The first writer I always think of when anyone talks about Omniscient Point of View (OPOV) is Clive Cussler. I think until I read his books, I didn’t think much about OPOV. And that’s because his really looks different. I never needed to look closely at the narrative to see if it was OPOV. There were whole scenes where the narrator showed us what the main character was doing from the outside.
Inca Gold is a treasure hunt for a lost Inca gold chain. One of the most striking thing in the book is the opening chapter (after the prologues), where the narrator focuses on a skeleton in the bottom of a sinkhole. There aren’t any characters in the hole yet, but the narrator is used very effectively to immediately set up the conflict that searching the sinkhole is going to be dangerous. This is one of those elements of OPOV that I like–because we can see things the protagonist cannot see or know about, we can get an additional layer of suspense. It’s one thing to know the girl enters an abandoned house rumored to be haunted, and she thinks the house looks creepy; it’s another thing for the reader to see–out of her view–that a chair moves. The reader knows something is coming, and the suspense is heightened because the protagonist doesn’t know.