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- When the narrator stands in the story in real time, we don’t know what will happen or how it will happen, and both these questions build suspense and create narrative drive (a sense of concern and curiosity that makes you turn the page).
lidijahilje.com/blog/where-the-narrator-stands-in-timeand-why-it-matters-with-examplesWhere the Narrator Stands in Time—and Why it Matters (with ...
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Nov 6, 2020 · When the narrator stands in story in real time (whether the narrator is simultaneously the protagonist, a POV character) they don’t know what’s going to happen on the next page any more than the protagonist does. The narrator experiences the story alongside protagonist and the reader.
In just a few pages, he offers a powerful story about the relationship between art and life, through the narrator’s encounter with the oval portrait of a young woman in a chateau in the Appenines. The story repays close analysis because of the way Poe offers his story as a subtle commentary on link between life and art. Summary.
Jun 26, 2014 · Jumping around in time is the sort of narrative technique that you need a very compelling reason to include. It requires more work of the reader and so it also needs to provide commensurate reward. Assuming you're writing a story that's more or less plot-driven, that means you're not including literary devices solely for their own aesthetic value.
- Is Your Plot Moving in These Scenes?
- Are These Scenes Just as Interesting as Those Happening in “Real Time”?
- Can You Balance Full-On Dramatization with Some summation?
- Will Your Characters Have Changed During This time?
- Are These Scenes and Their Ultimate Effect Emotionally Moving?
By its very nature, a “passage of time” sequence is more concerned with time passing than things happening. But if you have nonetheless chosen to dramatize these scenes, it will be important to make sure things are still happening. For instance, if your sequence is concerned with your protagonist’s recovery, the scene goals and conflictmight concer...
Even once you’ve ensured that, yes, stuff is happening in these scenes, that’s not enough. Many a supremely boring scene has been written to be chock-full of stuff happening. What is most important is that the “stuff” in these scenes is just as interestingas what was happening in the scenes prior to this segment and what will happen when it resolve...
The choice between dramatization and summation is not strictly either/or. Depending on how much time passes in your sequence, you may choose to use both. A general summary of the time passed, coupled with a few paragraphs of dramatizationcan sometimes be just right for conveying both the necessary information and the desired effect. On the other ha...
Examine your characters’ evolution. The more heavily you choose to dramatize a passage of time section, the more weight this section will carry. If it doesn’tchange your characters, then why is it even in the story?
As noted above, the passage of time should be included in a story primarily to strengthen the story’s realism. If that realism has only to do with accomplishing tasks (such as a scientist gathering research and conducting routine trials to reach the end necessary to move the story forward from there), then there likely isn’t much need to spend a le...
Jan 5, 2021 · A Haunted House both is and is not a ghost story. In the most literal sense, the story features a ghostly couple, wandering the silent halls of a house searching for something. The narrator then...
Sep 5, 2024 · By understanding what it is and how to control it, you can both broaden and deepen the world of your story, along with your reader’s emotional connection to it. The narrative distance scale. When narrative distance is at its greatest, the story is in a distant narration mode.
When the narrator returns to the Time Traveller’s house, the Time Traveller is carrying a backpack and a camera and is about to set off on another voyage. The Time Traveller tells the narrator to wait a half hour for him while the Time Traveller goes forward and back again in time.
