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The narration moves between characters in third-person omniscient, showing their thoughts and fears while keeping the mystery alive and helping to maintain suspense.

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the narration shifts regularly from third person to first person showing the thoughts of the characters throughout the mystery of finding out who is the actual killer.

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The narrative voice of the text is in third person omniscient, letting us see what each character thinks and feels while keeping mystery alive.

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Declarative sentences are more in the text but exclamatory and interrogative sentences are used to reflect the characters' fear and confusion. For example, "What exactly did you tell those people?" This question shows the characters' attempts to piece together the mystery and understand each other’s roles. Christie uses long sentence when describing and shorter sentences when creating the atmosphere of suspense. This reflects on the reader creating suspense ,these sentences can mirror the characters’ spiraling thoughts, drawing the reader deeper into their fear and uncertainty. On the other hand, the shorter lines and abrupt sentences create moments of action or shock.

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Throughout the chapter, specific words are used to add to the tensive and eerie atmosphere that the author wants to convey. Words such as "murder", "death", and "suspicious" are scattered. These words alone directly connect to the themes of death and paranoia. Agatha Christie intentionally uses this diction to bring out the suspense and impending doom that the story illuminates. In this case, the reader has this gut feeling that something twisted is going to occur. In addition, they foreshadow the fates of the characters as they grapple with their conscience.

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In And Then There Were None, Agatha Christie uses long sentences to describe shorter sentences and builds tension and keep readers focused on the action.

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In "And Then There Were None" Agatha Christie sets the tone with the use of direct and uncomplicated language since the story is a work of mystery. For example, ‘the sound of the sea’ and ‘the closed door’ are concrete and descriptive evocations of the island’s remoteness, while words such as ‘fear’ and ‘suspicious’, which are more abstract, illustrate the discomfort of the characters. In addition, the language used is also formal in tone, reinforcing the language used in previous times. For instance, even when scared, one character is able to say politely, ‘I don’t quite understand, Doctor. Why are you so sure?’

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From the reader’s perspective, Agatha Christie’s word choice in Chapters 6 and 7 heightens suspense and distrust, drawing readers into the psychological turmoil of the characters. Clinical terms like “overdose” and “blow to the head” lend authenticity but also make Dr. Armstrong’s observations feel cold and detached, raising questions about his reliability. The recurring references to fear and guilt, alongside phrases like “died of fright,” invite readers to speculate on whether supernatural forces or human manipulation are at play. The ominous repetition of the “Ten Little Soldiers” rhyme serves as a chilling reminder of the characters’ fates, reinforcing the sense of inevitable doom. By using ambiguous language and internal questioning, Christie ensures that readers, much like the characters, remain uncertain about whom to trust, deepening the mystery.

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In Chapters 6-7, the third-person narrative voice delves into multiple characters’ thoughts and emotions, maintaining the mystery while exploring their growing paranoia. For example, in Chapter 6, Vera’s fear is conveyed as she reflects, “She felt as though her nerves were being strained on some invisible rack.” Similarly, in Chapter 7, Lombard’s suspicion is evident: “And if the murderer was one of them? Then it was someone he had sat and talked with—someone whose hand had touched his own.” The shifting focus between characters reveals their inner turmoil while withholding the identity of the murderer, preserving the suspense.

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In And Then There Were None, Agatha Christie uses third-person omniscient narration but incorporates subtle shifts that mimic first- and second-person perspectives to heighten tension and immerse the reader. The third-person view allows insight into multiple characters’ thoughts, exposing their guilt, fears, and suspicions while keeping the murderer’s identity hidden. At times, Christie delves deeply into a character’s introspection, such as Dr. Armstrong’s guilt or Vera’s anxiety, creating a first-person-like intimacy that draws the reader into their psyche. Additionally, moments of direct questioning or paranoia “What if they were all guilty?”, create a second-person effect, inviting the reader to share the characters’ unease. By switching focus between characters, especially in group scenes, Christie fosters mistrust and uncertainty, reflecting the chaos on the island while keeping the mystery alive.

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Christie uses simple, accessible language with a mix of literal and figurative expressions.Agatha Christie uses figurative language sparingly in And Then There Were None to heighten suspense, create vivid imagery, and evoke emotion.For example,"The sea... murmuring as it drew back from the rocks, like a reluctant guest who can think of no excuse for staying."This simile paints the sea as an uneasy presence, mirroring the tension and discomfort on the island.

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In "And Then There Were None", Agatha Christie uses long and meaningful sentences to describe shorter sentences and builds tension and keep readers focused on the action.

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In And Then There Were None, the sentence structure alternates between short, abrupt sentences and longer, descriptive ones to heighten tension and reflect the characters’ fear. For example, in Chapter 6, the brevity of “The sea... so still and silent. It could be cruel.” mirrors Vera’s growing dread. In contrast, longer sentences are used for atmosphere or reflection, such as in Chapter 7: “The wind blew stronger now, and the waves broke on the rocks below with a deep booming echo that filled the silence of the island.” This dynamic use of sentence length amplifies the suspense and isolation felt by the characters.

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In And Then There Were None, Agatha Christie’s varied sentence structures intensify the suspense and mirror the characters' growing fear. She often uses short, sharp sentences like “It was coming. He was sure of it.” to create urgency, increasing the sense of danger. These concise lines reflect the characters' racing thoughts and paranoia. In contrast, longer sentences appear in scene descriptions, immersing the reader in the island’s eerie atmosphere: “The wind blew from the sea in great, chilling gusts, and the waves crashed heavily against the rocks.” Christie also uses interrupted sentences and ellipses to reveal hesitation and dread, as in, “She couldn’t quite explain it… but something felt wrong.” This variation in structure keeps readers on edge, echoing the characters' own anxiety and uncertainty. The shifting rhythm of her sentences builds an unpredictable, tense mood, drawing readers deeper into the mystery.

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The author uses a third person perspective

to the theme of horror. A third person perspective creates a separation between the audience and the characters which emphasizes on the feelings from what they witnessed. Christie mentions, "They were all afraid of each other." This line helps the audience comprehend the frightening atmosphere dominating the characters emotions through the third pov by creating a disconnection between them and the readers.