Point of view is the magic window into your story world! And it determines who is telling the tale. In writing, the point of view typically employs either First person as in “I” or Third person as in “he, she, and they.” Invariably, the point of view for a work of fiction is Third person via the narrator allowing the readers to be privy to the thoughts or actions of characters and the unfolding of the plot.
I’ve written short stories and novels in Third person omniscient and Third person close as in revealing the thoughts of only one or two characters. I chose Third person close for my second novel, THE YEARS IN BETWEEN, on the advice of my former publisher who suggested depicting secondary characters by their actions as opposed to “head-hopping” between them. It was challenging for me to forego full omniscience and exposing the thoughts of several characters. But it was a lesson well learned of “show don’t tell.” The last two books of my five-novel series will be told in First person, and I welcome the opportunity of letting the main character of each tell her story first-hand!
In films, the point of view (POV) has slightly varied yet similar meanings. The POV shot refers to the camera’s focus through the eyes of a character, typically the main one. I’ve read and heard, many times, to avoid POV shots when writing a screenplay because it specifies camera angles and creative choices preferably left to the director. Yet, when it comes to the film, generally speaking, the point of view choices are similar to a book with First person, Second person, Third person limited, and Third person omniscient. But, I’ve wondered, at times, if these various choices in point of view are apparent to audience members. And should they be?
The most obvious choice is First person perspective which is akin to the POV shot with the main character doing the “looking.” At times it can be a secondary character, but it should be obvious that it’s a POV shot or why bother, right? I’d like to think every movie maker doesn’t set out to confuse audience members in their storytelling devices. And, if so, it’s only for a later payoff. It should be a plot-centered delayed reveal and a mystery to be solved. But, a First person omniscient, which would be ultra-confusing in a novel, is sometimes effectively used in a film narrative. The major drawback is that audiences don’t see or connect visually with the main character if everything is seen through his or her eyes.
Traditionally, horror movies will assume a First person peripheral point of view to add tension to the story sequences. What’s scarier than watching a killer covertly watching his or her next victim? Creepy stuff!
The Second person, for me, can be tedious to watch. Of course, it depends on the character arc. But it works for many audience members. There are enough fans of the film Ferris Bueller’s Day Off to support Second person, as Ferris confides to his audience about his various escapades in a day’s time. But I found him annoying even if that’s the point of the story. Although too annoying is hard to reconcile. Conversely, Alfie, especially the original version with Michael Caine, intrigued me with his narcissism, callous ways and dismissive treatment of love interests as he addresses the audience. Yes, he’s a scoundrel, no doubt, but, one worth exploring and discovering the next move of such a cold-hearted Lothario.
Third Person point of view, whether omniscient or limited, is the most common for books and movies. Yet, keep in mind they translate differently in each medium. Although book editors, once again, repeatedly advise to “show don’t tell,” it’s an option not a requirement. I can thoroughly enjoy a book hearing the thoughts of a main character which would be a tedious choice for a movie. For films, it’s the window into the world you’ve created. So make it as fascinating and jaw dropping as possible. And I don’t mean endless action sequences, unless that’s what you’re going for in your story. I saw Top Gun Maverick the other day in a movie theatre and enjoyed every action sequence. Conversely, an unspoken scene with little to no action can be riveting. One of the top ten films of 2018, A Quiet Place, had audience members holding their collective breath as Emily Blunt’s character gives birth in a bathtub while a blind alien monster climbs the stairs listening for the slightest sound to strike.
However you frame your story, the point of view is crucial to interpreting and understanding it. A character can distort the story’s point of view if we see certain scenes through his or her eyes without intention. Audience members are ready and waiting for clues. So don’t make them wonder what clues they’re supposed to pick up. Omniscience is the always the wider perspective for audiences and gives them the broadest view of the story. Be deliberate with all of your choices, especially point of view. Whatever perspective you adopt, make sure it’s suitable to the storytelling not just a visual choice! Keep creative!