omniscient narrator

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gettingby

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Does the omniscient narrator work in short stories? I remember being told once that it is not the best way to tell a short story, that limited narrator works better for short stories in third person. Is this something you've heard? Why is it that omniscient can work in novels more than short stories?

I just finished writing a short story with an omniscient narrator. As far as I can tell, it works, but I'm a little worried that I'm missing something. What sort of flaws should I be looking for in my piece? What are some of the common mishaps using an omniscient narrator? I am pretty happy with this story, but should I try to switch it over to a limited POV?
 

guttersquid

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I see no reason why an omni narrator can't work in a short story. I don't know why story length would be a factor. If you think yours works, then keep it that way.
 

stephenf

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Hi
I have no idea why you have been given this advise . But it would seem you have proved the theory is wrong .
 

Niccolo

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There is no 'best' way to tell a short story. Whoever told you that was plain wrong. Sure, some things work better for certain stories, but there is no clear-cut right and wrong.

If you want some stories for reference, just to see how it's done, I believe Hemingway wrote quite a few of his shorts in omniscient.
 

Larry M

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Does the omniscient narrator work in short stories? I remember being told once that it is not the best way to tell a short story, that limited narrator works better for short stories in third person. Is this something you've heard? Why is it that omniscient can work in novels more than short stories?

I just finished writing a short story with an omniscient narrator. As far as I can tell, it works, but I'm a little worried that I'm missing something. What sort of flaws should I be looking for in my piece? What are some of the common mishaps using an omniscient narrator? I am pretty happy with this story, but should I try to switch it over to a limited POV?

If you're happy with the story, then stick with it. If it works for you then use it; doesn't matter what someone once said.
 

pdichellis

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Write it however you want, of course. The advice you heard might reflect that short stories provide less room than novels for character development (scope, subplots, word count, etc.), so seeing a short story from the main character's POV can help short-story readers understand the character.

I'm not saying the advice is right or wrong for any particular story, just that I've heard it expressed this way.
 
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Taylor Harbin

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Hemingway's "The Short Happy Life of Francis Macomber" has an omniscient narrator. Good read, considered one of his very best. I recommend it.

That said, I agree with what others have told you. Write however you want, just understand that each reader has different preferences.

If you want a reader litmus test, maybe post your work in the SYW forum?
 

Jamesaritchie

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I suspect whoever told you that was a victim of telephone tag. Or internet tag. A writer gives the advise that omni can be tough to use at short story length, and internet tag soon turns this into "You can't use omni in a short story".

Omniscient is, I think, tougher to pull off in a short story because it can get in the way of description and narrative flow. There's so little room that not allowing narrator to get in the way of character and story is not an easy task. This doesn't mean it can't be done. Many writers have pulled it off very well.

Taylor Harbin mentions Hemingway's "The Short Happy Life of Francis Macomber", and it's a good example of how to tell such a story, and how to make room. Contrary to most omni stories, Hemingway went directly into the mind of every character, including the mind of a lion. You really can't pull this off in third limited without head-hopping, which is why Hemingway used omni.

Hemingway also used dramatic POV, the exact opposite of omni, in the short story "Hills Like White Elephants", and made this work, as well.

As long as you understand that omniscient is about distance, and not an excuse to head-hop, it's entirely possible to write a brilliant short story in omniscient. But it is much more difficult for most writers than telling the same story in third limited, or first person.

Other than as an exercise in college, I've never tried to write a short story in omniscient, primarily because I've never found a good reason to tell one this way, and I think you need a reason. Or maybe I'd be better saying I think you need a particular kind of story to make omni work well.

Anyway, I think any writer wanting to experiment with either omni or dramatic should read those two Hemingway stories because he makes both work beautifully.
 

gettingby

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I suspect whoever told you that was a victim of telephone tag. Or internet tag. A writer gives the advise that omni can be tough to use at short story length, and internet tag soon turns this into "You can't use omni in a short story".

Omniscient is, I think, tougher to pull off in a short story because it can get in the way of description and narrative flow. There's so little room that not allowing narrator to get in the way of character and story is not an easy task. This doesn't mean it can't be done. Many writers have pulled it off very well.

Taylor Harbin mentions Hemingway's "The Short Happy Life of Francis Macomber", and it's a good example of how to tell such a story, and how to make room. Contrary to most omni stories, Hemingway went directly into the mind of every character, including the mind of a lion. You really can't pull this off in third limited without head-hopping, which is why Hemingway used omni.

Hemingway also used dramatic POV, the exact opposite of omni, in the short story "Hills Like White Elephants", and made this work, as well.

As long as you understand that omniscient is about distance, and not an excuse to head-hop, it's entirely possible to write a brilliant short story in omniscient. But it is much more difficult for most writers than telling the same story in third limited, or first person.

Other than as an exercise in college, I've never tried to write a short story in omniscient, primarily because I've never found a good reason to tell one this way, and I think you need a reason. Or maybe I'd be better saying I think you need a particular kind of story to make omni work well.

Anyway, I think any writer wanting to experiment with either omni or dramatic should read those two Hemingway stories because he makes both work beautifully.

I have read those stories, but I will revisit them, paying close attention to the POV. This is the my first try with omniscient. I originally wrote the story in first person, but that limited what I could say about other characters. Getting feedback, I was told how interesting some of the other characters were and wanted a way to bring more of their stories out.

I do think I did okay. There isn't any head hopping. I have the distance you mentioned. I plan to workshop this in class so I'll see what other people think. I believe I have a good story. Just playing around with the best way to tell it.

Thank you, everyone, for all th comments.
 

Jamesaritchie

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I have read those stories, but I will revisit them, paying close attention to the POV. This is the my first try with omniscient. I originally wrote the story in first person, but that limited what I could say about other characters. Getting feedback, I was told how interesting some of the other characters were and wanted a way to bring more of their stories out.

I do think I did okay. There isn't any head hopping. I have the distance you mentioned. I plan to workshop this in class so I'll see what other people think. I believe I have a good story. Just playing around with the best way to tell it.

Thank you, everyone, for all th comments.

Sounds like you have a go. Best of luck with it.

I suppose I should write an omniscient short story, and one in dramatic. Might be fun.
 
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