Xorijiy lingvistika va lingvodidaktika
–
Зарубежная
лингвистика
и
лингводидактика
–
Foreign
Linguistics and Linguodidactics
Journal home page:
https://inscience.uz/index.php/foreign-linguistics
The art of storytelling in literature
Mokhimjon NURMETOVA
1
Uzbekistan State World Languages University
ARTICLE INFO
ABSTRACT
Article history:
Received April 2024
Received in revised form
10 May 2024
Accepted 25 May 2024
Available online
25 June 2024
The main aim of this article is to emphasize the significance
of incorporating storytelling into the literature and motivate all
writers to structure their papers in a way that conveys engaging
narratives. In addition, the most crucial elements are being
mentioned to direct the readers and narrators in mastering
storytelling.
2181-3701
/©
2024 in Science LLC.
DOI:
https://doi.org/10.47689/2181-3701-vol2-iss1
This is an open-access article under the Attribution 4.0 International
(CC BY 4.0) license (
https://creativecommons.org/licenses/by/4.0/deed.ru
Keywords:
storytelling,
plot,
characters,
setting,
culture,
point of view,
genres,
style,
conflict,
reality,
fiction.
Adabiyotda hikoya san’ati
ANNOTATSIYA
Kalit so‘zlar
:
hikoya,
syujet,
personajlar,
manzara,
madaniyat,
nuqtai nazar,
janrlar,
uslub,
konflikt,
reallik,
fantastika.
Ushbu maqolaning asosiy maqsadi adabiyotga hikoyani
kiritish muhimligini ta’kidlash va barcha yozuvchilarni o‘z
maqolalarini ta’sirchan hikoyalarni etkazib beradigan tarzda
tuzishga undashdir. Bundan tashqari, o
‘
quvchilar va
hikoyachilarga hikoyani o
‘
zlashtirishga yordam beradigan eng
muhim elementlar eslatib o
‘
tilgan.
1
Teacher, Uzbekistan State World Languages University. E-mail: nurmetova259@gmail.com
Xorijiy lingvistika va lingvodidaktika
–
Зарубежная лингвистика
и лингводидактика
–
Foreign Linguistics and Linguodidactics
Special Issue
–
1 (2024) / ISSN 2181-3701
150
Искусство рассказания в литературе
АННОТАЦИЯ
Ключевые слова:
повествование,
сюжет,
персонажи,
обстановка,
культура,
точка зрения,
жанры,
стиль,
конфликт,
реальность,
художественный вымысел.
Основная цель этой статьи –
подчеркнуть важность
интеграции повествовательных методов в литературное
творчество
и
стимулировать
писателей
к
структурированию их произведений так, чтобы они
создавали захватывающие истории. В статье также
рассматриваются ключевые элементы повествования,
предназначенные для помощи читателям и авторам в
освоении эффективных нарративных техник.
‘We are all storytellers. We all live in a network of stories.
There isn’t a stronger connection
between people than storytelling.
–
Jimmy Neil Smith, Director of the International Storytelling Center
INTRODUCTION
Telling a story involves using language to create a detailed narrative that aims to
provide vivid, believable experiences. Writers use storytelling to combine characters and
plots, crafting stories that serve as metaphors for life and human emotions. In other
words, storytellers don’t just relay facts: they use words in a way that the reader or
listener can sit inside the story itself as though they were there.
This holds true across all genres - writers of science fiction, fantasy, and horror are
able to create stories that are just as immersive and believable as literary fiction writers.
Even nonfiction authors and poets showcase their storytelling skills by using unique
techniques. Readers can easily immerse themselves in the story and feel like they are
experiencing it firsthand.
The magic of storytelling is found in the power of stories themselves. Many
writers, however, confuse “story” with “situation,” having not been taught the difference
between these two concepts.
In real-world scenarios, we see numerous instances where stories are employed to
influence or sway individuals to take certain actions. Stories can serve as effective tools
for both learning and inspiring action. We also urge our reviewers and editors to
collaborate with authors in developing their stories. We won't give away the ending, but
essentially, the authors not only delve into how their study participants interact with
everyday technological devices (smartphones) but also present their research in a
captivating and entertaining narrative form.
Storytelling has many benefits compared to the typical communication methods
used in organizations, such as emails, reports, or formal speeches. Firstly, storytelling
allows for the expression of both emotional and factual information, making it easier to
convey difficult-to-explain tacit knowledge. Secondly, by placing knowledge within a
larger context, storytelling enhances the potential for meaningful knowledge-sharing.
Finally, by presenting facts within a narrative framework, storytelling increases the
Xorijiy lingvistika va lingvodidaktika
–
Зарубежная лингвистика
и лингводидактика
–
Foreign Linguistics and Linguodidactics
Special Issue
–
1 (2024) / ISSN 2181-3701
151
likelihood of effective learning and knowledge retention. Purposeful storytelling can
achieve results that traditional communication methods cannot, and it is a skill that
anyone can develop to quickly reach a wide audience. [1, 97]
INTRODUCTION
Researchers use stories as data for a wide range of research purposes. This can
involve collecting original stories shared exclusively with the researcher, stories that are
passed down orally within a community over time, published stories in various forms of
media, or even non-traditional forms of communication that still follow a narrative
structure. For instance, elements of a building can be seen as pieces of information that
come together to tell the story of the building.
