One of the things we have to decide when our omniscient narrator is describing a character’s thoughts to us is whether or not they’re going to be in the character’s voice or the narrator’s. Both techniques are valid and we can even use both, but when we use both we often need to establish why … Continue reading Voicing a Character
Theoretically, our omniscient narrator has no investment in the story, they’re separate and unbiased relating the facts as they are, but this is rarely true. Charles Dickens is well known for showing the plight of the poor in Victorian Britain, he relates the facts but he is not unbiased. However, when he digresses from a … Continue reading Intruding Author?
One of the most important things to remember about omniscient narration is that although we can show the perspective of many characters we’re not actually in their perspective. As we’ve discussed before there are two main types of omniscient narration: Limited omniscient – We use third-person but we’re limited to the perspective of one character … Continue reading The Many Perspectives
This week we're mixing things up a bit with three articles on omniscient narration and three episodes of Nine Shillings. Monday - Many Perspectives, In omniscient narration we can see any character's pespective but we're not in it. Tuesday - Intruding Author? Are we breaking the narrator's voice? Wednesday - Voicing a Character, Looking at ways to convey character thoughts. Thursday - Saturday … Continue reading Sitting Outside a Story
When we’re building atmosphere in a story it can be affected by the perspective of characters. Every character has their own viewpoint with their own preconceived notions, fears, memories and loves and all of these will change how they interact with their surroundings and the interpretation they give. This is particularly important if this character … Continue reading Using The Characters
When we’re building the atmosphere of a place we don’t have to pick a place that immediately suggests the atmosphere we want to build. Classic examples in British fiction could be the gothic mansion, or a medieval castle, or a graveyard when we want a creepy setting. These are all perfectly acceptable and work very … Continue reading Picking The Place
Pathetic fallacy is the fancy name for the weather reflecting the mood of characters, such as the angry/morose character sitting in their office with a storm raging around them. It used to be a very popular technique, think of Shakespeare’s three witches in Macbeth up to no good in the middle of a storm, but … Continue reading What is Pathetic Fallacy?
When we’re creating atmosphere the emotions it evokes in the reader is as much about how we describe the setting as the setting we choose. We can have a gothic mansion that’s homily and a meadow that’s creepy, sometimes the place alone can suggest the atmosphere but that’s another article. Now when we’re talking about … Continue reading Using The Senses
Atmosphere refers to the sense of a place or moment that the text implies to a reader. It’s often used to refer to ‘atmospheric’ prose which tends to be applied to the moody, broody, and dark, though this isn’t always so. Atmosphere is also often related to the horror genre in reference to the spooky, … Continue reading Atmosphere Versus Mood
This week we're looking at different elements that can be used in the creation of atmosphere in fiction, such as characters, places and literary styles. Monday - Atmosphere Versus Mood, Are they the same or can we think of them seperately? Tuesday - Using The Senses, How we can use the senses to create atmosphere. Wednesday - What is Pathetic … Continue reading Adding Atmosphere