Hello and welcome to the StoryGrid podcast. My name is Tim Graal and I'm your host and I am the guy that does all the behind the scene stuff here at StoryGrid.

And I'm a writer that's trying to figure out how to tell a story that works.

And joining me, I have three people joining me.

Sean Coyne, he's the creator of StoryGrid and the founder of StoryGrid.

And he wrote the book, The Story Grid. And then we have Danielle Kiyoski. She's the chief

academic officer at StoryGrid Universe. And we have Leslie Watts, the editor-in-chief at StoryGrid

publishing. And Leslie is the one that's going to be leading the way this

week as we dive into point of view. So Leslie, I'm going to let you take it away.

Okay, great. So I want to start with the big picture. We're going to talk about point of view

analysis today, but I want to walk us back from where we've

started to where we are now. So we started with the five genre clover leaves, and from that we

generated what we now call the pop, and that's the proposition of possibility.

And that proposition of possibility or pop is what generates and constrains the problem space

for the story. And the cool thing is that it also generates the spec sheet for the author.

So that brings us down to narrative device.

And with narrative device, we take that pop and we generate and constrain what I would

call the communication space in the narrative device.

And so within that space, we're looking at communication

from the author, who is a specific identified role to Sam, our single audience member,

who's also a very specific person, and Sam has a problem.

And that problem is reflected from the problem that we identify in the pop.

So from the narrative device, we get a what I'm calling right now and as if.

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