How Many Point of View Should You Have in a Novel?
Photo by Etactics Inc on Unsplash
This post was inspired by a question from my 100 Day Writing Challenge group. It’s not the first time I’ve heard it, though. It’s a tricky question. Some will say there are “rules” around it (like, no more than three POV characters per novel) but as with most “rules” of writing, you’ll find those rule-breakers everywhere. I’m sure you can think of a few!
My answer is: It depends.
Helpful, right?
But it’s true. If you’re writing a multi-generational saga, or a complex fantasy, it’s fairly common to have multiple POVs. For younger readers, you may only want one POV – but there are some out there that have more than one, and it works.
So, the question becomes: When is it good, or even necessary, to have more than one POV?
The answer is: when you need it to tell the story in all its complexity. When it brings something to the page you couldn’t otherwise convey. When it raises the stakes, and therefore the tension. When it all comes together to tell the whole, like the pieces of a puzzle.
Beware, though, that it can also ruin the narrative drive. For example, we’re at the end of a chapter, we’re left on a cliffhanger to see what happens next, we turn the page and -
We have to stop dead, and deal with another character’s life. It can frustrate readers, unless there’s some new compelling thing happening. It’s a tricky balance. We have to be as invested in the new character as we are in the previous one. When you’re introducing characters, it’s almost like having to rewrite your opening scene as many times as you have POV characters.
Although I say rules are made to be broken, there are some that will help you write multiple POVs effectively:
Usually, the big one is to only have one POV character per scene. In other words, avoid “head-hopping,” which can be confusing to readers. Even better, only one POV per chapter.
Each POV character needs to have a distinct “voice.” That means external (when they’re speaking) and internal (when they’re thinking, or when we’re seeing the scene from their POV).
Each POV character needs their own arc of development (usually). In rare cases, we’re hopping into the head of an unimportant character, seeing their POV for just a moment in time, when it’s crucial for the reader to know some information the usual POV characters don’t. This can add tension and suspense if done correctly, and seldom.
However, for main POV characters, we need to know what their external stakes are (tied to the main stakes of the novel – i.e., bringing down the antagonist) AND their internal stakes – how they grow as a result of dealing with the external problem (or even as a result of dealing with some subplot – for example, a mystery with a dual pov: one main protagonist the sleuth, the other the murderer; or the other a friend who is wrestling with telling the protagonist that she’s seen some crucial clue that will put her own life in jeopardy in some way (she’ll lose her job, her husband...); or a cop who starts out as an antagonist but slowly falls in love with the sleuth as he grows and learns to become more open and vulnerable as a result of his interactions with her).
These stakes (internal and external) need to be clear throughout the novel. That means every scene where they are the main POV character. As with any protagonist, they need to be working out their issues as they go. They have setbacks, they learn, they slide back into old habits, etc.
Each POV scene or chapter needs to give the reader insight into the situation that the other characters don't, or can’t, have. It can’t just be rehashing the situation from another character’s perspective. That gets boring fast. However, if the other POV character(s) need to know the info, then you have to figure out how to let them know it in a natural way, without rehashing what you’ve already shown.
They each have to bring something different to the table, that contributes to the whole in a way that just one POV wouldn't. It can be tricky to tell if you’re doing that effectively, though. Sometimes it's not until your beta readers or coach or editor tell you "Every time I come to this character, I don’t care about them, I skip to the other one," or "Why is this character here? What does he bring in terms of stakes?" that you realize they're not strong enough to carry a POV of their own, no matter how much you love them. They have to be interesting (not necessarily likable). We have to care about them in some way. If they're just telling/showing us what we already know (or what another character should know) then we shrug our shoulders.
It sounds brutal, but sometimes the question "So what?" is a writer's best friend. If we can't answer it strongly, we know something has to either be strengthened or go. If I read something on the page and say “So what? Who cares?” “How does this really change anything?” Then it’s time to look very hard at that character and see if they’re really earning their place as a POV character. If one character is simply more interesting overall, and the others are not as strong, you may have to consider switching to one POV.
It can be very helpful to map out each of your POV characters’ arcs in a document like the Inside Outline, using a different color for each, so you can get a clear visual of which character is appearing where and what they’re doing in the narrative. Or you may put it on different-colored index cards on your wall – whatever works for you. (To read more on the Inside Outline if you’re not familiar with the process, see this blog post).
Of course, in the first draft (or first few drafts) it will be messy. You’ll need to go through and strengthen each POV as you go. You may have to rip one out if it turns out they’re not pulling their weight. If it’s your first novel, I often recommend staying within one POV. That’s hard enough to pull off the first time around! But in the end, you get to decide: Who is really telling your story?
If you like this, head on over to the Contact Page and sign up to get my monthly newsletter featuring tips on creativity, productivity, and the writer’s craft.
