In each of the four stages of story communication, authors have recognized four aspects of storytelling at work: Genre, Plot, Theme and Character. It all depends on what impact the author wants to make with his work. There are many ways to play with any one of these stages and many reasons for doing so. The accuracy with which this is carried out has a lot to do with how the story was developed in the other three stages of communication. The audience is presented with a finished, Storywoven work and hopes to be able to interpret the work’s symbols and decipher the Storyforming intent of the authors behind the work. It has preconceptions which affect how it will see anything put in front of it. The audience is an active participant in its relationship with a story. Stage 4: Story Reception-where the audience takes over, interpreting the symbols they’ve received and making meaning of the story. What you most want the audience to be thinking about will guide your decisions in this stage, because choices made here have the most effect on the experience of receiving the story as an audience member. You may start with the beginning, as in Star Wars, or you my start with the end, as in Remains of the Day, or with some combination, as in The Usual Suspects. The way in which to deliver a story to an audience, piece by piece, involves decisions about what to present first, second, and last.
Stage 3: Storyweaving-where the author selects an order and emphasis to use in presenting his encoded story to his audience in the final work. No symbols are inherently part of any storyform, so the choices of how a particular storyform is Storyencoded must be considered carefully. Stories are presented through characters, setting, and other details that symbolize the meaning of the story. Stage 2: Storyencoding-where the symbols with which the author will work are chosen. This is where the original meaning of the story is born, the meaning that the author wants to communicate. Stage 1: Storyforming-where the structural design and dynamic settings of an idea are created. Seeing where the problem lies is half the work of fixing it. Problems can exist in any single stage or bridge across into many. When an author is developing a story or looking for ways in which to improve it, it is a good idea to evaluate how the story is working at each of these stages individually. In bringing a story to an audience, through any media, there are four distinct stages of communication through which the story will pass. Stage four is Story Reception in which the audience assigns meaning to the work, hopefully decoding the intent of the author with some degree of accuracy. Stage three is Storyweaving, where all the independent illustrations are woven together into an integrated whole that is the story as it will be presented to an audience. Stage two is encoding (Storyencoding) where the storyform story points are translated into topics and events that symbolize the essential dramatic concepts in terms the author expects has meaning to an audience. Stage one is Storyforming, in which the arrangement and sequence of dramatic story points are determined. There are four stages of communication that stand between an author and an audience. Also, don’t forget to take advantage of the extensive appendices at the back of the book. If you come to a word or idea that is unfamiliar or unclear, use the index to reference that topic in The Elements Of Structure. This process passes through four distinct stages: Storyforming, Storyencoding, Storyweaving, and Story Reception.Īn author might begin either with Structure or Storytelling, depending on his personal interests or style. This half of the book explores The Art Of Storytelling, which documents the process of conceptualizing and telling a story. These components fell into four principal categories: Character, Theme, Plot, and Genre. Its purpose was to define the essential components that occur in the dramatic structure of all complete stories. The first half of this book explored The Elements Of Structure. Structure, which is not tangible in form, cannot be communicated directly, and similarly no mode of expression can be created without something to express. In practice, neither aspect of story can exist without the other. Chapter 7 Foundations Introduction to StorytellingĪll complete stories show evidence of two principal facets: An underlying dramatic structure contains the story’s inherent meaning, and a secondary meaning created by the manner in which that structure is presented in words and symbols.
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