Quotes of All Topics . Occasions . Authors
I'm never a reliable narrator, unbiased or objective.
In a thriller, the camera's an active narrator, or can be.
I go straight from thinking about my narrator to being him.
I prefer to be a director and a narrator rather than a writer.
I would love to play a sociopath or, like, an unreliable narrator.
Never trust a narrator whose opening gambit is to insist he's not mad.
The universal narrator knows all and can enter a character's head any time he chooses.
Using a first-person narrator is simply a matter of hearing the voice inside yourself.
I know I love a novel with an unreliable narrator, and I think many readers do as well.
I always thought of documentaries as films through which you find your voice as a narrator.
My first job after my retirement from baseball was as a narrator for the Eastman Philharmonica.
Usually, when I write a novel, it takes me about 100 pages to figure out the voice of the narrator.
There's always a version of me who is the narrator. And I make myself look better than other people.
The third person narrator, instead of being omniscient, is like a constantly running surveillance tape.
When the narrator says, 'This is a story without surprises,' most of the time, this is not what happens.
I think every first-person narrator in a novel should be compromised. I prefer that word to 'unreliable.'
If a writer is always trying to keep a narrator emitting a tone of complete knowingness, it can become false.
The narrator of a documentary often comes in at the last minute and takes some of the glory they don't deserve.
There's something uniquely exhilarating about puzzling together the truth at the hands of an unreliable narrator.
I don't mind a narrator who's self-deceiving, but the clues for their truth have to be there for the reader to see.
A passenger on a road journey is in the hands of a driver; a reader embarking on a book is in the hands of a narrator.
Writing in the first person, you immediately open yourself up to the idea that there's a connection between you and the narrator.
I not only want to engage with my fans but want to truly show and express my experiences and potential as a narrator and a story teller.
My preferred style is to write in first person, so I always have to play around with possible narrator voices until I find something that works.
Hitchcock makes it very clear to us. There's an objective and a subjective camera, like there's a third- and a first-person narrator in literature.
There has always been this narrator in me - I loved ideas, and part of the great love affair I would have with ideas consisted of talking about them.
I'm interested in getting deep into a person's consciousness and doing so in ways in which the narrator is secondary to the character's own thoughts.
When I was writing 'You Suck,' in 2006, I constructed the diction of the book's narrator, perky Goth girl Abby Normal, from what I read on Goth blog sites.
Quite often my narrator or protagonist may be a man, but I'm not sure he's the more interesting character, or if the more complex character isn't the woman.
For the black author, and even the ex-slave narrator, creativity has often lain with the lie - forging an identity, 'making' one, but 'lying' about one, too.
I played Joseph in 'Joseph & The Technicolor Dreamcoat,' which was a bit silly because I am a girl. I wanted to be the narrator, but I had fun with it anyway.
One of the strategies for doing first-person is to make the narrator very knowing, so that the reader is with somebody who has a take on everything they observe.
What is most important to me is that my narrator's voice is believable, and that, though it is clearly an absolute fiction, it has the emotional resonance of memoir.
I didn't know how to kill off a character unless I was able, as a narrator, to get really complicated. Because it was a big deal. I'd never killed a character before.
In 'Sweet Days of Discipline,' the narrator, years after graduating, fortuitously encounters her old friend Frederique at a movie theatre. Frederique invites her home.
In 'A Scandalous Woman,' the eventually distraught narrator watches as her high-spirited friend is beaten down - literally and figuratively - by Ireland's pious customs.
I almost always use first person voice in my novels. It has its limitations, but it gives a sense of immediacy that's hard to create with an anonymous, all-seeing narrator.
'Pi' was one of my favorite films growing up because I thought it employed paranoia and voice-over, and also because it used this unreliable narrator in a very fascinating way.
The omniscient narrator is a bizarre technique, when you think about it, and no one uses it much anymore. But for the novels I want to write, it's the only approach that makes sense to me.
Using a dog as a narrator has limitations and it has advantages. The limitations are that a dog cannot speak. A dog has no thumbs. A dog can't communicate his thoughts except with gestures.
When the reader and one narrator know something the other narrator does not, the opportunities for suspense and plot development and the shifting of reader sympathies get really interesting.
I do not believe that I will ever write an adult novel from an animal's point of view unless someday it becomes suddenly appealing to me to make a narrator a mentally ill pet. Never say never.
It is vital that there is a narrator figure whom people believe. That's why I never do commercials. If I started saying that margarine was the same as motherhood, people would think I was a liar.
Try as I might, Agatha Christie is unique. The actual writing style can't be exactly the same, so instead of trying to replicate it exactly, the way I got around it was by inventing a new narrator.
I was not aware of how much I loved 'Canoa' until I saw it after doing 'Y Tu Mama Tambien' and realized that my voice - over about the story's historical context - that narrator - came from 'Canoa'.
It's amazing when I do a gig how many people of different ages come up to me afterwards and chat to me about songs. The emotions I feel are what any person can relate to. Sometimes I'm just a narrator.
At 10, I heard Neil Diamond's 'Solitary Man' and it moved me so deeply I stood, frozen in place during school recess, feeling such empathy for the narrator in Diamond's masterpiece that my heart was smashed.
A poet or prose narrator usually looks back on what he has achieved against a backdrop of the years that have passed, generally finding that some of these achievements are acceptable, while others are less so.
The unreliable narrator is an odd concept. The way I see it, we're all unreliable narrators of our lives who usually have absolute trust in our self-told stories. Any truth is, after all, just a matter of perspective.
I've always felt that the traditional novel doesn't give you enough information about the narrator, and I think it's important to know the point of view from which these tales are told: the moral makeup of the teller.