Point of view: (in fictional writing) the narrator's position in relation to the story being told; the position from which something or someone is observed.

That's how the Oxford American College Dictionary (2001) defines POV. It's a simple, basic storytelling element that puts the reader in the position of the one telling us what's what. We see each scene unfold through this character's eyes, we experience their feelings, we know their thoughts. It's usually the main character, though it doesn't have to be.

I wrote my novel Jazz Baby in the first person POV of thirteen-year-old Emily Ann Teegarten. She's the only one telling us her story, telling us about her life, about the trials and triumphs she's encountered. She may comment on what other characters are doing, what they say directly to her or within earshot of her hearing, or of the activities of those around her--as Emily sees these activities unfold. What she doesn't tell us is, the thoughts of the other character, what they are feeling, or what they are doing when they aren't anywhere near Emily. How would this girl know these things without being a mind reader?

This POV thing seems to be a big issue with many indie writers these days. If the POV shifts from one character to another, within the same scene, there's a serious flaw in the story. I see this often. I usually close the book at this point and never finish it. Pick a POV and stick with that character. Don't let every character in your story have a go at telling readers what's really going on. It's such a major disappointment to purchase a book, to settle in for a good read, only to find the Point Of View bouncing around like a Ping-Pong ball in a blender.

To Kill A Mockingbird is told from the point of view of young Scout Finch. Never once does she tell us of something she hasn't personally seen, heard, or felt. Scout can't tell us what her brother Jem is feeling or thinking. She can't possibly know what father Atticus is contemplating as he prepares to represent an innocent man accused of a heinous crime. Why? Because Scout Finch is a little girl, not an all-knowing entity. She's not God. She certainly isn't a mind reader. But she is the one telling us this amazing story, relaying to readers all that she is seeing and understanding with her child's mind.

Yet, any serious reader has seen far too many of these mind-boggling POV-shifting published works. They usually go something like this: Jimmy slides into the restaurant unnoticed. He slips into a corner booth and pretends to read the menu. Mary, a girl from his office, is already there, eating a ham and cheese sandwich, though she'd really rather have had a turkey on rye.

Everything is fine until we read that Mary really wanted that turkey on rye. How the hell would Jimmy know what's going through Mary's mind? He just arrived at the restaurant. He's not sitting with Mary. Nowhere in this brief scene do we see these two characters chatting about turkey sandwiches--or anything else, for that matter.

And Jimmy can't tell us that the waitress who took his order is about to be evicted from her apartment, which is why she screwed up and brought him a steak well-done, rather than the bloody-rare hunk of meat he'd asked for. Did she tell him her troubles? If she did, the author must show this to the readers before it's mentioned, then it's a known angle to the plot. If she didn't tell him, then Jimmy can't possibly know this detail.

Another example of bad POV shifting goes like this: Jimmy slides into the restaurant unnoticed. He slips into a corner booth and pretends to read the menu. Mary notices the stain on her skirt as the waitress brings her ham and cheese sandwich to the table. Club soda, she decides, will get that stain out.

What's up with that? We see the scene through Jimmy's eyes at first, then poof! we're seeing the scene through Mary's eyes. That is a serious flaw that will ultimately cost this writer readers.

Sure, it's not a problem if one character tells the story in one chapter, while another character takes over in the next. Have a read of the brilliant Barbara Kingsolver novel The Poisonwood Bible to see it done properly. But to shift the POV in the middle of a scene or chapter is confusing to the reader. Who the hell is telling the story? Entice your readers, enthrall them, but don't confuse them. Who wants to shell out hard-earned money just for the headache that comes with confusion?

And a word to the up-and-coming indie author: Forget the all-knowing POV idea; it's outdated and just plain amateurish--unless God is your narrator.

Remember: Just pick a POV and stick with it. A good writer makes for many happy readers.