When people talk about Narrative modes and Narrative Point of view it all sounds very complicated. Often it's instinctive. It's the choices of whether the story is told as 'I' or 'you' and whether it's in the Past Tense ('I said') or the Present Tense ('I say.')
Narrative modes in fiction are the methods that writers use to tell their stories. In other words, everything that encompasses basic storytelling elements.
Narrative Tense is when the story happens. Stories may be told in the Present Tense or in the Past Tense. The Past Tense is still the conventional tense for telling a story and many writers find it the easiest to handle. The Present Tense is more immediate, taking the reader into the heart of the protagonists' lives, combined with First Person point of view it can be incredibly powerful.
Narrative Point of View
The narrative point of view (POV) is the way of linking the narrator to the story.
If the reader doesn't feel interest, liking or empathy for the main characters (the narrating characters) they are unlikely to carry on reading.
I wake up too late to go home before work and I feel glad I’ve brought a suitable change of clothes, but when I walk into the departmental office I wish I'd skived off for the day. The atmosphere's distinctly nasty. Lucy is listing all the changes Maris has made and scowling at Neil, who has lost his usual indifference to her attitude. He's in a foul mood and holding his head at a funny angle, which actually isn't funny because he's obviously in pain.
"Where's Sara?" I ask.
"Off sick," says Neil. "She went home in tears because someone upset her."
I follow the direction of his glare. "Lucy, what did you say to her?"
"I merely commented on the state of her desk. That girl has no idea of order."
"She manages if she's left to work in her own way." For the money the College pays we can't expect better than Sara and, in the past, we've had a great deal worse. "Lucy we're grateful to you for stepping into the breach but I asked you to keep things running, not to close the departmental office. Sara isn't your responsibility."
I wake up when they're well into the post-mortem. They've got to the bit that requires drilling through the centre of my head. The pain helps me suss out I'm not dead and whoever's doing the drilling is doing it from inside. I make it to my feet, do an urgent pit-stop at the cloakroom, then out to the kitchen. I drink half a gallon of water followed by black, sweet, instant coffee and manage to choke down paracetamol.
When I get to the Incident Room, Roebuck sends for me. He looks down his nose like he's trying to decide what stone I was under before I crawled into his office.
He glares at me and I think he's going to take me off the case. I don’t want that, not until we know about the kid and whether the link to Elmwash is for real. To my surprise he says, "I've got two important jobs for you. The Family Support Officer has had to take some leave. Can you liaise with the Frewers until she gets back?"
"Yes sir." That's shoving me right into the heart of the case.
"And there's something else. You know the Elmwash investigation inside out. I want you to interview the witnesses in this case and review the evidence to see if you can spot anything significant."
"Anything that ties this in with the Elmwash case."
"The Elmwash killer's dead."
"No, Ernest Clift is dead. I trust you'll approach this with an open mind. Take Detective Constable Kelly with you, it's best to have a woman on the job."