Grand Argument Stories

The question arises: Is telling a story better than telling a non-story? No. Stories are not "better" than any other form of communication -- just different. To see this difference we need to define "story" so we can tell what a story is and what it is not. Herein lies a political problem. No matter how one defines "story," there will be an author someplace who finds his favorite work has been defined out, and feels it is somehow diminished by not being classified as a story. Rather than risk the ire of countless creative authors, we have limited our definition to a very special kind of story: the Grand Argument Story.

As its name indicates, a Grand Argument Story presents an argument. To be Grand, the argument must be a complete one, covering all the ways the human mind might consider a problem and showing that only one approach is appropriate to solving it. Obviously, this limits out a lot of creative, artistic, important works -- but not out of being stories, just out of being Grand Argument Stories. So, is a Grand Argument Story better than any other kind? No. It is just a specific kind.

What's In AGiaid AjgonoitSbij?

A Gran d Argumen t Sto ry is a conceptually {■iwyokfestory withboth an emotionnaland logicalc orn prehan siveness. There are an umber of qualities which determine whethei a story is a Gland Argument or not. These are seen in the story's Structure, Dynamics, Character, Theme, Plot, and Genie.

Stnictue: the underlying relationship between the parts of a story descrbe its structure. A Giand Arguinn en t Story has a very specific struc ture whic h will be explored thoroughly in the firsthalf of this book entitled TheEIemeiis cd'Structitie

Dynanks: them oving, growing, or changing parts of a story describe its dynamics. A Grand Argum en t Story has eight es sen tial dynarn ic s whic h are explo red in the second half of this bo ok en titled Tie Aii cd

Character Grand Argument Stories deal with two types of Characters: Objective Characters and Subjective Characters. These Characters provide the audience with the experience of moving through the s tory in bo th a passion ate an d an in tellectual sen se.

Thane: Theme, in a Grand Argument Story, is tied to every structural and dynamic element. Theme provides the variousbiases and perspectives necessary to conveythe storys subjectmatter ormeaning.

HdI: Flot in a Grand Argument Story is the sequence in whic ha sto r^s them atic struc fure is explored. Fb t details the order in which dramatic elaments must occur within that story,

Goixe: Genre in a Grand Argument Story classifies the audience's experian c e of a sto ry in the broadestsense. Genre takes in to ac co unt the elam en ts of structure, dyn annic s, charac ter, plot, an d theme to defin e sign if ican t differen ces between various complete Grand Argument Stories,

These parts o f a Grand Arguinn en t Story c omb ine in com pie« relationships to create its Storyform . A Storyform is like ablueprint whic h describ es how thes e parts shall relate in a partk ular sto ry, regardless of howth^are symbolised for the audience. It is sucha Storyform which allows such differen t stories as West Side Story an d Romeo and Tuliet, or Cyrano de Bergerac and Rosanne to share the same m eanin g while b earing Ettle resemblan ce to each o ther, What these two pairs of stories share is virtually the same Sto inform .

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