How to Write a Narrative in first person

If you’re an aspiring novelist exploring various perspectives, you might find our articles on writing in second person and third person omniscient helpful. In this post, we’ll provide 7 tips for crafting a first-person narrative.

When writing in first person, it’s generally recommended to use past tense. However, there are exceptions to this rule, as some novels successfully employ first person present tense. Past tense allows the narrator, who is typically the protagonist, to reflect on past events, creating an intimate storytelling experience. 

Many contemporary novels in various genres, such as Young Adult and modern Fantasy, adopt this approach.
Present tense, on the other hand, allows the narrator to recount events as they happen in the present moment.

It can be disorienting to read a story that is written in a tense that doesn’t fit the narrative. An excellent example of a first-person present tense narrative done well is found in Suzanne Collins’ The Hunger Games novels. The use of this tense in the story creates a strong sense of immersion, as the protagonist, Katniss, is constantly under surveillance by cameras. It makes readers feel as if they are Katniss, with every action being watched. The present tense in this novel is truly captivating.

When choosing a tense for your own story, it is important to consider what suits the narrative best. However, it is equally important to pay attention to what feels most natural to you as a writer. Writing a novel is already a challenging task, and using a tense that doesn’t come naturally will only make it more difficult.

If the present tense feels more natural to you, it allows you to write the entire novel without accidentally switching tenses. The same applies to using the past tense – if it comes more naturally to you, stick with it, even if the present tense may seem more engaging.

It is important to avoid jarring transitions when writing in first person point of view. Many authors make the mistake of abruptly shifting tenses, which can disrupt the flow of the narrative. For instance, instead of saying “I don’t know what they are thinking,” it would be more effective to say “I did not know what they were thinking.” This maintains consistency in the past tense narrative.

While this error is less common in present tense first person point of view, it is worth noting that flashbacks should still be written in the past tense. This is because they are events that have already occurred from the perspective of the protagonist, even if the novel is being narrated in the present tense.

Additionally, it is important to strike a balance between conversational and lyrical prose. First person point of view works best when the writing is natural and relatable. However, combining it with overly poetic and flowery language can be a mismatch. Lyrical prose, characterized by its evocative and rhythmic qualities, tends to rely heavily on alliteration, similes, and metaphors.

Writing that is excessively flowery and ornate is often referred to as purple prose. When the protagonist serves as the narrator, it is important to consider their character and avoid using language that wouldn’t naturally come from their mouth in conversation.

Conversely, there is a risk of the writing style becoming overly conversational, lacking any presence of metaphors or similes. While this approach may suit a protagonist who doesn’t think in such terms, it limits the writer’s ability to enhance the reading experience.

The best approach lies in finding a balance between a lyrical and conversational writing style. Avoid becoming overly eloquent or using words that the protagonist would never employ in dialogue. However, do not veer too far into a strictly conversational tone either.

In order to overcome these constraints, consider adopting a different perspective. When utilizing the first person point of view, it is crucial to strike a delicate balance between expressive, artistic prose and a conversational tone.

Additionally, keep in mind the protagonist’s limited understanding of their surroundings. As the story unfolds, allow the protagonist to observe and describe the other characters and the world as they would perceive them. However, when conveying these observations, it is important to remember that the protagonist possesses restricted knowledge about the world and its inhabitants.

For instance, imagine the protagonist encounters an unfamiliar individual who, after uttering only a few words, appears to possess a remarkable understanding of their age, name, and even personality. If the protagonist happens to be a psychologist or a detective, someone trained in the art of analyzing people, it would be plausible for them to draw accurate conclusions about this newfound acquaintance.

However, if the protagonist lacks such specialized knowledge, it becomes jarring and may reveal that the writer themselves already possesses this information, which is then somehow transferred to the protagonist either through magical means or subconsciously during the writing process.

When crafting a story, whether it be contemporary fiction, historical fiction, or a fantasy/science fiction novel, it is important to consider what the protagonist knows about the world they inhabit. For instance, a person from Kansas who has never been to Los Angeles should not possess knowledge about what life is like there.

In order to maintain consistency and authenticity, it is crucial to summarize and determine the extent of the protagonist’s knowledge about the world, its workings, and the other characters. It is essential to avoid providing information that would not logically be known to the protagonist.

Additionally, internal monologues play a role in storytelling. However, it is important to keep them concise and avoid excessive sharing of the protagonist’s opinions. Sometimes, these opinions may come from the writer themselves, which can be jarring and disrupt the flow of the story. Similarly, lengthy contemplation of every possible consequence when planning the protagonist’s next action can also detract from the narrative.

