Point of View (POV)
In short: Point of view determines through whose eyes a story is told and how much the narrator knows. It shapes closeness, tension and effect decisively.
Where the terms come from
In German criticism Franz K. Stanzel established the division into omniscient, figural and first-person narrative situations (1955). Internationally, Gérard Genette's concept of „focalisation“ (1972) is widespread; it asks more precisely: who sees – and who speaks?
The main perspectives
First-person narrator: A character tells the story from their view („I“) – close and subjective, but limited to what they know.
Close third person: Told in the third person but tight to one character – we see the world through their eyes.
Omniscient narrator: An all-knowing narrator who oversees everything and can comment.
Objective narrator: Reports from the outside, without entering thoughts – like a camera.
Point of view on Fireside
For a short story it pays to choose the point of view deliberately before you write – switching midway costs closeness. Our guide on how to write a short story helps you choose.
Related terms: First-Person Narrator · Omniscient Narrator · Free Indirect Speech · Interior Monologue
Frequently asked questions
What points of view are there?
Chiefly first-person, close third person, omniscient and objective narration.
Which point of view should I choose?
First person and close third create closeness; the omniscient narrator gives overview. Choose what fits the effect and the story – then stay consistent.
Can I switch point of view?
Yes, if you do it deliberately – for example at a chapter or scene break. Unplanned switches within a scene quickly confuse readers.