A Quote by William Kennedy

Everyone is interesting except the narrator in a first-person story. — © William Kennedy
Everyone is interesting except the narrator in a first-person story.
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.
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.
Sometimes I can better describe a person by another person's reaction. In a story in my first book, I couldn't think of a way to sufficiently describe the charisma of a certain boy, so the narrator says, "I knew girls who saved his gum."
When you pick up a book, everyone knows it's imaginary. You don't have to pretend it's not a book. We don't have to pretend that people don't write books. That omniscient third-person narration isn't the only way to do it. Once you're writing in the first person, then the narrator is a writer.
Jeremy tried to be an interesting person. The trouble was that he was the kind of person who, having decided to be an interesting person, would first of all try to find a book called How to Be An Interesting Person and then see whether there were any courses available.
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.
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.
Love is anticipation and memory, uncertainty and longing. It’s unreasonable, of course. Nothing begins with so much excitement and hope and pleasure as love, except maybe writing a story. And nothing fails as often, except writing stories. And like a story, love must be troubled to be interesting.
Typically in my novels the narrator tells a story by remembering, and the memories are colored by this and colored by that. So the whole universe of the novel tends to be framed by the narrator's memories and thoughts.
Any story has a beginning, middle, and end, of course, but the question is, where do you start it exactly? It's about a guy who is murdered in a fistfight, but how does it evolve and what does it mean? That's what I discovered scene by scene, and this innovation of coming in as a first-person narrator was a complete surprise to me. It just happened.
Using a first-person narrator is simply a matter of hearing the voice inside yourself.
You can have an interesting story about a person living an interesting life. And if it's done well, that is just as engaging as the end of the world. A million people dying - we can't process. One person, we can process.
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.
I think every first-person narrator in a novel should be compromised. I prefer that word to unreliable.
I think every first-person narrator in a novel should be compromised. I prefer that word to 'unreliable.'
Writing in the first person, you immediately open yourself up to the idea that there's a connection between you and the narrator.
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