The storytelling mind is allergic to uncertainty, randomness, and coincidence. It is addicted to meaning. If the storytelling mind cannot find meaningful patterns in the world, it will try to impose them. In short, the storytelling mind is a factory that churns out true stories when it can, but will manufacture lies when it can't.
What's really important is storytelling. None of it matters if it doesn't support the story. I thought The Avengers was an appalling film. They'd shoot from some odd angle and I'd think, why is the camera there? Oh, I see, because they spent half a million on the set and they have to show it off. It took me completely out of the movie. I was driven bonkers by that illogical form of storytelling.
I love storytelling. If you strip all the bits away, what you'll find at the center is a storyteller. As I warm to my career and love it more, I have a sense that storytelling is healing, in many ways. You can reach an audience and heal, and by heal, I mean entertain and provoke. It's a wonderful life.
I went to a seminar early in my career on the craft of storytelling by Robert McKee. It was really life altering. There are basic principles on how to craft an engaging story and he covers them well. He's got a book out, 'Story,' that I would highly recommend to anyone interested in improve their storytelling.
We have that storytelling history in country and bluegrass and old time and folk music, blues - all those things that combine to make up the genre. It was probably storytelling before it was songwriting, as far as country music is concerned. It's fun to be a part of that and tip the hat to that. You know, and keep that tradition alive.
Of course, the writer can impose control; It's just a really shitty idea. Writing controlled fiction is called "plotting." Buckling your seatbelt and letting the story take over, however... that is called "storytelling." Storytelling is as natural as breathing; plotting is the literary version of artificial respiration.
I think it would be bad for storytellers in general if one company was able to seize a 40-50-60% share in storytelling. I don't think monopoly market shares are good for society, and I think they'd be particularly bad for society and storytellers if they were achieved in the storytelling genre.
Because having your story told, as a woman, as a person of color, as a lesbian or as a trans person, or as any member of any disenfranchised community... is sadly often still a radical idea. There is so much power in storytelling and there is enormous power in inclusive storytelling and inclusive representations .
In our modern world, this elemental quality of storytelling is denied. We live today in a world in which everything has its place and function and nothing is left out of place. Storytelling is thus at a discount and like everything else in a world ruled by the laws of exchange value, literature is required to submit itself to the requirements of the market and must learn, like any other commodity, to adapt and serve needs that lie outside of itself and its concrete value. It is forced to stand not for itself but for an ideological cause of one sort or another, whether it be political, social or literary. It cannot exist for itself: like everything else it has to be justified. And for this very reason the power of storytelling is automatically devalued. Literature is reduced to the status of complimentary utilitarian functions: as a pastime to provide distraction and entertainment, or as a heightened activity that would claim to explore 'great truths' about the human condition.
The relationship with actor and director is probably closer to theater, in that, when we record the dialogue, there is very little in the way of the creative collaboration - no cameras, lighting or even locations. Then, once we record, the post process is very similar to the post flow in filmmaking - editing, sound design, mixing, etc. At the end of the day, it's all about storytelling and honing in on a tone by developing a rhythm and structure that suits the storytelling.
All of the elements of the comic way tend to spread to others, insinuating joy where it was previously absent. Conversation has a way of leaping among persons, as it does at parties and celebratory gatherings. Storytelling always begets storytelling. It is difficult to watch others at play without wanting to join them. This is not only a human phenomenon, for researchers have consistently noted that animals at play are often imitated by other animals. So wherever it is possible to initiate a playful activity, it will have a good chance of replicating itself through other parts of the system.
Joseph Rusling Meeker
You can put the camera in places where you may not necessarily be able to put it there if I don't do the stunt. If it's character and it's storytelling, then we do it. We design the things around me. I don't do it just to do a stunt. It's storytelling for me and how I can best bring the audience into the action, bring the audience into the story. And that's how we always look at at.
All writers struggle at some point with the problem of balance between authority and involvement, seduction and revelation. Specifically, beginning writers wonder how much description to employ, and more advanced writers ask how much plot is too much or too little. And there is no better place to find answers than in the Victoria's Secret catalogue-or in any ad for lingerie-where the arts of seduction and revelation are so successfully practiced. After all, the secret of the effective lingerie ad is the secret of effective storytelling-to provide, moment by moment, the illusion of imminent expose, to give the viewer (read: reader) the uncanny sense that something fundamentally compelling is always just about to be revealed. Lingerie ads and storytelling balance the veiled and the unveiled, the seen and the unseen, the shown and the about-to-be-shown. In short, it is the art of the tease, the craft of selective 'coverage, ' that, not just in lingerie but in storytelling, works to enthrall.
Storytelling, you know, has a real function. The process of the storytelling is itself a healing process, partly because you have someone there who is taking the time to tell you a story that has great meaning to them. They're taking the time to do this because your life could use some help, but they don't want to come over and just give advice. They want to give it to you in a form that becomes inseparable from your whole self. That's what stories do. Stories differ from advice in that, once you get them, they become a fabric of your whole soul. That is why they heal you.
The theory I'm putting forward here is that storytelling is a genetic characteristic in the sense that early human hunters who were able to organize events into stories were more successful than hunters who weren't""and this success translated directly into reproductive success. In other words, hunters who were storytellers tended to be better represented in the gene pool than hunters who weren't, which (incidentally) accounts for the fact that storytelling isn't just found here and there among human cultures, it's found universally.
Every morning brings us news of the globe, and yet we are poor in noteworthy stories. This is because no event comes to us without being already shot through with explanation. In other words, by now almost nothing that happens benefits storytelling; almost everything benefits information. Actually, it is half the art of storytelling to keep a story free from explanation as one reproduces it... The most extraordinary things, marvelous things, are related with the greatest accuracy, but the psychological connection of the event is not forced on the reader. It is left up to him to interpret things the way he understands them, and thus the narrative achieves an amplitude that information lacks.