Story – Robert McKee's Creative Storytelling Magazine Issue 005 – Drew Carey - Page 54

MCKEE INTERVIEWS STEVEN PRESSFIELD what a guy wrote back then. RM: Yes, yes. That’s as old as Robinson Crusoe. SP: I know, but that kind of works in a way, I think. RM: Do you know why? Do you know why this device first began? SP: No. RM: What you do–you write novels–300 or more years ago, that was thought to be photography. That was thought to be the lowest of the low, because real writing was epic poetry or history. It had to be factual. That somebody would write something as if it were history, and then it’s fiction, was thought to be immoral. SP: Really? I didn’t know that. RM: So, how did the writer get around with it? Defoe says at the beginning of Robinson Crusoe, “I found this manuscript washed up on a beach.” SP: Yeah. RM: Well, here it is. I’m just giving it to you. All kinds of lies and conceits opened novels in those days to say, “Hey, this is history,” and so that device continues. SP: Yeah. It’s a very liberating device from a writer’s point of view. It’s like, “Here, I found this. It’s not mine, I just found it.” Then, as a writer, you can really get into it. his mom and dad. RM: Then the audience is happy to go along with it. Wonderful. Now, the person is one aspect of a point of view. The other is the physical point of view, where you put that person, what he sees, hears, and says and how he moves through space. You’ve got an outline, where something has to happen. Then you imagine it in its location, and then you’ve got your character. How do you work the physical point of view in a scene? SP: And nobody notices him. He’s there and he sees everything, and people will confide in him. So it was no problem to negotiate him into a scene. I think when you’re using a first-person narrator, it is important to find one that can seamlessly be in every scene. SP: I’m not sure. I just kind of do it. I don’t know if this is answering it, Bob, but as you have said in your classes, a lot of times there will be cops, or detectives will be protagonists, or lawyers, or they’ll be the point of view because it’s the nature of them to investigate. They have permission to go into your house and go through your stuff, and all that kind of thing. RM: If you could only see the scene from the child’s point of view, from the foot soldier’s point of view, or from Alexander’s point of view because of that limitation, doesn’t that force you to figure out strategies of physical point of view that you wouldn’t have had if you were omniscient and could be anywhere you wanted? So I think I will always, if I’m having a narrator, which I always do, I will try to make sure that he, as seamlessl