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let's chat about POV

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Point of view (POV) is usually taught as a technical aspect of writing. First person for intimacy. Third person for flexibility. Omniscient for scope. All true, sure, but I’ve found that this approach can be incomplete.

In practice, POV often functions as a regulator. It guides how much emotional intensity you’re exposed to while you’re writing, as well as how much you ask the reader to carry as they journey through your story.

Let’s break it down a bit more.

First person puts you inside the speaker’s nervous system. There’s very little buffer between them and you. Every reaction passes straight through the words into your body and mind. That can feel very intense, especially when the scene involves shame, desire, grief, rage, hatred, betrayal, abuse, or other challenging emotions.

Close third creates a small but meaningful distance. You’re still aligned with one consciousness, but the grammar gives you room to breathe. That space can make difficult material more workable. It’s easier to stay present when you’re not fully integrated with the voice.

I love this approach from a coaching perspective. Many writers can say truer things here because the slight separation lowers their internal discomfort.

A more distant third, or a lightly omniscient stance, adds another layer of regulation. You’re no longer trapped inside one emotional wavelength. You can move, contextualize, and widen the frame. This is why writers often drift toward distance when the material feels too intense.

This is a great self-protection tool, and sometimes it’s what is needed for the writing process to continue.

None of this means you should always choose the most comfortable option. Distance is not always a good thing, and it can really flatten the sense of urgency. Intimacy sharpens it and makes it visceral. And don’t we love when a good story grips us and refuses to let go?

I want you to recognize what the choice is doing to you while you write, not just what it’s doing on the page.

When a writer comes to me because they’re stuck in their draft, POV issues are a top contender. I see this a lot: a writer commits to a POV early, then forces the manuscript to stay there even as the emotional current requires a change-up. The writing starts to feel forced and awkward.

I sometimes imagine myself, as the reader, witnessing the scene from another character’s perspective. That’s a big clue that the POV is unbalanced.

You can test this without rewriting the entire draft.

Take a single scene that feels dead and shift the POV temporarily. Rewrite a page in first person if it’s currently in third. Pull back to third if you’ve been inside the “I” for too long.

Notice how your body responds as you write. Are you feeling more at ease? Is tension rising? Are you now avoiding something you weren’t before?

There’s another layer here that’s important, and it’s news no writer ever wants to hear: the dreaded POV shift.

As your relationship to the material changes, the regulatory needs might change too. Initial drafts often do well with distance because you’re still discovering what you’re dealing with. More developed drafts may need closeness once the emotional terrain is more familiar.

Switching POV mid-process is frustrating, but sometimes it’s in the best interest of your story.

When point of view is in sync, your writing will flow more naturally.

Wondering if your manuscript needs a POV shift? Let’s chat!

Keep writing, my loves. The world needs your words.

In ink,

Allison

allisonink.com

With over 15 years of experience helping writers navigate drafting, revision, and publishing, I share insights, tools, and editor-tested strategies straight to your inbox. Subscribe for free or pledge $5 to support my work.