Post by account_disabled on Dec 2, 2023 5:46:01 GMT 1
The immersed variant (the most used, as it allows you to create more empathy) also has different levels of immersion, and depending on your needs you can switch from light to deep immersion. Lately, the "cinematic" narrator, which was common at the beginning of the twentieth century, has also been making a comeback. 1. Omniscient narrator The narrator is omniscient when he expresses something outside the characters, such as a preview of events, or a comment that none of the characters' minds think. If he doesn't do this, he isn't omniscient, even if he jumps from one character to another every line. Naturally, even a text narrated 99% in limited third can have an intrusion, an "omniscient" phrase.
It was the most common narrator in the past, Phone Number Data but today it is little appreciated: the narrator who is too intrusive is believed to reduce immersion in the text. 2. Third film It's like the omniscient third, except that the narrator renounces comments and everything that is not objective. He limits himself to describing the events, without expressing the thoughts and feelings of the characters, without ever entering anyone's mind (yeah, no "the handle was cold", no "So-and-so remembered that...", etc.). Many consider this narration too cold, too little empathetic, and do not appreciate the abandonment of that exclusive aspect of narrative which is the penetration into the character's mind. Nonetheless, there are those who consider his objectivity a plus. 3. Light immersion To put it cinematically, the camera is glued to the character's head, and so: we know what he thinks, we know what he perceives with his five senses, and we limit ourselves only to his perceptions.
The narrative, however, remains objective. Here is an example: «Dude entered the restaurant. With an expression of disgust he noticed that the counter was covered in dust. “Christ,” he thought, “they haven't cleaned in a month.” 4. Deep dive Here, however, the camera is right in the character's brain: not only are we limited to his perceptions, but the entire narrative reflects his voice. The end result is very similar to first person. Here is an example to highlight the differences with light immersion: Dude entered the dirty restaurant. All that dust was an offense to hygiene: they hadn't dusted that damn counter for at least a month, at least.
It was the most common narrator in the past, Phone Number Data but today it is little appreciated: the narrator who is too intrusive is believed to reduce immersion in the text. 2. Third film It's like the omniscient third, except that the narrator renounces comments and everything that is not objective. He limits himself to describing the events, without expressing the thoughts and feelings of the characters, without ever entering anyone's mind (yeah, no "the handle was cold", no "So-and-so remembered that...", etc.). Many consider this narration too cold, too little empathetic, and do not appreciate the abandonment of that exclusive aspect of narrative which is the penetration into the character's mind. Nonetheless, there are those who consider his objectivity a plus. 3. Light immersion To put it cinematically, the camera is glued to the character's head, and so: we know what he thinks, we know what he perceives with his five senses, and we limit ourselves only to his perceptions.
The narrative, however, remains objective. Here is an example: «Dude entered the restaurant. With an expression of disgust he noticed that the counter was covered in dust. “Christ,” he thought, “they haven't cleaned in a month.” 4. Deep dive Here, however, the camera is right in the character's brain: not only are we limited to his perceptions, but the entire narrative reflects his voice. The end result is very similar to first person. Here is an example to highlight the differences with light immersion: Dude entered the dirty restaurant. All that dust was an offense to hygiene: they hadn't dusted that damn counter for at least a month, at least.