3PO-POV

I completely re-wote chapter one in a 3PO-POV, and the story has come alive. The 3PO-POV gave me permission to take the story along routes that I could see, but could not include, when attempting to compose under the limitations of the PN & 1P-POV’s.

The disembodied hand in Milly is a, ‘personification of a typically inanimate thing that I describe in human terms’ (Anae 2017). The showing, experiencing of the door opening in the wall, is shown as, ‘symbols on the page, which the brain translates into sound and sense for our language to identify as specific to our understandings’ (Burroway 2007, p. 16). The immediate reactions to these events have a much fuller ability to ignite imagination within the reader, and the writer.

Like King’s ‘Carrie’ (1974), my story has begun to reveal my original ‘perception of my characters, may have been as erroneous as readers’ (King 2000, p. 77). I too had reached a point where it was like, ‘I was shovelling shit from a sitting position’ (King 2000, p. 78).

Thankfully, I do not feel that way anymore, and I am glad that I worked through the problems that I was having, as I once again feel excited about the direction of my story.

Anae, DN 2017, Revision: Third Person Point of View, PowerPoint presentation, CF08: Master of letters, CQUniversity e-Units, http://moodle.cqu.edu.au

Burroway, J 2007, Imaginative writing: the elements of craft, Pearson, Florida.

King, S 1974, Carrie, Anchor Books, Random House. Inc., United States of America.

King, S 2000, On writing: a memoir of the craft , Simon & Schuster, New York.

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