We, as language-users, constantly name ourselves, others, settings, actions, and events in an order that makes sense to us. We may not always use Don Quixote’s romantic language nor share his chivalric plot line, but he is only doing what all of us do: trying to make sense of the noise and confusion of life through narrative language. (Actually, you may think that you do not participate in the world of the chivalric romance, but I know you as you are: a furtive romantic, a closet hero.)
Like language, narrative refers to concept rather than reality. The structuralist description of the sign can be extended to narrative, since both words and stories are symbols played out across time. A word occurs as a sequence, as when we say or read “T – U – N – D – R – A.” Similarly, a narrative may be defined as signs in a series. The story then can be considered a sign itself, an arbitrary signifier, referring not to events in the real world, but to a subjective concept of what happened, is happening and will happen.
(Diagrams of the plot from Laurence Stern’s Tristram Shandy)