Dual Narrative Quotes

Usually at the end of each story we're thrown clear out of the story's world and then we're given a new world to enter. What's unique about a linked collection is that it can deliver both sets of narrative pleasures - the novel's long immersion into character-world and the story anthology's energetic (and mortal) brevity - the linked collection is unique in its ability to be both abrupt and longitudinal simultaneously.

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.

Critics who perceive the first level of Mann's irony recognize that the second voice is giving us reasons to be dubious about various aspects of Aschenbach's life and work. But many of them don't appreciate the second level of irony, the one exemplified in setting this narrative voice alongside the more sympathetic one, and inviting us to choose.

I'm just trying to make the point that the story we're telling ourselves is often very different from the story we're telling the people around us.

I write as if I'm someone reading the book - often people ask if I write one strand first and then go back and seed in the other, but I don't think I could keep track of who knows what, and the tension would come out wrong, so the answer is no - I write it more or less in the order you read it.

I like it when you read a script and there's the part that you show to the other characters and then there's the part that only the audience knows.

I love picture books - with picture books, you can use words and pictures as a double act, even tell two different versions of a story at the same time.

I was involved with the Batman. There are two sides to every story. Now you've heard my side.

'Phantom' was for me an interesting technique of telling the story. You have one voice that it is in the present telling what is happening, and then there's one voice from the past that's also driving the story forward. And you know that the two story lines will meet eventually.

On the page, 'Gone Girl' was a literary game: a tennis match of alternating chapters from Nick and Amy, with the reader offering to take each character's side every few pages.

The mystery story is two stories in one: the story of what happened and the story of what appeared to happen.

I wanted to write a story that was different than what I've done before - so I decided to write dual love stories that will keep the reader wondering how the stories will come together by the end.

In the summer of 2010, I was working on a version of 'True Detective' that I was thinking might be my next novel, and it was told in these two first-person voices; Cohle and Hart's voices.

'Wicked' gave us a story that 'The Wizard of Oz' did not. Two sides to every story.

It's also possible to have two third person singular points of view, as represented by two characters through whose eyes the story is told in alternating chapters, say.

When my father made 'Jean de Florette' and 'Manon des Sources' back to back, everybody said, 'Why two movies?' But you need two movies to show how criminality evolves, and to tell the story: You can't show a man in love with so many women in one big biopic.