The Science of Storytelling
Humans have been telling stories ever since we came down from the trees.But do we really understand why?And if we did, would we be able to tell them better?We would be nothing without story. Story moulds who we are, from our character to our cultural identity. Story compels us to act out our dreams and ambitions, and shapes our politics and beliefs. We use story to construct our relationships, to keep order in our law courts and governments, to make sense of the world in our newspapers and social media. Even when we sleep, we dream in story. Storytelling is an essential part of what makes us human.There have been many attempts to understand what makes a good story – from Joseph Campbell’s well-worn theories about myth and archetype to recent attempts to crack the ‘Bestseller Code’. But few have used a scientific approach. This is curious, for if we are to truly understand the machinations of storytelling, we must first come to understand the ultimate storyteller – the human brain.In this original and surprising book, Will Storr takes a scalpel to story. Leading us on a journey from the Hebrew scriptures to Mr Men, from Booker prize-winning literature to box set TV, he demonstrates how master storytellers manipulate and compel us using a dazzling display of psychological research and cutting-edge neuroscience. With the help of world leading story-analysts and brain experts, he shows how we can use this science to tell better stories – and reveals the benefits this can have on everything from our creative endeavours and careers to our happiness and wellbeing.
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William Collins
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This eBook first published in Great Britain by 4th Estate in 2019
Copyright © William Storr 2019
Cover design by Jack Smythe
William Storr asserts the moral right to be identified as the author of this work
A catalogue record for this book is available from the British Library
All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins
Source ISBN: 9780008276935
Ebook Edition © April 2019 ISBN: 9780008276959
Version: 2019-04-08
For my firstborn, Parker
‘Ah, but a man’s reach should exceed his grasp,
Or what’s a heaven for?’
Robert Browning (1812–1889)
Contents
1.1 Moments of change; the control-seeking brain
1.4 World-making in fantasy and science fiction
1.6 Salience; creating tension with detail
1.7 Neural models; poetry; metaphor
1.8 Cause and effect; literary versus mass-market storytelling
2.0 The flawed self; the theory of control
2.3 Personality and point of view
2.4 Culture and character; Western versus Eastern story
2.5 Anatomy of a flawed self; the ignition point
2.8 How flawed characters create meaning
CHAPTER THREE: THE DRAMATIC QUESTION
3.0 Confabulation and the deluded character; the dramatic question
3.1 Multiple selves; the three-dimensional character
3.2 The two levels of story; how subconscious character struggle creates plot
3.6 The roots of the dramatic question; social emotions; heroes and villains; moral outrage
3.9 Stories as tribal propaganda
CHAPTER FOUR: PLOTS, ENDINGS AND MEANING
4.0 Goal directedness; video games; personal projects; eudaemonia; plots
4.1 Plot as recipe versus plot as symphony of change
4.3 Endings; control; the God moment
4.4 Story as a simulacrum of consciousness; transportation
We know how this ends. You’re going to die and so will everyone you love. And then there will be heat death. All the change in the universe will cease, the stars will die, and there’ll be nothing left of anything but infinite, dead, freezing void. Human life, in all its noise and hubris, will be rendered meaningless for eternity.
But that’s not how we live our lives. Humans might be in unique possession of the knowledge that our existence is essentially meaningless, but we carry on as if in ignorance of it. We beetle away happily, into our minutes, hours and days, with the fact of the void hovering over us. To look directly into it, and respond with an entirely rational descent into despair, is to be diagnosed with a mental-health condition, categorised as somehow faulty.
The cure for the horror is story. Our brains distract us from this terrible truth by filling our lives with hopeful goals and encouraging us to strive for them. What we want, and the ups and downs of our struggle to get it, is the story of us all. It gives our existence the illusion of meaning and turns our gaze from the dread. There’s simply no way to understand the human world without stories. They fill our newspapers, our law courts, our sporting arenas, our government debating chambers, our school playgrounds, our computer games, the lyrics to our songs, our private thoughts and public conversations and our waking and sleeping dreams. Stories are everywhere. Stories are us.
It’s story that makes us human. Recent research suggests language evolved principally to swap ‘social information’ back when we were living in Stone Age tribes. In other words, we’d gossip. We’d tell tales about the moral rights and wrongs of other people, punish the bad behaviour, reward the good, and thereby keep everyone cooperating and the tribe in check. Stories about people being heroic or villainous, and the emotions of joy and outrage they triggered, were crucial to human survival. We’re wired to enjoy them.
