Writers often speak in metaphors, especially when discussing our craft. We sculpt stories like clay, carve them like wood, and paint pictures with prose. We talk about composing musical dialogue. The phrase “honing your craft” is so common in writing workshops—and other creative fields—that most people forget “hone” originally referred to a whetstone, a literal sharpening tool. One particularly useful metaphor, especially when talking about point of view (POV), is the idea of camera distance—imagining the author’s narrative lens as if it were a camera’s eye.
This metaphor may feel abstract, shifting our creative frame from sculpture and painting into the world of photography and film. But in today’s media-saturated culture, cinema and video have become primary vehicles for storytelling. Thinking of POV in camera terms—zoom, crop, pan, switch angles—gives writers a helpful vocabulary and framework to talk about complex narrative choices. What was once vague becomes more defined.
In film, temporal distance (the time gap between the narrator’s perspective and the events being told) is most obvious during flashbacks or with voiceover narration. Think of The Wonder Years, where the child protagonist’s story is told in the voice of his adult self, reflecting on childhood events from a span of decades. The narrative voice is first person, but the distance is substantial.
Another example: The Shawshank Redemption. Though the film centers on Andy Dufresne, it’s narrated by Red, whose voice (Morgan Freeman) guides us through events long past. It’s third person, but again, with significant narrative distance.
In literature, temporal distance is shaped by more than just structure—it’s conveyed through tense, word choice, syntax, and the narrator’s attitude toward the events. A child protagonist seen through a close third-person lens might be presented with simple vocabulary and a limited emotional vocabulary, giving the reader a strong sense of being “in the moment” with that child. But inconsistency in tone, diction, or perspective—especially within the same scene—can disrupt that illusion and confuse the reader.
By contrast, a narrator recounting events from adulthood might impose reflection or judgment, using language that suggests wisdom or regret. This creates narrative distance and alters how the reader interprets the character’s actions. That’s why it’s vital for writers to consider not only who is telling the story, but when and from what emotional vantage point.
Spatial distance is where the camera analogy becomes especially powerful. Imagine you’re shooting a scene in a film: What’s in the frame? Are we seeing the big picture—a wide shot of a beach dotted with umbrellas and sunbathers—or are we nose-to-nose with someone, close enough to see sweat, pores, and crow’s feet? The first evokes detachment, the second, intimacy.
If your narrator observes something that could only be seen from afar, you’re establishing distance. But when the narrative attention zooms in on sensory details—the texture of fabric, a twitch in someone’s jaw, the taste of salt in the air—that’s the equivalent of a handheld camera in the POV character’s grip. Similarly, entering a character’s thoughts draws us close; omitting them keeps us removed.
Shifting between these narrative “camera angles” is delicate work. While stories rarely stay in a single mode throughout, too many abrupt shifts can disorient the reader. It’s like watching a film with erratic editing—you lose track of the scene, the mood, and the perspective.
Consistent treatment of POV enhances immersion. It establishes narrative authority and guides how readers relate to characters. Ultimately, it shapes the voice of the story and influences how readers interpret its themes. Whether you’re zooming in tight or pulling back for a panoramic view, being deliberate about narrative distance allows you to write with greater clarity, control, and power.
Recommended reading:
- POV Part I: POV Mistakes That Sabotage Your Story – How to Spot and Fix Head-Hopping Before Your Reader Notices
- POV Part III: Mastering Third-Person Point of View – A Fiction Writer’s Guide to Third-Person Perspective, from Omniscient to Objective
Looking for feedback on how you’re managing point of view in your novel or guidance on how you can handle viewpoint more effectively? Contact Ross Browne in the Tucson office to work with an experienced editor who can help.
