Martin's series is written in third person. My favorite explanation of 3rd POV (he, his, she, hers, etc) is that of a camera lens that looks over the shoulder, indeed even inside the minds if desired, of different characters, changing from one person to another with ease. Then you can pan it in and pull it out for differing views, for building and releasing tension, as well. This might be what Rod decides to use. It is the more traditional path. An example would be seeing a desert from above, like a bird, that then dives down toward a racing rider on horseback, floating behind as you feel the dirt and sand kicked in your face, then moving to inside the rider feeling the damp sweaty horse between his legs, hear the hoofbeats, smell the blood seeping from a shoulder wound. You've moved from unattached in the sky to inside the body of the rider. Actually as I re-read that first part, I envision the Firefly coming down for the Great Train Robbery. LOL. It's a well used device.
His question refers to using more than one 1st POV (I, me, mine) and alternating them, since Rod feels that is Rod's natural writing strength. 1st allows you ONLY to be in one character's mind, see what that character sees, feel what that character feels. 1st can be challenging as well. Notice how JB is limited to what Harry knows. The reader never knows anything that Harry doesn't--unless we're guessing. The difficult part is when you have two intensely internal story lines that you want to mesh at some point in the story. It ain't possible in 1st without a shift into the 2nd character. Thus the dilemma Rod must face.
Multi-1st POV is used far less frequently than 1st or 3rd.
Many writers struggle with POV issues, and making that decision is huge and not easily made. Errors halfway through (one author had to completely write from one POV to another for a publisher, which is not an easy task) are costly in time and effort.
Does that make sense? Hopefully, I haven't mis-read Rod's initial question.
