Emotional storytelling

Storytelling can suggest new. parsimonious explanations. Suppose that someone asserts that self-sacrificing or helping behavior is conclusive proof that not all action is self-interested or that emotional behavior is conclusive proof that not all action is rational.- One might conclude that there are three irreducibly different forms of behavior rational and selfish, rational and nonselfish, and irrational. The drive for parsimony that characterizes good science should lead us to question this view. Could it not be in one s self-interest to help others Could it not be... 

Feed your mind fresh, positive conversational material. You cannot be a good conversationalist unless you have a reservoir of thoughts from which to draw. If you like jokes, make certain you have new, appropriate jokes for those you frequently see. If you are a storyteller, keep in mind that it is fun to hear a well-practiced story the first time, but not the second. If you enjoy intellectual conversations, avoid talking about the same theme too often. Also, be sensitive in expressing opinions on controversial subjects. Those who constantly get on the soapbox risk adding an emotional dimension that will distort a relationship. 

Evaluate each of your pictures for emotional significance and storytelling... 

To hold the audience and move it through the story, a variety of devices are used. Some are operating principles others are artificial techniques. But no matter what device is used, the goal is the same—to move the audience from curiosity to a more emotional state. If the story works, the results can range from amusement to tragedy. In each case, it is the storytelling qualities that transcend the medium and hold the audience s attention. 

False emotion—hyped-up music and sound effects and narration that warns of danger around every comer—is a common problem, especially on television. As in the story of the boy who cried wolf, at some point it all washes over the viewer like so much noise. If the danger is real, it will have the greatest storytelling impact if it emerges organically from the material. 

Film is a medium that we experience, both because of the range of senses involved (we see and hear events unfolding with our own eyes and ears) and the kind of storytelling that engages us both emotionally and intellectually. It is powerful and convincing, and if we are not on guard, we may be deceived by films that deliberately (or naively) distort or mislead. This is achieved, for example, by ... 

That s right. What I do is similar to doing a nonfiction book. The best nonfiction books, in my view, are like good fiction in terms of their storytelling and their sense of narrative momentum. I lead the audience (hopefully) through some kind of unexpected emotional journey this is where narrative issues come into play. 

There are at least 1,500 distinct techniques a writer can use to make these five areas of storytelling either (1) interesting or (2) deep, thus creating ten categories in all. All techniques for creating emotion in films and TV fall into one of the ten categories. 

Making any element of storytelling, including characters, interesting is different than adding emotional depth to that element. You can have deep characters who are still uninteresting, either because they lack enough corners in their Diamond or because the corners of their Diamond form a cliche combination. 

MNR offers players experiences unknown to audiences of the linear media of film and television. It s a way of unfolding story (advanced and revealed through gameplay whenever possible, of course) that many people think is impossible, due to their assumption that storytelling cani be emotional or coherent if it isnl linear. 

Techniques that, in traditional, linear storytelling, add the feeling of (or the actuality of) emotional or psychological depth or complexity to ... 

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