I’m going to start my write-up of Nine Worlds with the presentation I made, purely because a number of people asked for a copy of my slides and I promised to put them up here. The subject was ‘Choosing your narrative technique in order to have the desired impact on your audience’. I deliberately used the word ‘audience’ rather than ‘reader’ as it’s more applicable across different media (although I forgot to take games into much account, for which I must offer particular apologies to Ian Thomas of Talespinners).
As I said last week, this is the first time I’ve done public speaking in about two decades so I was super-nervous but the audience were lovely and engaged (because this is Nine Worlds, and that’s what Nine Worlds audiences are). I also learned a couple of things in turn – like uses for 2nd POV, which I’ll be looking into more in a later blog post – so wins all around, really.
A lot of what I talked about are things I’ve covered here in the past, so what I’m actually going to post about today are the things I *forgot* to say at the weekend, or skipped over in minimal detail. To make any sense of what follows, you’ll need to look at the slides.
Slide 2: Immanent Rules
This relates to your choice of narrative structure and voice. In simple terms, what is the default structure of a particular story? How many times does it change level of narrator, and when (are flashbacks always in someone else’s voice, for example)? Is the timeline linear? Once we work those out – and usually it’s pretty instinctive – we can also spot if and when the story breaks its own rules. Then we can ask why it was done and what impact it created on the audience.
Slide 3: Dividing Narrator, Hero & Protagonist
The benefit to doing this is that it takes some of the pressure off the narrator. It makes them free to not be a hero, and for the hero not to be a narrator. That offers greater freedom to act appropriately in both places. A good example of doing this badly is Captain Kirk, who is both hero and narrator. As a result, because the audience is seeing the story through his eyes, he leaves the ship for dangerous front-line expeditions a frankly irresponsible amount for a captain. If he weren’t the narrator, he wouldn’t have to do this and would be free to act heroically in accordance with his rank. It also gives you the opportunity to have an unsympathetic hero or protagonist (Sherlock Holmes, I’m looking at you) via the softening, sympathetic narrator – something you can later subvert if you wish.
The downside to dividing the roles up is that there’s more characters to keep track of.
Slide 5: Defining the Hero
Read the introduction to Joseph Campbell’s The Hero’s Journey, where he talks about cultural differences in the meaning of heroism. In Australia, for example, generations of sending their youth off to fight in other people’s wars (mostly Britain) in response to heroic-themed marketing, has resulted in the word ‘hero’ carrying an overtone of stupidity. Again, this is something you can play with and subvert.
Slide 9: Giant Snails
I did say this on the day, but it isn’t on the slides so I’m going to repeat it here because it seemed to go down well.
- Heterodiegetic – ‘Some guy down the pub told me he was attacked by giant snails.’
- Homodiegetic – ‘I was involved in a giant snail attack.’
- Intradiegetic – ‘I saw my friend get attacked by giant snails.’
- Autodiegetic – ‘I was attacked by giant snails.’
- Extradiegetic – ‘I’ll tell you a story about giant snails.’
Slide 11: Narrative Levels
For those who attended on the day, the text I used to illustrate the different levels was Read This First, which is my post-apocalyptic anthology about the curators of the last library, now available on Amazon. Minor book plug. 🙂
Slide 14: Privilege
‘Privilege’ is a technical term for the amount of information a character has access to and therefore can provide the audience. Mieke Bal is a good source to read up on this. The more narrative levels the story has to go through (focalizer, narrator, implied author, etc.), the less privilege the audience will end up with because some will be lost with every level.
A way around that is to play with opposing narrative levels that offer different ‘truths’ about the same events. A fantastic example is the film Hero. The downside of taking this approach is that the audience is aware that they are being misled in some way and therefore have to start working out who and what they believe to be reliable. This makes the story a puzzle to be considered objectively, rather than something they can fully immerse themselves into.
Slide 15: Authorial (Un)Reliability
When using changeable structure as a method of unreliability, the audience is encouraged to make false assumptions, not by the narrator but by the author. The order in which the story is presented is deliberately misleading. Arrival is a great example.
