Hiya.
I seem to recall a few people here have referred to Ursula Le Guin's "Steering the Craft" book now and then. She describes a mode of narration in chapter 7 called "Involved Author" which she also calls Omniscient Author. (She does not like the term omniscient). She describes this mode of narration as the most overtly manipulative, because the narrator can pop in and out of any head (or stay outside of all heads) to make their case--whatever that case may be.
The writer may tell us what anyone is thinking and feeling, interpret behavior for us, and even make judgments on character.
...the most versatile, flexible, and complex of the points of view--and probably, at this point, the most difficult for the writer.
Sounds like a good challenge, and I'm working on the accompanying 2000-word exercise, from this chapter, today. I was curious if anyone wants to chat about Involved Author narration, or has maybe worked with it. I'm not sure I am 'doing it right.' I am not sure that I am not simply head-hopping. I believe one difference is that new 'heads' are sign-posted in the narrative, before popping into them.
I'd love to hear ideas from other writers about this mode of story telling. Conversation is not intended to be a reductive "Omniscient narration means the author knows everything" --in part because examples of this style are so varied. Le Guin points to Harriet Beecher Stowe, Tolkien, Tolstoy (by the end (of War and Peace) you feel you have lived many lives; which is perhaps the greatest gift a novel can give) and others.
Any interest in chatting about the Involved Author (also called the omniscient narrator)? I'm curious what you think.
I seem to recall a few people here have referred to Ursula Le Guin's "Steering the Craft" book now and then. She describes a mode of narration in chapter 7 called "Involved Author" which she also calls Omniscient Author. (She does not like the term omniscient). She describes this mode of narration as the most overtly manipulative, because the narrator can pop in and out of any head (or stay outside of all heads) to make their case--whatever that case may be.
The writer may tell us what anyone is thinking and feeling, interpret behavior for us, and even make judgments on character.
...the most versatile, flexible, and complex of the points of view--and probably, at this point, the most difficult for the writer.
Sounds like a good challenge, and I'm working on the accompanying 2000-word exercise, from this chapter, today. I was curious if anyone wants to chat about Involved Author narration, or has maybe worked with it. I'm not sure I am 'doing it right.' I am not sure that I am not simply head-hopping. I believe one difference is that new 'heads' are sign-posted in the narrative, before popping into them.
I'd love to hear ideas from other writers about this mode of story telling. Conversation is not intended to be a reductive "Omniscient narration means the author knows everything" --in part because examples of this style are so varied. Le Guin points to Harriet Beecher Stowe, Tolkien, Tolstoy (by the end (of War and Peace) you feel you have lived many lives; which is perhaps the greatest gift a novel can give) and others.
Any interest in chatting about the Involved Author (also called the omniscient narrator)? I'm curious what you think.