This article explores the nature and important components of stories and
storytelling in dialogue and communication theory. It also examines how stories can be
utilized as a tool to investigate processes through which meaning is created, identity is
portrayed, and reality is shaped. Additionally, the article discusses how narrative
methodologies can be employed to foster a more inclusive and democratic research
approach. [2, 36]
Anthropologist Clifford Geertz discusses how individuals view their own stories as
being closely related to their personal experiences, while researchers can connect these
stories to broader social contexts that may feel more distant. Geertz emphasizes the
importance of local narratives in shaping how individuals convey their experiences in a
way that gives them significance. Sociologists James Holstein and Jaber Gubrium also
highlight the role of available discourses in shaping what people share in their stories but
stress the importance of understanding how individuals interpret and navigate these
discourses in their storytelling. Individuals make their life experiences understandable by
connecting their choices and actions to their goals and outcomes, thus revealing their
identities through their narratives. This process of storytelling allows individuals to
negotiate their sense of self and identity, creating a coherent account that is personally
meaningful. In this way, the self is seen as dialogic, as individuals construct and shape their
identities through storytelling, contributing to the social construction of reality. [3, 15]
MATERIALS AND METHODS
Narrative researchers often choose to share their own personal stories in order to
create a more equal and fairer environment when inviting others to share their stories.
This approach, known as interactive dialogic interviewing, aims to establish a more
democratic relationship between the interviewer and interviewee. The focus is less on
obtaining information and more on engaging in a meaningful dialogue. By connecting on
a personal level and sharing experiences, the hope is that readers of the research will also
engage in this dialogic exchange, leading to a deeper understanding and appreciation of
the humanistic aspects of the research. This storytelling approach in interviews helps to
break down hierarchical boundaries and allows for a more open and empathetic
communication process. Scholars in the communication field draw inspiration from
theorists like Martin Buber, Mikhail Bakhtin, and Hans-Georg Gadamer who view
dialogue as an ethical and essential element in effective communication. [4, 9]
Storytelling is seen as a valuable tool to facilitate dialogue, provide insight into
participant realities, and foster a collaborative and ethical approach to data collection.
Regardless of the story being told, every piece of writing, whether it is prose or
poetry, is dependent on seven key elements of storytelling.
Xorijiy lingvistika va lingvodidaktika
–
Зарубежная лингвистика
и лингводидактика
–
Foreign Linguistics and Linguodidactics
Special Issue
–
1 (2024) / ISSN 2181-3701
152
The first element is
plot
, which serves as the foundation of storytelling. A well-
written story may have beautifully crafted prose and relatable characters, but without a
coherent sequence of events, it can be confusing for the reader. For a story to feel
authentic and mirror real life, it must have a logical progression of events. It is important
to note that following a linear timeline is not necessary. Many stories play with the
chronological order of events, spanning decades or blending the past with the present.
Time is a flexible tool that can be manipulated to create complex and intricate narratives.
Ultimately, it is the characters that drive the plot forward, not the other way around.
Despite this, it is essential for readers to be able to follow the plot in order to understand
the story. Remember, characters shape the plot, not vice versa. [5, 26]
The key to good storytelling is having well-developed
characters
in your work.
Your characters' thoughts, feelings, and actions shape every event in your story. While
some plot elements may be beyond their control, it is how your characters respond to
conflict that gives a story its appeal.
Authors need to consider how readers will connect with the characters in their
story. If the characters are well-rounded, with understandable motives and relatable
flaws, readers will become more engaged in the narrative. Stephen King captures this
concept perfectly in his quote: " I try to create sympathy for my characters, then turn the
monsters loose."
Once readers can relate to the characters, they become invested in their journey
and are eager to see how the story unfolds. Each character in your story - whether the
protagonist, antagonist, or supporting characters - should feel like an authentic, relatable
individual. [6, 24]
The
point of view
(POV) in a story determines who is telling the story to the
reader and from what perspective. The narrator of a story influences how the story is
presented and what information the reader is given access to.
There are five points of view for writers to choose from:
1. First Person ("I"): The narrator is the main character of the story, and we see
things from their perspective, creating an intimate storytelling experience.
2. First Person Peripheral ("I"): The narrator is a close friend or associate of the
main character, giving us a different perspective on the story, like Nick Carraway in The
Great Gatsby.
3. Second Person ("You"): The narrator addresses the reader directly, making them
the protagonist of the story. This POV is less commonly used, as it can be difficult to
maintain.
4. Third Person Limited ("He/She/They"): The narrator only knows what the main
character knows, providing a limited perspective on the story.
5. Third Person Omniscient ("He/She/They"): The narrator knows more than any
character in the story, and can provide insight from multiple viewpoints to create a more
comprehensive story.
