He, she, it and they: third persons

The third person point of view is the most commonly used in literature. It gives the author the most flexibility. It uses the pronouns, he, she, it and they. If you are writing along in third person and find yourself breaking into an I, me or you, you have broken the third wall of literature as it were and need to back track or rethink your POV.
In the third person, the narrator is NOT a character in the story, but is uninvolved, an unidentified speaker. (This, by the way, does not mean that as a writer you can afford to neglect this voice. You have to have some understanding of it, some feeling about where it is coming from and how it speaks.)
Third person POV is often divided into two categories, objective and subjective. The objective is the fly-on-the-wall voice. Sheer observation, it does not include thoughts or feelings of any characters. We can’t think of a novel written from this point-of-view. If we could, we probably would not want to read it. Newspaper articles are largely written from an objective POV.
The subjective third person conveys the thoughts and feelings of one or more characters using the he, she, it and they words. If you are going to do this, you need to make decisions before you start about which characters’ thoughts you are going to reveal and when. You can’t simply hop into any old character’s head when you need to convey a thought. (This results in something called head hopping that is universally deplored by agents and editors – and gives readers the impression that the writer has multiple personalities. As people, we operate only out of our own heads so hopping about has an unnatural feel even if readers can’t identify the source of their discomfort.)
You have to limit yourself to one or more characters’ thoughts and feelings. In THE OLD MAN AND THE SEA, Ernest Hemingway tells the entire story from the perspective of the old man:
“The clouds were building up now for the trade wind and he looked ahead and saw a flight of wild ducks etching themselves against the sky over the water, then blurring, then etching again and he knew no man was ever alone on the sea.”
If you choose to write from more than one viewpoint, you have to be very clear about which one you are writing from at any given time and why. This means that you can only be in one character’s head in any one scene. Steig Larsson switches from Mikael Blomkvist’s POV to that of Lisbeth Salander in THE GIRL WITH THE DRAGON TATOO. Note, they each have their own chapters.
Next, the omniscient point of view, do you want to play God?