Just as important as what actually happens in a story is the point of view through which the reader perceives the events. Or, put another way, it is important to understand the type of narrator, or person telling the story, that the author uses. While a novel may switch narrative perspective from chapter to chapter, short stories most often adhere to one narrator throughout the story.
One common type of narrator is the first-person narrator, who recounts the events from their own point of view, using the word “I.” A first-person narrator is most often the protagonist of the story and recounts events that happened to them, making them a participant narrator. An obvious example of a first-person narrator is Poe’s Montresor, who recounts events from his life to an unknown audience.
Another, although seldom used, narrative technique is second-person narration, in which the narrator describes the actions of someone they address as “you,” pulling the reader in as a character in the story.
A story may also use third-person narration, in which a narrator tells the story from outside the events, referring to the characters by name or as “she,” “he,” or “them.” There are different types of third-person narration. Third-person narrators are usually non-participant narrators, meaning they do not take an active role in any of the events and never refer back to themself as “I.” Many stories are told by a third-person omniscient narrator. We refer to a narrator as omniscient, or all-knowing, when they take a godlike role in telling the story. They have access to all information, including each character’s thoughts and emotions. “Désirée’s Baby” is a good example of third-person omniscient narration. While most of the story focuses on Désirée, once she disappears from the story, our perspective shifts to Armand, and we learn important information that Désirée will never know.
A limited narrator, though they tell the story from the outside third-person perspective and have access to information the protagonist may not, focuses on one character’s perspective. Katherine Mansfield’s “Miss Brill” (1920) is told by a limited narrator. While it is told in the third person, the reader’s perspective is limited to that of Miss Brill. The story focuses on Miss Brill’s perceptions of self and especially her opinions of the people she sees on her Sunday afternoon out. Limiting our perspective to Miss Brill heightens the effect of the climax when she overhears a young couple talking about her.
A more modern narrative technique is the use of free indirect discourse, which refers to the subtle shifting within a story back and forth from third person omniscient to first person narration. The technique allows the reader to get the perspective of omniscient narration while also being privy to a character’s inner thoughts and feelings. “Miss Brill” also offers a good example of free indirect discourse. When describing the afternoon, the narrator states,
There were a number of people out this afternoon, far more than last Sunday. And the band sounded louder and gayer. That was because the Season had begun. For although the band played all the year round on Sundays, out of season it was never the same. It was like some one playing with only the family to listen; it didn’t care how it played if there weren’t any strangers present. Wasn’t the conductor wearing a new coat, too?[1]
Although the narrator does not explicitly assign these ideas to Miss Brill, the reader understands that these are her thoughts. She is the one who places so much importance on “the Season.”
Beyond these different types of narrative perspective, there are other considerations when thinking about narration. A reader should never simply assume that a narrator’s version of events is accurate or trustworthy. For example, if a story has a first-person narrator, a reader should always consider who this person is and how that should color the reader’s perception of their account. You may have an unreliable narrator, or a narrator whose version of events can’t be trusted. Poe’s Montresor could be considered an unreliable narrator. While we don’t get the impression that he is lying about the events, he is also clearly a sociopath. His instability raises important questions about his narrative account, such as whether Fortunato ever actually insulted him or if he feels any remorse for his actions. If a child is telling a story, you might consider them a naïve narrator. Children see things through their innocence and may fail to understand matters that an adult reader may comprehend.
However, this does not mean that only first-person narrators should be questioned. While many third-person narrators remain completely objective, merely telling the story, authors will sometimes use a narrator who editorializes, or comments and offers judgment on the actions of the characters. An author may invent a narrative persona, having a narrator with their own personality, opinions, and judgements, even though they do not take part in the story.
"Key Components of Short Stories" by Travis Rozier and Margaret Sullivan from Beyond the Pages: An Introduction to Literature Copyright © 2024 by Claire Carly-Miles, Sarah LeMire, Kathy Christie Anders, Nicole Hagstrom-Schmidt, R. Paul Cooper, and Matt McKinney is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License, except where otherwise noted.
"What is a Narrator?" A Literary Guide for English Students and Teachers. Authored by: OSU School of Writing, Literature and Film. Located at: https://www.youtube.com/watch?v=bCNNBxlnkjQ. License: Other. License Terms: Standard YouTube License
"What is Point of View?": A Literary Guide for English Students and Teachers. Authored by: OSU School of Writing, Literature and Film. Located at: https://www.youtube.com/watch?v=acURl_KBiRI. License: Other. License Terms: Standard YouTube License