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On June 1, 2024, Kasie and Rex took on the linear model for storytelling. Here are the show notes:

Theme for the day

Linear Storytelling

Agenda

• Quick Catch Up
• Linear & non-linear recap
• When to use
• Hypertext and Traditional Narratives
• Non-linear narratives and the risks of gaming

Since last episode we worked on non-linear, this week we’re on the linear conversation.

Linear Storytelling (from this link)

Linear storytelling, the conventional and time-tested approach, follows a chronological sequence. It presents events in a straightforward manner, adhering to a clear cause-and-effect progression. This structure provides a sense of order, enabling audiences to follow the narrative with ease. A classic example of linear storytelling is the hero’s journey, where the protagonist embarks on a transformative adventure that unfolds in a linear fashion, from initiation to resolution.

Advantages of Linear Storytelling (from this link)

1. Clarity: Linear storytelling offers a straightforward and easy-to-follow narrative structure. It provides clarity to the audience, allowing them to comprehend the story’s progression without confusion.

2. Emotional Buildup: The chronological sequence allows for a natural buildup of tension, emotion, and suspense. This gradual development creates a powerful emotional impact on the audience, drawing them deeper into the story.

3. Traditional Appeal: Linear storytelling aligns with the traditional storytelling format, making it a familiar and comforting experience for many audiences. It caters to a sense of expectation and satisfaction derived from a well-structured narrative.

When To Use Linear Storytelling (from this link)

Telling a story linearly means that it progresses in chronological order, that is, in the order in which events occur. In this order, there is a beginning that introduces the characters, their daily lives, and what they seek; a middle that reveals the obstacles preventing them from obtaining what they want; and a single ending that showcases the overcoming of obstacles and the acquired learning. Examples of cultural narratives using linear storytelling include movies like the ones in the Jurassic Park franchise, Toy Story (1995), or a novel like The Road by Cormac McCarthy (2006).

A linear plot presents events to the reader in the same order as they happened in-setting. Because linear plots present information to the reader in the same way the reader experiences time, they are inherently more approachable.(more here)

Linear Plots

Study.com offers this wisdom: Modern audiences tend to expect structured narratives. Characters and settings are introduced, after which the protagonist meets with a series of increasingly intense challenges. These obstacles culminate into a climax in which the protagonist clashes with the source of those challenges (typically an antagonist.)

This is a common plot structure, with plot being defined as “the series of events that move a story.” Plot structures of this sort are considered linear narratives—events are presented to the audience in the order that they occur. A linear plot, by definition, is one in which events take place in a line. This creates a clear and contained viewing experience, as the audience is led from one scene to the next while building interest and responding to the increasing tensions.

Features of a Linear Plot (same study.com link)

Linear plots present events in the same way that humans experience time: in linear order. Linear plots tend to have a clear beginning, middle, and end. While there are many different plot schemas (such as Freytag’s Pyramid, which breaks narratives down into five steps,) linear plots commonly take the form of a three-act structure.

The Conundrum of Hypertext and Traditional Narratives

While Non-Linear narratives are usually associated with freedom of choice, there is a legitimate argument that it often limits the audience’s mobility (link). This is most apparent when comparing Hypertext fiction such as Patchwork Girl to a traditional narrative such as Lolita. Patchwork Girl actually presents only one starting point for its users (the main page of the interface) whereas Lolita allows the reader to begin the novel on any page he choses. Similarly, the only way to progress Patchwork is to follow a complicated string of story trees pre-determined by the author via links embedded within the text. Lolita on the other hand restricts the reader in no way, since at all times the final page of the text will be completely accessible.

Due to this, it is always best to think of a Non-Linear narrative in terms of the story that is being presented rather than the way in which it is presented. For instance, while Lolita offers the reader the option of reading any page at any time, this will result in complete catastrophe for plot development. Lolita was not written to be read out of the expressed order as laid down by the author. Thus, in the story Lolita might disappear on the road trip before even leaving on said roadtrip.

In contrast, a successful Non-Linear narrative will feature one of two means for plot progression (this link again): 

1) Loosely connected, interchangeable plot points. These allow the reader to swerve in and out of the main story arc, but all lead to the same conclusion.

2) A series of separate branching story arcs which may or may not intersect. All readers will begin at the same point, but each will come to a different conclusion based on the story arch their choices lead them.

A Non-Linear narrative, when presented in traditional formats — such as the novel, hypertext, or film — could also be told by a combination of both. When dealing with video games, however, the question is not one of “linear or non-linear” but rather the degree of linearity. Even a rigid side-scrolling platformer such as Super Mario Bros. has some degree of a branching plot. Will Mario make use of the warp pipes in level 1-2? This can drastically alter the (admittedly) simple narrative of the game. (another link)

Do Fully Non-Linear Storylines Threaten the Very Fabric of Narrative?

All stories which make use of non-linear plot devices intend to challenge the classification of Narrative, a term which has always been a vague classification to begin with. But most authors still retain the heart and soul of the traditional narrative structure. There’s a hero, a villain, a conflict and a climax. In recent years however, new media has been able to break from almost all restraints of storytelling.

World of Warcraft for instance could be considered more of a tool for narrative creation than a narrative in and of itself. (link) The game provides a set of tools at the gamer’s disposal: races, items, locations, scripted etc. These tools can be thought of as a language – characters, words, sentences, paragraphs – the building blocks of the narrative. The player then utilizes these tools to construct his own story in whatever fashion he wishes. There are limits to a gamer’s imagination of course, laws by which he must abide. But there are no more limitations in World of Warcraft than those imposed by the laws of grammar, physics, and logic which have governed our story telling for generations.

Rex prepared the notes this week and I (Kasie) chased down the links. If you see something here that isn’t properly cited, comment and let us know where it came from. Thanks!