Writing

If you are thinking of writing a story (or even want to learn some more about the ins and outs of writing), you’ll find the point of view or POV is a vital ingredient in any book.  But what exactly is a third person point of view and how does it affect your story? 

Let’s break down the third person voice and all you need to know. 

What is a 3rd Person Point of View?

Third-person POV is when the narrator tells the story from an outside perspective, rather than as a character’s perspective from within the story. Instead of saying “I” or “we”, the narrator refers to characters as he, she, they, or by their names.

What Three Types of Third-Person POV?

Not all third-person narratives are the same. The three main variations offer different levels of insight into characters’ thoughts and emotions.

Third-Person Limited

Third-person limited perspective is the most common POV. In this the narrator follows one main character closely and shows their thoughts and feelings. This creates a strong connection between the reader and the protagonist without fully stepping into first-person narration.

For example:

Emma glanced at the letter in her hands, her fingers trembling. She had expected rejection, but seeing the words in black and white still stung.

Here, the reader gets insight into Emma’s emotions, but they don’t know what anyone else is thinking. The story stays anchored to her perspective.

Third-Person Omniscient

In this third-person perspective, the narrator knows everything about all characters, including their thoughts, feelings, and past experiences. This allows for a broader storytelling approach but requires careful handling to avoid overwhelming the reader with too much information.

For example:

Emma glanced at the letter in her hands, her fingers trembling. Across town, Liam tapped his phone nervously, debating whether to call. He knew Emma had received the news by now, and the thought of her disappointment made his stomach twist.

The narrator reveals what’s happening in two different places at the same time, something that wouldn’t be possible in a limited perspective.

Third-Person Objective

This perspective is entirely observational. The narrator describes only what can be seen and heard, without revealing any thoughts or emotions. It’s often used in journalistic writing or fiction that aims for a detached, cinematic feel.

For example:

Emma stood by the window, holding a letter. She exhaled sharply and folded it in half before tucking it into a drawer. Outside, rain tapped against the glass.

Unlike the other examples, this version doesn’t tell the reader what Emma is feeling. Instead, they must infer her emotions based on her actions and surroundings.

Difference Between First and Third-Person POV

First-person narration uses “I” or “we” and places the reader directly inside a character’s experience. It creates intimacy but limits the perspective to only what that character knows.

For example:

“I read the letter twice, my stomach sinking. I knew it was coming, but that didn’t make it easier.”

Third-person narration, on the other hand, allows for more flexibility. It can provide a close perspective on one character or a broader look at multiple characters’ experiences, depending on the type used.

For example:

“James read the letter twice, his stomach sank. He had known it was coming, but that didn’t make it easier.”

Both approaches have their strengths, and the choice depends on the kind of story you want to tell.

How to Choose the Right Point of View for Your Story

One of the most important decisions a writer makes is choosing the point of view (POV). The perspective you use will shape how readers connect with your characters, experience the world, and understand the story’s events. So, how do you decide whether to write in first, second, or third person narrative voice? Let’s break it down.

The main difference between POV choices is how close or distant the reader feels to the characters.

If you want readers to feel deeply inside one character’s mind, experiencing their thoughts and emotions firsthand, then first-person (“I”) or third-person limited (“he/she”) are great choices. Both give readers a strong sense of the protagonist’s inner world.

The POV you choose also affects how much information readers get.

If you want to keep secrets and let readers discover things at the same pace as the character, first-person or third-person limits are ideal. Since the reader only knows what the character knows, it builds suspense and keeps surprises hidden.

I love libraries and when I was growing up that was the only way I got to read. Every week almost without fail my parents would take my siblings and I to the library – at least that’s how it felt at the time.

And I loved it. I always came back with a haul of books to read ranging from younger books through to adult fiction. With my fascination with all things story I would plough through books week on week.

For most families, even in today’s world of discount and cheaper eBooks, it can be hard to fund that, especially when there’s multiple readers in a family.

Which is where libraries come into their own. Keeping in mind that the library of today is very different from the one I grew up with. Now you can borrow eBooks, audio books as well as traditional physical copies.

You won’t see me selling my books for Free, or giving them away for free, in a zero-price deal, it’s something I have very strong views on. And when there’s a perfectly legitimate way for anyone to read a book for free then why would I.

My motto is: If you want my book free get it from a library.

Why would I be promoting people to borrow my books from a library rather an buying them?

First, what is PLR?

Public Lending Rights, or PLR, exist in Australia, the UK and Canada. Essentially authors receive a small top up for their earnings through this system, much like musicians do when their music is played.

The money is collated by a central fund depending on the number of library borrows. So, every time you or someone else borrows a physical book, ebook or audiobook from your local library, or through a free library app, we authors receive a few cents for that borrow.

In Australia the total fund is divided up based on number of books an author has in libraries and rate of borrowing.

Libraries are a great solution for readers and authors.

I don’t put my books into Kindle Unlimited because I want to be able to distribute them to as many places as possible, and it means they can go into libraries, and I can receive PLR.

When someone can’t buy a book of mine, they can ask their library to buy it in. I’ll receive the purchase price for them buying the book and then PLR ongoing for any borrows.

Libraries mattered a lot to me as a young person growing up and for many people it’s the only way they can afford to read. So, if you want to get my books for free that’s the way to do it.

Especially with the cost-of-living issues occurring around the world borrowing the book from a library is a perfectly acceptable way to read my books for free.

Sign up to your local library, get a free library card and then download one of the free library apps onto your phone.

For everyone that already does this, thank you from myself and all the authors you read. Keep going, and don’t be afraid to ask your library for more books.

