Tag: storytelling

The Plagiarized Hero: The Hero with a Thousand Borrowed Faces

 

Language and storytelling arose as a means of creating and maintaining social ties. Tribes then spread across the planet, trading materials, goods, technology, information and stories, so it should not come as a surprise that our narratives are similar worldwide. As humans, we make up stories habitually in order to understand the universe, ourselves and others, but we can only do so within established narrative language (as we have seen) and (this is the new part) preexisting forms and genres.

Continue reading “The Plagiarized Hero: The Hero with a Thousand Borrowed Faces”

Do Animals Tell Stories?: The Narrative Abilities of Animals

All narratives are patterns, but all patterns aren’t narratives, unless they suggest character, setting and action. Animals look for and find patterns. So, we should ask, do animals produce narrative?

Well, yes. The language of the bees still astounds scientists. Bees communicate symbolically in the form of a dance, passing on information about distance, difficulty and value of potential food sources. They dance in the present about past experiences in order to exploit future resources. Other bees do their little dance, explaining alternative sources of pollen, and then somehow the bees come to a decision about the best source. An insect, a creature from the lower orders – far down the hierarchy of animals (at the top of which we have placed ourselves) – can clearly tell stories and make value judgements about them. (Read all about it in biologist and sociologist Eileen Crist’s article “Can an Insect Speak? The Case of the Honeybee Dance Language” [2004].) The idea is so astounding that I don’t even know what to do with it. I will just move on to dogs, with whom I can converse more easily.

Continue reading “Do Animals Tell Stories?: The Narrative Abilities of Animals”

The Myth of Myths: The Development of Human Culture through Mythmaking

“We know the scene.” The strange one begins to tell a story by the fire, mumbling, miming, chanting, swaying, and no one pays attention, but she keeps going and there is something about the quiet insistence of her song as it grows louder that makes the old woman, grinding ocher, look up. The men, scraping hides, one by one let the flint fall and find stones to sit on. Others notice the group and gather.

They were not like this before; the story has brought them together. In the warmth of the fire, they lean toward the storyteller, who is one of them, yet an outsider: she has gone away for a long time, she is crippled, or she is crazy. Perhaps she is a man.16 She tells them of the beginning of the world, the birth of the first people, the coming together of a culture, the origin of language and storytelling – a tale they all know, but only she has “the gift, the right, or the duty to tell” it (43), writes French philosopher and literary critic Jean-Luc Nancy in “Myth Interrupted” (1991).

Continue reading “The Myth of Myths: The Development of Human Culture through Mythmaking”

The Reader as Screenwriter, Director, Set Designer, Lighting Designer, Casting Director, Costume Designer and Actor (Part III)

(The results of an experiment, described in the first and second parts of this series about the writerly reader. A condensed version of this study appears in my book Narrative Madness, which you can acquire at narrativemadness.com or on Amazon. I have sometimes altered spelling, punctuation and capitalization in the responses to make them more accessible.)

The Conflict

Twenty respondents (71%) gave their longest answers to the question “What happened?”, sometimes two, three, four and five times longer. Obviously, this is the part of the story that matters.

Continue reading “The Reader as Screenwriter, Director, Set Designer, Lighting Designer, Casting Director, Costume Designer and Actor (Part III)”

The Reader as Screenwriter, Director, Set Designer, Lighting Designer, Casting Director, Costume Designer and Actor (Part II)

(The results of an experiment, described in the first part  of this series about the writerly reader. A condensed version of this study appears in my book Narrative Madness, which you can acquire at narrativemadness.com or on Amazon. I have sometimes altered spelling, punctuation and capitalization in the responses to make them more accessible.)

The Setting

When we read a story others have read, we assume everyone has had a similar experience. However, the range of responses in this experiment demonstrates how differently readers envision a narrative. The amount and specificity of detail shows how thoroughly readers inhabit a scene, even one that is brief. As you read the rich responses below, feel free to reimagine these reanimations of my story. After all, it is your birthday!

Continue reading “The Reader as Screenwriter, Director, Set Designer, Lighting Designer, Casting Director, Costume Designer and Actor (Part II)”

The Reader as Screenwriter, Producer, Director, Set Designer, Lighting Designer, Casting Director, Costume Designer and Actor (Part I)

(A condensed version of this study appears in my book Narrative Madness, which you can acquire at narrativemadness.com or on Amazon.)

I know a very talented individual who adapts literary works, produces and directs them, designs staging, lighting and costumes, casts the characters, plays every last one of them and sometimes adds music and special effects. This whirlwind artist accomplishes all this effortlessly, while sitting around the house in underwear and a t-shirt. That genius, my friend, is you!

When a writer walks away from a text, she vanishes. Roland Barthes calls this “The death of the author.” The death of the author, however, is the birth of the reader! So, let me be the first to congratulate you as you step in for the author and rewrite everything, animate the work and perform the text. A piece of writing, like a music score, is a set of mute symbols until it is played. Only then does it come alive.

Continue reading “The Reader as Screenwriter, Producer, Director, Set Designer, Lighting Designer, Casting Director, Costume Designer and Actor (Part I)”