A Quote by Akhil Sharma

It is hard to create a first-person narrator that can be a child and yet is able to take in enough information for the narrative to be legible to the reader. — © Akhil Sharma
It is hard to create a first-person narrator that can be a child and yet is able to take in enough information for the narrative to be legible to the reader.
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.
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.
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'm asking the reader to suspend reality with me and entertain the idea that the person writing is not me. In order to do that well, I think, one needs to point out the artifice of the narrative. Somehow if the narrator is self-aware then it's almost more humanizing and more relatable.
I think first-person narrators should be complex, because otherwise the first-person is too shallow and predictable. I like a first-person narrator who can't totally be trusted.
The first rule is you have to create a reality that makes the reader want to come back and see what happens next. The way I tried to do it, I'd create characters that the reader could instantly recognize, and hopefully bond with, and put them through situations that keep the reader on the edge of their seat.
Choosing the narrator for a first-person story like 'Downriver' is a crucial decision because the voice has to be one the reader wants to listen to, and the voice has to be a match for the emotion you want the story to carry.
The way that I see third person is it's actually first person. Writing for me is all voice work. Third person narrative is just as character-driven as first person narrative for me in terms of a voice. I don't write very much in third person.
Early on, I settled on the first-person strategy as a way to deal with exposition and world-description issues. As long as the book is, it could have been far longer had I gone with an omniscient third-person narrator, or multiple point-of-view characters, since either of those would have enabled me to impart much more detailed information about the history and geography of the world.
There seem to be two ways of generating interest from the reader: withholding information or by telling the reader on the first page exactly what's going to happen.
Almost all of the stories in The Matchmaker, the Apprentice, and the Football Fan are told in the first person, yet, depending on the angle and distance of the narrator, they exert different effects. The best are those in which the speaker never poses as an objective outsider. (...) Other stories are damaged by the urge to distance the narrator.
Many writers struggle with exposition in their novels. Often they heap it on in large chunks of straight narrative. Back story – what happens before the novel opens – is especially troublesome. How can we give the essentials and avoid a mere information drop? Use dialogue. First, create a tension-filled scene, usually between two characters. Get them arguing, confronting each other. Then you can have the information appear in the natural course of things.
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.
I first read 'Lolita' when I was 16, which I think is a little bit young. But it was a thrilling and disturbing read because it was the first time I really sensed that you could have an unreliable narrator, that you didn't have to sort of tell the truth in a narrative, that there could be something deeper and richer and more complicated going on.
Marie Houzelle is a master of the first-person narrative. In Tita she has created a strange, utterly original child whose deadpan certainties are a beguiling invitation to readers of all ages.
Everyone is interesting except the narrator in a first-person story.
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