As already stated in another article, the point of view (POV) is your most important tool in drawing the reader into your story and creating a connection between your character and the reader. Not trying to tell the story from everyone’s POV is one of the keys to doing this. When you stick with one character’s POV at a time, you can impose that character’s personality on the narrative. This brings your story to life in a dynamic way.

The following example is a static narrative:

Joe looked around the purple room. When he spotted the German Shepherd snarling in the corner, he backed into the corner and snatched up a chair to hold between him and the dog. “Easy, boy,” he whispered. “No need to get riled up. I’m just leaving.”

But if we impose Joe’s character on the narrative, the story becomes much more interesting. Suppose Joe is a narcissistic individual with a hero complex and a disdain for danger. If that is his personality, how would that affect the narrative. Let’s see:

Joe looked around the room, wondering what idiot had decided to paint it in purple. Shaking his head in despair, he finally spotted the angry beast in the corner. His eyes lit up. Now here was a challenge. The snarling German Shepherd had all the markings of a killer. Perfect. Joe snatched up a chair, it being the only obvious weapon he could wield, and brandished it at the giant dog. “Come on, you mangy cur. Have at it! I’m not leaving here until I’ve bashed your head in!”

See the difference? Without telling the reader about Joe’s personality, we’ve shown it by imposing Joe’s character on the narrative. Since we are seeing the story through Joe’s eyes, we should get a sense of how and why he sees life around him.

Let’s try another:

Debbie grunted, trying to lift both suitcases at once. Letting them fall back to the ground, she rubbed her shoulders and winced. She looked around for Nancy, hoping her friend would help. They had to hurry, or they’d miss the airplane.

Okay, so suppose Debbie’s personality bordered on perpetual anxiety and single-mindedness that made it hard to see the bigger picture. How would this affect the narrative. Let’s find out:

Debbie grunted, straining with every ounce of strength to lift both suitcases. She could do it. She had to. But finally, her arms betrayed her and both suitcases slapped back to the cement floor. Growling in frustration, she scanned around for Nancy while rubbing her aching shoulders. Where was that woman? Didn’t she realize if they didn’t hurry, they’d miss their flight? She glanced at her watch and gritted her teeth. Too many things could go wrong if they didn’t leave this instant. Sucking in a deep breath, she jerked the straps of both suitcases, moving the abominably heavy luggage a measly two inches. Where was Nancy? And what’d she pack in these things? A refrigerator?

It’s true that it lengthens your writing. Some of that second example could likely be trimmed and made more concise, but when you read it, you are pulled into the story much more—even if it is only about trying to leave for the airport. After all, how many of us have been in a similar situation, feeling the exact same things? These connections cause the reader to care about your characters while at the same time drawing them deeper into your story.

The narrative of your story should dynamically reflect the personality and character of your character who holds the point of view. You do this, and your story will be a lot more interesting.

Happy writing!