A Quote by James Lee Burke

Using a first-person narrator is simply a matter of hearing the voice inside yourself. — © James Lee Burke
Using a first-person narrator is simply a matter of hearing the voice inside yourself.
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.
When you have an emotional reaction to what you see, you are judging. That is your signal that you have an issue inside of yourself - with yourself - not with the other person. If you react to evil, look inside yourself for the very thing that so agitates you, and you will find it. If it were not there, you will simply discern, act appropriately, and move on.
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.
Writing in the first person, you immediately open yourself up to the idea that there's a connection between you and the narrator.
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.
Simply adored Timothy Schaffert's The Coffins of Little Hope: the voice of Essie, the narrator, is terrific & the last line blew me away.
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.
It doesn't matter to me whether I write in a man's voice or a woman's, or first or third person for that matter. Those choices come down to the story and I just go with it.
Everything about filmmaking is incredibly weird, and there's nothing natural about watching yourself on the big screen or hearing your voice. It's that same thing that you feel when you watch yourself on a video camera and you hate the sound of your voice - it's that times 800.
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.
Everyone is interesting except the narrator in a first-person story.
We often miss hearing God's voice simply because we aren't paying attention.
People make a big mistake when they say, 'I need to be motivated.' You motivate yourself. I might inspire somebody, but that person has to be motivated within themselves first. Look inside yourself, believe in yourself, put in the hard work, and your dreams will unfold.
When I read to children, I try to become the characters. It's great if you can make a separate voice for each character. Sometimes you can lower your voice with excitement or get more intimate about it: you can lean forward and engage the children as a narrator or as a reader. It's particularly important that you find the voice that you want to use for each character, because then children can imagine that person as you're reading aloud. And of course, the illustrations help enormously.
You wake up and you feel - what? Heaviness, an ache inside, a weight, yes. A soft crumpling of the flesh. A feeling like all the surfaces inside you have been rubbed raw. A voice in your head - no, not voices, not like hearing voices, nothing that crazy, just your own inner voice, the one that says 'Turn left at the corner' or 'Don't forget to stop at the post office,' only now it's saying, 'I hate myself.' It's saying, 'I want to die.'
I think every narrator is an unreliable narrator. In its classic definition - an unreliable narrator is one who reveals something they don't know themselves to be revealing. We all do that.
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