Aspects of narrative

a Viewpoint c Characters
Occasionally writers employ the second It is advisable to have either two or three
person when writing narrative, but this is characters in an exam-length story. More
not advisable for exam candidates as it than three makes it hard for them to be
is hard to manage successfully and does adequately characterised and for the reader
not normally fit the composition title. The to distinguish them. It is necessary to explain
choice, therefore (if you are given one), is the relationship between the characters. It
between a first-person and third-person is usual to give their name, age (roughly),
narrator; they both have advantages and some clue about their physical appearance
disadvantages which candidates need to be and their job – if they have one and and if
aware of before they start their response. it is relevant – and their personality. These
details allow the reader to picture the
• First-person narrators can only know
what they know themselves, and cannot
characters and engage with them.

say what other characters are thinking

and feeling; they cannot end the story
with their death, and it is a cliché to end d Storyline
with their becoming unconscious. On It is not really possible to think of a totally
the other hand, an authority and sense original story, nor do examiners expect
of credibility can be conveyed by first- it. All writers recycle, with differences of
person narration. setting and character, a basic set of plots.
• Third-person narration has the
advantage of having an all-knowing
It is acceptable for candidates to use an
idea from a book or film, or to pretend that
narrator who can tell us what is going something which happened to someone
on in the heads of any of the characters else happened to them, provided that
(though it is still better to stick to one the detail is their own and the story has
viewpoint), but it loses the sense of not just been lifted without adaptation or
directness which can be conveyed elaboration. Real historical events, as in
by the use of the first person, who the case of Text 21, can also be turned
was allegedly involved in the action. into fiction-type narratives. The candidate
The most important thing is that the should not attempt a story which is too
candidate should make a decision and long or complex to be delivered in the time
stick to it, and not switch between available. One event or a short series of
different types of narration. events is all that can be managed effectively.
A sequence of events should not be linked
by ‘And then’ and treated as being equally
important; they should be connected by a
b Voice chain of cause and effect. Less important
Whether the narrator is first or third person, occurrences can be skipped over so that the
the voice can be that of a character or focus is on the major event, which is the one
witness to an event or sequence of events, causing the crisis.
and the persona or narrator may adopt a Part 5
style different from that of the candidate’s
own style. This can be an effective way e Tense
of characterising, but candidates must be
careful not to adopt a style which includes Although it is possible to write an effective
slang or swearing, or which uses overly narrative in the present tense, it is not
simple language and sentence structures, advisable for exam purposes. So often
however realistic, because these will be the candidate forgets they have begun in
penalised in the assessment of complexity the present and switches to the past, or
of style and maturity of vocabulary. keeps switching between the two, since it is
unnatural to write about something which is
supposed to have already happened in the
present, and therefore difficult to remember
and sustain. It also limits the narrative
viewpoint, and tends to make the language
and syntax simple.

© Cambridge University Press 2010 Unit 21 Crucial decisions 123

 f Structure
The ordering of events is normally, and more safely, chronological. However, an ambitious
and capable candidate aiming for top band marks will need to consider using devices such
as time lapses, flashbacks, and starting at the end. It is possible not to conclude a story but
leave it at the climactic point of greatest tension. This has to be managed carefully so that it is
clearly deliberate and does not give the impression that the candidate has run out of time or is
avoiding having to provide a resolution. Some writers start with the climax, and then fill in the
back story leading to that point, so the story has a circular structure. Another narrative device
is to frame the story within another story, which is used for the opening and the ending. For
instance, finding a diary many years later, and putting it back in its secret place at the end of the
narrative, could frame the reading of it and the story it contains. In any case, characters have
to be introduced before their problem can be explained, which precedes the climax, which is
followed by the resolution. The climax should come about three quarters of the way through the
narrative. Too soon and insufficient tension will have been created; too late and the ending will
seem rushed and unprepared for.

g Openings i Dialogue
First sentences have to grip the reader and Dialogue should be used sparingly, for
engage their curiosity from the beginning. If dramatic effect, and only for significant
readers cannot place themselves in a setting exchanges between characters. It is safer
they will feel unable to visualise the scene for dialogues to be between only two
and relate to what is happening. Although characters at a time, and probably only two
the rest of the narrative is likely to have a of the characters in a short story need to
logical/chronological structure, there is a speak directly to each other. It is difficult
choice of types of narrative opening: to manage more than that, or to create
distinctive voices for them. When direct
• the conventional one gives location,
surroundings, time, place, weather,
speech is used, it must be punctuated and
set out correctly, with a new line for every
season change of speaker, otherwise it becomes
• one or two main characters can be
described as an introduction to an event
impossible for the reader to follow and
marks will be lost for inaccuracy.
or action involving them
• a shocking or intriguing opening
statement provokes immediate interest
• starting in the middle of an event j Endings
engages the reader’s attention Endings have to satisfy the reader by being
• starting in the middle of a conversation
makes the reader curious about
both slightly unpredictable and yet credible
in the way they have been led up to.
speakers and topic. Sometimes a twist can be used to catch the
reader off guard and provide humour, irony
or surprise, but this must be believable in
the context and not a sudden turn of events
h Description which is not consistent with the previous
Narratives need some description as well. characterisation or situation.
Unless the reader can always visualise the
setting and the characters they will become
disengaged. However, too much description
slows down the pace and reduces the
tension. Details should be given where they
are necessary to create a sense of place and
atmosphere, and to convey originality and
credibility. For instance, it is better to say
exactly what someone is eating or listening
to rather than just that they are eating or
listening to music.

124 Unit 21 Crucial decisions © Cambridge University Press 2010