We live entirely, especially if we are writers, by the imposition of a narrative line upon disparate images.
The lyric self is the self; the narrative self is not.
The phantasmagoria, the actual experience that we try to understand and organize through narrative, varies from place to place. No single narrative serves the needs of everyone everywhere.
There's something in psychology called the narrative paradigm, which essentially means that we think of our lives as stories in which we are the main characters.
We have the right, and the obligation, to tell old stories in our own ways, because they are our stories.
The best way to truly understand narrative art is to experience it.
The word "story" is short for the word "history." They both have the same root and fundamentally mean the same thing. A story is a narrative on an event or series of events, just like history.
We live in a world of competing narratives. In the end, we have to decide for ourselves which is right. And having made that decision, we then need to inhabit the story we trust.
There is no longer any such thing as fiction or nonfiction; there's only narrative.
All the gossip and craziness becomes a kind of sustained narrative which, in turn, can become history. It's scary.
The narrative of serial art works more like music than like literature.
I like narrative storytelling as being part of a tradition, a folk tradition.
I think that rap is narrative, when it's done right.
I think the key divide between the interactive media and the narrative media is the difficulty in opening up an empathic pathway between the gamer and the character, as differentiated from the audience and the characters in a movie or a television show.
If you do weave one-liners into a story, you have to have an overall story as well, otherwise it doesn't really count as narrative.
As popular culture becomes more presentist, we move away from entertainment as the vicarious experience of a narrative - as watching someone else's story - and much more toward enacting one's own story. Moving away from myths and toward fantasy role-playing games, away from movies and toward videogames.
In the digital universe, our personal history and its sense of narrative is succeeded by our social networking profile - a snapshot of the current moment. The information itself - our social graph of friends and likes - is a product being sold to market researchers in order to better predict and guide our futures.
Merely corroborative detail, intended to give artistic verisimilitude to an otherwise bald and unconvincing narrative.
Our own genomes carry the story of evolution, written in DNA, the language of molecular genetics, and the narrative is unmistakable.
I have always wanted what I have now come to call the voice of personal narrative. That has always been the appealing voice in poetry. It started for me lyrically in Shakespeare's sonnets.
I do insist on making what I hope is sense so there's always a coherent narrative or argument that the reader can follow.
It has always been something I could do, and it may seem odd that in my case I seem to create an interesting narrative and frustrate the readers opportunities to follow it at every step.
So much of literary sci-fi is about creating worlds that are rich and detailed and make sense at a social level. We'll create a world for people and then later present a narrative in that world.
I see TV as a picture medium rather than a narrative medium.
Southern poets are still writing narrative poems, poems in forms, dramatic poems.
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