Rules of History
Therefore, authors can understand that the same approach to the rules of history apply so that you can freely explore which parts of the story you use, which you disregard, and perhaps even invent new ones when the mind is moving you. The rules of philology are constantly evolving, the rules of history are not.
They are repaired because they are due to the way our brains have developed. Finally, our brains react to a story like a goose on top of a river - we know a good story by instinct when we hears it. A new breakthrough in the neurosciences shows that our brains are cabled to react to history, because history is necessary for our very existence - it is how we understand the day.
One story is a simulated one. So our brains give us a treat for watching out for stories: this delightful doll made of Dopamin, our wish to know what happens next. However, when it comes to making a story, we often believe that the most important thing is the written word, the fascinating dialog, lively description and convincing character.
The most important thing is that they are used for a story that corresponds to the expectation of the mind. So what are the brain's hard-wired aspirations when it comes to history? There are seven unchanging rules: The story is conceived in such a way that it answers a unique general issue from beginning to end, which becomes complicated in the course of history.
A story is, after all, a simulated story - it attracts our interest because it enables us to learn on behalf of others what it would be like to master a problem. "The same goes for a story. Consider the point of your story as the point of view that allows the readers to estimate what things add up to.
The whole story is emotional. "In our lives, if we do not feel, we are not aware. If we don't feel, we don't read in a story. What do we feel? Readers feel what the protagonists feel. Our suprogate - our avatar - is the main character in the unfolding history.
This means that the protagonists should be better affected by everything that happens and should respond in such a way that the readers can see it. It is not about the action, but about how the action influences the main character. That means that everything in a story depends on its significance and emotive importance, how it influences the protagonists in their search.
One can have a tragic occurrence in a story, and we are speaking of childbirth, dying or the downfall of the Roman Empire, but if it does not concern the heroine - if it does not concern her - then it does not concern the readers either. The story is about an inner voyage, not an outer one.
A story, in other words, is not about the outer occurrences that develop, but about the inner changes that the protagonists have to make in the face of these occurrences in order to reach their goals. By the end of the morning, what your readers want to know is what it would take someone to do it on an emotional level?
All in a story must be available only on the base of knowledge needs. If your mind concentrates on something, it will filter out all useless information to focus on the work. Since about 11,000,000,000 items of information bombard your five minds every second, your mind does it very well.
It'?s your writing career in a story. For as far as the reader is concerned, there is a good cause for history for everything you tell them, otherwise you wouldn't be wasting their beloved reading about it. One of the problems is that the brains are hardwired to reading meanings in everything, so if you toss in something that might be nicely typed, but that doesn't have an effect that is story-wise, readers try to somehow reading meanings into it.
Everything that can go awry in a story must go awry - and much more. Imagining a story as this tiresome school yard ruffian who always mocked: "Oh yes? "The aim of a story is to give the readers the opportunity to draw on their experiences - that of the protagonists. The only way she can do that is to build an action that will force her to face the things she has probably tried to prevent all her Iife.
That' s what the readers come for - to find out what it really felt like to get the catapults and darts of impudent happiness, just in case. So that it doesn't soak up the metaphorical language when I speak about the reader's "feeling" of what the main character senses, here's something to think about.
More recent research shows that when we are doomed in a good story, the same areas of our brains shine when we are reading about something that happens to the character, as it does when we are experiencing it ourselves. The story is the world's first real life, and as the neurosciences show, we have the tools to do it.
isa Cron is the writer of the new Wired for Story.