Manuscript style is dependent on both the story being told and the personality of the writer.  All fiction manuscripts must have a "point-of-view" for narration.  There are several basic points of view to select from in fiction, including:

1.         First person: Here the narrator uses the first person ("I did" stories), and this narration can be very compelling in fiction.  The author cannot step out of character, and must continue the character for the duration of the book, and you can only reveal facts to the reader that you indeed would know from the character's first hand knowledge (prologues and epilogues from a different perspective are still workable).  First person stories can be difficult to sustain when the writer also wants to tell the reader about something that happened when the writer wasn't present.

2.         Third person, subjective: Here the narration is in the third person ("he said" stories), but again there is only a single perspective or narrator, and the reader can only know information, conduct acts, or observe scenes that this single character knows, does or sees.

3.         Third person, multiple subjective: This is akin to the last type of point-of-view but allows you to change points of view with each major scene. It is important to minimize the shifts in points of view to limit confusion, and one should rarely switch points of view in the same scene or action sequence (rarely, a writer may give an alternative viewpoint of the same sequence narrated subsequent to the first, but the writer must never shift POVs within the same sequence).

4.         Third person, objective: This is identical to third person-subjective, except that the narrator never enters the mind of any character, and gives an ice-cold camera's eye recording.

5.         Authorial-omniscient: This perspective is when the writer, in effect, speaks as God.  He sees into all of his characters' hearts and minds, and may judge events.  This is a difficult point of view to capture.

Whatever point-of-view is selected, the writer needs to ensure that it remains consistent with the story.  Awkward shifts within the same scene to a different point of view can be confusing to the reader.  In the following example scene, a minor character’s point of view is used to effectively move the drama of a story forward:

Lieutenant Granger nosed his vehicle to a halt behind a fire department paramedic van.  He climbed out of the car, observing that his was the third police vehicle in front of the multi-story apartment complex. He found Eleanor's apartment, but did not recognize the local police officer standing by the door.  The large, red-headed cop glanced briefly at the identification he displayed, and moved aside for Granger to enter.

            "Sergeant Thompson still here?"  Granger asked, pausing half-way through the door.

            "Yes, sir. Right inside."

            Granger nodded and passed on through.  He knew Thompson by sight, and readily identified the man.  Thompson was casually dressed, wearing blue jeans and a slightly rumpled blue shirt, and was standing next to the couch, looking down at the couch's occupant.  Granger could appreciate the puzzled expression on Thompson's face, as he recognized Professor Mike Jameson on the couch.  He shared the bewilderment, but hoped now he might get a few answers.

            "Dr. Jameson.  Sergeant."

            Thompson looked up, and the professor stood as Granger crossed the room. 

            "Lieutenant," Jameson said, and Granger could see surprise on the man's face.  "What brings the University police here...not that I'm not glad to see a friendly face.  Are you interested in Eleanor’s break-in?"

The POV of the above scene is from Granger's perspective from the beginning when he parks his car, until the end of the scene.  The writer should only be in one person's mind at a time.