Mark can you share with us your use of two narrators yes these the story I just told you about my tenth birthday was told mostly in the past tense now what we will do and someone says asks you something and you're about to tell an autobiographical story or you want to tell a story or you want to tell someone about what you just witnessed or you saw a week or two ago you will by instinct I Read a Book a Week for a Year and It Changed My Life and there's a lot of reasons for this tell it in the past tense you will say okay it was last Wednesday and I was driving my car on the freeway and then I saw and it's in the past tense now as soon as you are telling the story in the past tense the listener automatically knows several things they know that you know the ending of the story now that sounds silly or maybe dead a little confusing why wouldn't you of course you do know the ending but when you tell it in the past tense that narrator talking the past tense and knows the end of the Reading Changes Your Brain Let Me Explain story that narrator also knows everything that's happened since that story until the present moment that's why we call it the omniscient narrator the narrator who knows everything I know the story.
I'm going to tell you I know how it ends I know everything that's happened since then I know that we percussions of that story I know everything so it actually means that in the telling of the story the story is like here and the storyteller is here telling about this thing and you the listener are there and there's the story so this story is separate from me the how to ACTUALLY wake up early: A “Miracle Morning” Routine storyteller and separate from you it's this entity that exists by itself here then there's another narrator and the other narrator is is called the naive narrator and this is a tricky one and very very powerful a naive narrator tells the story in the present tense tells the story not only just in the present tense but it's telling the story from the point that the characters in at the moment not knowing even what's going to happen in the next few seconds so rather than in the past it's okay it was last Wednesday.
I was driving my car on the 405 that's the omniscient narrator the naive narrator I'm driving my car I'm on the 405 now it's in the present tense now right that just the fact that you hear it in the present tense shifts the whole story because it sounds like I don't know what's gonna happen I'm driving on the 405 and I see this little yellow car and it's zooming it's zooming up behind me I can see it in my rearview mirror now I can tell you all that you still get the feeling that I don't know what's going to happen although of course if you're smart enough you say well mark is telling me this story he's here in front of me he must know how it's gonna end but my feeling is he doesn't he doesn't because he's put himself in the middle of the story telling the story as it happens he is totally totally naive now Karen the story is not here with me here the story is around me and it's actually around you too you are in the middle of the story I'm in the middle of the What Happened When I Stopped My Morning Routine | the Miracle Morning story and quite honestly that's where you want to be now think about this every screenplay that you've ever read and I'm assuming you've read a lot of them they're all in the present tense they're all in the present tense Jim does this he does that he does this he does that do you know why they're in the present tense because when it's up on the screen we want to believe it's happening as we watch it now we as an audience of film are smart enough to know that we go to see a movie we know they spent how many years writing it how many months shooting it huh you know all the work they've done it's done it's finished but we go and we watch it suspending disbelief and I'll believing that that what we are watching right now on the screen is happening in the moment because that's where we want to be so the naive narrator can take us into the center of the story so as you're telling a story it's not which narrator you use it's when you new use each narrator that gives you control over the story in other words I could be telling you the story.
I'm making up this story about the four or five it's just as good as anything else I'm driving on the 405 405 and I'm feeling nervous because behind me I see in this rearview mirror this yellow car is coming at me and he's he or she or whatever's going way too fast and I'm really scared now that's all the naive narrator and you are probably an appointed going what's gonna happen what's gonna happen now I as the storyteller and this is the beauty of being a storyteller I'm in total control of this story and I at anytime I want can pop you out of the The Miracle Morning by Hal Elrod Animation Book Summary story right now you're in the middle of the story and I can pop you out and anytime I want and I can say the car is coming at me it's coming faster and faster now you got to understand something about me and yellow cars you know the first car I ever bought was a yellow station wagon it was really an ugly car now what I just did is I jumped to the other narrator I jumped out of the story I jumped to the other narrator I'm giving you some information that I think you need to have which will help inform the story but I've left you hanging about what's going on in the story and there's a part of you go.
Okay great information but what's happening there okay I got it I got it now I have you curious about two things why am I getting this new information and what's happening there and then anymore Mike said and I look in their rearview mirror and it's coming closer and closer and closer and I can see there's nobody driving it there's nobody so I can switch back and forth them as I switch back and forth between those two narrators I'm actually manipulating you I'm bringing you into the story pulling you out of the story bring you into the story pull you out of the story it's all part of the structure of the story that I want to tell that's how I want to tell it when playing with you and playing with your relationship to the story do we like being manipulated does the audience I mean I realize that's a weird way to say it but does that something we like do you like roller coasters can I don't you don't but I like movies but you're like me I don't like roller coasters look it but you did that so that's right but I think there's sort of a wonderful love-hate relationship with being manipulated I don't want to be manipulated and then we go through a movie oh that's so scary it wasn't that great and I think what you were just manipulated I think we find our forms of entertainment that manipulate us whether it's roller coaster rides or a movie that take us into danger take us into a zone of danger where we feel we're at risk roller coaster ride we could die the feel that way sometimes in a movie it's an emotional danger I'm going to feel sad I'm gonna Veil hurt I'm gonna feel scared but then you can we come out good wow that was great I want to see that again but I say you were scared you were screaming out of fear so there's this curious relationship we have my feeling is when we go to see a movie or we read a book or read or hear a story being told is please please manipulate me thrill me scare me dazzle me my only caveat is don't bore me don't be boring I don't mind movies that I hate because I felt hate I hate this then I hate these I don't mind characters that I hate people say wasn't that what I hated her whatever it is it doesn't matter and all these characters and all these stories they do manipulate us but the worst thing is to go there's no point to watching this there's nothing going on this is just boring that's the worst how do most people use the naive narrator incorrectly and then the omniscient narrator incorrectly.
Several things about the two narrators you need to understand and how they can be if they used incorrectly they just won't be effective at all one thing about the omniscient narrator the omniscient narrator does know everything the omniscient narrator since the omniscient narrator is talking about an event there and is actually that narrator is not involved in the event that narrator is only telling about the event the mistake you can note do is say okay I'm gonna tell this story and then I'm going to get really emotional so that the audience will know how emotionally I was affected at that time but you're still telling it in the past tense and when she looked at me I wanted to cry and then she did this and then she did that and you know what we have now therapy why am I telling the story am i telling the story because I want to go through those emotions again because we can feel the audience can feel that emotion is not connected with the story that of that emotion is connected with the memory of this story so the emotional journey of the character does not belong in that narrator it belongs in the naive narrator now the naive narrator just say you know and she's looking at me and I'm really scared now I'm in the present tense and I go that's totally acceptable because you're telling me what's going on and how you're feeling which is also what's going on in the moment but if the naive narrator tries to put this into some larger perspective I'm looking at her in there you got to understand you know I really had a lot of trouble with the relationships for a long time you go where are you going why are you thinking about that in the middle of this this moment with this woman why that's the job of the omniscient narrator the each have separate jobs and they have to you have to be purely in one or the other all the time you.
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