{"id":6037,"date":"2019-09-27T11:26:58","date_gmt":"2019-09-27T10:26:58","guid":{"rendered":"https:\/\/jerichowriters.com\/townhouse\/articles\/swooping-in-pulling-out-a-psychic-distance-starter-guide\/"},"modified":"2019-09-27T11:26:58","modified_gmt":"2019-09-27T10:26:58","slug":"swooping-in-pulling-out-a-psychic-distance-starter-guide","status":"publish","type":"post","link":"https:\/\/jerichowriters.com\/swooping-in-pulling-out-a-psychic-distance-starter-guide\/","title":{"rendered":"Swooping in, pulling out – a psychic distance starter guide"},"content":{"rendered":"

We\u2019re going to talk about narrative distance. (Or psychic distance. Or, sometimes, emotional distance.)<\/strong><\/p>\n

It\u2019s one of the most important tools in the writer\u2019s armoury and the fluid use of it adds depth and motion to your text. You may very well be using the technique perfectly without being aware of it. Or you may have an aha moment in this email that illuminates something and unlocks a whole new level of your writing.<\/p>\n

We start with a simple definition and some examples.<\/p>\n

Narrative distance<\/a> has to do with how far your narration is from your character\u2019s innermost heart and thoughts. So:<\/p>\n

\n

\u201cIt was the best of times, it was the worst of times.\u201d<\/em><\/p>\n<\/blockquote>\n

That\u2019s Dickens commenting on eighteenth-century London, and he\u2019s swooping, god-like, over an entire city, or an entire country. He\u2019s so not-close to a character that no characters have yet appeared in the book.<\/p>\n

But you can swoop in further:<\/p>\n

\n

\u201cIt was the Dover Road \u2026 on a Friday night late in November.\u201d<\/p>\n<\/blockquote>\n

We\u2019re getting more specific about time and place now. We haven\u2019t yet hit character, but we\u2019re getting closer. We move in again:<\/p>\n

\n

\u201cThe sound of a horse at a gallop came fast and furiously up the hill.\u201d<\/p>\n<\/blockquote>\n

Things are now completely external (still no character to focus on), but time and place has become completely precise. It\u2019s not that Dickens has given us precise co-ordinates of place and time, but whereas \u201cFriday night\u201d refers to a whole reach of time, the sound of this galloping horse must be heard within one specific half-minute of that night.<\/p>\n

We swoop in again.<\/p>\n

A coach \u2013 the Dover mailcoach \u2013 stops. The horseman asks for a Mr Jarvis Lorry. And:<\/p>\n

\n

\u201c[The] passenger showed in a moment that it was his name. The guard, the coachman, and the two other passengers eyed him distrustfully.\u201d<\/p>\n<\/blockquote>\n

We\u2019re now, as it were, face to face, with our character. If that \u201cbest of times\u201d quotation had Dickens flying over London, we\u2019re now in a coach right next to a person. We\u2019re close enough that we see him physically acknowledging his name.<\/p>\n

That said, our view of this character is still external. We\u2019re not in his head at all.<\/p>\n

As it happens, this scene from Dickens is just an appetiser. He doesn\u2019t plunge all the way into the man\u2019s head. But he could have done:<\/p>\n

\n

\u201cJarvis Lorry reached thoughtfully for the note.\u201d<\/p>\n<\/blockquote>\n

That word \u201cthoughtfully\u201d is somewhere between a purely external view and a genuinely internal one. Yes, we can sort of see from someone\u2019s manner whether they\u2019re thoughtful or not, but the word could equally well be used by the excellent Mr Lorry to describe himself.<\/p>\n

\u201cHe pondered a moment.\u201d And now we\u2019re definitely in his head. No one outside the admirable Lorry knows if he\u2019s pondering or not.<\/p>\n

\n

\u201cAs he read the missive, a slow fury crept over him.\u201d<\/p>\n<\/blockquote>\n

From thought to emotion, and our sense of interiority grows greater.<\/p>\n

\n

\u201cThe devils! Would they never leave him be?\u201d<\/p>\n<\/blockquote>\n

And boom! The character has now taken over the actual narration. We\u2019re in stream-of-consciousness mode. The character\u2019s own thoughts are spilling, live and unedited, onto the page.<\/p>\n

And that\u2019s narrative distance, the whole spectrum from hyper-remote to extremely intimate. From being actually removed from any characters at all to so up close and personal that the character themself barges the narrator off the page.<\/p>\n

Why this matters<\/strong><\/p>\n

I hope there\u2019s something conceptually interesting about noticing this narrative spectrum. As I say, you quite likely deploy it fluidly and without noticing it. But to notice it fully can illuminate various elements of your text.<\/p>\n

For one thing, there\u2019s rhythm. If you operate only at one level of psychic distance, your text will have a monotonous quality, much as if you had to watch a movie with no close-ups and no panoramas.<\/p>\n

For another, there\u2019s movement. If you want to zoom right into a character\u2019s innermost thoughts, you can. This is fiction. You can and should. But you can\u2019t just crash into them without a graduated approach. You need to shift fluidly through the gears, getting closer in on the character, step by step by step. (Just think how crashingly awkward it would be to jump from \u201cIt was the best of times, it was the worst of times\u201d straight to \u201cJarvis Lorry reached thoughtfully for the note. The devils! Would they never leave him be.\u201d Because the approach has been so rushed, the text is unengaging and hard to read.)<\/p>\n

