Ude, Wayne. Teaching Point of View. Creative Writing in America.

This chapter simply shows a lesson that Ude gives his students to teach them point of view. The lesson is fine and I'll document here that I might want to go back to this chapter when I teach POV in the future; however, I don't have much to comment on as far as theory and pedagogy goes. Ude does define the different points of view well, though:

First person central: The narrator uses "I" to refer to him- or herself as a character and is also the central character in the work, i.e. Catcher in the Rye.

First person peripheral: The narrator stlll uses "I" and is a character, but not the central character, i.e. Sonny's Blues.

Third person limited: The narrator is not a character in the story and tells the story using "he" or "she" rather than "I," but limiits him- or herself only to whgat one character in the story could know. i.e., Eudora Welty's A Worn Path.

Third person shifting: the narrator is not a character, uses "he" and "she," and presents only what is known to characters in the story, but shifts from character to character, i.e. Dinesen's Sorrow-Acre: (This is what I'm trying to do now in the novel I'm working on.)

Editorial Omniscient: The narrator is not a character, is not limited to what characters might know, and is also free to comment on action, move around in space and time, move from character to character, i.e. William Faulkner's Barn Burning.

Neutral Omniscient: Maintains all the freedoms of editorial omniscience except the freedom to comment, i.e. Shirley Jackson's The Lottery.

Objective or Effaced Narrator: attempts to be scenic and dramatic so that there seems to be no narrator present to interpose him- or herself between the reader and the material, and who rarely or never goes into character's minds, and then only shallowly, i.e. Hemingway's "Hills Like White Elephants."

Stream-of-Consciousness: Seems to be no narrator; the reader seems to be listening in on the character's mind (138).