So, you’ve been tinkering with your WIP (that’s “work-in-progress” for those of you who’ve just wandered in from the real world) and now you’re wondering if you should throw a few extra POVs (points of view) into the mix.
I'm one of the four Author Accelerator Certified cook coaches who are hosting the weekly 'Ask Me Anything' sessions for the Blueprint for a Book Summer Sprint. In last week's podcast and session it was hinted that multiple POVs are like the literary equivalent of juggling chainsaws—potentially awesome, but also highly likely to result in severed limbs.
For me, the question comes down to a level of skill that isn't necessarily limited to experienced writers.
But before we dive into the pros and cons, let’s get clear on what the heck a POV actually is.
What Is a POV?
POV, or Point of View, is basically whose eyes we’re seeing the story through. It’s the narrative perspective that guides the reader through the plot, the characters’ thoughts, feelings, and the world you’ve created. Think of it like a camera angle in a movie, but instead of just showing the visuals, it also controls the inner monologue, the tone, and what information you're revealing to the reader.
There are a few common types of POV:
First Person: The story is told from the perspective of “I” or “we.” It’s like the main character is sitting next to you, telling you their life story over a cup of coffee (or a gin, depending on their mood). Example: “I walked into the room, feeling like a fish out of water.”
Second Person: The rare “you” perspective, where the narrator speaks directly to the reader as if they are the protagonist. Example: “You walk into the room, feeling like a fish out of water.” (I advise you to use this one sparingly unless you’re aiming for an adventure gamebook vibe like Deathtrap Dungeon by Ian Livingstone or want your readers to wonder why they suddenly feel a bit self-conscious.)
Third Person Limited: Here, the narrator sticks close to one character’s thoughts and feelings, using “he,” “she,” or “they.” Example: “He walked into the room, feeling like a fish out of water.” We only get to know what this one character knows, sees, or thinks.
Third Person Omniscient: The all-seeing, all-knowing narrator. This POV can hop into any character’s head at any time, giving readers a godlike view of the entire story world. Example: “He walked into the room, unaware that across town, another person was feeling just as out of place.” This POV is really hard to pull off and will likely result in a development editor or book coach scrawling the words "head-hopping" in your manuscript's margins.
The Allure of Multiple POVs
Back to you and your WIP. You might be sticking mainly to one character’s POV, but you’ve been toying with the idea of letting a couple of other characters grab the mic and share their perspectives in separate chapters. This approach, often seen in third-person limited narratives—I see it a lot in romances—is what we’re talking about when we say “multiple POVs.”
First off, let’s talk about why you might be tempted to juggle those chainsaws in the first place. Multiple POVs can be a narrative powerhouse. They add depth, give your readers a 360-degree view of your story, and make them feel like they’re attending the literary equivalent of a rave—lights, sounds, and different perspectives coming at them from all angles.
Take a moment to appreciate that this technique isn’t just for show-offs. Done well, multiple POVs can add richness and complexity to your story. They can help you flesh out your world, give your side characters a chance to shine, and even throw your readers a few curveballs.
But, and it’s a big BUT (I like big BUTs, and I cannot lie), handling multiple POVs is like deciding to ride a unicycle across a tightrope while balancing a stack of your Aunt Sylvia's fine china on your head. The payoff is huge, but so is the risk of everything smashing into a million pieces—and sending your aunt to an early grave.
The Pitfalls of POV Polygamy (Yeah, I went there!)
"Wait up, Wordsworth," you cry. "What could go wrong?"
Well, let’s dive into the potential hazards:
Character Chaos: Ever tried to give each of your friends a different nickname and then completely forgotten who’s who? That’s what managing multiple POVs can feel like if you’re not careful. Each character needs a distinct voice, a clear purpose, and for the love of Ken, a reason for the reader to give a damn. Fail here, and your novel might end up sounding like a bad dinner party where no one can get a word in edgeways.
Plot Complexity: With multiple POVs, your story can end up with more twists and turns than a telenovela. (Not necessarily a bad thing, unless your story starts feeling like Jane the Virgin on steroids.) The trick is to keep your plot focused and your pacing tight, which is about as easy as herding cats on a trampoline.
Reader Overwhelm: Have you ever tried to follow a movie where the camera angle changes so often that you need a sick-bag? Multiple POVs can do that to readers if the transitions aren’t smooth. You need to make sure your readers always know whose head they’re in, or they’ll end up more confused than a chameleon in a bag of Skittles.
Character Voices in Action: A Quick Example
To see how multiple POVs can work in practice, let’s look at a short scene from three different characters’ perspectives. We’ll show it first in first person, then in third person, to illustrate how you can maintain each character’s unique voice regardless of the POV.
First Person POV:
Character 1: The Detective
I step into the dingy apartment, the stench of stale smoke clinging to everything like a bad memory. The first thing I notice is the coffee table—cluttered with crumpled bills, empty takeout containers, and a half-smoked cigarette still burning in the ashtray. Whoever was here left in a hurry. I don’t have time to waste. My eyes scan the room, searching for anything out of place—an object that doesn’t belong, a clue that might have slipped through the cracks. I need answers, and I need them fast.
Character 2: The Nervous Witness
I follow the detective into the apartment, my hands shaking so bad I nearly drop my phone. The place is a mess, but all I can focus on is the noise in my head—what if they find out I was here? I shouldn’t be here. I shouldn’t have seen anything. My gaze flits to the corner, where the curtains are half-drawn, and my stomach flips. Was that where…? I can’t even finish the thought. I just want to get out of here before I say something that’ll get me in even more trouble.
