A Quote by Edwin Catmull
Linear narrative is an artfully-directed telling of a story, where the lighting and the sound is all for a very clear purpose. You're not just wandering around in the world.
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Living "in" a story, being part of a narrative, is much more satisfying than living without one. I don't always know what narrative it is, because I'm living my life and not always reflecting on it, but as I edit these pages I am aware that I have an urge to see my sometimes random wandering as having a plot, a purpose guided by some underlying story.
I'm just trying to make the point that the story we're telling ourselves is often very different from the story we're telling the people around us.
A character wandering around asking, 'Who am I?' isn't, in and of itself, a story I'm interested in telling.
Anytime I've ever been involved in a non-linear story, you see it in a linear manner first, just to make sure it makes sense, and then you chop it up and move it around.
No matter how clear things might become in the forest of story, there was never a clear-cut solution, as there was in math. The role of a story was, in the broadest terms, to transpose a problem into another form. Depending on the nature and the direction of the problem, a solution might be suggested in the narrative. Tengo would return to the real world with that solution in hand. It was like a piece of paper bearing the indecipherable text of a magic spell. It served no immediate practical purpose, but it contained a possibility.
Lewis Carroll, you see, wasn't really interested in telling an exciting story. Well, he wasn't interested in things like cause and effect or a linear narrative. It's surreal, it's absurd, it's wordplay, it's satirical, it's analyzing itself, it's funny, it's an enormous challenge.
For queer people, the personal is very political, just to talk about it in a public space. It's very political just to come out and take up that space and be like, 'This is my narrative. It's not an outsider narrative, and it's not a fetish narrative; it's just my story, and it's worth being told and listened to.'
Well, let’s start with the maxim that the best writing is understated, meaning it’s not full of flourishes and semaphores and tap dancing and vocabulary dumps that get in the way of the story you are telling. Once you accept that, what are you left with? You are left with the story you are telling.
The story you are telling is only as good as the information in it: things you elicit, or things you observe, that make a narrative come alive; things that support your point not just through assertion, but through example; quotes that don’t just convey information, but also personality.
How we experience memory sometimes, it's not linear. We're not telling the stories to ourselves. We know the story; we're just seeing it in flashes overlaid.
My clothes have a story. They have an identity. They have a character and a purpose. That's why they become classics. Because they keep on telling a story. They are still telling it.
Writers imagine that they cull stories from the world. I'm beginning to believe that vanity makes them think so. That it's actually the other way around. Stories cull writers from the world. Stories reveal themselves to us. The public narrative, the private narrative - they colonize us. They commission us. They insist on being told. Fiction and nonfiction are only different techniques of story telling. For reasons that I don't fully understand, fiction dances out of me, and nonfiction is wrenched out by the aching, broken world I wake up to every morning.
I never even considered writing a career option. I just liked the play of words. I was certainly interested in story, but the stories I was telling then were in narrative verse and prose poems, short and succinct, except for one novel-length poem written in narrative couplets.
I think that when I'm telling a story, I'm doing the best I can to tell the story as fully as I can, and if there are various fractures that happen in the story, then that's just the very thing that the story is as opposed to my looking for avenues of difference in one story. They just really do exist. For me, anyway.
One of the best ways to convince someone is to use a telling example, a story, a narrative. When Steve Jobs announced a new product, he told a story, exzlaining how a product would change the world as we know it. He turned Apple into a story whose challenges and adventures you want to hear about.
Usually at the end of each story we're thrown clear out of the story's world and then we're given a new world to enter. What's unique about a linked collection is that it can deliver both sets of narrative pleasures - the novel's long immersion into character-world and the story anthology's energetic (and mortal) brevity - the linked collection is unique in its ability to be both abrupt and longitudinal simultaneously.
I think you have to serve a lot of masters when you're doing a video game: you're not just telling a linear story or doing something that's all action.
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