Synopses & Reviews
Synopsis
The Universal Grammar of StoryTM is a mythopoetic writing theory covering the technical necessities of storytelling as well as the philosophical and psycho-social needs of writers-and their audiences. That stories have consequences drives this revival of an ancient writer-archetype: the cultural scout leading society along the uncharted edges of an increasingly dangerous social frontier.
A synthesis of: literature, linguistics, history, sociology, anthropology, philosophy, mythology psychology, and the hard sciences brings something familiar yet entirely new and imminently hopeful.
The Universal Grammar of StoryTM builds from four core parts.
First, "The Call to Write" introduces the idea of personal, social, and mythological drives calling creative artists (and their audiences) to the work. The personal call draws us to tackle unfinished business in our own psychology through the daydream of stories. The social call joins us to address generational struggles held in the collective unconscious. And the mythological call brings us to mystical encounter through moments of "shared reverence" in stories. Writers must draw from their logical, emotional, and intuitive forms of intelligence to respond to the call. But because only logical intelligence is trained in formal education, this section explores how to distinguish and advance the other forms with a brief look into the history of creative art.
Part two looks into the power of language and how subtle changes in everyday speech and gesture can enhance emotional and intuitive agility. Included is the remarkable idea that most people speak four distinct varieties of their native language and that the simple act of switching between them can easily trigger writer's block. Also offered is a brief review of the evolution of English from Anglo-Saxon to its many modern varieties, and the surprising benefits of listening to unrecognizable forms.
Part three builds on the concrete, technical aspects of storytelling from the no-nonsense logic of Aristotle to the likeminded mid-twentieth century pragmatism of Bernard Grebanier, Lajos Egri, and Syd Field. Practical discussions of character building, plot development, and timing lead to new terrain with the introduction of the "Hero-Villain Theory of Convergence." This controversial theory views the villain/antihero as the only one capable of removing the hero's fa ade to reveal the authentic soul beneath. As the hero's masque slips, comes a momentary flash where hero and villain appear as philosophically the same. This section also introduces a new idea of timing where well-known milestones occur at universal proportions regardless of story types, genres, or lengths.
Part four turns to mythology with a critical summary of the hero's journey according to Joseph Campbell. Here simple correctives are offered to ameliorate Campbell's stereotyping which has grown uncomfortably out of step with contemporary sensibilities. Finally, Aldous Huxley's Perennial Philosophy brings the book back to its beginning with "practical" ideas for attracting mystical philosophy to a story.
Intriguing images in charcoal, ink, and pencil by artist Rick Denhart combine with anecdotes from the author's unusual life adding to the grand theory's lively and entertaining feel. The Universal Grammar of Story is a philosophical and technical wonder, accessible to the novice through clear and abundant examples while remaining challenging to advanced students and professionals with thought provoking scholarship. Peer reviewed and suitable for college text adoption.
Synopsis
With the Universal Grammar of Story(R) comes a new mythopoetic writing theory providing for the technical demands of stories along with the philosophical and psycho-social needs of writers and their audiences. That stories have consequences drives this revival of an ancient writer-archetype: the cultural scout leading society along the uncharted edges of an increasingly dangerous social frontier. Embedded in a fascinating memoir from a most unusual life, Hazel Denhart synthesizes fields considered incompatible. Like Fritjof Capra's Uncommon Wisdom, Denhart's work also integrates the humanities, physics, and medicine in such a way as they have always belonged together. From this comes a testimonial guide that feels familiar yet bracingly new and imminently hopeful.
The Universal Grammar of Story(R) builds from four core parts.
First, "The Call to Write" introduces the idea of personal, social, and mythological drives calling creative artists (and their audiences) to stories. The personal call challenges us to tackle unfinished business in our own psychology through daydreaming stories. By contrast, the social call begs us to join in addressing generational struggles held in the collective unconscious-as the creative arts have done through history. Yet it is through the mythological call that we gather for moments of "shared reverence" in stories to exchange the pronoun "I" for "we" in fleeting moments of mystical experience. This section includes methods for writers to advance their emotional and intuitive forms of intelligence in order to respond to the call to write.
