Experimenting with Narrative POV in Picture Books
One of the most exciting aspects of writing picture books is the opportunity to experiment with narrative perspective, otherwise known as point of view or POV. Unlike novels, which often rely on a single point of view for an extended period, picture books allow writers to play with perspective in ways that can add humor, surprise, emotional depth, or even interactivity to a story. The right choice of narrative perspective can transform a good picture book into an unforgettable one.
First-Person: An Intimate and Immediate Voice
First-person narration—where the story is told from the “I” perspective—can be especially engaging in picture books because it allows readers to step directly into the character’s shoes. This perspective is useful for stories that rely on strong, unique character voices. It’s particularly effective when the narrator has a distinctive attitude or humor that adds another layer to the storytelling. We chose first person for our The Very Fairy Princess series for just this reason.
However, first-person narration requires a careful balance. Because picture books are short and rely heavily on illustration, the character’s perspective must drive the action forward and enhance rather than compete with the artwork. Writers should also consider whether the narrator is an active participant in the story and can be present in every scene.
Second-Person: Inviting the Reader Into the Story
Second-person narration—where the reader is addressed as “you”—is a rare but powerful technique in picture books. It creates an immediate and immersive experience, pulling the reader directly into the action. This technique works well in interactive or instructive books, such as Press Here by Hervé Tullet.
When using second-person narration, the key is to make the reader feel like an active participant rather than a passive observer. This perspective is especially engaging for books with a playful, game-like structure or those that offer gentle guidance in social-emotional learning.
Third-Person Limited: A Close but Flexible Lens
Third-person limited is one of the most common perspectives in picture books. Here, the story follows one character closely, using “he,” “she,” or “they” while keeping the narrative voice distinct from the character’s thoughts. This perspective allows for a deep emotional connection with the protagonist while maintaining the flexibility to step back and showcase action through illustration. Books that employ third-person limited well allow readers to feel the characters’ emotions while letting the artwork tell much of the story. Maurice Sendak’s Where the Wild Things Are is a classic example.
Third-Person Omniscient: A Big-Picture View
In third-person omniscient narration, the narrator knows everything happening in the story, including the thoughts and feelings of multiple characters. While this perspective is more common in novels, it can be used effectively in picture books when handled carefully. Bear Came Along, written by Richard T. Morris and illustrated by LeUyen Pham, follows a group of animals who experience an adventure together. Each animal’s perspective is highlighted, showcasing their individual experiences and the collective journey they undertake. One challenge of third-person omniscient in picture books is ensuring that the narration does not become too distant or explanatory.
Unconventional and Experimental Approaches
Some picture books break traditional narrative conventions altogether. Books like They All Saw a Cat by Brendan Wenzel experiment with shifting perspectives—literally showing how different animals perceive the same subject in unique ways. Others, like Chloe and the Lion by Mac Barnett and Adam Rex, play with metafiction by making the narrator a character in the book itself.
Experimenting with perspective can lead to fresh and exciting storytelling opportunities. Writers should consider how the narrative voice interacts with the illustrations and whether shifting perspectives enhance or detract from the story’s clarity and emotional impact.
The Unreliable Narrator: Adding Humor and Surprise
An unreliable narrator in picture books can create a delightful sense of humor and surprise, engaging young readers by making them active participants in discovering the truth. Books like I Want My Hat Back by Jon Klassen use an unreliable narrator to build tension and humor, as the protagonist denies knowing what happened to a missing hat—despite visual evidence to the contrary. This technique encourages children to read between the lines, fostering critical thinking and engagement. When done well, an unreliable narrator can make a story more interactive and layered, inviting rereads and discussion.
Finding the Right Perspective for Your Story
When deciding on a perspective for a picture book, consider the following questions:
- Whose point of view creates the strongest emotional connection?
- Does the chosen perspective leave room for the illustrations to tell part of the story?
- Would an unexpected perspective add humor, surprise, or a fresh take on the theme?
- Does the narrator’s voice enhance the storytelling, or is it overshadowing the action?
Perspective isn’t just about who is telling the story—it’s about how the story is experienced. By experimenting with different narrative viewpoints, picture book writers can craft stories that are engaging, innovative, and deeply resonant for young readers.
