Writers face hundreds of choices when starting a story, but two of the most fundamental are perspective and tense. Get them right, and they become almost invisible—merging seamlessly into the story. Get them wrong, and they stick out, creating a subtle but persistent dissonance for the reader.
When I first started writing, I did so without giving this much (Read: “Any”) thought. First person, present tense—that’s just how the story fell out of me.
I mentioned that I was a complete novice, right?
I was something like sixty-thousand words into telling my story before I realised I had made the wrong choice.
First person; Present tense feels immediate, like you’re there with the person. But for me, it pushes hard against the boundaries of the illusion—I’m not there, not with them, or I’d be doing something, and I’m not—I can’t, I’m just a reader.
So, I opened a fresh document. Went back to the start of what I’d written, and I started again. Third person (limited): Past tense.
One day I might even finish that one, but that’s a topic for another day.
So, Perspective and Tense. How do you decide?
Should your story be in first person or third?
Present tense or past?
Does it even matter?
Yes. And no.
It matters because these choices shape the way a reader experiences your story. But it doesn’t matter in the sense that there isn’t a single “correct” option, only the one that best serves the story you’re telling.
Perspective: Who’s Telling the Story?
The narrative perspective determines whose eyes we see the story through. The most common choices are:
- First Person (“I ran down the street.”)
- Third Person Limited (“She ran down the street.”)
- Third Person Omniscient (“She ran down the street, unaware of the eyes watching her from the alley.”)
- Second Person (“You run down the street, heart pounding.”) (Rare, but powerful when done well.)
Each perspective creates a different relationship between the reader and the story.
First person pulls the reader deep inside the narrator’s head. It’s intimate, immediate, and personal. But it also comes with limits—your reader only knows what the narrator knows. If your story relies on tension and mystery, that can be a great tool. If your story needs a broader scope, it can be restrictive.
Third person limited gives you a little more distance while still keeping close to a character’s internal world. You can dip into thoughts, emotions, and experiences, but you’re not locked into one viewpoint for the entire novel. This is the most common choice for modern fiction because it balances intimacy with flexibility.
Third person omniscient lets the reader see everything—the thoughts of multiple characters, events happening simultaneously, and information the protagonist may not know. This perspective used to be the default for classic literature, but today, it’s much less common. Used well, it can create a sweeping, cinematic feel. Used poorly, it can feel scattered and impersonal.
Then there’s second person. The odd one out. It’s immersive, forcing the reader into the role of the protagonist. But it’s also divisive. Some readers love it. Others find it jarring. If you’re experimenting with voice, second person can be an interesting challenge. If you’re looking for the easiest way to connect with readers, it’s probably not the best choice.
Tense: When Is This Happening?
Once you’ve chosen a perspective, the next big decision is tense—is the story unfolding now, or has it already happened?
- Past Tense (“She ran down the street.”)
- Present Tense (“She runs down the street.”)
Past tense is the most traditional and widely used. It creates a natural storytelling rhythm because we’re used to hearing stories told after the fact. It feels solid, reliable, and familiar.
Present tense makes everything feel urgent and immediate. It puts the reader right in the moment, experiencing events as they happen. That can heighten tension and emotional impact, but it can also be exhausting over a long narrative.
How to Choose the Right Combination
The best way to decide is to think about the kind of experience you want to create for the reader.
If you want deep immersion in a single character’s emotions, first-person present tense can be powerful. It’s common in YA fiction because it heightens intensity and immediacy. But in a longer novel, it can start to feel restrictive, as though the reader is trapped in one perspective with no breathing room.
If you’re telling a character-driven but slightly broader story, third-person limited past tense is a natural fit. It allows you to build suspense, shift between perspectives if needed, and maintain a familiar storytelling structure.
If you want a sweeping, multi-character epic, third-person omniscient past tense can give you the scope to tell a bigger story. It’s a more traditional approach, used in historical fiction and high fantasy, but it can sometimes feel distant or overly formal if not handled carefully.
Final Thoughts
Perspective and tense should disappear into the writing. Readers shouldn’t be thinking about them—they should be too immersed in the story to notice. If something feels “off,” it might not be the plot or the dialogue—it could be that the chosen perspective or tense doesn’t quite match the story’s natural rhythm.
If you’re stuck, experiment. Write a paragraph in different combinations. See what feels right.
And if you find yourself switching between tenses mid-sentence without meaning to? Don’t worry. It happens to everyone. That’s what editing is for.