Category Archives: storytelling

The net of our days chasing the bird of our lives: relating stories to life

I’ve been trying to deepen my understanding of plot and storytelling. I’ve been reading ancient (Aristotle’s time-honored Poetics) and contemporary (Benjamin Percy’s amazing Thrill Me: Essays on Fiction).

So it seems like a good time to dust off an essay from which I have quoted here before, C.S. Lewis’s essay “On Stories” (which grew from a presentation in 1940 to a published essay in 1947). Like Lewis himself said, there’s more hope for someone who has never read a book than someone who has read it once and thinks he’s got it down. So re-reading him along with Aristotle and Percy, I hope, will help my fiction-writing-challenged brain better understand the basics and make new connections. (My graduate degree is in literary nonfiction.)

It’s been interesting to read Aristotle’s assumptions about real-world psychology as he dissects plot in general and tragedy in particular. (“Now character determines men’s qualities, but it is by their actions that they are happy or the reverse.”) Considering relationships between our real lives and fictional stories, here’s a segment from Lewis’s “On Stories” I think is especially interesting because it offers a useful metaphor.

“It must be admitted that the art of Story as I see it is a very difficult one. What its central difficulty is I have already hinted when I complained that in the War of the Worlds the idea that really matters becomes lost or blunted as the story gets under way. I must now add that there is a perpetual danger of this happening in all stories. To be stories at all they must be series of events: but it must be understood that this series—the plot, as we call it—is only really a net whereby to catch something else. The real theme may be, and perhaps usually is, something that has no sequence in it, something other than a process and much more like a state or quality. Giantship, otherness, the desolation of space, are examples that have crossed our path. The titles of some stories illustrate the point very well. The Well at the World’s End—can a man write a story to that title? Can he find a series of events following one another in time which will really catch and fix and bring home to us all that we grasp at on merely hearing the six words? Can a man write a story on Atlantis—or is it better to leave the word to work on its own? And I must confess that the net very seldom does succeed in catching the bird….

“It may be asked why anyone should be encouraged to write a form in which the means are apparently so often at war with the ends….

“Shall I be thought whimsical if, in conclusion, I suggest that this internal tension in the heart of every story between the theme and the plot constitutes, after all, its chief resemblance to life? If Story fails in that way does not life commit the same blunder? In real life, as in a story, something must happen. This is just the trouble. We grasp at a state and find only a succession of events in which the state is never quite embodied. The grand idea of finding Atlantis which stirs us in the first chapter of the adventure story is apt to be frittered away in mere excitement when the journey has once been begun. But so, in real life, the idea of adventure fades when the day-to-day details begin to happen. Nor is this merely because actual hardship and danger shoulder it aside. Other grand ideas—home-coming, reunion with a beloved—similarly elude our grasp. Suppose there is no disappointment; even so — well, you are here. But now, something must happen, and after that, something else. All that happens may be delightful: but can any such series quite embody the sheer state of being which was what we wanted? If the author’s plot is only a net, and usually an imperfect one, a net of time and event for catching what is not really a process at all, is life much more?… The bird has escaped us. But it was at least entangled in the net for several chapters. We saw it close and enjoyed the plumage. How many ‘real lives’ have nets that can do as much?

“In life and art both, as it seems to me, we are always trying to catch in our net of successive moments something that is not successive.”

I love the idea of seeking or reaching for something we kind of know, we almost see, we suspect is there, yet somehow evades us. With Lewis’s metaphor, the best aspirations of life could be the best accomplishments of stories. In life we want to achieve a qualitative state, and we hope to maintain it. (Most of us keep failing to catch it.) We go to the arts to experience a distilled version of a qualitative state. (Of any number of qualitative states.) We return to certain works of art because they do so well at allowing us to experience that distilled qualitative state again.

Of course, not everyone agreed with Lewis’s view of stories, including his former student turned friend John Wain, an acclaimed writer in his own right who would “frequent the Inklings.” Read Wain’s recollection of his differences with Lewis on the purpose of stories here.