Part two takes on how to enhance our emotional and intuitive agility through the power of language with subtle changes in everyday speech and gesture. Here we discover how the simple act of switching between spoken and written forms of the same language can easily trigger writer's block. An entertaining review of the evolution of English from Anglo-Saxon to its many modern varieties reveals the surprising benefits of listening to unrecognizable forms.
Part three builds on the concrete, technical aspects of storytelling beginning with the logic of Aristotle and those likeminded mid-twentieth century pragmatists: Bernard Grebanier, Lajos Egri, and Syd Field. Character building, plot development, and timing reveal new terrain with the introduction of the "Hero-Villain Theory of Convergence," suggesting that villains/antiheros secretly hold the sacred role of removing the hero's fa ade to free the authentic soul beneath. As the hero's masque slips, comes a momentary flash where hero and villain become the same before transforming into new versions of each other. This section also introduces universal proportions of timing regardless of story types, genres, or lengths.
Part four turns to mythology with a critical look at the hero's journey according to Joseph Campbell with simple correctives ameliorating Campbell's stereotyping having grown out of step with contemporary sensibilities. Finally, a trip through Aldous Huxley's Perennial Philosophy brings the book back to its beginning with "practical" ideas for attracting mystical philosophy to a story.
Intriguing images in charcoal, ink, and pencil by artist Rick Denhart combine with profound and humorous stories from the author's unusual life adds to this grand theory's lively and entertaining feel. The Universal Grammar of Story(R) is a philosophical and technical wonder, accessible to the novice through clear and abundant examples while remaining challenging to advanced students and professionals with thought provoking scholarship. Peer reviewed and suitable for college text adoption.
Synopsis
The Universal Grammar of Story: An Author's Guide to Writing for the Soul of the World takes readers on a transformative journey into the profound structure underlying all narrative forms. With many years as an educational researcher and master writing teacher Hazel Denhart brings practical steps for unlocking creativity by revealing the universal principles and patterns that make stories captivating and meaningful across cultures and throughout history.
This is no ordinary writing guide, but like Fritjof Capra's Uncommon Wisdom, The Universal Grammar of Story transcends boundaries by weaving seemingly incompatible fields into spellbinding unison. Humanities, psychology, logic, medicine, physics, and mythopoetic philosophy combine as if they have always belonged together in this most comprehensive resource for the writing craft.
Drawing from the wellspring of our collective unconscious, Denhart explains primal story structure found in archetypal storytelling techniques. Authors gain leverage over and through writer's block with methods to advance their emotional and intuitive intelligence in harmony with logic. The Universal Grammar of Story is an essential resource for writers, filmmakers, and anyone interested in the art and science of storytelling. It makes a timeless gift that writers will use again and again throughout their careers for guidance and inspiration.
In this masterpiece of storytelling psychology, Denhart offers writers clarity and direction amid the chaos and confusion of your story's messy initial arrival. Writers will also find momentum for that inevitable moment when a story goes on strike and refuses to cooperate in the telling but insistently demands to be finished.
Denhart brings this fascinating theory down to earth with entertaining, humorous, and dramatic moments from her most unusual life. The book is packed with examples that bring complex theory to life and clarify them in vignettes from the life of her students as well as entertaining examples from plays, films, classic literature, philosophy, and history.
CONTENT
The Universal Grammar of Story is divided into four parts covering:
- The "CALL TO WRITE" how we hear and respond to the personal and collective unconscious with logical, emotional, and intuitive forms of intelligence.
- The POWER OF LANGUAGE including simple changes writers can make in their everyday speech to supercharge their creative work.
- The CORE NARRATIVE STRUCTURE of all stories, and
- How to recognize and shape the POWER OF MYTHOLOGY AND MYSTICAL PHILOSOPHY that naturally materialize in stories.
This edition is the 5th printing of The Universal Grammar of Story includes a revised table of contents, a new introduction, and an updated index. A companion workbook and game of the same name are available to give writers a playful means for learning the key elements and techniques of the philosophy and method.
The Universal Grammar of Story: An Author's Guide to Writing for the Soul of the World is a philosophical and technical wonder that will leave a lasting impact on anyone who ventures into its pages.