It's both dazzling and chilling to realize that
the narrative arc of our lives relies on a phenomenon that is by turns robust, fallible, malleable, potent, slippery, inventive, and above all, powerfully yoked to emotion.
Not exact matches
Squinted at in another way, Kenyon's
life follows the
arc of the classic conversion
narrative: early churchgoing, adolescent rebellion, and return to the church as an adult.
No sooner are we fully invested in one
of the Golds»
lives than their
narrative arc comes to an all - too - soon conclusion, and we're whisked onward to the next sibling only to begin the process
of acquaintanceship all over.
Screencraft.org has a fabulous video interview with this writer extraordinaire and master
of dialogue in which he talks about creating memorable characters («what a character wants, and how they go about getting it defines a character»), and how characters do not resemble real people («people don't speak in dialogue» and «their
lives don't unfold in
narrative arcs.»)
The three concurrent presentations that make up The Progress
of Love constitute a
narrative arc, embracing love as an ideal, love as a
lived experience, and love as something lost.