Fourth Wall Breaks In Narration

A story I'm working on has something not dissimilar from fourth wall breaks. Specifically, the narration (not a character) provides explanations directly to the audience. Example below:

"a fairly derivative medieval fantasy land; you’ll have to forgive my not going into much depth. The limited word count for this competition and the generic nature of the world don’t warrant it. "

I'm just wondering how readers feel about that kind of thing.

I think it would take me out of the story. It's clever, but it kinda punctures the reality of the story.

For me, standing alone, it reads like an author's excuse to the reader and I'd probably stop there. It needs to justify itself within the whole. Maybe if it was a running device throughout the story (satiric/sarcastic/ironic/sardonic or just plain funny asides) then it might work.

Quote by kistinspencil
Maybe if it was a running device throughout the story (satiric/sarcastic/ironic/sardonic or just plain funny asides) then it might work.

This. It really does not work as well in print as on a screen unless you do it very, very well and it fits the tone of the narrative, rather than feeling like a random intrusion. I keep being tempted to do it and back off every time.

I'd remove it. If anything, it takes up valuable words that could be used for the actual story. You would be better to cut straight in with the action.

Quote by Ensorceled

I think it would take me out of the story. It's clever, but it kinda punctures the reality of the story.

This. I'd rather be allowed to fill in the blanks with my imagination.

In your example, 'a fairly derivative medieval fantasy land' is enough for me to picture, what comes next interrupts the visualisation process.

The problem is that it draws attention away from the story and to the author themself - sort of like shouting 'hey look at me, aren't I clever?' The same problem can be found with authors who are too precious with their language and put their sense of style ahead of their plot. Before you get fancy or 'experimental' with your literary devices, focus on just telling a good, straightforward story.

By the way, I'm also guilty of not taking my own advice, so...

Quote by Just_A_Guy_You_Know

The problem is that it draws attention away from the story and to the author themself - sort of like shouting 'hey look at me, aren't I clever?' The same problem can be found with authors who are too precious with their language and put their sense style ahead of their plot. Before you get fancy or 'experimental' with your literary devices, focus on just telling a good, straightforward story.

Word.

Quote by AvidlyCurious

This. I'd rather be allowed to fill in the blanks with my imagination.

I'll double-down on this as good advice, too. When you can trust your readers, less is often more. It can be an illuminating exercise to figure out how much you can cut from a story while maintaining its integrity.

Quote by Just_A_Guy_You_Know

The problem is that it draws attention away from the story and to the author themself - sort of like shouting 'hey look at me, aren't I clever?' The same problem can be found with authors who are too precious with their language and put their sense of style ahead of their plot. Before you get fancy or 'experimental' with your literary devices, focus on just telling a good, straightforward story.

By the way, I'm also guilty of not taking my own advice, so...

This makes a tremendous amount of sense.

I sometimes see authors addressing the reader parenthetically as “gentle Reader” or “dear Reader,” which is far better than “you,” explicit or implied. But I think it’s usually best avoided. I usually will only break the Fourth Wall for humorous purposes, as I did twice in Dick Job, but otherwise I usually leave the reader out as a party to the narration. Author’s Notes are a better place to do it if you really have to.

Quote by joe71

I sometimes see authors addressing the reader parenthetically as “gentle Reader” or “dear Reader,” which is far better than “you,” explicit or implied. But I think it’s usually best avoided. I usually will only break the Fourth Wall for humorous purposes, as I did twice in Dick Job, but otherwise I usually leave the reader out as a party to the narration. Author’s Notes are a better place to do it if you really have to.

My last story begins with the word "you," which is kind of a fourth wall break. I think. I don't really know how to categorize it. I fucked with that sentence forever though.

Quote by Ensorceled

My last story begins with the word "you," which is kind of a fourth wall break. I think. I don't really know how to categorize it. I fucked with that sentence forever though.

Well, I was thinking of answering the question "Sorry, nope." and going back to the taco chapter in The New Bilitis Girl Guide To Eating Out.

Anyway, I think it's more of a hypothetical, trope-like, than a real break. Variations of it have been used by many authors over time. It works.

I'll sometimes break the fourth wall if the story is a first person narrative of a past event, and light-hearted. It's as if the narrator is documenting a memorable event for his readers to examine. Like, "Really, people; how could I refuse such an offer?" and the readers are invited to agree.