A Quote by John Hodgman

Specificity is the soul of narrative. — © John Hodgman
Specificity is the soul of narrative.
As a fiction writer, one of things you learn is God lives in specificity. You know, human kindness is increased as we pursue specificity.
There's a specificity of language that's required in Shakespeare that most drama students in England deal with - a specificity of language that is somehow not as clear in a lot of American schools.
Jewish, black, Filipino, whatever the specificity is, it's specificity that makes a good story. And I think people are tired of seeing the same old shtick on network television. It's just a group of white people hanging out talking about their jobs. Who cares? We've seen that.
I'm not as worried about the process of writing, simply because I think I've got that one down, you know? I think I know what brings specificity to these ideas, what brings specificity to the genre elements, or anything else, and it's personal emotions.
What I'm really proud of Beyonce and Solange, they understand the importance of creating the narrative. It's all about the narrative and how you position yourself with your narrative.
I don't think people want to look at problems. They want a continuous narrative, an optimistic narrative. A narrative that says there's a present and a future - and what was in the past no longer exists.
I write in reverse: Rather than come up with a narrative and write jokes for that narrative, I write jokes independently of the narrative, then I try to fit them in.
But the soul has no culture. The soul has no nations. The soul has no colour or accent or way of life. The soul is forever. The soul is one. And when the heart has its moment of truth and sorrow, the soul can't be stilled.
The Democrats, because they are the media, still establish the narrative for Washington every day. And whatever that narrative is, the Republicans - for some reason (I think it's force of habit and years and years of conditioning) - still become subservient to whatever that narrative is.
I guess the wildcard here is Terrence Malick. He supervised me while I was writing the script for Beautiful Country, and he is a genius, although not always easy to follow. What I learned from him is that the narrative can be tracked through all kinds of scenes, that the strong narrative thread is not always the one that is most obvious. Creating narrative with Malick was a bit like chasing a butterfly through a jungle. This approach to narrative is fun and complicated, something that makes the process of writing constantly interesting to this writer.
I'm obsessed with this idea of storytellers and people who have a narrative, and sometimes sustain a relationship because they're telling a narrative and someone is listening to that. Often the nature of the relationship is determined by how well they tell the story, or someone else's ability to suspend disbelief, or infuse into their narrative something which they may not even be aware of.
We are all at the center of our own narrative, but it's a narrative that changes every time we retell it.
We are narrative creatures, and we need narrative nourishment-nar rative catechisms.
The narrative shouldn't stop for the song in a musical. The music has to continue the narrative of the storytelling.
I certainly believe you can write a narrative lyric or a lyrical narrative - why not a nyric or a larrative?
I think it's good practice, if you're a writer, or anyone who's shaping narrative, to be flexible and open with the direction of the narrative.
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