Narrators Quotes - Page 2

It is rare and almost impossible for a novel to have only one narrator.

The thing I love about Dickens is the omniscient, omnipotent narrator, and the great confidence of the narrator, which marks 19th-century novelists in general and Dickens in particular.

I personally just want to do as many different things as I can do, whether it's comedy, drama, science fiction, horror, narrator... You've got a documentary, I've got a voice. Animated films. Big films, small films.

My narrators tend to be women with low self-esteem, so I can send them to charm school.

I really believe that readers are smart and sophisticated enough to realize that the author is not the narrator of his novels.

Lauren Kirshner creates a first-person narrator you never stop rooting for. . . . [Where We Have to Go] highlights Kirshner as a new novelist to watch. A very strong, original debut.

Once I got interested in organized crime, and, specifically, Jewish organized crime, I got very interested in it. I have learned that, like my narrator Hannah, I'm a crime writer in my own peculiar way. Crime with a capital "C" is the subject that I'm stuck with - even Sway is about "crime" in a certain way. The nice thing about crime is that it enables you to deal with some big questioO

If you have a single narrator, a person like an "I" - "'I' did this" and "'I' did that" - it automatically solves the most difficult problem in writing.

I think narrators expect a high level of intimacy with their readers, and vice versa.

I used to be a narrator for bad mimes.

In the end, history, especially British history with its succession of thrilling illuminations, should be, as all her most accomplished narrators have promised, not just instruction but pleasure.

Very often, or perhaps more often, and even in very good collections - even in some of the best collections ever written, I would argue - it's because our "voicier" writers hew so closely to one given set of dictional tics that we as readers can't read the books all the way through in a single sitting, because if we did, the stories and their narrators would all start to bleed together.

I think every narrator is an unreliable narrator. In its classic definition - an unreliable narrator is one who reveals something they don't know themselves to be revealing. We all do that.

I think first-person narrators should be complex, because otherwise the first-person is too shallow and predictable. I like a first-person narrator who can't totally be trusted.

One of the strategies for doing first-person is to make the narrator very knowing, so that the reader is with somebody who has a take on everything they observe.

Consider the different narrative styles within the story, and the glee with which the "moralistic narrator" celebrates Aschenbach's fall - maybe, then, this is a hostile verdict and the international fame is warranted after all (given that Mann modeled his protagonist so closely on himself, it would be quite odd if he had intended Aschenbach's literary inferiority to be a fixed part of the interpretation).

I very much like the idea of the unreliable narrator. Shaping my fictions as monologues - by introducing the "I" - allows me to be as unreliable as I like.

We see everything from the narrator's point of view, so exposition about the world is limited to what impinges directly on him and the story he's telling. Considering how old the world is, we learn very little about its history, which I think is a good thing.

***A Last note from your narrator*** I am haunted by humans.

Even while I was working on the novel I would also write short stories as relief, just to be in a wieldier world that could negotiated more easily and more quickly. In the novel, I even changed the narrator from a man to a woman.

It's a rare memoir that can tell a story that seems brand new, but Nina Here Nor There does it. This one-of-a-kind narrator undertakes a quest that is unmistakably timely. But in its yearning for awareness and connection, this book feels timeless.

Using a dog as a narrator has limitations and it has advantages. The limitations are that a dog cannot speak. A dog has no thumbs. A dog can't communicate his thoughts except with gestures.

But music doesn't sum up my approach to literature - even in Vain Art of the Fugue. To 'fugue' I had to invent 'trap-words,' or words that would force the narrator to turn around and start his path anew.

As a writer I'm not an explainer, really. I'm a narrator. I mistrust explanation.

Narrator: You had to give it to him: he had a plan. And it started to make sense, in a Tyler sort of way. No fear. No distractions. The ability to let that which does not matter truly slide.