And then there\u2019s usage. When do we want to be right inside a character\u2019s head? When that character is experiencing strong, significant emotion, of course.<\/p>\n

When do we want to be zoomed out and somewhat detached from character? Well, when we simply want to convey important external data about the scene, of course.<\/p>\n

When you think of it like that, it\u2019s easy enough, but put all the pieces together and you have a powerful, powerful tool at your disposal.<\/p>\n

Because this post has run on long enough already, I\u2019ll shut up now. But because these things make more sense in context, I\u2019ve pasted a chunk of one of my scenes in the PSes below. That scene has a whole graduated movement from basically external to extremely internal. It\u2019s delivered, what\u2019s more, in first person narration, which just goes to show that these psychic distance issues are conceptually identical, whether or not you have an external narrator.<\/p>\n

That\u2019s it from me. I\u2019m about to saddle up and head for Dover. Giddy on up!<\/p>\n

Feel free to pile in with your own comments and observations in the comments thread below. Meantime here’s a slice of my forthcoming Fiona novel, with plenty of comments – here’s psychic distance happening in the flesh …<\/em><\/strong><\/p>\n

____<\/p>\n

So here\u2019s a chunk from my forthcoming Fiona Griffiths novel. Bits in square brackets are my commentary on the whole psychic distance thing. The setting, by the way, is a secure psychiatric hospital, which is not a setting my Fiona is likely to enjoy \u2026<\/em><\/strong><\/p>\n

The transport whirrs up the little slope.<\/p>\n

Strange how a little knowledge alters the scene. Yesterday, with Rogers fulminating away about a rest-cure for psychos, all we saw was beauty. The sparkling sea, the scatter of buildings. [External. Loosely anchored in the past. Even the descriptions suggest something viewed from afar.]<\/em><\/p>\n

Now, all I can see is those yellow marker stones. The panic button and the taser. Those hummocks of stamped-down turf. [Descriptions now much more specific, local.]<\/em><\/p>\n

And suddenly \u2013 it feels real. [When you shift from far-out narrative distance to something closer in, you get that sense of enhanced reality, so Fiona is just voicing what the reader already half-feels.]<\/em><\/p>\n

This place. It\u2019s not a rest cure. It\u2019s a supermax prison for psychos. The pretty buildings are just window-dressing. A cloak tossed over darkness.<\/p>\n

The float whirrs up to reception and stops.<\/p>\n

I don\u2019t get out.<\/p>\n

Say, \u2018Sorry. Sorry, I just need . . .\u2019<\/p>\n

I don\u2019t say what I need, but my heart is racing. My face and neck are slippery with sweat. I have my head down between my knees and I think I want to vomit. [We\u2019re getting even closer in now. We see the sweat on her face and neck. We feel her sickness.]<\/em><\/p>\n

A wash of fear.<\/p>\n

A constricting awfulness. [There\u2019s something almost panicky in her language now. Very short paragraphs and main verbs have gone AWOL.]<\/em><\/p>\n

Mervyn Rogers thought I was the right person for this particular job. Oh, leave it to Griffiths. Sure, she\u2019ll piss a few people off and make a cock of things, but it always comes right in the end. She\u2019ll sort it out.<\/p>\n

And he couldn\u2019t be more wrong. He\u2019s the wrongest person on earth.<\/p>\n

The driver says, \u2018You all right? We\u2019ve got a doctor on site if you need.\u2019<\/p>\n

I shake my head.<\/p>\n

Can\u2019t talk. [Notice that she says, \u201cCan\u2019t talk\u201d not, \u201cI can\u2019t talk\u201d or \u201cBut I find myself unable to talk.\u201d It\u2019s like Fiona\u2019s mounting panic is interrupting her ability even to narrate normally. Her gaspiness is making her narration gasp too.]<\/em><\/p>\n

Wipe sweat off my forehead, but it returns instantly.<\/p>\n

A prison for nutters. That\u2019s where I am. That\u2019s what this is. A prison for nutters with an unhealthy interest in violence<\/em>.<\/p>\n

[Boom! And these are Fiona\u2019s thoughts, quoted real time. The slightly formal, reader-aware narration with which we started has been replaced by this panicked and forceful stream of consciousness.]<\/em><\/p>\n

My heart is a long way distant from my chest.<\/p>\n

It is a bird taking refuge in a treetop. It is a rabbit watching its own skin fold down over its eyes.<\/p>\n

[And so on. Obviously, you can\u2019t write like this for long without crowding the reader \u2013 being over-intense, over-intimate. So gradually the scene starts to pull back again. It ends where it started, with a nice formal narration of who does what, goes where, and says what. Narrative distance: I thank you for your services. I couldn\u2019t write without you.]<\/u><\/em><\/p>\n

\u00a0Now over to you. Thoughts, comments, questions below …<\/em><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

We\u2019re going to talk about narrative distance. (Or psychic distance. Or, sometimes, emotional distance.) It\u2019s one of the most important tools in the writer\u2019s armoury and the fluid use of it adds depth and motion to your text. You may very well be using the technique perfectly without being aware of it. Or you may<\/p>\n","protected":false},"author":32,"featured_media":6038,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[29292],"tags":[],"class_list":["post-6037","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-harrys-friday-email"],"acf":[],"yoast_head":"\nJericho Writers<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/jerichowriters.com\/swooping-in-pulling-out-a-psychic-distance-starter-guide\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Swooping in, pulling out - a psychic distance starter guide – Jericho Writers\" \/>\n<meta property=\"og:description\" content=\"We\u2019re going to talk about narrative distance. 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