To quote a certain animated movie, the difference between a villain and a supervillain is-
Ahem. As in, how you present a scene, and especially whose point of view the scene uses, makes a big difference in how the reader sees it.
Take the example of a car crash. Do you write that from the POV of the hapless driver who just got t-boned by a speeding car? The murderous carjacker on the run from the cops who’s now trying to disentangle himself from the wreck and keep on running, gun in hand? The cops in hot pursuit, trying not to swear as they call for an ambulance and keep after the wanted killer? The innocent bystander on the street-corner breathing hard because he almost stepped into that intersection?
Is your story about action? Or daily life, and how suddenly it can go horribly wrong? Do you want your reader to feel the terror and pain of a victim of crime? The horror and indecision as a civilian has to decide whether or not to jump into the scene? The coldness and lack of remorse of the criminal, or the grim determination of the cops that this one’s not going to get away?
Whose head you’re in colors the scene. Even in a third-person omniscient POV, what each character focuses on determines what your reader will see.
I’ll be frank; I’m not a fan of third-person omniscient. I see the world as a complex and confusing place, and as one person I only have a limited grasp of what exactly is going on. So I prefer to write the piece of “what’s going on” that an individual character knows about, and let the reader decide what the pieces add up to.
Back to the car crash. For the Victim, you want a contrast. Life smooth and quiet and normal – then bam. Maybe your victim was already having a bad day. Maybe they caught a glimpse of oncoming danger before the world went sideways. But the emotions in this POV are likely to center around shock and surprise. Fear should come a hair later; you need time to be afraid.
For the Carjacker, the adrenaline is already going. Reactions here likely include anger, frustration; maybe sadistic glee in someone’s pain, maybe fear of capture. But the only reason this might ruin the Carjacker’s day is he might get caught. And he hasn’t been. Yet.
For the Cops? Some shock and horror might fit. They were chasing this guy because he was a Bad Guy with probable intent to hurt people. Now he has. They didn’t stop him in time. But they will. Determination, possible guilt at not being fast enough; maybe the thrill of the chase, their adrenaline’s up too.
Bystander is likely to be a whirl of emotions. Because that was close, so close – but it missed him. He doesn’t have to get involved. Maybe he shouldn’t get involved. Leave it to the professionals; cops with guns, ambulances with paramedics. He doesn’t want to make things worse.
(But maybe no one else is coming in time. What does he do, what does he do…?)
Think about the facts you want your reader to see, the emotions you want them to feel, and how this will advance the story. Don’t be afraid to try writing the same scene from several different POVs. Sometimes it takes a while to find the right one!