¿Cuáles son las diferencias entre narradores omniscientes y limitados en la literatura?

An Omniscient Narrator has the authorial ability to see into the minds of all the characters in a story or novel. With this approach, the writer can give backstory to everyone and fill in as much information as he/she desires. A Limited Narrator is similar to an Omniscient Narrator, but rather than go into every character's mind, the author focuses typically on one or two characters.

An omniscient narrator provides a comprehensive view of the narrative world, offering insights into multiple characters’ thoughts, emotions, and motivations. This allows readers to understand the inner workings of different characters simultaneously, creating a rich, multidimensional narrative. For instance, in Leo Tolstoy’s ‘War and Peace’, the omniscient narrator delves into the minds of a vast array of characters, providing a thorough exploration of their internal and external conflicts. This not only deepens character development but also highlights the interconnectedness of their stories within the broader context of historical events.

Como estamos jugando con el narrador omnisciente a "ser Dios", las ventajas que nos proporciona su utilización en el relato, es tener el control absoluto de la historia, de los pensamientos, las emociones y los sentimientos de todos los personajes. Pero, como en la vida, el relato puede salirse de nuestro control. Entonces, si como escritor estás decidido a tener tu escrito y tus personajes absolutamente controlados, lo más aconsejable sería que elaboraras un plan, para mantener tu mente a raya y que no te encuentres de un momento a otro dándote cuenta de que uno de los protagonistas ha "desbancado" a tu "narrador Dios" y se ha adueñado del relato. Aunque... tal vez perder el control sea lo más conveniente para un texto más atractivo.

An omniscient narrator possesses complete knowledge of the story's characters, events, and settings. This perspective offers insights into the thoughts, feelings, and motivations of every character, not just the protagonist. With an omniscient narrator, you gain access to background information and future events unknown to the characters, providing a god-like overview of the narrative. This narration style can create dramatic irony, where you know more than the characters, intensifying your engagement with the unfolding plot.

Like the term suggests, an omniscient narrator has the ability to detail what is inside a character's mind. In my writing, I allow the narrator's omniscience to delve both into the thinking mind and the subconscious, or "feeling" mind, of the character. In my experience, there is no more intimate narrative technique. Omniscient narration can be limited or unlimited. Limited omniscience limits omniscience to the protagonist. Unlimited omniscience allows the narrator to shine a light into each and every character's mind. Omniscience allows the writer to explore the motivations, doubts, secrets, and anything else going on in a character's head.

A limited narrator inherently carries the biases and limitations of the character through whom the story is told. This can add layers of complexity and realism to the narrative, as readers must navigate the characters’ subjective interpretation of events. In F. Scott Fitzgerald’s ‘The Great Gatsby’, the story is filtered through Nick Carraway’s perspective. Nick’s personal biases and limited understanding of other characters, especially Gatsby, colour the narrative, creating ambiguity and prompting readers to read between the lines to uncover the full story. This subjective lens can make the narrative more engaging and thought-provoking.

La expresión"narrador limitado" no me gusta. ¿Por qué pensar que una visión parcial de la historia es "limitada"? Quizás esa visión sea mucho más rica en emocionalidad, en sensibilidad, en misterio. Conocer al personaje escuchando atentamente su relato, sus opiniones, poder ver sus contrastes a través de "cómo nos cuenta el cuento" puede hacer que nuestro lector empatice con él o le genere repulsión y se sumerja de lleno en la historia que le mostramos como un protagonista más, tan imprescindible para la trama como cualquiera de los otros personajes.

In my first novel, "Christmasville," it was imperative that the narrator - the fourteen-year-old Mary Jane Higgins - remain limited in her vision so as to prevent the reader from discovering the truth of the environment in which she resided until much later in the novel. In the second novel, I chose to alternate chapters with first-person narration (Esmeralda) and third-person limited (Madeleine), the former having finite information about Christmasville whereas the latter had expanded information.

