Imaginologist & Contemporary Story Keeper
Fled from The Imaginarium following an attack from The Ministry of Mindlessness with suitcases filled with fragments of stories.
Extremely skilled orator and artist specialising in writing, storytelling and dramatic performance.
Archivist and Head Keeper of Contemporary Stories
Inventor of the Possibilarium – a device to divine the likelihood of ideas.
Inventor of the Imaginator – a device used to measure the strength of an individual’s imagination.
Thought leader on the structure and storage of stories.
Stories are tremendously vast, complex, sprawling beasts. They’re complicated. We can look at literature to find common patterns and rhythms to the way the action rises and falls. All stories follow the same journey even though they may take a different approach to reaching ‘The End’. For many years my Imaginologist colleagues and I at The Imaginarium have been exploring how stories work and why some stories propagate better than others.
Our research focused on the investigation of the individual elements of 1,000 specimen stories – the characters, the worlds they inhabit, their desires and the obstacles that stopped them from achieving them, the gaps in their narrative arc, and the reason for resolution. We also scrutinised the moment of inspiration – where, when and why the story first originated and the process of germination – how the story spread to others. We learnt how stories gain energy and power through imagination, and how the frequency and volume of thought impacts on the momentum and trajectory of a story.
Our studies enabled us to identify six distinct categories of story, each of which impact on, and react to, thought patterns in a different way. We define these categories as ‘noble’ - that is, the state they took when the original narrative was first told or relayed to others.
We found that the closeness, arrangement and motion of the elements within each ‘noble’ story category alter when the imagination is truly sparked and causes the frequency of thought to change within the minds of two or more beings.
The six ‘noble’ story categories are:
The elements within written stories are closely arranged in a fixed state. Written stories have the ability to inspire different interpretations from readers, which depend on their individual circumstance and experience. The fixed nature of the narrative enables readers to be very clear about its meaning and interpretation, but the depth at which it resonates with individuals depends on their level of empathy and life experience.
The elements within visual stories are fixed like written stories, but sit further apart in their arrangement allowing for creative interpretation from viewers. Without words, viewers must construct narratives based on what they see and on their own individual circumstances and experiences. Like written stories, the personal interpretation required by visual stories means that have the ability to resonate with the viewer very powerfully or not at all. However, in the absence of words, colour and style have play a large part in facilitating understanding and connection to the visual story also.
Spoken or oral stories are stories that have been learnt from memory, but they are not by definition, ‘memories’ The elements drift further apart becoming more and more random placed, the longer the story is retold and the more people who hear it, who then re-tell it. When this happens the elements within spoken or oral stories begin to mutate, causing aspects of the original story to change, often transforming their meaning and importance. When an oral story reaches a certain level of popularity or notoriety it becomes what is known as ‘perceived truth’. When the spoken or oral story reaches the ‘perceived truth’ stage, it often becomes a written story.
Randomly arranged with particles far apart. Elements have an elasticity and can move quickly in all directions. Mind stories are the tales we tell ourselves, or recount in our heads. They are the stories we take into ourselves because they resonate with us strongly on an individual level and which generate heightened emotions within us.
All stories, whether written, spoken or remembered loose their energy when they cease to be read, told, heard or remembered. The elements within forgotten stories are in large part eroded and those that remain are completely static.
When a story is told enough times it turns into a ‘truth’ or a ‘perceived truth’. Evidence indicates that when ‘Truths’ are written down they are believed fully.