![]() ![]() Of course, one could argue that it’s possible to write a sprawling novel written from multiple first-person perspectives. ![]() Martin’s third person narrator has the flexibilty to play this scene through the eyes of a nervously excited seven-year-old while also revealing useful expositional details like the idea of a “King-beyond-the-Wall” and Westeros’s decade-long gaps between winters. It made Bran's skill prickle to think of it. Robb thought he was a wildling, his sword sworn to Mance Rayder, King-beyond-the-Wall. ![]() The man had been taken outside a small holdfast in the hills. It was the ninth year of summer, and the seventh of Bran's life. This was the first time he had been deemed old enough to go with his lord father and his brothers to see the king's justice fine. They set forth at daybreak to see a man beheaded, twenty in all, and Bran rode among them, nervous with excitement. The morning had dawned clear and cold, with a crispness that hinted at the end of summer. With each chapter break, Martin shifts to a new viewpoint character (while staying in third person), allowing him to span vast gaps in the geography of his world and give insight into each character’s personality. Martin’s Song of Ice and Fire series, an epic fantasy series sprawling in scope that features an entire chorus of POV characters. Complex stories with a large primary cast often benefit from a narrator who can swiftly move between characters and locations instead of being tethered to your viewpoint character. However, can be restrictive if you want readers to see the bigger picture. Third person stories often have a wider scopeįirst and second person stories are great for their immediacy, placing the reader right in the action. ![]()
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