A framing narrative imposes narrative duties and obligation on its writer. For example, we all ‘know’ that The Hobbit, The Lord of the Rings, and The Silmarillion were translated from the Red Book of Westmarch, which was chiefly written by Bilbo and Frodo Baggins, expanded by Samwise Gamgee, and amended by his descendants, the Fairbairns of Westmarch.
But I would argue that many writers implicitly adopt a metanarrative identity even when they do not provide an explicit framing narrative. After all, a writer is a craftsman of prose—responsible for choosing their words with intention—and if an impression is clearly conveyed, does it really matter whether it is conveyed through explicit statements or via contextual clues?¹ For instance, suppose the author of a story set in mediæval times (or fantasy pseudo-mediæval) goes out of their way to avoid terminology that rely on modern knowledge in favour of circumlocutions, using descriptive language rather than words like “electricity”. The effect is one of a storyteller limited to knowledge of the world, presumably because they are situated in it. Albeit by implication rather than explicit statement, hasn’t this author taken on as much of a narrative poise as Tolkien with the Red Book? An anonymous and unknown poise, to be sure, but that’s just as true of many real-world books (we don’t know who wrote almost any of the books in the Bible, for example, yet many have distinctive voices).
By implication, then, the author is logically limited to the knowledge of a narrative world that is available within that world. That doesn't mean they can’t break the convention from time to time—we may or may not like it, but when Tolkien compares the firework dragon to a locomotive in The Fellowship of the Ring, we read it as an editorial or translation device: even if Bilbo wrote the original, the locomotive part was clearly the editor/translator, Tolkien, using imagery familiar to us—himself and the readers. But it does imply that the a author is less free to break the illusion on the other side of the divide between worlds: if they tell you things about the invented world that the anonymous narrator they pose as could not have known, it breaks the illusion. They may be a third-party ‘omniscient’ narrator, but such a narrator of a real-world story is only inferred to be ‘omniscient’ about the story, not about our actual world!
It gets even worse when characters break the same constraints, which is terribly common. For example, consider an uncharitable reading of Brandon Sanderson’s Mistborn trilogy.² The magic system is—I would be remiss if I did not use the word “Newtonian”. Magically metabolising one metal will let you magnetically attract things; another, push them away. One will make you strong and tough, another more sensitive and hence better able to see and hear. —And so on. It appeals directly to my materialist heart;³ this is not a problem. What is a bit of a problem is the fact that I understand it so well. Why do I know the logic of how magic works in Sanderson’s books? Well, obviously it’s because he tells you…quite explicitly, repeatedly, and at length.⁴ Although there are some missing facts in the characters’ understanding of the magic system (“allomancy”), they seem to be pretty clear on the system, and certainly the narrator knows everything.
Let us pause to think how weird that is. (Leave the specifics of Mistborn behind—the very ‘hard’, Newtonian feel to the magic makes it a good, vivid picture, but I’m not here to harp on it.) Your average fantasy world is vaguely mediæval, usually a sort of quasi-‘high’-Middle-Ages thing, with the occasional bit of Early Mediæval (like Deverry) or pre-Industrial (Mistborn, kind of; Discworld, some books). Imagine a writer in that setting writing a story from the poise of an omniscient narrator. Think how they would describe, not magical forces, but physical ones. Not mythical beasts, just animals in faraway foreign lands. Not curses and blessings, but ordinary diseases. Think how poorly understood all these phenomena were in the year 500, or 1000, or 1750. People have always had some notion of things, but even that may be flawed in ways difficult to imagine (consider physics going from Aristotelian to Newtonian, then Einstenian, then quantum). No one could have guessed that the hardness of a rock and the flash of lightning are both fundamentally down to electricity; and if here the same effects turn out to have a unifying cause, in other cases they may inappropriately group things—think how many diseases lurk behind the word “fever”. We may scoff at mediæval writers imagining griffins or unicorns, but to someone who would never come within a thousand miles of Africa, is a unicorn more absurd-seeming than an elephant?
