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Gaze is closely related to point of view but focuses more on who is perceiving the action rather than who is telling the story.
| Type | Description | Effect | Example |
|---|---|---|---|
| Internal Focalization | Narration is limited to a character’s thoughts and feelings. | Builds deep emotional connection. | “She stared at the door, heart pounding, praying he wouldn’t come in.” |
| External Focalization | Only describes what can be observed externally, no access to inner thoughts. | Builds mystery and objectivity. | “She sat still, eyes fixed on the door. Her hands trembled in her lap.” |
| Zero Focalization | The narrator knows and reveals everything. | Allows for multiple viewpoints and dramatic irony. | “She didn’t know he was already behind the door, waiting.” |
In The Catcher in the Rye, the reader experiences the world through Holden's cynical, sarcastic voice. His biases shape how other characters are perceived. Even though he is unreliable, the reader is still drawn into his emotional world.
In many crime thrillers, the narrator shows only what the detective sees. The reader is left guessing alongside the detective, which keeps the mystery alive.
In Of Mice and Men, the narrator knows what Lennie cannot: that his actions will have tragic consequences. This creates a haunting sense of inevitability.
Gaze
Gaze is the narrative vantage point: who sees the action, and how much they know. It determines what the reader experiences and whose lens we’re looking through.
