Lesson 25. Unconventional Narrative Postures│The Mechanics of Fiction Writing

Understanding Narrative Posture

Introduction to Narrative Posture

• The speaker introduces the concept of "narrative posture," emphasizing its clarity in understanding narration, while hinting at an overlooked aspect: the second-person narrator.

• The second-person narrative posture is described as one that directly addresses the reader as "you," creating a cognitive connection where readers identify with this address.

The Conundrum of Second-Person Narration

• A question arises about who narrates when the main character is also "you," leading to confusion regarding the narrative voice.

• Brian Richardson's term “Unnatural Voices” is introduced, categorizing unconventional narrative postures, including second-person narration.

Distinguishing Second-Person from Other Forms

• The speaker outlines three instances where "you" appears but does not constitute true second-person narration.

• First instance: Authorial Colloquy—a brief direct address to the reader that enhances immersion.

Authorial Colloquy Explained

• Authorial colloquy adds intimacy and immediacy to storytelling; it’s often used by character-narrators for engagement.

• An example from Moby Dick illustrates authorial colloquy with Ishmael's opening line, “Call me Ishmael,” which directly engages the reader.

Examples of Authorial Colloquy in Literature

• The speaker discusses how direct addresses can draw readers into visualizing scenes, using Ishmael’s description of New York as an example.

• Emphasizes that despite direct address, Ishmael remains a character-narrator rather than shifting into a second-person perspective.

Apostrophe as Another Non-Second-Person Form

• Apostrophe is defined as addressing a hypothetical person or object within the storyworld; it serves to express characters' thoughts during narrative action.

• Shakespeare’s Hamlet provides a classic example of apostrophe with Hamlet addressing Yorick's skull, showcasing deep emotional reflection.

Further Exploration of Apostrophe in Moby Dick

Understanding Second-Person Narration

The Nature of Second-Person Narration

• The speaker discusses a narrative style resembling second-person narration but is distinct, often found in dramatic monologues where the narrator addresses another character directly.

• An example from Daniel Orozco's short story "Orientation" illustrates this style, as the narrator guides another character through an office setting using direct address.

• The narrator provides specific instructions about office conduct, emphasizing the lack of personal phone calls and the protocol for emergencies.

• This narrative voice creates an "unnatural" effect, allowing readers to identify with the role of "you," even though it does not fit traditional second-person narration.

• The frequent use of "you" does not automatically indicate second-person narration; instead, Richardson identifies three distinct types of second-person narration.

Types of Second-Person Narration

Standard You

• The first type is termed "Standard You," where the “you” serves as both speaker and protagonist. This form allows for simultaneous narration that remains intelligible when substituting pronouns.

• Writers may choose this perspective for its immersive quality; however, Marie-Laure Ryan notes that this immersion can be fleeting as readers gradually detach from the pronomial referent.

Immersive Quality and Reader Identification

• While initially engaging, the immersive effect diminishes over time as readers become accustomed to the narrative style, similar to how ellipses blend into text norms.

• A statement like “Of course you love your mother” invites self-identification among readers who relate personally to such generalizations.

Specificity vs. Generalization

• In contrast, Dennis Lehane’s story “Until Gwen” uses a specific scenario that prevents reader identification by detailing a unique situation involving crime and characters that are clearly not relatable to most readers.

• This specificity creates a psychological distance between reader and character, contrasting with earlier examples that invite identification through generic statements.

Tension in Second-Person Narratives

Hypothetical You

• Richardson introduces a second type called "Hypothetical You," which employs future-tense verbs and imperative commands to create scenarios that engage readers in potential experiences.

Narrative Techniques in Storytelling

The Power of Second-Person Narration

• The use of second-person narration encourages readers to project themselves into the narrative, creating a more immersive experience. This technique often employs future tense and imperative statements.

• This narrative style can be likened to "fortune cookie" narration, where stories resemble parodies of self-help guides or recipe books. Lorrie Moore's collection titled Self-Help exemplifies this form.

Autotelic Narration: Engaging the Reader Directly

• The autotelic form directly addresses the reader as "you," attempting to draw them into the text through personal engagement. It creates a sense of intimacy between the narrator and reader.

• A notable example is from Italo Calvino’s If on a Winter’s Night a Traveler, which opens with direct instructions to the reader, enhancing their connection to the reading experience.

Expanding on Narrative Styles

• While second-person narration is less common than traditional styles, there is much discourse around it among narrative theorists like Richardson. Exploring these theories can enrich writers' understanding of engaging narratives.

• Readers are encouraged to explore Richardson's work for deeper insights into various successful narrative forms that utilize second-person perspectives effectively.

Conclusion on Narrative Voices

• Beyond "you" narrators, Richardson discusses various unconventional narrators such as postmodern trickster and counterfactual narrators, broadening the scope of narrative exploration for writers.