It is said there are three sides to every story: yours, mine, and what really happened. Writing in a deep point of view allows your narrator to tell their side. It lets your reader know what the narrative character thinks by filtering events through the lived experience of their backstory. It also uses interior monologue to show how the character interprets plot events.

Deep point of view, also known as limited point of view, comes in two varieties: first and third. This post takes a closer look at what point of view is in general—and specifically limited point of view—and how you can use it to go deep in your narrative.

What is point of view?

Point of view is the filter through which the story is told. Whether it is first-, second-, or third-person, point of view refers to the thoughts, experiences, perspective and opinion of a story’s narrator.

First-person point of view

Told using first-person pronouns, the narrator of a story told in first-person is limited to reporting only on what they can reasonably see, hear, feel, think, and know. In other words, they cannot report on how other characters experience events or what they think because they are limited to what the point-of-view character can perceive.

Third-person point of view

A third-person narrative can be written with an omniscient (know-all, see-all) or a limited narrator. The only difference between third-person limited and first-person limited is that third-person point of view uses third-person pronouns. Similar to first-person limited point of view, the narrator can only report on what the point-of-view character can reasonably see, hear, feel, think, and know.     

How to write in a deep point of view

Put yourself in your narrator’s shoes. When you write, imagine that you are the point of view character. As such, your narrator can use the other characters’ body language and tone of voice to infer what they might feel or think, but they cannot know for sure.

Show instead of tell

Going deep into a character’s point of view also uses showing instead of telling to help describe body language and sensory information so the reader can infer what is happening in a scene. For example, Mabel is the point of view character. Johnny is her friend. The text

Johnny was nervous.

is a prime example of telling instead of showing: the narrator tells the reader that Johnny was nervous instead of showing how Mabel knows this. It is also a good example of what not to do in a limited point of view—how can Mabel know with certainty that Johnny was nervous?

Johnny seemed nervous.

This is a little better when using a deep point of view. Mabel cannot know for certain that Johnny was nervous, but Mabel can infer that Johnny seems nervous. This way, it is clear that it is Mabel’s interpretation that Johnny is nervous.

Johnny cleared his throat. He looked down at his shoes and focused on the cloud of dust kicked up by his shuffling feet. He cleared his throat again.   

This example uses showing to let the reader know what Mabel is seeing. It does not draw conclusions (“Johnny is nervous). Rather, it details Johnny’s body language as Mabel sees it. It also makes good use of showing to describe Johnny’s movements and leaves it up to the reader to infer that Johnny is nervous.

Why use deep point of view?

Deep point of view puts the reader into your narrative character’s head as it telegraphs their experiences, thoughts, and emotions. It allows the reader to know the character’s mind for a greater sense of intimacy. In other words, the reader comes to know and identify with the point of view character, which increases their sense of empathy. This makes it easier for the reader to immerse themselves in the story, feeling as if they are connected to the point-of-view character and experiencing the action in their shoes.    

Key takeaways

Using a deep point of view to write in the persona of your point of view character creates an immersive experience for your reader. Not only will they put themselves in the point of view character’s shoes, but they will walk the miles of your plot in them as if they themselves were the character.

When you write in a limited point of view, you are inside your narrator’s head. Avoid using tags that say “I thought” or “he wondered” when possible. The entire manuscript essentially reflects the narrator’s thoughts.

Avoid using the collective perspective: They saw the fire, and they panicked. Though this can be inferred, your narrator cannot know for certain that the other characters’ experiences are all identical. Ernie might have been looking elsewhere.  Jane might have volunteer firefighter training. All Mabel can say for certain is that she did these things.  

Remember to limit yourself to what your point of view character can reasonably know, see, think, hear, and feel. Try to show instead of tell. Details matter. Describe them through the point of view character’s eyes. Weave in some of their lived experience or backstory, as well as their interpretation of events as they unfold.   

Putting it into practice

Here is a simple exercise you can use to write a brief scene in deep point of view.

1. Create an outline of your point-of-view character. Take 5-10 minutes to brainstorm their backstory.
2. Picture the setting of your scene. Take 5-10 minutes to describe it.
3. Imagine your character in the middle of the scene. What do they see, hear, feel, or smell? Where were they been before the scene begins? Where are they going next? Do they have time before their next destination, or do they feel rushed? Is the space quiet or bustling? What is your character’s mood? Are they dealing with a crisis or something more mundane? Are they alone?

Take 10 minutes to write your character’s interior monologue. Your scene should be brief, covering no more than a minute or two in time.