A first-person limited narrator provides profound access to the narrator’s thoughts, emotions, and experiences. This creates an intimate bond between the readers and the narrator, fostering empathy and engagement. In Charlottes Brontë’s ‘Jane Eyre’, the titular character’s first-person narration allows readers to deeply understand her struggles, desires, and moral convictions. This narrative mode immerses readers in Jane’s inner world, making her journey intensely personal and emotionally resonant.

La riqueza de un narrador en primera persona nos deja crear un relato que tiene el permiso de ser absolutamente subjetivo. Esta parcialidad nos brinda la oportunidad de jugar como escritores a "ser" diversos personajes (la gloria para nosotros, vivir diferentes mundos y tiempos, ser otros, probarnos en voces disímiles, actuar en distintos escenarios). Y a la vez nos permite interactuar con nuestro lector, a quien le doy permiso para la crítica y para la empatía, para que me comprenda o me odie, porque sabe que esta mirada le pide una interacción, no puede quedarse afuera sin participar, es necesario para la resolución del relato.

By focusing on a single character’s viewpoint, third-person limited narration allows for detailed character development. Readers become intimately familiar with the character’s inner life, creating a strong emotional connection. In Jane Austen’s ‘Pride and Prejudice’, the narration often focuses on Elizabeth Bennet. Readers gain insight into Elizabeth’s thoughts and feelings, which deepens their understanding of her character and her evolving perceptions of Mr. Darcy and other characters.

¡Qué difícil permanecer en este narrador en tercera persona, siendo solamente testigo imparcial de los hechos! Si es demasiado objetivo al narrar los hechos,muchas veces terminamos con el vicio de empujarlo hacia el narrador omnisciente, porque creemos que puede saberlo todo. Si sólo nos presenta la historia de otros personajes,¿cómo poder mantenerlo respetando la máxima objetividad en su papel de narrador externo? ¿O tal vez sutilmente empezará a pedirnos convertirse en protagonista de ese relato dándonos sus opiniones, buscando la complicidad de nuestro lector, interviniendo como un titiritero para cambiar la perspectiva a su favor?

The objective narrator can enhance narrative tension and mystery by limiting the information available to the reader. This creates suspense, as readers only know what can be observed externally. They must piece together clues and interpret the significance of events and dialogue. In Dashiell Hammett’s ‘The Maltese Falcon’, the objective narration heightens the mystery and intrigue of the detective story. Readers follow the protagonist’s actions and dialogue without access to his inner thoughts, maintaining suspense and engagement.

Salvo que sea un personaje secundario en el relato de aparición muy breve, ese narrador que actúa simplemente como una cámara, registrando los sucesos sin intervenir para nada con sus opiniones, con su visión o su emocionalidad, es dificílisimo de construir sin un control absoluto de cada una de sus palabras. Porque sabemos que incluso describiendo lo más objetivamente que podamos un paisaje o un hecho, como postula la Programación Neurolingüística, "el mapa no es el territorio" y nuestro mapa se irá colando con sutileza en lo que decimos, al punto de que un lector avezado podrá descubrir nuestra presencia y nuestra voz incluso en nuestro mejor intento de pasar desapercibidos.

La principal diferencia es que el narrador omnisciente tiene un conocimiento ilimitado de los hechos y personajes, mientras que el narrador limitado tiene un conocimiento restringido a la perspectiva de un personaje. Esto determina diferencias en cuanto a intrusiones, distancia narrativa, visión de los hechos y credibilidad.

In my first novel, "Christmasville," it was imperative that the narrator - the fourteen-year-old Mary Jane Higgins - remain limited in her vision so as to prevent the reader from discovering the truth of the environment in which she resided until much later in the novel. In the second novel, I chose to alternate chapters with first-person narration (Esmeralda) and third-person limited (Madeleine), the former having finite information about Christmasville whereas the latter had expanded information.