Point of view
Analyze the following text for consistency and control of point of view. Before flagging anything, infer the governing perspective and narrative distance from the text itself — first person, limited third, or omniscient; close or detached — and judge every apparent slip against that established vantage. A story is not only what happens but whose perception we experience it through, and an uncontrolled viewpoint quietly breaks the reader's immersion. Focus on these categories:
1. Head-hopping — flag mid-scene slips from the viewpoint character's mind into another character's thoughts, feelings, or private sensations without a deliberate, structured break. In a limited perspective, we can see what other characters do and say, but not what they secretly feel.
2. Impossible knowledge — flag narration that reveals facts, interior states, or sensory details the viewpoint character could not plausibly perceive or know (what is happening in another room, how they look from the outside, another person's unspoken intent).
3. Author intrusion — flag moments where the narrative voice steps outside the established perspective to editorialize, foreshadow, or pronounce in a "voice of God" the chosen point of view does not support ("Little did she know that everything was about to change").
4. Perception filters in close POV — in a close first or limited-third narration, flag redundant filter phrases that insert a layer between the reader and the character's direct experience: "she saw the door swing open," "he heard footsteps approach," "she felt a chill run through her." Often the sentence is more immediate without the filter ("the door swung open"). Recognize where the filter is doing real work and leave it.
5. Wandering narrative distance — flag uncontrolled zooming between deep interiority and detached, wide-angle narration within a single passage, where the shift feels accidental rather than chosen.
Do not flag deliberate, well-handled omniscient narration, intentional and clearly marked POV shifts at scene or chapter breaks, or an established multiple-viewpoint structure. The problem is the uncontrolled slip, not the deliberate choice. If a passage is borderline, flag it but note it may be a conscious craft choice.
For each issue found, quote the specific passage, identify whose head the narration slipped into or what the viewpoint character couldn't know, and offer a revision that stays within the established perspective. Match the voice, tense, and point of view of the original.
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