Continuing our explication of the fool's cap method as a way of wrapping our minds around a story or an idea at the start. We've come so far, we've gotten a few of the points now, we've got in genre, Act 1, Act 2, Act 3, Hero and Villain, and climax. And today I want to do number 4, which is narrative device. And what narrative device means is who tells the story and who do they tell it to? We really can't even write the first word until we answer this question for ourselves. So think about to kill a mockingbird, Harper Lee's wonderful book. She could have told the story through as the omniscient author, third person. She could have done that easily. She could have told it through the point of view of Atticus Finch. She could have told it through the point of view of Tom Robinson, the guy who's on trial in the southern town. And instead, she told it through the eyes of Atticus Finch's nine-year-old daughter Scout. And it worked like gangbusters. And she told it not as Scout in the present, a nine-year-old girl, but in memory. She told it as Scout as a grown woman, thinking back to that one particular summer. And so that's the narrative device of to kill a mockingbird. A similar device was in Moby Dick, the most one of the most famous opening lines, Call Me Ishmael. Melville could have told the story from the point of view of Captain A. Ab from an omniscient author from anything, but he picked one particular seaman and chose him to tell the story. I myself kind of did the same thing as Harper Lee in The Legend of Bag of Ants, where instead of telling it from any of the characters or from the omniscient author, I told it from the point of view of a little boy, a ten-year-old boy, who was an assistant to Bag of Ants, the caddy, but telling it as a 70-year-old man. Now, let's talk about omniscient author for a minute, because that's another narrative device, which is something Steven Spielberg loves to do that in movies and any kind of thriller or a story of that nature does it in fiction on the page. Like, for instance, in a thriller, you might have an opening scene where a limo is speeding down the street in wartime Berlin and suddenly it blows up and somebody crashes at a sidewalk and dies. Cut to some other librarian in Athens somewhere, good comes upon a passage and says, oh my god, what is this? We, the only stone of what it's about. Cut to a third thing where maybe it's our hero, maybe it's James Reese in a Jack Carbuck and our hero is, you know, on a ranch in Wyoming and a message comes in from somewhere else. So there, a third person omniscient author is the perfect way to do this. Tell that kind of a story. But the bottom line is, as we're putting together our fullscap, we got to know who's telling the story and I'll talk about this in another, who they're telling it to, because that's really important too. Now, here's just, just taking what we've got so far. What type of story it is, act one, act two, act three, in other words, the actual story. Who's the hero? Who's the villain? Who's telling the story? Narrative device. And what's the final scene? We have nothing but this. We already have a sense of what our story is and we can evaluate it in a way. This is like a pitch. Only we're pitching it to ourselves. So when we ask ourselves, is this thing going to work? Do I really like this? Does this have the elements I need that I can start? The fullscap on one page can tell you everything.