It really seems to be a matter of believing when it comes to those things. And it’s not like only one POV can inhabit a writer. As an anthropologist, I see a lot of stories from an educational POV; many stories contain heroes and villains, who are identified by their actions and attributes, while their identities are defined by the setting and the plot. Take Amanda and Josh in your Phoenix, at least what I’ve seen up to now: Josh was actively deceiving his staff in order to create a financial smokescreen and steal money from private retirement investments, Amanda thought she was on the right track, but when the sh*t hits the fan and Josh takes off, she is ridden with guilt over the crimes she helped him commit (unbeknowenst to her), ruining many people’s lives. The educational part is where we have a financial crisis, where we identified the 1% as greedy sons of b*tches, and the story helps us understand why people act the way they do in the new situation; it is an explanation, very much like the analogy of said birds and bees. Our need to explain things is an overwhelming instinct, and lacking the proper methods and tools, humans made up stories to explain the forces of nature, which in turn formed the basis of religion. Before I ramble on…

Ah yes, multiple POV’s. The urge to explain things is only part of the story. You might also argue that it is the other way around. We like to tell stories, to play, and we just take stuff that has hapened recently because it is fresh in our minds, or far back/ahead in time that we can romantisize. In the end, I think it comes from our nature, our ability to phantasize. I think I’d rather try the birds and bees thing now, that’s easier.

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