/lit/ - Literature

>>15111307
depends on the story /thread

>>15111312
What a dull reply.

>>15111307
all of them

>The story is told to "you"
What an awful way to describe 2nd person.

>>15111323
The question is retarded.

>>15111307
First person-third person omniscient

>>15111307
There are at least another two. I personally like second person omniscient because it's delightfully aggressive. My real love will always be 5th person, where I describe some rumors someone told me.

>>15111307
FP
>Easiest for beginners to get something readable
>Harder to get truly great fiction out of

3P
>Most challenging
>Lack of access to characters thoughts makes storytelling challenging
>Writing a good novel in third person is an achievement more impressive than doing the same in another viewpoint

2P
>I miss the days when I would read CYOA books and the goosebumps versions in primary school

>Omniscient
>Limited to one viewpoint is like a more difficult FP
>Access to all thoughts should only be attempted by experienced writers. Most full omniscient books use the thoughts of non essential characters as a lazy way to storytell
>Understanding when it is actually a good idea to insert the thoughts of non protagonists requires more ability than most authors have

>>15111550
>My real love will always be 5th person, where I describe some rumors someone told me

That just seems like third person omniscient nested within third person limited

First person framing but effectively omniscient 3rd person

Examples: Demons, Mason & Dixon

>>15111809
It was a half remembered Demitri Martin joke
>Some authors write in first person and others write in third person. But I'm writing my book in fifth person, so every sentence starts out with: 'I heard from this guy who told somebody....'

I love a really expansive, omniscient POV, but nobody really does that anymore.

They're all fine. Each has its uses. They can all be used to great effect.

>>15111568
What would you class Kafka’s work as? Thinking of the metamorphosis for example, the narrator is 3P omniscient as they are able to describe the thoughts of Gregor’s family as well as Gregor’s own thoughts?

>>15111307
I've been writing my current project in a style that merges my own random thoughts written in as autistically precise as possible, which comment on the story, with the thoughts of my character who considers the events from his own perspective. I'm still on my first disgustingly rough draft, but I've had fun merging these weird thought paragraphs randomly with my other prose in the story, making an increasingly incoherent work. Who knows what'll happen, but I've enjoyed it and it gives me a release from the lockdown.

>>15111323
What a dull response to reasonable answer.

>>15111307
second person

>>15114337
based sometimes. Lorrie Moore did a really good collection of stories in second person.

First person omniscient

>>15112200
You can't categorise I think any of Kafka's work as any one PoV. Where I've done classes before with stuff like this we were encouraged to pick one and argue for it, none of them are going to totally fit and you get to take a really close look at some of the language used which can create a feeling of one PoV or another without strictly being any.

>>15111540
damage control

>>15114382
Yes

>>15114585
So he could be used as a counter argument to >>15111568's very regimented categorisation of each POV?

>>15111307
>not writing from the point of view of the monad that encompasses all perspectives

>>15115001
so... just 3P Omniscient

>>15111307
There are quite a bit more points of view than just these four.

>>15114984
Yeah, they're purely constructs to make analysis easier, they're not rules.

>>15114585
A lot of texts move through a host of POVs to achieve some effect. This is particularly true of older work, but newer work has a lot of strategic second person usage in an otherwise third-person limited passage. The thing about POV that doesn't often get discussed in workshop classes is that it's not all or nothing, but a series of choices a writer can make to achieve their goals.

https://www.awpwriter.org/magazine_media/writers_chronicle_view/1731/from_long_shots_to_x-rays_distance_point_of_view_in_fiction_writing

>>15115411
>The thing about POV that doesn't often get discussed in workshop classes
This was for my expository writing class, it wasn't a creative writing class. I always feel a little weird when people workshop stuff like PoV for creative writing because it tends to be a little limiting and artificial, I'll check out your link.

>>15111307
>single POV
1st
>multiple POV
3rd

>>15111535
then what's a better way to describe it?

>>15111307
Second view + Omniscient

>>15111518
I’ll always give this book a (you) when it’s poasted

>>15111307
>not writing fourth person

>>15115430
>I always feel a little weird when people workshop stuff like PoV for creative writing because it tends to be a little limiting and artificial
It's a component of the writing, so it seems like fair game to me. The issue addressed in that AWP article is that workshop students, even textbook writers, think too narrowly about POV and often not at all about psychic distance.

>>15115645
Yeah, it was really interesting. I think the thing is a lot of people want to write and everyone has different starting points and places to go and tastes to develop etc etc. so some will need such exercises, others it won't really work for so well.