Quotes of All Topics . Occasions . Authors
I used to be a narrator for bad mimes.
Confession makes you a more trustworthy narrator.
I'm never a reliable narrator, unbiased or objective.
In a thriller, the camera's an active narrator, or can be.
I go straight from thinking about my narrator to being him.
***A Last note from your narrator*** I am haunted by humans.
The eagerness of a listener quickens the tongue of a narrator.
Everyone is interesting except the narrator in a first-person story.
It is rare and almost impossible for a novel to have only one narrator.
As a writer I'm not an explainer, really. I'm a narrator. I mistrust explanation.
I think narrators expect a high level of intimacy with their readers, and vice versa.
Nothing is as important as a likable narrator. Nothing holds a story together better.
Using a first-person narrator is simply a matter of hearing the voice inside yourself.
My narrators tend to be women with low self-esteem, so I can send them to charm school.
I wanted to do a collection where the narrator is constant throughout, so that there's a little unity.
I think every first-person narrator in a novel should be compromised. I prefer that word to unreliable.
The third person narrator, instead of being omniscient, is like a constantly running surveillance tape.
First-person narrators is the way I know how to write a book with the greatest power and chance of artistic success.
I really believe that readers are smart and sophisticated enough to realize that the author is not the narrator of his novels.
I can't reasonably pretend to be a transparent and omniscient narrator who brings no personal perspective. That person doesn't exist.
Simply adored Timothy Schaffert's The Coffins of Little Hope: the voice of Essie, the narrator, is terrific & the last line blew me away.
Hitchcock makes it very clear to us. There's an objective and a subjective camera, like there's a third- and a first-person narrator in literature.
Fatal human malice is the staple of narrators, original sin the mother-fluid of historians. But it is a risky enterprise to have to write of virtue.
One naturally identifies to some extent with an "I" female narrator going through something that you recognize whether you've gone through it or not.
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.
A narrator should not supply interpretations of his work; otherwise he would have not written a novel, which is a machine for generating interpretations.
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.
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.
I'm starting to think my narrators' sentences are getting too big for them, and they are getting to sound a bit samey and, more disturbingly, a bit too much like me.
A miracle signifies nothing more than an event... the cause of which cannot be explained by another familiar instance, or.... which the narrator is unable to explain.
I chose the title Dogwalker because that describes me pretty well. I spend a lot of time walking around with my dogs. I'd say the narrator is me in an alternate universe.
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.
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.
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.
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.
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.
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.
I was not aware of how much I loved 'Canoa' until I saw it after doing 'Y Tu Mama Tambien' and realized that my voice - over about the story's historical context - that narrator - came from 'Canoa'.
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.
September could see it. She did not know what is was she saw. That is the disadvantage of being a heroine, rather than a narrator. She knew only that a red light glowed and went dark, glowed and went dark.
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.
I am voice actor Roger Craig Smith. You may know me as Batman, Captain America, Sonic the Hedgehog, Ezio from Assassin's Creed, Transformers: RID, or narrator of “Say Yes To the Dress” (among many other things). AMA!
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.
By definition, memoir demands a certain degree of introspection and self-disclosure: In order to fully engage a reader, the narrator has to make herself known, has to allow her own self-awareness to inform the events she describes.
The Watch is a powerful tale, courageous both in concept and creation: an ancient tale made modern, passed through different narrators in extraordinary shape-shifting prose that makes this not just an important novel, but a remarkable read.
The only difference between the narrator of contemporary affairs and the ordinary historian is that moral judgments about the present provoke fiercer reactions and have more immediately practical implications than moral judgments about the past.
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.
I'm really shocked when critics get morally outraged at my fiction because they think I'm condoning what's going on. I never come in as the author and say, "Hey, okay. I'm interrupting the narrator here. I'm Bret Easton Ellis, and I'm the author."
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.
I just respect audiences to understand that that's what goes on in movies. I just try to make movies that respect the intelligence of the audience. Respect that they understand that the narrator is always unreliable and respect that they understand that the medium can do whatever it wants.