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James K.A. Smith: ‘We were created for stories’

Two of the most-clicked posts on this blog have been Paul Holmer: How literature functions and Umberto Eco on theory and narrative. The common theme between the two might be that storytelling is not only necessary, but also of greater value than systematized and abstracted knowledge. Granted, the structure of Eco’s quotation seems to give priority to theorizing, but Holmer argues that humans learn more broadly and deeply from stories than from abstract or systematic knowledge.

So a quotation from James K.A. Smith’s book Who’s Afraid of Postmodernism? Taking Derrida, Lyotard, and Foucault to Church,  found in this recent review, was a welcome addition to the theme:

“We were created for stories, not propositions; for drama, not bullet points.”

In this context, it’s probably worth remembering that beloved storyteller C.S. Lewis warned against systematizing the Bible.

‘For God’s sake, be a storyteller’

Acclaimed author Walter Isaacson on the late, great writer Walker Percy:

“I had a friend of the family, an uncle of a friend, Walker Percy…

“He was a kindly gentleman. From his face you could tell he had known despair, but his eyes still smiled. And he had a lightly worn grace to him….

“He would say that two types of people came out of Louisiana, preachers and storytellers. He said, ‘For God’s sake, be a storyteller. The world’s got too many preachers.’

“He thought that too many journalists, and writers in general, feel they have to preach. He said it was best to do it the way the best parts of the Bible do, by telling a wonderful tale, and people will get the message on their own.”

I realize I’ve been guilty of preaching, too.

‘the problem of Lewis the storyteller’ in Text Patterns at The New Atlantis

“I don’t think Lewis was by any means a natural storyteller, and all of his fiction suffers to one degree or another from his shortcomings in this regard,” sayeth literary critic and distinguished humanities professor Alan Jacobs. “Every time he sat down to write a story he was moving outside the sphere of his strongest writerly gifts.” To get Jacobs’ full view on the matter, as well as a few words about storytelling differences between C.S. Lewis and J.R.R. Tolkien, read the entire post here: “the problem of Lewis the storyteller – Text Patterns – The New Atlantis”.

Storytelling makes us human

“They say language makes us human. That notion is being challenged as we discover that apes have language. Whales have language. I welcome them into our fold. I’m not threatened by them, quite frankly, because I think stories make us human. Only by telling them do we stay so.” — Jacqui Banaszynski, “Stories Matter,” in Telling True Stories: A Nonfiction Writer’s Guide 

I really love Telling True Stories and highly recommend it. Perhaps the book should have been subtitled A Narrative Nonfiction Writer’s Guide. I’m a MFA who focused on creative nonfiction, and I’ve found dozens of gems in Telling True Stories.

Last summer, when Nora Ephron died, I posted part of her contribution to the book. You can read an excerpt of her essay “What Narrative Writers Can Learn from Screenwriters” here.

A 'Saint' in Mundane Clothing

A ‘Saint’ in Mundane Clothing (Photo credit: Robert Burdock)

The tragicomic in daily life: internal blindness in Chekhov’s characters

Anton Chekhov

Anton Chekhov

Anton Chekhov’s short fiction was undergirded by a spirituality and a morality that suggested what one critic called “internal blindness” — a blindness of the heart detected within the privileged characters of Chekhov’s short stories.

“And perhaps nothing is as tragicomic in our daily experience as that highly serious comedy of errors, moral and spiritual in character, constantly falsifying social relations and human intercourse…. Our own reciprocal misunderstandings are due not to material appearances or optical illusions, but to internal blindness.” — Renato Poggioli, “Storytelling in a Double Key,” an essay on Anton Chekhov’s short stories

Storytelling in games: How it should be done

Storytelling in the gaming world —

Games, Eh?

Games can now tell a story on par with your average film. Okay, that’s not saying much, but the medium has certainly come a long way since its humble roots. There is now a focus on delivering not only fun gameplay but also a deep and layered story. Sometimes the gameplay drives the game, its fun mechanics enticing gamers to play “just one more level.” Other times the story drives the game, its complex characters and plot drawing players in to play “until the next cutscene.”

Film writers are now getting in on the action. David S. Goyer, famous for helping write the Dark Knight trilogy and the latest Superman film Man of Steel, helped give the Call of Duty series a decent story in the two Black Ops installments. Book of Eli writer Gary Whitta is one of several people who brought the world of the Walking Dead

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