In any novel, when the protagonist meticulously crafts plans or deeply ponders the consequences, it often foreshadows an unexpected twist. Rather than surprising readers, this preparation sets their expectations. 

The third instance occurs when the protagonist extensively reflects on their experiences, delving into their emotions with intricate detail. This introspection slows down the story’s pace, as no actual events unfold during these contemplative moments. 

Furthermore, readers are already aware of what the protagonist has undergone, having accompanied them on their journey. This repetition proves unnecessary. Nevertheless, internal monologue serves a purpose. It allows the protagonist to possess their own beliefs and opinions, contemplate the repercussions of their actions, and reflect on their past experiences and emotions.

When individuals must make a decision based on their personal beliefs, values, or ethics, it is important to keep their thoughts concise and focused. Avoid delving too deeply into the consequences of their plans and actions, especially when conveying them through dialogue with another character present.
Furthermore, instead of extensively reflecting on the protagonist’s experiences, simply indicate that they recalled something and depict their physical reaction to the memory. For example, they may smile at a joyful recollection, shed tears, tremble, or have shaky hands if the memory is traumatic.
Exercise caution when utilizing multiple points of view and other narrative styles
Contemporary romance novels often employ dual perspectives, allowing readers to experience the thoughts and emotions of both the hero and the heroine. 

While your story may not be a romance, you might consider incorporating multiple perspectives, whether through multiple protagonists or the viewpoints of other characters.
However, it is crucial to approach the decision of utilizing multiple points of view with care, as it requires skill to differentiate each narrative voice effectively.

Switching points of view within a single chapter in a first-person narrative is an absolute no-no. If there is a need to switch points of view, it’s best to start a new chapter.

When it comes to writing in multiple first-person voices, the challenge lies in instantly convincing the reader that they have entered a different character’s mind. To tackle this, it might be wise to complete all chapters from one character’s perspective before moving on to the other. This way, the need to constantly switch writing styles can be avoided.
Many writers opt for a third-person limited point of view when introducing other characters’ perspectives. Although this breaks away from the first-person narrative of the rest of the novel, it immediately signals to readers that they are now following a different character’s journey.
However, transitioning from first person to third person in terms of narrative style may pose greater difficulties during the writing process.

Create a novel that explores different narrative perspectives, such as first person, third person limited, or third person omniscient. To make it easier, start with the protagonist and write their chapters in first person, then switch to third person for the other characters. 

However, be careful not to make all the characters sound the same if you stick to first person for all of them. Consider adding more points of view and narrative types if it enhances your story and makes it more complete.

Additionally, consider incorporating an unreliable narrator into your story. An unreliable narrator can add a captivating element to the narrative, as they may not always tell the truth when recounting their story. Keep in mind that unreliable narrators are typically found in specific genres like psychological thrillers and horror, as they often portray psychologically unstable characters.

In literature, there are various ways to convey unreliable narration, as seen in works like Chuck Palahniuk’s Fight Club and H. P. Lovecraft’s novels. While these examples focus on the protagonist’s deteriorating mental state, there is another form of unreliable narration that stems from the protagonist’s limited knowledge. It is important to refrain from sharing information about the world and other characters that the protagonist is unaware of. 

However, this does not restrict the sharing of the protagonist’s perceptions and beliefs about the world, how things operate, and the people around them. For instance, let’s consider a scenario where the protagonist harbors envy towards a colleague who always appears to be punctual and in control. The protagonist may firmly believe that this colleague leads a contented life at home, with a loving partner and well-behaved children. This perception persists until the day the protagonist offers the colleague a ride home.

In this alternate version, the text is rephrased to maintain the same ideas and context while presenting them in a fresh and original way:

Through the protagonist’s perspective, we witness a chaotic scene unfold: their partner is inebriated, the children are unruly and disrespectful, and the house is in disarray. Toys are scattered about, unwashed dishes fill the sink, and spilled liquor stains the carpet. This type of narrative, stemming from the protagonist’s limited understanding of the world and the other characters, adds depth to both the setting and the individuals involved. 

Moreover, it offers the protagonist an opportunity to learn and grow through these revelatory moments. Ultimately, this form of unreliable narration enhances worldbuilding, creates multi-dimensional characters, and allows the protagonist to evolve as they gain new knowledge.