Quotes About Narrator

Usually, when I write a novel, it takes me about 100 pages to figure out the voice of the narrator.

I could be the only sentient being in the universe. If I'm even that much. Because I don't know if there is such a thing as a reliable narrator.

I write almost always in the third person, and I don't think the narrator is male or female anyway. They're both, and young and old, and wise and silly, and sceptical and credulous, and innocent and experienced, all at once. Narrators are not even human - they're sprites.

I write almost always in the third person, and I don't think the narrator is male or female anyway. They're both, and young and old, and wise and silly, and sceptical and credulous, and innocent and experienced, all at once. Narrators are not even human - they're sprites.

What is most important to me is that my narrator's voice is believable, and that, though it is clearly an absolute fiction, it has the emotional resonance of memoir.

Using a first-person narrator is simply a matter of hearing the voice inside yourself.

'Pi' was one of my favorite films growing up because I thought it employed paranoia and voice-over, and also because it used this unreliable narrator in a very fascinating way.

He said you used him as a narrator, an interpreter of stories. I liked that term. I wondered if that was how you interacted with those around you. You wanted people's stories, not them. You cared for the tale, not the teller.

When I was writing 'You Suck,' in 2006, I constructed the diction of the book's narrator, perky Goth girl Abby Normal, from what I read on Goth blog sites.

In fact, though the books came slowly, he was a novelist to his bootlaces, an avid narrator who couldn't stop the story once it had started, who felt the terrors of existence so acutely that he had to tell them and tell them until he'd made them something else.

If you just go get one of these little fine arts degrees or writing program degrees, it never forces you to confront your responsibility as narrator, whereas any of the social sciences make you at look the interaction between the storyteller and story. Hurston understood that. But then she and I write out of despised cultures that on some level we feel we're defending.

Six silent people in a room got me to thinking about the voice we hear in our heads when we read, the universal narrator's voice you may well be hearing right now. Whose voice *is* it you're hearing? It's not your own, is it? I didn't think so. It never is. So I posed the question out loud..." ...When you read a book, whose voice is it you hear inside your head? It's certainly not my own, said Harj, and the others chimed in with the same claim. Then whose it?

The biblical narrator was therefore at pains to conceal any family connections between Israel and Egypt.

Por eso, al final el mundo es invadido por Tlön, la realidad se disuelve y se altera. El narrador se refugia nuevamente en la lectura; en otro tipo de lectura esta vez, una lectura controlada, minuciosa, la lectura como traducción. El traductor es aquí el lector perfecto, un copista que escribe lo que lee en otra lengua, que copia, fiel, un texto, y en la minuciosidad de esa lectura olvida lo real.

There are two conversations going on at the same time: the story and a conversation about how the story is being told.

Simply adored Timothy Schaffert's The Coffins of Little Hope: the voice of Essie, the narrator, is terrific & the last line blew me away.

Even the apparently unreliable narrator is more often than not reliably unreliable. Think of Kazuo Ishiguro's butler in The Remains of the Day, or of Bertie Wooster, or even of Humbert Humbert. We know that the narrator is being unreliable because the author is alerting us, through reliable manipulation, to that narrator's unreliability. A process of authorial flagging is going on; the novel teaches us how to read its narrator. Unreliably

This is merely another definition of dramatic irony: to see through a character's eyes while being encouraged to see more than the character can see (an unreliability identical to the unreliable first-person narrator's). 11

Of all writers, [Jane Austen] is the most adept at creating both characters who seem to possess an independent existence and a narrator to whom readers feel able to turn, as if to an intimate friend.

it is important that we enter the interview with a great degree of flexibility, ready not only to accept the narrator's agenda but also to modify our own.

For the most part, romance is written in third person, and it's written in multiple points of view, so you're in the hero's head, and you're in the heroine's head. I've always said that I'm more of a narrator than a creator.

I hate it when characters know things but only reveal them when it's convenient to the story. I'd never do that. That's cheating.

The narrator blames the birds. And you want to blame the birds as well. I blamed the birds for a long time. But in this story everyone is hungry, even the birds. And at this point in the story so many things have gone wrong, so many bad decisions made, that it's a wonder anyone would want to continue reading.

I prefer to be a director and a narrator rather than a writer.