I am pleased to have Author R.F. Whong back on my blog for another guest post.
Dr. Wuwong (PhD in biochemistry, MBA in finance) has published 120+ scientificbooks and papers (under her legal name) and a few Christian fiction books under R. F. Whong. She lives in the Midwest with her husband, a retired pastor. They served together at three churches from 1987 to 2020. Her grown son works in a nearby city. She currently runs a small biotech company (www.vidasym.com) and has raised more than twenty million US dollars during the past few years for Vidasym.
In addition to her weekly newsletter and the platform (www.ruthforchrist.com), she’s active in several writers’ groups, including ACFW, Word Weavers, Facebook, and Goodreads. Through these connections, she plans newsletter/promotion swaps with others and has writersendorse her books, write forewords, and host her on guest blogs. The Minnesota Anoka County Library has chosen her as a 2025 Featured Author.
Now for her post!
Point-of-view (POV) Issues
It’s frustrating that after publishing ten fiction books and being named a 2025 Featured Author by the Minnesota Anoka County Library, I still struggle with the POV issues.
In literature and storytelling, POV refers to the narrative perspective. Major types include:
- First Person (”I”, “we”)
- Second Person (”you”)
- Third Person
- Limited (”he”, “she”, one character’s thoughts)
- Omniscient (all-knowing narrator)
- Objective (reports only observable actions/dialogue)
Optionally, we can also count:
- Third Person Multiple (different chapters/sections switch between characters)
- Unreliable Narrator (sub-variant)
In the past, the omniscient point of view (POV) was the norm in narrative fiction. Much of classic English literature, including works by Jane Austen, Charles Dickens, and Leo Tolstoy, employed an all-knowing narrator who could reveal the thoughts and feelings of any character. However, nowadays, the preference has shifted towards more limited perspectives, such as first person and close third person. Modern readers and writers often gravitate toward these perspectives for a deeper emotional connection with characters. While omniscient narration is still used, it has become less common, with contemporary literature favoring viewpoints that foster a stronger sense of immersion and psychological realism.
One challenge that arises from working in a limited point-of-view (POV) is the risk of POV violation. This occurs when an author unintentionally slips outside the chosen character’s perspective—revealing knowledge, thoughts, or observations that character could not possibly know.
Here is an example sentence from my work-in-progress, Rebellion in Heaven (to be released in 2026). In this book, Jason is the main character and the POV character.
Text:
She looked up from her phone, a sharp black bob grazing her cheekbones. “Jason Guan?” The recognition landed in her gaze.
Analysis:
- “She looked up from her phone, a sharp black bob grazing her cheekbones.” This is a physical description, which a close third-person limited could notice if Jason can see her face and hair as she looks up. No problem here.
- “Jason Guan?” This is spoken dialogue, clearly observable from Jason’s perspective.
- “The recognition landed in her gaze.” This is the trickiest part. Jason can certainly see her facial expression change and can infer recognition. Perhaps her eyes widen, her posture shifts, her mouth opens in surprise, etc. However, the phrasing “recognition landed in her gaze” is a somewhat internal or poetic way of describing her experience of recognizing Jason and could be seen as a POV violation, because Jason can’t know what she is feeling.
While “the recognition landed in her gaze” isn’t a gross violation, it’s close to head-hopping because it emphasizes her internal experience. In close third limited (Jason’s POV), the narrative should stick to what Jason can perceive and infer.
As a fiction writer, I try to ensure that every detail relayed in the narrative is consistent with the chosen character’s experience. Avoiding POV violations helps maintain the immersive quality that modern readers expect from fiction.
Here's about her book!
Suspense in Paradise... An atypical tale in Amish country
In homage to Agatha Christie, this modern-day mystery weaves together a captivating tapestry of comradeship, enigma, and suspense in the picturesque Amish community of Paradise, PA.
Haunted by the tragic events of September 11, Tina Sheng, a recent university graduate from New York, seeks solace in the inheritance left by her late grandaunt. Yet, per the will’s conditions, she must take on the role of a Christian summer camp counselor in Paradise, Pennsylvania. Upon arriving, she rescues an Amish girl and entangles herself in the mysterious disappearances of young Amish women.
Tension escalates as Tina settles into life with the camp pastor’s family. Can she place her trust in her newfound companions, especially Amelia, Pastor Pak’s eccentric college-aged daughter?
Should she stay or flee back home and risk the loss of her cherished inheritance?
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