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The entire process of writing fiction has been quite different to my non-fiction writing, as was to be expected.

How much different I definitely misjudged. The ability to write what you know and see it factually correct and know it can be quickly edited and handed to your editor for finalising is completely different to the process I have been through in this Epic Fantasy series.

Once I got into a rhythm using scrivener (my writing software) and the daily goals I ploughed through the first 100,000 words of my 110,000 word initial target.

At that stage I hit a major snag, which was that the story was nowhere near complete and I was a little rudderless as to what to do.

My choices were to bring it to a close as near to the mark I had set as possible and work out how to reshuffle my story to it all fit in, or to keep writing until the end point was reached.

Without providing any spoilers before it’s out, there is a major journey that takes place as part of the story and at this stage I was only about half way through the geographical journey, as well as the plot lines.

I was attending a writer’s workshop in Brisbane and ended up striking up a conversation with successful Crime/Thriller author Rachel Amphlett, who was one of the presenters.

She pointed me in the direction of a book to review, which she felt might help me, Christopher Vogler’s, The Writers Journey.

It was a great start and I pushed on ending up at 180,000 words and arrived at the end of the story, happy, feeling like I had achieved a major milestone – completing the first draft – but not convinced I had told the full story.

I took a week or so off to have a break from the act of writing after the best part of nine months writing every evening after dinner four to five days a week

When that mini break was over I had no idea what to do next. I leapt into marking up the printed manuscript for errors and issues and started taking notes about the key things I needed to fix when I sat back down to rewrite things.

As I went through my doubts about the story came back and it took me several months and a lot of reading and listening (podcasts) to get a grip on what needed to be done.

The biggest aide in this was Shawn Coyne’s The Story Grid and his podcast co-hosted with Tim Grahl. As I crammed the podcast and read the book and then brought his method to the story I knew at a macro level I needed to split the story up.

Being a novice this took nearly four months to come to terms with. I didn’t want to make a rash decision and I needed to feel confident in my reasons and that the story would still be true to what I believed it would be when I started it.

Looking back now with a lot of time spent going back over that decision I am glad I did.

It would be easy to think that when you’ve finished the first draft you have it nailed and it just needs some checking. The truth is I had no idea what to do and the different books and podcasts I used as resources all contributed to me beginning to learn the craft of fiction writing.

I was careful to not get too hung up on perfection or needing to know everything and having split my first draft into two novels I then had the better part of 100,000 words for book one and 80,000 words for book two.

I love the beginning and ending of book two now that I have written it and can see so much more to add that I pulled out as I rushed to the completion when it was only one book.

Of course book one and the overall story is so much better now too and so book two will be the better for all the extra work I have done.

That decision to split the first draft was the best decision I could make and in the next post I will talk about the editing process I have been through.

As I write this I am about to start editing the last quarter of A Fool’s Errand (book one) on the first successful major edit.

I love many genres of fiction, but Epic Fantasy has always been one close to my heart.

Growing up, like many people of my era, I read and fell in love with Tolkien and his epic tales. The simplicity of his stories wrapped around such a deep level of world-building hooked me. While many friends hated having to read The Hobbit at school, it exposed me to a plethora of new stories.

Since then there have been many different Fantasy authors I have loved to read. I am not sure if it’s the multiple points of view, the many slow-burning plots crisscrossing through the book or the fantastical magic and anything can happen nature of fantasy.

It’s not long only epic fantasy stories that I read, I also like short fast reads in mystery and crime, I love horror and thrillers and especially dark novels.

When I was very young and first thought I wanted to be a novelist I was reading war novels like Alistair Maclean and Spy thrillers from Le Carre and others.

When I gave up on my journalism degree and moved away from thinking about writing, I lost the idea for a long time, and it lay dormant for many years.

When it forced its way back into my mind, the first novel I drafted was a fantasy novel. I still have the notes of it and map sitting in a folder in a draw in my studio. It burned away in my mind, never really getting much attention, only those few moments when I would grant myself time.

I am not sure it would ever amount to a good story, looking back at it it was a mixed type of tale, and maybe it would be better if it was more in the vein of Terry Pratchett’s style. I am not so sure that style is best suited to me. I love his books, just not sure I could be as funny.

When I did decide not to wait any longer and get on with writing my first novel another small concept surfaced. It started as a tiny idea, and it has quickly evolved into the stories I am writing now.

The In All Jest series grew from a question in my mind about the typical court jester and what if they were more than just a ‘fool’.

Once the idea took hold, it became clear that it was going to be more than just one novel and it did fit the mould of an Epic Fantasy.

Every time I sat and drafted out the bigger story the series has grown. At the moment it looks like a six book series to me.

I never imagined the sort of research I would do to help write the book. Initially, the writing was simple writing until the world-building portion commenced, then I was driven in search of answers to many questions.

What has been intriguing is how much ‘history’ I have ended up studying and how far and wide the Jester existed around the world.

The Jester existed across all continents and in every race in one form or other. Not always like the commonly portrayed Medieval Jester of Europe.

In Asia and Africa, they had powerful character types, rules and dress styles. Interestingly there are similarities in different places which may or may not have influenced each other.

The trickster in some cultures, jester in others and simply the fool all left their impression both in reality and in classic composition. Shakespeare’s fools are known to many.

The In All Jest series I hope provides a different story than the typical one found in straight Medieval history and common tales, one where the Jester is more than just a fool, and the people around the Jester are part of the bigger narrative.

One of the tag lines for book 1, A Fool’s Errand, that I have been playing with is… “It’s all fun and games until somebody kills the Jester!”