Different perspectives in writing and speaking provide distinct moods and tones to convey information to an audience. The four categories of narrative perspective in literature are first person, second person, partial third person, and third person omniscient (Wyile ​​185). The first person uses the personal pronoun “I” to intimately connect the audience with the narrator, and the third person uses the personal pronouns “he” and “she” to describe other people's lives through the perspective of an omnipresent narrator. Second person provides a bridge between first and third person, the most common perspectives used in literature. You're not the kind of person who would be in a place like this at this time of the morning. But here we are, and it can't be said that the terrain is entirely unfamiliar, even if the details are hazy. You're in a nightclub and you're talking to a girl with a shaved head. The club is Heartbreak or Lizard Lounge. It might all clear up if I could slip into the bathroom and make some more Bolivian Marching Powder. Then again, that may not be the case. A little voice inside you insists that this epidemic lack of clarity is already the result of too much of this. (McInerney 1) In the world of prose, readers rarely find stories delicately intertwined with the subtle threads of character development intertwined with the threads of plot written from the second-person point of view. The second-person perspective, the you perspective, combines the personal aspect of the first person with the distant tone of the third person (Schofield 13) to create a confusing middle-of-the-road narrative voice. The nebulous quality of second-person narration creates an ideal atmosphere for the narrator and the narrated to develop their identities together. To here...... middle of the sheet ......ses the third report to tell Jean-Baptiste Clamence story in The Fall.Works Cited Wyile, Andrea Schwenke. “Expanding the Vision of First-Person Narration.” Children's Literature InEducation 30.3 (1999): 185-202. Literary reference center. Web. McInerney, Jay. Bright Lights, Big City: A Novel. New York: Vintage, 1987. Print.Schofield, Dennis. The second person: a point of view? The function of the second person pronoun in prose narrative. Diss. Deakin University, Victoria, 1998. Print. Mildorf, Jarmila. “Second Person Narration in Literary and Conversational Narration.” Storyworlds: A Journal of Narrative Studies 4 (2012): 75-98. Print.Richardson, Brian. Unnatural Voices: Extreme Storytelling in Modern and Contemporary Fiction. Columbus: Ohio State UP, 2006. Print.Camus, Albert and Justin O'Brien. The fall. New York: A. A. Knopf, 1956. Print.