Editing List of narrative techniques (section)

== Perspective ==
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! style="width:70%"| Example
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|  Audience surrogate || A character who expresses the questions and confusion of the audience, with whom the audience can identify. Frequently used in detective fiction and science fiction, where the character asks a central character how they accomplished certain deeds, for the purpose of inciting that character to explain (for the curious audience) his or her methods, or a character asking a relatively educated person to explain what amounts to the backstory. || [[Dr. Watson]] in the Sherlock Holmes stories. Scott Evil, played by [[Seth Green]], son of Dr. Evil in the ''[[Austin Powers]]'' films. The [[Companion (Doctor Who)|companion]] role in ''[[Doctor Who]]'', usually a contemporary human, giving the alien Doctor someone to explain situations to, for the benefit of the audience. [[Dr. Jennifer Melfi]] in ''[[The Sopranos]]''.
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| [[Author surrogate]] || Characters which are based on authors, usually to support their personal views. Sometimes an intentionally or unintentionally idealized version of them. A variation is the [[Mary Sue]] or Gary Stu, which primarily serves as an idealized self-insertion. || Socrates in the writings of Plato. Plato never speaks in his own voice in his dialogues. In the [[Second Letter (Plato)|''Second Letter'']], it says, "no writing of Plato exists or ever will exist, but those now said to be his are those of a Socrates become beautiful and new".
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| Breaking the [[fourth wall]] || An author or character addresses the audience directly (also known as direct address). This may acknowledge to the reader or audience that what is being presented is fiction, or may seek to extend the world of the story to provide the illusion that they are included in it. || The characters in ''[[Sesame Street]]'' often break the fourth wall when they address their viewers as part of the ongoing storyline, which is possible because of the high level of [[suspension of disbelief]] afforded by its audience—children. The English political drama show ''[[House of Cards (U.S. TV series)|House of Cards]]'' and its later American version, also use this technique frequently to let the viewers know what the main character [[Frank Underwood (House of Cards)|Frank Underwood]] is thinking and planning. Ferris Bueller in ''[[Ferris Bueller's Day Off]]'' frequently addresses the audience.
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| [[Defamiliarization]] ||  Taking an everyday object and presenting it in a way that is weirdly unfamiliar so that we see the object in a new way. Coined by the early 20th-century Russian literary critic Viktor Shklovsky in "Art as Technique." || In Swift's ''[[Gulliver's Travels]]'', when Gulliver visits the land of the giants and sees a giant woman's skin, he sees it as anything but smooth and beautiful when viewed up close.<ref>{{cite web|url=https://www.shmoop.com/literature-glossary/defamiliarization.html|title=Literature Glossary – Defamiliarization|website=shmoop.com|language=en|access-date=2017-11-14}}</ref> Another common method of defamiliarization is to "make strange" a story ([[Fabula and syuzhet|fabula]]) by creating a deformed plot (syuzhet). Tristram Shandy is defamiliarized by [[Laurence Sterne]]'s unfamiliar plotting,<ref>Victor Shklovsky, "Sterne's Tristram Shandy: Stylistic Commentary" in ''Russian Formalist Criticism: Four Essays'', 2nd ed., trans. Lee T. Lemon and Marion J. Reis (Lincoln, NE: University of Nebraska Press, 2012, 25–57.</ref> which causes the reader to pay attention to the story and see it in an unjaded way.

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| [[First-person narrative|First-person narration]] || A text presented from the point of view of a character, especially the protagonist, as if the character is telling the story themselves. (Breaking the fourth wall is an option, but not a necessity, of this format.) || [[Mark Twain]]'s ''[[Adventures of Huckleberry Finn]]'' uses the title character as the narrator, while ''[[Sherlock Holmes]]'' is primarily told from Watson's perspective. The film ''[[The Wolf of Wall Street (2013 film)|The Wolf of Wall Street]]'' uses this technique where the protagonist narrates the film's events throughout, providing clarity that could not be gained from the picture and dialogue alone.
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| [[Magic realism|Magical realism]] || Describing events in a real-world setting but with magical trappings, often incorporating local customs and invented beliefs. Different from [[urban fantasy]] in that the magic itself is not the focus of the story. || Particularly popular with [[Latin America]]n authors like [[Gabriel García Márquez]] and [[Jorge Luis Borges]]. Elsewhere, [[Salman Rushdie]]'s work provides good examples.
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| [[Multiperspectivity]] || A narrative that is told from the [[Narrative point of view|viewpoint]]s of multiple characters that incorporate various perspectives, emotions, and views from witnesses or actors to varying particular events or circumstances that might not be felt by other characters in the story. ||  The films of [[Robert Altman]]. ''2666'' by [[Roberto Bolaño|Roberto Bolano]] features European literary critics, a Chilean philosophy professor, an African-American journalist, detectives investigating Santa Teresa murders and an obscure German writer named Benno Von Archimboldi. ''[[Pale Fire]]'' by Vladimir Nabokov features literature professor John Shade,  Charles Kinbote, a neighbor and colleague of Shade's and Charles the Beloved, king of Zembla. Kinbote is the ultimate unreliable commentator.
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| [[Second-person narration]] || A text written in the style of a direct address, in the second-person. || ''[[Bright Lights, Big City (novel)|Bright Lights, Big City]]'' by [[Jay McInerney]].
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| [[Stream of consciousness]] || The author uses narrative and stylistic devices to create the sense of an unedited [[interior monologue]], characterized by leaps in syntax and punctuation that trace a character's fragmentary thoughts and sensory feelings. The outcome is a highly lucid perspective with a plot. Not to be confused with [[free writing]]. || An example is ''[[Ulysses (novel)|Ulysses]]''. At one point Leopold Bloom saunters through Dublin musing on "Pineapple rock, lemon platt, butter scotch. A sugar-sticky girl shovelling scoopful of creams for a Christian brother. Some school treat. Bad for their tummies."
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| [[Third-person narrative|Third-person narration]] || A text written as if by an impersonal narrator who is not affected by the events in the story. Can be omniscient or limited, the latter usually being tied to a specific character, a group of characters, or a location. || ''[[A Song of Ice and Fire]]'' is written in multiple limited third-person narrators that change with each chapter. ''[[The Master and Margarita]]'' uses an omniscient narrator.
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