essay feeling strong and fresh.

Develop Strong Motifs

Motifs are the foundation of a narrative essay . What are you trying to say? How can you say that using specific symbols or events? Those are your motifs.

In the same way that an argumentative essay’s body should support its thesis, the body of your narrative essay should include motifs that support your theme.

Try to avoid cliches, as these will feel tired to your readers. Instead of roses to symbolize love, try succulents. Instead of the ocean representing some vast, unknowable truth, try the depths of your brother’s bedroom. Keep your language and motifs fresh and your essay will be even stronger!

Use First-Person Perspective

In many essays, you’re expected to remove yourself so that your points stand on their own. Not so in a narrative essay—in this case, you want to make use of your own perspective.

Sometimes a different perspective can make your point even stronger. If you want someone to identify with your point of view, it may be tempting to choose a second-person perspective. However, be sure you really understand the function of second-person; it’s very easy to put a reader off if the narration isn’t expertly deployed.

If you want a little bit of distance, third-person perspective may be okay. But be careful—too much distance and your reader may feel like the narrative lacks truth.

That’s why first-person perspective is the standard. It keeps you, the writer, close to the narrative, reminding the reader that it really happened. And because you really know what happened and how, you’re free to inject your own opinion into the story without it detracting from your point, as it would in a different type of essay.

Stick to the Truth

Your essay should be true. However, this is a creative essay, and it’s okay to embellish a little. Rarely in life do we experience anything with a clear, concrete meaning the way somebody in a book might. If you flub the details a little, it’s okay—just don’t make them up entirely.

Also, nobody expects you to perfectly recall details that may have happened years ago. You may have to reconstruct dialog from your memory and your imagination. That’s okay, again, as long as you aren’t making it up entirely and assigning made-up statements to somebody.

Dialog is a powerful tool. A good conversation can add flavor and interest to a story, as we saw demonstrated in David Foster Wallace’s essay. As previously mentioned, it’s okay to flub it a little, especially because you’re likely writing about an experience you had without knowing that you’d be writing about it later.

However, don’t rely too much on it. Your narrative essay shouldn’t be told through people explaining things to one another; the motif comes through in the details. Dialog can be one of those details, but it shouldn’t be the only one.

Use Sensory Descriptions

Because a narrative essay is a story, you can use sensory details to make your writing more interesting. If you’re describing a particular experience, you can go into detail about things like taste, smell, and hearing in a way that you probably wouldn’t do in any other essay style.

These details can tie into your overall motifs and further your point. Woolf describes in great detail what she sees while watching the moth, giving us the sense that we, too, are watching the moth. In Wallace’s essay, he discusses the sights, sounds, and smells of the Illinois State Fair to help emphasize his point about its strangeness. And in Baldwin’s essay, he describes shattered glass as a “wilderness,” and uses the feelings of his body to describe his mental state.

All these descriptions anchor us not only in the story, but in the motifs and themes as well. One of the tools of a writer is making the reader feel as you felt, and sensory details help you achieve that.

What’s Next?

Looking to brush up on your essay-writing capabilities before the ACT? This guide to ACT English will walk you through some of the best strategies and practice questions to get you prepared!

Part of practicing for the ACT is ensuring your word choice and diction are on point. Check out this guide to some of the most common errors on the ACT English section to be sure that you're not making these common mistakes!

A solid understanding of English principles will help you make an effective point in a narrative essay, and you can get that understanding through taking a rigorous assortment of high school English classes !

Melissa Brinks graduated from the University of Washington in 2014 with a Bachelor's in English with a creative writing emphasis. She has spent several years tutoring K-12 students in many subjects, including in SAT prep, to help them prepare for their college education.

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Third Person

What is third person.

• I am speaking to you about her .
• The policeman is speaking to the teacher about Anne .

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"Third Person" Explained

Third person in grammar, examples of third person pronouns in different cases, first, second, and third person pronouns, why the third person is important, video lesson.

• Third Person Narrative . A third-person narrative is a story told using the pronouns "he," "she," "it," or "they" or using nouns. In other words, the story is not told from a personal perspective. A third-person narrative contrasts with a first-person narrative, which is a story told from a personal perspective using the pronoun "I" (and sometimes "we").
• To Write in the Third Person . "To write in the third person" means to use nouns or the pronouns "he," "she," "it," or "they." It is common in business writing.
• Third Party Insurance . Third-party insurance protects against the claims of others. Look at the following sentence: I (the first party) am ensured by you, the insurer (the second party), to protect me against them (the third party).
• First person : "I" and "we"
• Second person : "you"
• Third person: "He/She/It" and "They"

• Masculine gender : He, him, his
• Feminine gender : She, her, hers
• Neuter gender : It, its

(Reason 1) Understanding the person categories is useful for learning a foreign language.

(reason 2) using the third person presents a formal air..

• Avro Corps will handle your complaint within 48 hours.
• We will handle your complaint within 48 hours.

(Reason 3) Using the third person for storytelling can make you seem all-knowing.

• In business, write in the first person for a personal touch.
• When writing fiction, write in the first person to engage your audience quickly.
• Don't say or write "between you and I"...ever.

(Reason 4) The third-person possessive determiner "its" not "it's."

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