Lesson 22. Speech Representations│The Mechanics of Fiction Writing

Understanding Viewpoint in Narrative

The Concept of Viewpoint

• The lesson focuses on the concept of viewpoint, which has been discussed previously but will now be clarified. It revolves around the question: "Who sees?" as posed by Gerard Genette.

• The distinction between the narrator (the speaker) and the story's viewpoint (the center of consciousness) is emphasized. Sometimes they align, but often they differ.

Focalization Explained

• The term "focalization" is introduced as a high Narrative Geek term for viewpoint. This concept is likened to a camera lens that shapes how readers visualize scenes.

• Fiction acts as a cognitive simulation, prompting readers to create visual imagery in their minds, extending beyond mere visuals to include sensations and emotions.

Reader's Position within Storyworld

• Viewpoint serves as the cognitive platform from which readers engage with the storyworld. This position can shift, especially with non-character narrators who may change perspectives frequently.

• Regardless of shifts in perspective, every reader adopts some form of viewpoint; thus, managing this aspect becomes crucial for authors.

Authorial Control Over Viewpoint

• Authors may control how tightly or loosely they guide readers' simulations of scenes through textual cues. These cues can vary significantly in clarity and presence.

Analyzing Textual Cues

• A passage from Nabokov’s Lolita illustrates how narrative cues direct reader perspective: “Lo! Lola! Lolita!” indicates Humbert’s internal view.

• Humbert’s narration provides sensory details that cue readers into his emotional state and physical sensations—demonstrating how viewpoint extends beyond visual elements.

Internal Perspective and Emotional Depth

• Humbert's internal perspective is highlighted through phrases like “I hear myself crying,” establishing an intimate connection between his feelings and actions.

• The metaphorical language used by Humbert conveys complex emotions—his turmoil is expressed through vivid imagery linking his inner experience to external observations.

Variability in Narrative Distance

• As narratives progress, viewpoints can zoom in or out depending on narrative distance. Character-narrators typically provide close-up views while non-character narrators might offer broader perspectives.

Bilbo's Internal Conflict and Perspective

Bilbo's Desperation and Moral Dilemma

• Bilbo contemplates killing Gollum, feeling desperate to escape the darkness. He recognizes the unfairness of the situation as he is invisible while Gollum is not armed.

• A mix of pity and horror arises in Bilbo’s heart, indicating a deep internal struggle as he grapples with his emotions towards Gollum.

Narrative Techniques: Internal vs. External Viewpoints

• The narrator uses cognitive cues instead of visual ones to convey Bilbo’s thoughts, illustrating how deeply readers can connect with his psyche.

• The narrative shifts between Bilbo's internal viewpoint and external observations, allowing readers to feel close to his emotional state while also providing context from outside perspectives.

Elrond's Perspective and Narrative Shifts

• Elrond examines a map with moon letters that provide crucial information about a door, showcasing a shift in perspective that contrasts with Bilbo’s earlier internal conflict.

• The rapid movement between characters’ viewpoints emphasizes how reader engagement can vary based on narrative proximity; longer stays in one character’s perspective foster deeper connections.

External Viewpoint in Hemingway's "The Killers"

Setting the Scene: Objective Narration

• Hemingway opens “The Killers” with an objective narration that presents actions without delving into characters' internal thoughts or feelings.

• The matter-of-fact style creates an observable environment where readers witness interactions without adopting any specific character’s viewpoint.

Shifting Focus: Lack of Character Insight

• The absence of internal dialogue makes it challenging for readers to adopt a specific viewpoint; they must infer emotions through dialogue and actions rather than direct insight.

• This external viewpoint continues until later in the story when Nick Adams begins to take action, yet even then, insights into his psyche remain limited.

Ursula Le Guin's Non-Specific External Viewpoint

Vivid Imagery Without Direction

• Le Guin describes a scene filled with sensory details but lacks clear direction for how readers should visualize it, creating an almost abstract experience.

Narrative Viewpoints in Storytelling

The Nature of the Scene

• The narrative presents a scene filled with various characters, yet lacks a specific viewpoint, creating a dynamic and fluid storyworld.

• The reader is invited to construct their own mental image of Omelas, as the narrator strings together fairy-tale-like elements without providing concrete geographical details.

Types of Viewpoints

• The concept of "no viewpoint" is introduced, where the narrative does not anchor itself to any character's perspective.

• A "hypothetical viewpoint" allows readers to imagine scenes through an imagined character's eyes, enhancing aesthetic elements in storytelling.

Examples of Hypothetical Viewpoints

• Melville’s poetic language exemplifies hypothetical viewpoints that evoke mystery and wonder about elusive subjects like whales.

• These brief passages often use passive voice to create an ethereal quality that enhances the reader's experience.

Cues for Reader Perspective

• Narrators employ linguistic cues such as prepositional phrases to guide readers' understanding of spatial relationships within scenes.

• For instance, Humbert’s description in Lolita uses specific phrases that reveal his perspective on the setting and other characters.

Linguistic Techniques for Viewpoint Management

• Demonstrative pronouns (e.g., “this” vs. “that”) help establish proximity between characters and objects in a scene.

• Subtle shifts in language can significantly alter how readers visualize scenes; maintaining consistent viewpoint cues is crucial for clarity.

Intuitive Writing Process

• Writers do not need to overthink linguistic choices; intuitive writing often aligns with character perspectives naturally.

Understanding Verbs of Perception, Cognition, and Emotion in Narrative Perspective

The Role of Perception Verbs

• Verbs of perception are crucial for indicating character viewpoints—internal or external. For instance, "Jana could see a look of fear in Brian’s eyes" highlights Jana's internal perspective.

Internal vs. External Viewpoints

• The use of perception verbs like “see” and “pained” allows readers to experience the scene from Jana's viewpoint, emphasizing her emotional state.

• In contrast, verbs such as “watched” and “clenched” provide an external viewpoint that offers objectivity, allowing readers to visualize the scene without direct emotional influence.

Anticipation and Reader Engagement

• The choice between internal and external perspectives raises questions about narrative purpose: what story is being told? Each viewpoint shapes reader anticipation differently.

Empathy Through Character-Narrators

• Adopting a character-narrator’s viewpoint enhances empathy, immersing readers in another person's experience. This can create a meaningful journey alongside the character.

Blending Viewpoints for Depth

• Most narratives blend viewpoints; for example, reading The Lord of the Rings gives readers a sense of being part of the group while observing individual struggles.

• Hemingway’s The Killers illustrates how an external viewpoint conveys the harsh realities faced by characters, enhancing reader understanding.

Consistency in Narrative Choices

• Maintaining consistency in narrative perspective is essential. Readers should be aware that they may not access other characters' thoughts when viewing through a character-narrator lens.

Clarity in Visualization

• A clear vision helps writers convey scenes effectively. Readers will engage with the chosen viewpoint naturally if it is well-defined.

Defining Narration