Point of view (POV) is a fundamental aspect of storytelling, shaping how readers experience the narrative and connect with characters. Among the various POV choices, third person limited and third-person intimate offer distinct ways to delve into a character’s perspective. Understanding the nuances between these two can help writers choose the best approach for their story. Let’s explore the differences and unique features of third person limited and third person intimate points of view.

One caveat before we go further – third person intimate is somewhat a nebulous phrase because other authors call it something else – sometimes as “deep third,” “close third,” or “free indirect style,” which can make it challenging to find resources that focus exclusively on it. I believe “free indirect discourse” is the more academic definition of this technique, but the sterile moniker has (to me) all the appeal of cream cheese and ketchup sandwiches.

I was introduced to this concept only a few years ago and have begun exploring it in some detail since then. Some authors are almost religious about point-of-view perspectives, reacting poorly to seeing the camera zoom in and out or shift from one subject to another. But that is a story for another day. Rather, I’d like to put some stakes in the ground on the difference between third person limited and intimate.

Third Person Limited

Definition: In third person limited, the narrator is external to the story but closely follows the thoughts, feelings, and experiences of a single character. The narrative is limited to what this character knows, sees, and experiences, providing a focused but slightly detached perspective.

Characteristics:

Singular Perspective: The narrative lens is fixed on one character at a time, offering insight into their internal and external world.

Internal and External Access: The narrator can describe the character’s inner thoughts and interactions with the external world, but only as the character perceives them.

Objective Narrator: While the narrative provides deep insight into the character’s mind, the narrator’s voice remains distinct and separate from the character’s voice.

Example:

A classic example from J.K. Rowling’s “Harry Potter and the Sorcerer’s Stone”:

“Mr. and Mrs. Dursley, of number four, Privet Drive, were proud to say that they were perfectly normal, thank you very much. They were the last people you’d expect to be involved in anything strange or mysterious, because they just didn’t hold with such nonsense. Mr. Dursley was the director of a firm called Grunnings, which made drills. He was a big, beefy man with hardly any neck, although he did have a very large mustache.”

Note how this demonstrates key elements of third person limited:

• Follows one perspective (initially focused on Mr. Dursley)
• Uses “he” and “she” pronouns
• Only reveals what the focal character could know
• Maintains some narrative distance while still sharing the character’s thoughts
• The narrator’s voice is more distinct from the character’s voice

Third Person Intimate

Definition: Third-person intimate is a deeper, more immersive variant of third person limited. It mirrors the character’s internal voice more closely, adopting their tone, language, and subjective experience. The narrative feels like it’s being filtered directly through the character’s consciousness.

Characteristics:

Deep Immersion: The narrative closely mirrors the character’s inner life, often blurring the line between the character’s voice and the narrator’s voice.

Subjective Language: The narrator uses language that reflects the character’s personality, biases, and emotions, creating a more personal and subjective narrative.

Emotional Depth: The narrative delves deeply into the character’s emotional state, providing a rich, nuanced portrayal of their inner world.

Example:

In George R.R. Martin’s “A Song of Ice and Fire” series. Here’s an excerpt from A Game of Thrones, following Catelyn Stark:

“Catelyn had never liked this godswood. She had been born a Tully, at Riverrun far to the south, on the Red Fork of the Trident. The godswood there was a garden, bright and airy, where tall redwoods spread dappled shadows across tinkling streams, birds sang from hidden nests, and the air was spicy with the scent of flowers. The gods of Winterfell kept a different sort of wood. It was dark and primal, ten thousand years old and untouched by man…”

This passage demonstrates key elements of intimate third person:

• Uses “she” and “her” rather than “I”
• Shows direct thoughts and feelings
• Limited to what Catelyn knows and perceives
• Deeply explores her emotional response to the setting
• Provides context from her background that shapes her perception

Key Differences

Depth of Immersion:

Third Person Limited: Offers a focused yet slightly detached perspective, providing insight into one character’s mind while maintaining a separate narrative voice.

Third Person Intimate: Provides a deeper immersion into the character’s psyche, closely aligning the narrative voice with the character’s internal voice.

Narrative Voice:

Third Person Limited: The narrator’s voice remains distinct from the character’s voice, providing a more objective view of the character’s thoughts and experiences.

Third Person Intimate: The narrator’s voice often mirrors the character’s tone, language, and subjective experience, creating a more personal and immersive narrative.

Emotional Proximity:

Third Person Limited: Explores the character’s thoughts and feelings while maintaining some narrative distance.

Third Person Intimate: Delves deeply into the character’s emotions, creating a more intense and personal connection between the reader and the character.

Choosing the Right POV for Your Story

Deciding between third person limited and third person intimate depends on the level of emotional depth and immersion you wish to achieve in your story. For a more objective and slightly detached perspective, third person limited is a strong choice. If you aim to create a deeply immersive and emotionally resonant narrative, third person intimate may be more effective.

While I find intimate to be a more effective tool for bringing characters to life, I also find it exhausting to stay in that mode. A hyper-focused lens shows a character warts and all, but that can also extend scenes unnecessarily, and when or if you have to jump to another character, this close focus can make the transition for the reader all that more jarring. That might be your intent, but not every change should involve a chiropractic neck twist, IMHO.

In Summary

Third person limited and third person intimate points of view each offer unique ways to engage readers and convey a character’s perspective. By understanding the differences between these POVs, writers can make informed choices that enhance their storytelling and create a more compelling narrative experience. Whether you choose the focused lens of third person limited or the deep immersion of third person intimate, the key is to remain consistent and intentional in your approach, allowing readers to connect deeply with your characters and their journeys.

But you don’t have to take my word for it. There are other reputable sources for POV on the web; feel free to explore them.

• Jane Friedman’s website (janefriedman.com) – she’s a respected publishing industry expert who has written extensively about POV
• Writer’s Digest (writersdigest.com) has several articles about intimate third person in their craft section
• The Writer magazine’s website (writermag.com) often features articles about viewpoint and narrative technique
• The Creative Penn (thecreativepenn.com), run by Joanna Penn, has resources about different POV techniques