Character 3: The Cynical Ex
So this is where he’s been hiding out. Figures. The place is a dump—just like him. I step over a pile of dirty laundry, rolling my eyes at the detective who’s taking this whole thing way too seriously. I mean, look at this place. It’s not like he’s running some criminal empire out of here. I cross my arms and lean against the wall, watching the witness twitch like a rabbit caught in a trap. This whole thing is a joke. I’m just here to make sure I get what’s mine when this circus is over.
Third Person Limited POV:
Character 1: The Detective
Detective Harris stepped into the dingy apartment, wrinkling his nose at the lingering stench of stale smoke. His eyes immediately zeroed in on the coffee table—cluttered with crumpled bills, greasy takeout containers, and a cigarette still smoldering in the ashtray. Someone had left in a hurry. He scanned the room, methodical and focused, searching for anything that didn’t belong, anything that might hint at the answers he needed. There was no time to waste.
Character 2: The Nervous Witness
Jake followed the detective into the apartment, his hands trembling so badly he almost dropped his phone. The mess in the room barely registered—his mind was too busy spinning with worry. What if they found out he’d been here? What if he said something wrong? His gaze darted to the corner, where the curtains hung askew, and his stomach churned. Was that where it had happened? The thought made him want to bolt, but his feet stayed rooted to the spot. He just wanted to leave before he made everything worse.
Character 3: The Cynical Ex
Maya surveyed the dingy apartment with a sneer. So, this is where that idiot had been hiding. Figures. The place was a dump—just like him. She sidestepped a pile of dirty laundry, her arms crossed as she leaned against the wall, watching the detective poke around like he was onto something big. What a joke. Her eyes flicked to Jake, who was twitching like a scared rabbit. This whole thing was a waste of time. She was just here to make sure she got what was hers once this ridiculous charade was over.
How to Maintain Character Essence in Third Person:
Focus on Internal Thoughts: Even in third person, you can delve into a character’s thoughts, showing their fears, judgments, or motivations.
Tailor the Narrative Voice: Adjust the language and tone of the narrative to match the character’s personality. For a cynical character, use biting or sarcastic descriptions; for an anxious character, the narration might be more jittery or focused on potential dangers.
Highlight Different Details: What each character notices in a scene can say a lot about them. The detective notices clues, the nervous witness fixates on triggers of fear, and the cynical ex zeroes in on what they find contemptible.
By using these techniques, a writer can maintain the unique essence of each character even when writing in third person, ensuring that the narrative remains engaging and true to the characters’ distinct voices.
So, Should You Do It?
Let’s be real: if you’re still cutting your teeth on this whole novel-writing thing, tackling multiple POVs might be biting off more than you can chew. It’s like deciding your first-ever meal to cook is going to be a four-course feast with a soufflé for dessert. Could you pull it off? Maybe. But you’re probably better off starting with spaghetti.
That said, if you’re feeling particularly ballsy, there’s no rule that says you can’t give it a shot. Just be prepared to burn a few drafts, get feedback from a book coach who'll be honest with you, and invest in some serious editing.
Here’s a thought: instead of jumping into the deep end with multiple POVs, why not wade into the shallow end first? Try adding just one additional POV and see how it feels. Or, write a few scenes from different perspectives as an exercise. You’ll learn a lot about your characters and the story without committing to the whole enchilada.
Remember, even the best chefs started with simple recipes before they tried to master molecular gastronomy. There’s no shame in keeping things straightforward, especially when you’re still finding your voice.
Your Turn
Now that you’ve seen how it’s done, it’s time to practice. Here are three exercises to help you hone your skills in distinguishing character voices and maintaining distinct perspectives, even in third-person narration:
Character Journals
Write a journal entry from the perspective of each of your main characters, focusing on the same event. The event could be something mundane, like attending a party, or something dramatic, like witnessing an accident. The key is to have each character describe the event in their own words, paying close attention to how they perceive the situation, what details they focus on, and how they express their thoughts and emotions. This exercise helps in developing unique voices for each character, encourages a deep dive into each character’s internal world, and demonstrates how different characters can view the same event differently based on their personality, background, and motivations.
A Dialogue-Only Scene
Write a scene using only dialogue between at least two characters, without any tags (like “he said,” “she said”) or descriptions of actions. Focus on making each character’s voice distinct through their word choice, sentence structure, and the topics they choose to talk about. Afterward, add in tags and descriptions, ensuring that they align with and enhance each character’s voice. This exercise sharpens your skills in creating distinct character voices through dialogue alone, encourages the use of subtext—what characters say versus what they mean—and helps you understand how a character’s way of speaking reflects their personality, background, and current emotional state.
POV Shifts in the Same Scene
Write a single scene from multiple characters’ perspectives, shifting the POV after each paragraph or significant action. In each shift, focus on how the new character perceives the ongoing action differently, what details they notice, and how their internal monologue might contrast with the previous character’s. This can be done in first-person or third-person limited POV. This exercise develops the ability to maintain consistent character voices while shifting perspectives, helps you practice smooth transitions between POVs while keeping the narrative coherent, and encourages you to explore of how different characters’ goals and perceptions affect their experience of the same scene.
Final Thoughts
So, should you mess with multiple POVs? It depends. If you’re confident in your writing chops and think you can handle the potential pitfalls, go for it. But if you’re still figuring out the basics of storytelling, it might be worth holding off until you’ve got a few novels under your belt.
But in the end, it’s your story. Just remember that the goal is to create a narrative that’s engaging, coherent, and doesn’t leave your readers feeling like they’ve just been through a blender. If you can do that with multiple POVs, more power to you. If not, there’s no shame in sticking to one perspective until you’re ready to level up.
And if you do decide to juggle those chainsaws, at least make sure you’re a wearing a hard hat, safety goggles, and reeeaaally thick pair of gloves.
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