Omniscient Point Of View

I’ve resisted writing about point of view because it’s been done so often. It seems like every writing book I own has a chapter on the subject. The problem is, few of these have much to say about the omniscient voice. Around the web, too often I’m finding misinformation on the subject. It seems some writers equate this legitimate point of view with poor technique often referred to as “head hopping.”

Please help me get the word out: the omniscient point of view is not the same as head hopping. It is true that the omniscient voice has been in disfavor with contemporary writers. Hence writing instructors more often than not warn new writers away from exploring what actually is a more complex option than the others.

First a quick — very quick — point of view (POV) summary.

    • First person POV – I tell the story.

    • Second person POV – you tell the story.

    • Third person POV – he or she (or it) tells the story.

Where is omniscient in that? It’s an option of the third person POV.

The he, she, or it telling the story can be one or more of the protagonists. The story, then, is told from the limited view of one character or several at a time. The latter is called multiple third person POV.

The omniscient storyteller, however, is not limited. This is not to suggest, however, that the omniscient POV must have a god-like narrator. That’s only one kind of omniscient POV story.

It’s a good one, too. Many of the stories I grew up with had that kind of narrator. It’s the type of story that starts with something like, “Come gather around, children, and let me tell you a story.”

There might even be narrator intrusions from time to time, such as, “Now those of you who are afraid of the dark should not read this next part late at night, or when you’re home alone.” In other words, at certain points in the story, the narrator talks directly to the reader.

Throughout the rest of the story, the narrator manages the information, internal and external, from his own perspective. When he says the obnoxious little boy, the reader understands this is how the narrator views the character, and the narrator is right.

The movie The Princess Bride employed the omniscient narrator in the fantasy part of the story — the grandfather who was reading the story taking that role.

C. S. Lewis used the omniscient narrator in The Lion, the Witch, and the Wardrobe. Here’s one example:

“We met one another in there, in the wood. Go on, Edmund; tell them all about it.”

“What’s all this about, Ed?” said Peter.

And now we come to one of the nastiest things in this story. Up to that moment Edmund had been feeling sick, and sulky, and annoyed with Lucy for being right, but he hadn’t made up his mind what to do. When Peter suddenly asked him the question he decided all at once to do the meanest and most spiteful thing he could think of. He decided to let Lucy down. (Emphasis added)

Notice how the narrator includes himself by using the pronoun “we.” The entire third paragraph tells his impressions and opinions, but the reader is confident he is right about what he’s saying.

There are other kinds of omniscient POV stories however. One of the characters in the story may be telling it after the fact. He’s lived the events and is looking back. Because of hindsight, then, he knows what the other characters did even though he may not have been present during the action. He even can know their motives and can speculate on what might have changed if this or that had been different.

A third kind of omniscience is more distant. It’s a camera-eye view that gives a more objective report of the events without tapping into the characters’ thoughts.

A fourth type is focused omniscience. The omniscient voice describes things the character couldn’t see or know — what’s happening behind him, for instance — but does so only for the focus character and no one else.

No writer should decide on omniscient voice because it is easy. In reality, it’s quite demanding. It allows for description the narrator wishes to make and is not limited by the character’s voice or opinion. But it must be consistent throughout the story. Because it doesn’t allow the reader the intimacy with the characters that first or limited third allows, the narrator descriptions carry more weight. That can be a challenge — one some writers relish. Others — not so much.

See also “Then What Is Head-Hopping?”

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11 Comments

Filed under Point of View, Story, Voice

11 responses to “Omniscient Point Of View

  1. Pingback: Then What Is Head-Hopping? | Rewrite, Reword, Rework

  2. there seems to be a lot of confusion these days regarding POV–yours is the first article I’ve read that explains it clearly–but I’m still confused about ‘focused omniscient’–is there still a narrator lurking in the background? I have never attempted omniscient because of it’s difficulty…

  3. Hi, Nikki,

    I’m glad this article helps clarify the omniscient somewhat. The idea of focused omniscience is that the narrator can know everything about one or two characters, including their inner thoughts, but not about every person in the story–or if he does, he doesn’t disclose all to the reader.

    Omniscient is difficult, so I think it’s wise to put it on the list of advanced skills to be used at some later date. 😉 That’s what I’ve done.

    Becky

  4. Yes I’m behind! But was researching omniscient because I’m working on an edit. Yours is the most helpful article. Thank you. 🙂

  5. Hey, Jamie, I’m just glad you found the article and that it was helpful. That’s why they’re here. I appreciate you taking the time to give your feedback. Blessings on your current editing project.

    Becky

  6. Hi! Thanks for this post. I was wondering if any of the omniscient POVs can hear all characters thoughts in one scene. I understand an omniscient POV can switch from character to character and hear thoughts, but can an omniscient POV hear all of the characters thoughts in one scene. For example:

    Clara wondered why the weather had turned. “Will it be cold?” She asked the group.
    Max rolled his eyes and speculated that Clara was just stalling for time. “It will be freezing,” he said, just for emphasis.

    Is this doable? Is this allowed in fiction?

    Thank you!

  7. Vanessa, that’s a great question. Generally speaking, I’d say an omniscient narrator wouldn’t give the internal monologue of more than one character in a scene, though he or she might report what the other characters are thinking.

    I did a follow-up post on this which might be helpful – “Then What Is Head-Hopping?”

    Let me know if you still have questions.

    Becky

  8. Thank you this is very helpful! I suspected that is what you would say–I was hankering to try my hand at all of the characters thoughts, but will stick with on POV.

  9. Vanessa, I’m glad you found that helpful. POV can be tricky. The more I study, the more I realize how hard it is to do the omniscient well. The thing is, it’s not that popular today, so it seems like a lot of hard work for little pay-off. Better to master the close third person, I think.

    Becky

  10. schillingklaus

    Obtrusive omniscient is my one true way to go, and close third is an absolute anathema for me. None of your diatribes will change that, and I do not care at all about popularity.

  11. Shillingklaus, I’m not sure why you found it necessary to announce your preference for “obtrusive omniscient” point of view, or why you call this article a diatribe. If you don’t care about what style is currently popular, that’s your choice. Obviously you’re not interested in selling a lot of books, which is fine. People don’t all write for commercial purposes. I hope you’ll respect those who do want to sell well and therefore want to learn how to adapt their style to the current trends.

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