But fantasy stories seem to be full of people who either know exactly what magical creatures are out there; or stubbornly refuse to believe in anything until it literally bites them; or they may have some wild superstitions instead of real knowledge of magical creatures, but any given character has either the one or the other. In reality, history did not see the study of the little-known neatly divided into categories according to what would eventually be discovered centuries later! There weren't proto-chemists on the left staring daggers at the woo-woo alchemists over on the right; woo-woo alchemists were the proto-chemists. Operating at the far reaches of knowledge, they had no way of distinguishing between a true rumour of the far and strange, and superstition.
So what happened in the world of Mistborn? Was there an allomantic Newton and a Maxwell of Metals who discovered, catalogued, systematised, and published on the laws and interactions of magic? Did all of our knowledgeable characters go through the school system to learn the Theoretical Allomancy?
Even if only the narrator seems to know too much, explaining everything about a magic system with no fuzziness or uncertainty around the edges has an uncanny effect. If I read a book and come out understanding exactly how the magic system works, it strikes me as unrealistic. What are the odds of someone writing a novel set in the real world and only ever mentioning things with which I am already familiar or which the narrative will explain to me? They seem rather slim to me; the moment your novel hints at the existence of, say, banking, or metropolitan transit planning, I know that the world of your story holds deep mysteries to which I shall never be privy. But a lot of fantasy novels feel rather sharply divided into things I understand perfectly well, which are common in the story; and…well, the things I don’t understand are on the outside, perhaps on the other side of the fourth wall. It is uncanny. If you blindfold me and put me in a wooded area, and I recognise every single species of plant around me…then I know I must be in a park, its flora picked from the very narrow selection of things I can immediately recognise. If I were in a real forest, I’d see some pine trees and some mosses I can’t name and an awful lot of plants I cannot classify even to the superfamily taxonomic level. Real forests are full of mysteries. There are plenty of things even the experts can only identify as “little brown mushrooms” or “little brown birds”, and nobody is an expert at everything.
All of this is to say that verisimilitude in world-building requires the presence of the mysterious and the unknown, because the real world is full of the mysterious and the unknown (and the moreso the lower the technology level of a story’s setting). Characters who know too much outright break the story’s logic, and in a looser and more implicit fashion, the same is true of a narrator whose omniscient poise is too omniscient. The forces and creatures that exist in the real world are imperfectly understood, so surely magical forces would also be misunderstood and surrounded by myths and misunderstandings; and a story that mentions only things fully and accurately understood feels unreal like a park is unreal, artificial, and stilted. There’s an obvious temptation for an author show off the world they spent so much time, energy, and creativity developing (do I ever—I’ve never written a story worth reading, but am an inveterate world-builder: I wish you could publish that and nothing else!), but that’s a temptation best resisted. There’s nothing wrong with the author knowing exactly how all the fantastic elements operate that they introduce into their world: in fact, it is much better if they do. But that does not mean that the narrator must know everything, inasmuch as the narrator is a character, a story-teller played directly by the author.
¹ Of course, the narrative fabric may not be entirely in harmony with the story, and that’s also fine as long as it is intentional. Careful phrasing may hide a twist (I haven’t read The Planet of the Apes, but I imagine it must be phrased rather deliberately), and a tone at odds with the text may do so for the sake of effect—telling a silly story with a somber tone can heighten the comedy (cf. the movie Airplane!); telling a dark story in a light-hearted tone can lend an edge of satire. But in all these cases, the author is choosing words intentionally for effect, not being misleading through sloppiness.
² I use them as a familiar example that has some of the aspects I want to discuss, but some of my concerns are ameliorated and some are arguably logically resolved. I know I’m being a bit unfair, but using a well-known story is too useful to give up. Sorry, Mr. Sanderson. I do like the books! At least enough to re-read twice so far.
³ Or more precisely, to the neuronal networks in my materialist brain responsible for the
⁴ Not in a way that’s bad prose. I don’t mean that he writes very repetitively, only that the information is repeated a few times across the several books to make sure it is clear to the reader. In terms of expository prose, I think that’s a positive.