disenchantment certainly awaits you, if you are entering Sevastopol for the first time.
In vain will you seek, on even a single countenance, for traces of anxiety, discomposure, or even of enthusiasm, readiness for death, decision, — there is nothing of the sort.
You will see the tradespeople quietly engaged in the duties of their callings, so that, possibly, you may reproach yourself for superfluous raptures, you may entertain some doubt as to the justice of the ideas regarding the heroism of the defenders of Sevastopol which you have formed from stories, descriptions, and the sights and sounds on the northern side.
As you can see, second person almost turns the reader into a participant in the story.
In this point of view, the reader becomes an outsider looking in on the story as it’s told from the main character’s perspective using he/she/they.
Although the story is told from the character’s perspective, it’s told in the author’s voice (though there is one exception to this which we’ll get to in a moment! There are three types of third person: Third Person Omniscient, Third Person Limited, and Deep Point of View.
For commercial fiction written for entertainment, it’s best to skip it.
Though it isn’t popular, authors can and have used second person successfully.
Let’s look at the options available to you as a writer.
You’ve probably come across this one before, as it’s one of the most popular points of view (POV) used in fiction, especially in Young Adult novels.