The Art of Writing Multiple Points of View

Evan Swensen
April 11, 2025

Writers who tackle multiple points of view in fiction often compare it to conducting an orchestra. Each character must be tuned, distinct, and heard in harmony—or the story descends into dissonance. Writing from multiple perspectives is not a new idea, but doing it well requires a delicate balance of art, awareness, and discipline.

It’s a lesson learned through practice. One of the earliest examples of multiple perspectives comes from William Faulkner’s The Sound and the Fury. The novel opens with the voice of Benjy, a man with an intellectual disability, and immediately disorients the reader with its unfiltered flow of sensations and memories. Faulkner demanded the reader do the work—and in return, he offered something unforgettable: a story that could not have been told any other way.

Modern authors, from Gillian Flynn in Gone Girl to Celeste Ng in Little Fires Everywhere, continue the tradition, alternating viewpoints to reveal emotional truths, expose character motives, and deepen suspense. But how do they manage it?

It starts with understanding voice—not just dialogue or word choice but rhythm, syntax, and thought patterns. If every chapter sounds like the same person wearing different hats, the illusion collapses, and readers stop suspending disbelief. That’s where writers must do the hard, quiet work of listening.

In workshops, a simple exercise often proves enlightening: Write the same scene from three characters’ perspectives. Then, read them aloud. Does each voice feel different? If you removed names, would you still know who was speaking? Often, the answer is no. The temptation is to rely on plot or labels to define the perspective, but readers crave something deeper.

To get there, many authors recommend developing a character’s worldview before putting them on the page. This includes not only backstory, but how they filter their experiences. A 50-year-old veteran walking through a war memorial will not describe it the same way a teenage activist will. Even their silence will say something different.

Smooth transitions between perspectives are also essential. One effective strategy is anchoring the time, place, or emotion shift. In Jennifer Egan’s A Visit from the Goon Squad, each chapter feels like a new short story, yet all build toward a shared emotional arc. The book doesn’t jump without warning. It flows because the transitions serve the theme, not just the plot.

Of course, pitfalls abound. Head-hopping—jumping between characters’ thoughts in a single paragraph—is a common rookie mistake. It disorients the reader and flattens the emotional landscape. Omniscient narration can avoid this, but it’s easy to misuse. Virginia Woolf handled it gracefully in Mrs. Dalloway, drifting seamlessly between minds, but even she obeyed internal logic: one thought led naturally to the next.

Another challenge is maintaining narrative momentum. When perspectives multiply, pacing can suffer. That’s where scene selection matters most. Not every character needs equal screen time, and not every moment needs retelling. The writer becomes a curator, choosing when to zoom in, when to pull back, and when to move on.

Perhaps most important, though, is why a story needs multiple voices in the first place. Too often, the decision is stylistic rather than structural. A story may feel more intimate in first person, more expansive in third, more dynamic with multiple narrators. However, the technique becomes noise unless the different perspectives serve a purpose—unless they reveal contradictions, conflicts, or connections.

That’s why the best multi-POV novels often deal with ambiguity. Think of As I Lay Dying, where each character’s version of the truth is filtered through their pain. Or The Poisonwood Bible by Barbara Kingsolver, where the same events are seen through four daughters and their mother, each with different levels of awareness. These aren’t just multiple viewpoints—they are competing realities.

Writers and marketers share a similar task: understanding and speaking from different perspectives. Whether it’s a fictional family fractured by trauma or a real-world audience segmented by demographics, the job is the same. Listen first. Then, speak clearly. And always, always tell the truth—emotionally, if not literally.

Crafting a novel with multiple perspectives isn’t easy. But in a divided world, it may be one of the most empathetic things a writer can do. After all, stories don’t just entertain. At their best, they teach us how to listen.

Want to Grow as a Writer? Join Author Masterminds

If you’re looking for a community of dedicated writers who understand the challenges of the craft, consider joining Author Masterminds. Here, authors support each other, share marketing strategies, and gain insights beyond just writing—helping you build a career, not just a book. You don’t have to navigate criticism alone. Author Masterminds is a group of like-minded writers who will challenge, encourage, and help you grow. Learn more about how to become a part of it here: https://bit.ly/4k6lvg1.