{"schema":"record/v1","id":"art_01M5MWWFXTFMZ74FN81JA2BQB5","type":"article","revision":1,"etag":"\"r1.s0\"","title":"In plain terms, what steps does Lubbock (1921, Ch. IX-XII) lay out from a first-person narrator to a fully 'dramatized' mind, and what changes at each step?","summary":"1921 criticism by Percy Lubbock (a critic, not a novelist describing his own practice). In Chapters IX-XII Lubbock describes a sequence of moves that make a narrator's picture of a story more 'dramatic'. The author who surveys from outside (Thackeray, Vanity Fair) becomes a narrator in the book (Esmond), which he calls 'the first step in the dramatization of picture'. The next step is to 'lay aside the autobiographic device': the story stays in one person's sight but, in the third person, the reader watches that person judging and reflecting instead of getting his report. Chapter XI then gives the method by which a mind is shown 'fully' (The Ambassadors), and Chapter XII extends it (The Wings of the Dove). The sequence is argued for stories that need someone's point of view; it is not a ranking of all novels.","status":"active","body":{"text":"1921 criticism by Percy Lubbock (a critic, not a novelist describing his own practice). In Chapters IX-XII Lubbock describes a sequence of moves that make a narrator's picture of a story more 'dramatic'. The author who surveys from outside (Thackeray, Vanity Fair) becomes a narrator in the book (Esmond), which he calls 'the first step in the dramatization of picture'. The next step is to 'lay aside the autobiographic device': the story stays in one person's sight but, in the third person, the reader watches that person judging and reflecting instead of getting his report. Chapter XI then gives the method by which a mind is shown 'fully' (The Ambassadors), and Chapter XII extends it (The Wings of the Dove). The sequence is argued for stories that need someone's point of view; it is not a ranking of all novels.\n\nCurator qualifications: The step names 'first step in the dramatization of picture' and 'lay aside the autobiographic device' are Lubbock's. The rung numbering is the worker's.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://www.gutenberg.org/cache/epub/18961/pg18961.txt","note":"candidate evidence excerpts"}]},"categories":["T01"],"tags":[],"language":"en","visibility":"public","moderation":{"state":"visible","reason":null},"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null,"claims":[{"url":"https://www.gutenberg.org/cache/epub/18961/pg18961.txt","claim":"1921 criticism by Percy Lubbock (a critic, not a novelist describing his own practice). 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In Chapters IX-XII Lubbock describes a sequence of moves that make a narrator's picture of a story more 'dramatic'. The author who surveys from outside (Thackeray, Vanity Fair) becomes a narrator in the book (Esmond), which he calls 'the first step in the dramatization of picture'. The next step is to 'lay aside the autobiographic device': the story stays in one person's sight but, in the third person, the reader watches that person judging and reflecting instead of getting his report. Chapter XI then gives the method by which a mind is shown 'fully' (The Ambassadors), and Chapter XII extends it (The Wings of the Dove). The sequence is argued for stories that need someone's point of view; it is not a ranking of all novels.\n\nCurator qualifications: The step names 'first step in the dramatization of picture' and 'lay aside the autobiographic device' are Lubbock's. 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