How to Avoid “Head-Hopping:” Second-Person Point of View
Choosing a perspective through which to tell a story is one of the most, if not the most, important things a writer has to decide. Do readers need a deep, emotional understanding of one single character, experiencing events as they do? Or would it benefit them to take a step back, remaining as a fly on the wall?
Having a point of view (or narrative voice) can’t be avoided. Every piece of writing has one. Who your characters are—their beliefs, impressions, and reactions—is what informs how a story is told. As a writer, there are three main perspectives to choose from: first, second, or third-person narration.
Each offers different creative opportunities, and it can take some time to find the right voice. But once you do, stick with it! Confusion in point of view is one of the most common issues I encounter. This is known as “head-hopping.” It is likely to cause confusion, and may even break the spell you’ve so carefully crafted and take readers out of the story. And no one wants that!
So, let’s break down each type and explore how to avoid the dreaded “head-hop.” We’ll continue with the perspective that is least used (and therefore much less familiar): second-person.
>> Don’t miss the other posts in the series: How to Avoid “Head-Hopping:” First-Person Point of View and How to Avoid “Head-Hopping:” Third-Person Point of View <<
THE BASICS
The second-person point of view is rare in fiction. Rather, it is predominately found in things like nonfiction works and professional communications. In this type of narrative, the author breaks the fourth wall and directly addresses the reader—but it goes beyond what common cinematic or theatrical examples may come to mind. This direct point of view not only breaks the fourth wall but it makes an onlooker part of the narrative. The entire story is from this onlooker’s perspective, who is usually the reader themselves. The pronoun “you” is used to convey action.
An oft-quoted example of the second-person point of view is Bright Lights, Big City by Jay McInerney. There is no remove, no barrier, between the reader and the protagonist. This example from the book may help with understanding how this perspective is displayed on the page:
“Eventually you ascend the stairs to the street. You think of Plato's pilgrims climbing out of the cave, from the shadow world of appearances toward things as they really are, and you wonder if it is possible to change in this life. Being with a philosopher makes you think.”
The narration is telling you—the reader, and the character only known as “You”—what you are doing and how you are feeling.
PROS & CONS OF SECOND-PERSON POV
The second-person point of view is rare in fiction because it is more effective in short pieces. It is naturally persuasive, which is why it is often used in blog posts and advertisements. (You don’t want to miss this!) But there are a couple of reasons authors may consider this perspective.
Blurring the line between fiction and reality can create real intimacy between the reader and any protagonist. (This is why it is occasionally used as a narrative device. For example, when Jane Eyre infamously states, “Reader, I married him.” As this would likely stray from the perspective of the rest of the novel, an author has to be deliberate about its use.)
It is one way to stand out from the crowd!
Otherwise, there are few advantages to this second-person point of view. It can easily confuse readers, it is difficult to maintain over long works and effectively develop a story or characters, and it takes a lot of time to become proficient.
HOW TO AVOID “HEAD-HOPPING”
As with the first-person perspective, it is considered head-hopping whenever something the point-of-view cannot know is conveyed to the reader. Given the unique relationship between the reader and the main character in this perspective, it is also easy to confuse point of view by accidentally straying into the third person. This will often crop up when a character poses a question, or when “you” refers to someone other than the onlooker/point of view character.
Picture a couple getting ready for a night out, and one has lost their earrings. In the third-person point of view, the viewpoint character would be asked a direct question: “Do you know where my earrings are?” In the second-person point of view, this question would be more indirect, written almost a statement: “Turning to you, Jamie asks if you know where the earrings are.”
FINAL THOUGHTS
Although difficult, I encourage everyone to play around with the second-person point of view. It may help you bust out of a creative rut, and could be especially intriguing to explore in short fiction. Why not give it a shot?
If interested in reading more examples of the second-person point of view, check out the following titles, stories, and vignettes:
Oh, the Places You’ll Go! by Dr. Seuss
“How to Be an Other Woman” from Self-Help by Lorrie Moore
“Anticipation” from The Night Circus by Erin Morgenstern
If On a Winter’s Night a Traveler by Italo Calvino.
Thanks for reading! I hope this helps you better understand the second-person point of view. Next, we’ll explore the most common viewpoint: the third-person perspective. Questions? I’m happy to answer them in the comments.
Until next time, keep creating,
>> Don’t miss the other posts in the series: How to Avoid “Head-Hopping:” First-Person Point of View and How to Avoid “Head-Hopping:” Third-Person Point of View <<
(Post Photo by Ariel Lustre on Unsplash)