Writer's Guide to Unreliable Narrators
Unreliable narrators are narrators who intentionally or subconsciously mislead the reader with their own bias and lies. I love nothing more than a narrator who deceives me. There is something incredibly charged about not being able to rely on your guide through a story. So how can we write them?
Determine What Kind of Unreliable Narrator your Narrator is.
There are five kinds of unreliable narrator we see in fiction, each with their own way of leading the audience astray.
The Unstable: This narrator is usually an unstable character with problems with grasping reality or having trouble accepting it so they bend it to their own tastes. Example: Arthur Fleck in Joker & Amy Elliot Dunne in Gone Girl
The Exaggerator: the one who spins fanciful lies to embellish the facts of the story around them. Usually they embellish it in such a way to make themselves look good.
The Child: Though children can be a font of truth, they often have a way of muddling facts and being confused by certain aspects of the story they are not versed in. Example. Bran in A Song of Ice and Fire & Scout Finch in To Kill A Mockingbird
The Biased: The biased Narrator is usually an outsider. They enter the world with preconceptions of the world and/or characters around them. Usually they get disabused of their biases by story's end but not always. Example Damen/Damianos of Akielos in The Captive Prince Trilogy
The Liar: The Liar is simply just a liar liar pants on fire. They twist the narrative and outwardly lie about their actions and the reactions of others. The liar is self-serving, usually narcissistic. Example Cersei Lannister from A Song of Ice and Fire.
How to Write Your Unreliable Narrator
The thing you must remember is that your audience immediately trusts your narrator, they have no other choice. It is a given. However, it is your job to break that trust.
Allow the narrator to outwardly lie. Let them spout half truths or full out lies in the narrative. The audience will take what your character says as the gosphel until slapped with a conflicting account or detail. It provides a wham to the story that becomes a turning point. Perhaps the best example of this is Amy Elliott Dunne in Gone Girl (I recommend). She introduces herself as a sweet housewife who loves her husband despite her fears over his temper. However, in the section of the book she narrates she quickly flips Nick's account of the events leading up to her disappearance, turning the audience on their head so fast none of us have a chance.
Allow the character to mislead your audience with the absence of details. Your story is one big chain, omit a link and the thing is useless & subject to the questioning you want to draw out of the audience. For example, Daenerys Targaryen believes wholeheartedly that the house with the red door is in Braavos. However, she vividly remembers a lemon tree outside her window and sunsine. But lemon trees cannot grow Braavos and it is notoriously damp and cold. #lemongate
Speak to your audience through the events of the story, bypassing the narrator to get through to the audience. Sometimes the best reveal that the narrator cannot be trusted is showing the audience evidence that they are either not seeing what's happening or they are ignoring it. For example in Captive Prince, it is almost explicitly suggested that the Regent molested his nephew Laurent as a child. If one ignores Damen's narration, the signs are there to see from Laurent's reaction to his Uncle's presence and in some of Laurent's words. Damen chalks this down to Laurent being a brat and the Regent just being a villain. He has to be told despite the audience realising or at least suspecting it from the second book onward.
Play off your secondary characters. Use the characters around your narrator to disprove their account if the story and completely flip the story on its head. Usually, I trust the secondary characters when it comes to Unreliable Narrators. For example, Cersei Lannister gets her own POV in a Feast of Crows. Up until this point she has been very mercurial in her reactions in the first few books, to the point where other characters and the audience are confused about who the real Cersei is: the shrewd polictian or the wine mom with way too much faith in herself and her spawn. In truth, Cersei is incredibly paranoid about those around her and she thinks herself the cleverest player in the game. However, from others such as Tyrion, Tywin, Littlefinger and the members of the Small Council (who yes, all have a touch of misgyny to their criticisms of Cersei but really most of their points have a point since she is mad as a box of frogs) we see that Cersei tends to make enemies out of allies, assume the worst in others and make political choices to spite others or to put her faith in those who offer her little more than flattery.