The choice of point of view in a story will impact the techniques and strategies the
author uses to tell the story effectively. [7, 18]
Setting
is more than just where your story takes place; it plays a vital role in
shaping the pace, plot, conflict, and themes of your story. The relationship your
characters have with their environment can define them and impact how they interact
with the world. Someone from Cheyenne, Wyoming will have a different perspective and
Xorijiy lingvistika va lingvodidaktika
–
Зарубежная лингвистика
и лингводидактика
–
Foreign Linguistics and Linguodidactics
Special Issue
–
1 (2024) / ISSN 2181-3701
153
experience compared to someone from Hell’s Kitchen, New York City, or Seoul, South
Korea. Culture, language, and worldview are all influenced by the setting, even if a
character tries to resist it.
RESULTS AND DISCUSSION
The setting also affects dialogue and action. An argument at the dinner table will
have a different tone than one in a restaurant, and a fistfight in a parking lot will unfold
differently than one in an office. Additionally, the setting can be used to add symbolism to
your story. For example, a rundown house can symbolize a character's chaotic life, while
a character living in a luxurious apartment in a poor neighborhood may represent their
obliviousness to the world around them.
It's important not to rely on stereotypes, as the setting is just one factor among
many that shape a character's personality and outlook on life.
Style
in storytelling is the unique way in which an author tells their story, and it
can be seen at both a line level and a global level. Line-level style is influenced by word
choice, sentence structure, and observational details, while global style is influenced by
pacing, information presentation, scene and chapter lengths, and literary influences.
These elements come together to create the author's distinctive voice and atmosphere in
their work, making each author's writing unique and intangible. This is why a novel by
Haruki Murakami feels so different from one by Margaret Atwood.
Conflict
is a vital element in storytelling, as it drives character growth and
development. It can take on various forms, such as obstacles the protagonist must overcome
to achieve their goals, facing off against an antagonist, or having their life disrupted by an
opposing force. Resolving conflict is never straightforward, but it is what makes a story
captivating. Ultimately, the conflict revolves around the protagonist's needs, desires, and
struggles, leading them on personal journeys to achieve their objectives. This journey may
be challenging, but it is what makes a great story compelling. [8, 23]
The theme
is the central idea of a story that explores abstract issues such as love,
fate, family, war, revolution, justice, power, and corruption. It answers the question
"What is this story about?" The plot, characters, and conflicts in a story revolve around
these themes. For example, in Romeo & Juliet, the themes are love, fate, and family, while
A Tale of Two Cities explores themes of war, revolution, justice, and power & corruption.
The storyteller's role is not to provide definitive answers to these themes, but
rather to present clear conflicts, flawed characters, and engaging plots. Themes should be
open-ended, debatable, and thought-provoking, allowing for varied interpretations from
readers. Ultimately, themes often arise naturally from the storytelling process.
CONCLUSION
To summarize, storytelling is a collaborative process between a storyteller and
listeners. The reactions of the audience play a role in shaping the story as it unfolds.
Unlike traditional theatre, storytelling breaks down the barrier between the storyteller
and the listeners, creating a more intimate experience. The roles of storyteller and
listener can vary depending on cultural and situational expectations, leading to unique
forms of interaction. The interactive nature of storytelling contributes to its power to
forge a strong and immediate connection between the teller and the audience.
Storytelling also involves presenting a narrative, or a story, along with four other
components. Each culture has its own understanding of what constitutes a story, leading
to different interpretations in different situations. While some storytelling situations call
Xorijiy lingvistika va lingvodidaktika
–
Зарубежная лингвистика
и лингводидактика
–
Foreign Linguistics and Linguodidactics
Special Issue
–
1 (2024) / ISSN 2181-3701
154
for improvisation and creativity, others require adherence to a well-known text. Art
forms like poetry and stand-up comedy can be considered storytelling when they
incorporate the elements of narrative along with the other components.
In storytelling, the listener actively imagines the story being told. In contrast,
traditional theatre or dramatic films create an illusion for the audience that they are
witnessing the events and characters described in the story. The listener's role in
storytelling is to create vivid images, actions, and characters in their mind based on the
storyteller's performance and their own experiences and beliefs. The completed story is a
unique and personalized experience for each listener, making them a co-creator of the
narrative.
REFERENCE:
1. Czarniawska, B. (2004). Narratives in social science research.
2. Ellis, C., & Berger, L. (2003). Their story/my story/our story: Including the
researcher's experience in interview research.
3. J. Holstein, ed. & J. Gubrium (Eds.), Inside interviewing: New lenses, new
concerns (pp. 467
–
493).
4. Holstein, J., & Gubrium, J. (2000). The self we live by. Narrative identity in a
postmodern world. New York: Oxford University Press.
5. Polkinghorne, D. E. (1988). Narrative knowing and the human sciences. Albany:
State University of New York.
6. O. Serrat, Knowledge Solutions, DOI 10.1007/978-981-10-0983-9_9
7. C. Geertz, The interpretation of cultures: selected essays by Clifford Geertz (New
York, Basic Books, 1973), p. 448.
8.
James Holstein and Jaber Gubrium, ‘Narrative practice and the transformation of
interview subjectivity’,
Marquette University Press, 2-1-2012.
