Narrators Quotes

The third person narrator, instead of being omniscient, is like a constantly running surveillance tape.

I'm never a reliable narrator, unbiased or objective.

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.

For it is humanly certain that most of us remember very little of what we have read. To open almost any book a second time is to be reminded that we had forgotten well-nigh everything that the writer told us. Parting from the narrator and his narrative, we retain only a fading impression; and he, as it were, takes the book away from us and tucks it under his arm.

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.

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 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'.

The eagerness of a listener quickens the tongue of a narrator.

In a thriller, the camera's an active narrator, or can be.

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.

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.

Confession makes you a more trustworthy narrator.

I go straight from thinking about my narrator to being him.

First-person narrators is the way I know how to write a book with the greatest power and chance of artistic success.

Almost all of the stories in The Matchmaker, the Apprentice, and the Football Fan are told in the first person, yet, depending on the angle and distance of the narrator, they exert different effects. The best are those in which the speaker never poses as an objective outsider. (...) Other stories are damaged by the urge to distance the narrator.

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.

I can't reasonably pretend to be a transparent and omniscient narrator who brings no personal perspective. That person doesn't exist.

Nothing is as important as a likable narrator. Nothing holds a story together better.

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.

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

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 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.

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.

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

So a lot of what you see in the Baroque Cycle is me wanting to be one of those guys. In the case of Anathem, I needed something that was more formal, less flashy, as if it had been translated from the classical language of another planet, but enlivened with slang terms that a teenage narrator would enjoy throwing around.

Everyone is interesting except the narrator in a first-person story.

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

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!

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.

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.

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 used to be a narrator for bad mimes.

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

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.

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.

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.

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.

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.

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.

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 don't know if you've ever seen this film called Elite Squad, which, actually Wagner [Moura] is the one narrating that. José Padilha, one of creators of our show, that's where the style comes from. It has a heavy narrator. But I thought about it a lot. You [the viewers] have to work for the show, unless you're bilingual. It's a really aggressive type of filming, it's engaging, you've got to read.

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 think every first-person narrator in a novel should be compromised. I prefer that word to unreliable.

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 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.

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.

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

I have no policy, for or against: only a personal style. Which is to say, I use them when I think it's appropriate to; for example, an internal monologue by a locquacious and verbose narrator is more likely to be larded with adverbs than an exchange of instant messages between cops at a crime scene.

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