Quotes About Narrative

Las mejores historias tiran del corazón, no de la mente».

los héroes atractivos y las historias con propósito acechan en los rincones de nuestras vidas, listas para que las contemos.

2. El drama pone en marcha su historia

las historias en ese campo se cuentan mejor si activan el conflicto entre el miedo y el deseo.

Stories are not lists, decks, Power-Points, flip charts, lectures, pleas, instructions, regulations, manifestos, calculations, lesson plans, threats, statistics, evidence, orders, or raw facts.

Non-stories may provide information, but stories have a unique power to move people's hearts, minds, feet, and wallets in the story teller's intended direction.

El poder de esos relatos nace de la intensa relación yo-a-nosotros que se forma en cuanto el oyente se da cuenta de que el narrador le está hablando de un sentimiento o una situación que él mismo, como receptor del mensaje, también ha experimentado.

Cuando en una historia el factor yo-a-nosotros es fuerte, el beneficio primario para el narrador es la empatía.

Being true to yourself involves showing and sharing emotion. The spirit that motivates most great storytellers is 'I want you to feel what I feel,' and the effective narrative is designed to make this happen. That's how the information is bound to the experience and rendered unforgettable.

Si su público no se identifica con su problema, es probable que no les interese escuchar la resolución de su historia.

LO MÁS HERMOSO DEL FACTOR yo-a-nosotros es que subraya la esencia del storytelling para ganar como una experiencia compartida.

Contar una historia es un proceso bidireccional, que hace participar e, idealmente, beneficia tanto al narrador como al oyente.

Una historia sin estructura no cumple su objetivo... – Elabore su principio para proyectar luz sobre su reto o su problema. – Haga girar el centro en torno al esfuerzo para superar ese desafío. – Concluya con una resolución que active en el oyente su llamada a la acción.

Siegel, who codirects UCLA's Mindsight Institute and is author of the scientifically acclaimed books "The Developing Mind: and "The Mindful Brain," broke down the essential sequence of surprise as expectation + violation of expectation. He quoted Jerome Bruner, one of the fathers of cognitive psychology, who said "narrative emerges from violations to expectations.

If your audience has a negative story about you or your product or business, you'd better confront it. As famed author Salman Rushdie once said, "Those who do not have power over the story that dominates their lives, the power to retell it, rethink it, deconstruct it, joke about it, and change it as times change, truly are powerless, because they cannot think new thoughts." Once you lose control of your own story, you'll need double the muscle to get that power back.

Which to me means that one must respect not just the story but the way in which it develops; judging the past by the standards of the present sheds little light on understanding, it represents no more than the I-told-you-sos of history.

One of the children excitedly jumped in with, "Yeah, the bad guy broke the window and …" Susie immediately reframed the narrative. "Not a bad guy. He just made a decision for his own benefit and didn't consider other people.

Screenplays are structure, and that's all they are. The

History has all too often been guilty of favouring the viewpoint of autocratic rulers in describing their glorious victories, when there is so much else that needs to be said.

The history of China, like the history of any great culture, was written at the expense of other stories that have remained silent.

Story--plot--gives meaning to each page. If you could number all the pages so that you knew their exact sequence and which page was yours, life would still be meaningless if you didn't know what the book was about.

If the garden story comes after the seventh day when "everything is good," how does one account for an evil talking snake, the need for a wall around the garden, two ignorant naked people that don't know Good from evil, and this statement from God, "it's not good that the man [the adam] is alone"? How can "it" be "not good," if God has already declared everything good and finished?

We can write ourselves out of our own story, but not out of God's Story, the Deepest Story.

There has to be some theme to your work - some objective - something you want to know. There has to be a story line.