Slide 16: Twist It
Again, I did mention this on the day but remember that the twist/reveal is for the reader’s benefit, not necessarily the narrator’s. For those who don’t even realise they are unreliable – the misled, the delusional, and so on – they don’t need a moment of realisation at all. Clare Fuller’s Our Endless Numbered Days provides the reveal to the audience but not the narrator, and that ignorance adds to the horror of the narrator’s ultimate fate.
Twists also add to your story’s rereadability. The audience will experience the story differently a second time around because they have greater privilege than any of the characters. So if you write a twist, try to ensure you include things that will provide the breadcrumbs for people to spot when they go through again. It turns the story into more of a puzzle-experience but, speaking as a reader who does this, it’s great fun.
Slide 19: Relative Distance
I didn’t include this slide in the original talk at all, because I was tight on time. Wayne C Booth, an American lit crit writer, has a theory called aesthetic or relative distance, which is the distance between the narrator and everybody else, on any type of differentiator. Basically, you need to distinguish between your narrator, your secondary characters, your authorial voice, and your audience. Treat those four as separate entities. Now, work out what their norm is for a whole bunch of stuff, such as historical era, geography, class, fashion, speech pattern, morality, politics, etc etc etc. The distance between any of the four entities on any of the differentiators provides you with possible sources of tension.
- Some of these tensions are good – the narrator and the secondary character have radically different politics, for example, or come from opposing socio-economic backgrounds. That drives plot.
- Some tensions are structural – the narrator and the implied author have different biases, which implies an unreliability. Ditto the narrator and the secondary character(s). This can be good (tension drives plot) or bad – for example, the 3POV narrator of Liza of Lambeth by W. Somerset Maughan is a working class London girl but the audience finds it difficult to really get a feel for her because the language of the book is upper-class male.
- Some of these tensions are bad – the narrator and the audience have radically different morals, and a failure to ease the audience into this leads to disengagement.
- Some of these tensions are unavoidable – the author and the audience come from different eras or cultures, which means there’s a certain knowledge gap that has to be bridged in order for the audience to engage.
Slide 20: Getting the right reaction
Again, because of time restraints I didn’t really go into cause and effect properly with this slide on the day. So here’s my take on it:
- Frame: Emotional engagement to narrator and distance from story. Enjoyment and introspection.
- Epistolary: Implied reader which means easier suspension of disbelief and engagement.
- Unreliable: Enjoyment of structure, possibly more privilege.
- Diegetic level: How involved is narrator? And therefore how involved is audience?
- Narrative level: How many levels of privilege and bias does audience get story filtered through?
- Relative distance: What sources of tension are in the story? Which do you need to make easier for audience to work around?
- Self-consciousness: Emotional engagement with narrator, implied reader, levels of manipulation
- Narrative complicity: Audience is drawn into story, brought on-side emotionally and intellectually
- Authorial reliability: Manipulation of audience, either knowing or not, which creates tension but involves risk; can offer greater insight into characters and relationships
- Privilege and bias: Is the audience able to see the whole story? If not, why not? Tension, plot, emotional engagement and manipulation
- Plot twist: memorability and rereadability, involves risk
As I mentioned above, I clearly have some more research to do around 2POV regarding games and Interactive Fiction, so I’ll come back to you on that in a while. I might even, if I’m very very lucky, catch Ian Thomas at a less-insanely-busy-than-usual moment and beg a guest post off him on the subject.
I also had a wonderful moment with Adrian Tchaikovsky afterwards, in which he expressed interest in the relationship between 1POV/3POV and past/present tense. Particularly, if the narrator is speaking in past tense they clearly have knowledge of the whole story (and there’s a strong indicator they’re going to survive the experience), which therefore surely impacts their account. If they’re speaking in present, how are they narrating (especially if they DON’T survive)? This conversation was the highlight of my Con. It’s not every day extremely successful SFF authors ask for my opinion on something technical. So yeah, I’ll definitely have a think about that and do a follow-up blog post.
On a more personal note, the whole public speaking experience was less terrifying than I thought it would be and I realised after the fact that I’d rather enjoyed myself. Since this is a subject I love to learn and talk about, and since in a perfect world I’d actually like to end up lecturing on this stuff, hopefully I’ll get to do it again in the future.