Narrative is an accumulation of knowledge about the future. We begin in the present and end in the present, and in the middle is an accumulation of future possibilities

A narrative is like a room on whose walls a number of false doors have been painted; while within the narrative, we have many apparent choices of exit, but when the author leads us to one particular door, we know it is the right one because it opens.

Some of these things seem as if it’s a lot of hard work, and it is. But it’s to an end—toward a richer, deeper understanding of a phenomenon that I was seeking to bring to life…The term narrative comes from Greek for the word knowing. And I think that that’s a powerful message because it means you cannot tell a story until you know the story.

The Theory of Narrative Thought begins with the assumption that everyday thought is in the form of narratives, which are causally motivated, time-oriented chronicles, or stories, that connect the past and present with the future, thereby giving continuity and meaning to ongoing experience. Narratives are not simply the voice in your head, nor are they simply words, like a novel or a newspaper article. They are a rich mixture of memories and of current visual, auditory, and other aspects of awareness, all laced together by emotions to form a mixture that far surpasses mere words in their ability to capture context and meaning.

A garden path,' write the landscape architects Charles W. Moore, William J. Mitchell, and William Turnbull, 'can become the thread of a plot, connecting moments and incidents into a narrative. The narrative structure might be a simple chain of events with a beginning, middle, and end. It might be embellished with diversions, digressions, and picaresque twists, be accompanied by parallel ways (subplots), or deceptively fork into blind alleys like the alternative scenerios explored in a detective novel.

narrative is narrative: it needs to entertain, to illustrate, to enlighten. We live by and through narratives because we have an insatiable desire to comprehend our circumstances, to share its basic tenets with others, and to appreciate how others tell their own tales. I don’t like the abyss our civilization has built between fiction and criticism. In my view, they are sides of the same phenomenon. I live, I let myself live, in the connection between these sides. All essays are personal — either we recognize it or not — just as all fiction is autobiographical (and all autobiography is fiction). I love the personal essay. It triggers something instinctual in me: to use the “I” as a Virgil, to elucidate what I see, what I think, what I conceive in ways that aren’t for me alone but for everyone.

What is the “substance” of story?

All three elements of storytelling carry one vital philosophy– to offer universal insight, and many instances, hope and therapy to those who absolutely need it. To illuminate a combined and universal purpose, whether it be through the written word, the spoken word, or both elements incorporated into another element of truth. All exist to tell a story to the world.

The human is a narrative being. We construct emotional machines, so-called “stories”, to communicate, to share the world in which we live and make it collectively experienceable. And we are pretty good at doing that. Since the primordial soup at some point mendelized into primate brains, we have either been fleeing from big cats or telling others about our escapes from the clutches of big cats. Sitting around the campfire, interpreting and breaking down the world, charging it with aura. Initially this was all very mythopoeic, and slowly it became more differentiated. But even in the post-Enlightenment age, world interpretations are not necessarily particularly rational. Good stories sell well, and the best stories are the ones that hit you in the gut, regardless of whether they would hold up to a Wikipedia check or not.

A story should have a beginning, a middle and an end … but not necessarily in that order.

The substance of story is the gap that splits open between what a human being expects to happen when he takes an action and what really does happen; the rift between expectation and result, probability and necessity. To build a scene, we constantly break open these breaches in reality.

I have always held the old-fashioned opinion that the primary object of a work of fiction should be to tell a story; and I have never believed that the novelist who properly performed this first condition of his art, was in danger, on that account, of neglecting the delineation of character — for this plain reason, that the effect produced, by any narrative of events is essentially dependent, not on the events themselves, but on the human interest which is directly connected with them. It may be possible in novel-writing to present characters successfully without telling a story; but it is not possible to tell a story successfully without presenting characters: their existence, as recognizable realities, being the sole condition on which the story can be effectively told. The only narrative which can hope to lay a strong hold on the attention of readers is a narrative which interests them about men and women — for the perfectly obvious reasons that they are men and women themselves.

The substance of story is the gap that splits open between what a human being expects to happen when he takes an action and what really does happen; the rift between expectation and result, probability and necessity.

And time inherently creates a story. Things begin and they end. How they end is the story. Or maybe it's what happens between when they begin and end that's the story.