Things to Consider When Adding a Point of View Character

By Janice Hardy. @Janice_Hardy

 

Another pair of eyes can add richness to a story, but is it the right thing to do for your novel?

I was once about halfway through a first draft when I realized the story was a bit bigger than I'd first thought. There was a lot of tale to tell that my protagonist wasn't involved in, and seeing that side of the story through another character's eyes would benefit the novel as a whole.

Of course, this novel was written in first person, so adding another point of view character also added a myriad of problems to solve. Considering the work involved to add that second point of view, I wanted to make sure it was the right call for the novel before I started mucking around in it.

Having Second Thoughts

I'd originally plotted this novel as my protagonist’s story. I'd planned goals for her, conflicts for her, given her personal stakes and a character arc, etc. It was her story.

Until it wasn't. At least not completely.

Adding a new point of view character changed things. 

With the new point of view character, the story changed, and my outline was no longer accurate. It wasn't just my protagonist’s story anymore, but this other point of view character's story as well. He needed his own character arc, goals, and conflicts, and those needed to fit seamlessly in to the plot.

Plus, his arcs needed to work with her arcs, and together they needed to tell a solid story and not feel like two books shoved together. The two stories needed to work in tandem to tell that larger tale I'd spotted brewing in that first draft.

(Here's more on Lost in the Crowd: Working With Multiple Point of View Characters)

Things to Consider When Adding a Point of View Character

Is that character really necessary?

It's not uncommon--particularly for new writers--to want to add a point of view character to tell the parts of the story the protagonist isn't there to see. Sometimes this is a good instinct and it makes the novel better. Other times it's only there to add backstory or explain something and it hurts the novel.

General rule of thumb when considering another point of view character: Is the character there only so you can show scenes or events your protagonist doesn't know about?

If the answer is yes, odds are the new point of view character isn't going to help the story, because they're not a proactive character in the book. They're just a device to explain.

If the answer is no, odds are the new character will help the story, because the'll have their own goals and motivations for acting. They have agency in the story.

If you're unsure, then ask yourself:

What plot and story events belong to the new character? 

The new point of view character will have his or her own plot and story arc, but it still has to connect back to the core conflict of the novel. So they'll need an end goal that will be resolved by the ending of the novel, and major turning points of their plotline all throughout the book. Since the protagonist probably already has those events scheduled for their point of view, some shifting will likely be needed. You might consider:

• Is there one set of major events, or does each point of view character have their own turning points?
• Does one point of view character drive the plot forward at these moments or do the point of view characters share them?
• If one set of major events occur to both characters, do they mean different things to each point of view character?

(Here's more on Create More Story Depth With Mini Arcs)

What are this character's goals?

These goals will be connected to the core conflict, and shouldn't just be about showing the same problems the protagonist has from a different angle (otherwise why add that second point of view character?). With alternating point of view characters, a lot of the tension of the novel will come from these two sides having different information and thinking different things. Dramatic irony is a great way to keep the story moving forward. So the goals should:

• Move the other point of view character toward the end resolution, but in a different way from the protagonist.
• Conflict with the protagonist in some way, but not necessarily in an antagonistic way.

(Here's more on Goals-Motivations-Conflicts: The Engine That Keeps a Story Running)

Where do this character's conflicts come from?

Unless the other point of view character is the antagonist, it can be hard to make POV-A directly oppose POV-B without making one "the bad guy." You want them causing trouble for each other, but since these two point of view characters are likely working toward the same end goal, their conflicts should probably come from other areas, or have different ideas on how to resolve those goals (and thus create conflict between them). So consider:

• What is important to each point of view character?
• Is this also important to the other point of view character?
• How might you make each point of view character feel strongly about something the other doesn’t care about?
• What is each point of view character willing to sacrifice to get their goal?
• How might those sacrifices conflict with the other point of view character's goals?

The trick is to butt heads without fighting. It’s not about being against the other point of view character, but for something else and trying to work around the other person.

(Here's more on Where Does Your Novel's Conflict Come From?)

How will the stakes work? 

Each point of view character will have different stakes. At the core, these will likely be similar since both are working toward the same end resolution, but there will be subtle differences that can cause friction between them. Consider:

• How might each point of view character's stakes cause trouble for the other?
• How might risking one side cause the other problems?
• How might avoiding one consequence cause the other’s to occur?
• How might you play one side against the other to escalate the stakes?

(Here's more on What's at Stake? How to Make Readers Care About Your Story)

How will the pacing work? 

Multiple point of view characters are always a pacing challenge because traditionally you end a chapter or scene at a high point in the tension. But when you switch point of view characters,  you usually start that scene at a lower point and raise the tension again. Trouble is, this kills your overall tension because you effectively waste your forward momentum every time you switch point of view characters.

You want to raise the tension on both sides at an equal pace so the entire story is moving forward as one. So pay close attention to:

• How you end each scene or chapter.
• How you hand off the scene or chapter to the next point of view character.
• What types of endings you have: cliffhangers, reveals, foreshadows, fears, etc.

(Here's more on And the Pace is On: Understanding and Controlling Your Pacing)

Adding a new point of view character brings a lot of extra work, but it can also deepen your story and add richness to the tale. If you pay attention to how that new point of view character will advance your story and work with your plot, you’ll help make their addition go a lot more smoothly.

Do you write with a single character or multiple point of view characters? Do you have a preference?

*Originally published March 2011. Last updated January 2020.

Find out more about characters, internalization, and point of view in my book, Fixing Your Character & Point-of-View Problems.

Go step-by-step through revising character and character-related issues, such as two-dimensional characters, inconsistent points of view, too-much backstory, stale dialogue, didactic internalization, and lack of voice. Learn how to analyze your draft, spot any problems or weak areas, and fix those problems.

With clear and easy-to-understand examples, Fixing Your Character & Point-of-View Problems offers five self-guided workshops that target the common issues that make readers stop reading. It will help you:

• Flesh out weak characters and build strong character arcs
• Find the right amount of backstory to enhance, not bog down, your story
• Determine the best point(s) of view and how to use them to your advantage
• Eliminate empty dialogue and rambling internalization
• Develop character voices and craft unique, individual characters 

Fixing Your Character & Point-of-View Problems starts every workshop with an analysis to pinpoint problem areas and offers multiple revision options in each area. You choose the options that best fit your writing process. It's an easy-to-follow guide to crafting compelling characters, solid points of view, and strong character voices readers will love.

Available in paperback and ebook formats.

Janice Hardy is the award-winning author of the teen fantasy trilogy The Healing Wars, including The Shifter, Blue Fire, and Darkfall from Balzer+Bray/Harper Collins. The Shifter, was chosen for the 2014 list of "Ten Books All Young Georgians Should Read" from the Georgia Center for the Book.

She also writes the Grace Harper urban fantasy series for adults under the name, J.T. Hardy.

When she's not writing novels, she's teaching other writers how to improve their craft. She's the founder of Fiction University and has written multiple books on writing.

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