I have finally resigned myself to the fact that the use of a PN-POV has been muddying not only the story, but how I approach it. I tried PN-POV with a 1P-POV and a 3P-POV with both present and past tenses. Although these POVs and tenses worked to a point, they did not further the Milly story with any substance. Depth of characters and story line was being lost, because I had been spending a lot of time rewriting POVs, and tenses, trying to make them work. More importantly, I was also losing interest in the story. It was becoming a trial just to sit at the computer and open the document.
Today, I opened the document with a renewed vigor, as I fell to a more comfortable writing style, third person omniscient (3PO-POV). I already have the first chapter layout, and rewriting it from the 3PO-POV feels right for the story. Burroway (2007) says, ‘if I persevere with writing, my voice will inevitably take on a colouration that is entirely my own’ (p. 60). King (2000) notes that, ‘words have weight, they can create sentences, sentences create paragraphs and sometimes paragraphs quicken and begin to breathe’ (p. 135). This is what changing the POV has done, it has changed the words by giving them breath.
Brown, A 2007, ‘Writing for children’, in S Earnshaw (ed.), The handbook of creative writing, Edinburgh University Press, Edinburgh.
King, S 2000, On writing: a memoir of the craft , Simon & Schuster, New York.