This article seeks to explore “a new form for a new novel” experimented by Virginia Woolf through her 1922 novel Jacob’s Room. Most of Woolf’s fictions adopt a double-logic narrative; by exploiting impressionistic methods in her novel, this narrative categorizes Jacob’s various impressions into two different territories in the making of the character. The discrepancy in views on Jacob’s impressions is a representation of the empty room. This narrative form engenders Jacob’s Room, a self-reflexive novel epitomizing Woolf’s idea about new forms of writing, often analogized with life itself by Woolf, in the age of literary modernism and impressionism. To present how the novel’s narrative form is made different from the conventional one, which exclusively relies on verbal speeches in representing characters and plotting events, this article examines the novel’s use of the “empty room,” one spatial image embodied in the text. In doing so, this article shows that the spatial construction-the empty room-contributes to the making of the novel’s narrative form.