Questions
1. a misunderstanding of a modern way for telling stories
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A. Whatever its thread, the weaving of this story was done with a prime purpose. The listeners must be kept listening. They must not fall asleep. So, as the story went on, its audience should be sustained by one question above all. What happens next? B. We know that specialised storytellers and poets can recite from memory literally thousands of lines, in verse or prose, verbatim—word for word. C. The formal practice of narrating a story aloud would seem—so we assume—to have given way to newspapers, novels and comic strips. This, however, is not the case. Statistically it is doubtful that the majority of humans currently rely upon the written word to get access to stories. D. Two theatrical types of storytelling, tragedy and comedy, caused Athenian audiences to lose themselves in sadness and laughter respectively. E. Homer created credible heroes. He made his heroes sulk, bicker, cheat and cry. They were, in short, characters—protagonists of a story that an audience would care about, would want to follow, would want to know what happens next. As Aristotle saw, the hero who shows a human side—some flaw or weakness to which mortals are prone—is intrinsically dramatic by logging.
2. the typical forms mentioned for telling stories
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A. Whatever its thread, the weaving of this story was done with a prime purpose. The listeners must be kept listening. They must not fall asleep. So, as the story went on, its audience should be sustained by one question above all. What happens next? B. We know that specialised storytellers and poets can recite from memory literally thousands of lines, in verse or prose, verbatim—word for word. C. The formal practice of narrating a story aloud would seem—so we assume—to have given way to newspapers, novels and comic strips. This, however, is not the case. Statistically it is doubtful that the majority of humans currently rely upon the written word to get access to stories. D. Two theatrical types of storytelling, tragedy and comedy, caused Athenian audiences to lose themselves in sadness and laughter respectively. E. Homer created credible heroes. He made his heroes sulk, bicker, cheat and cry. They were, in short, characters—protagonists of a story that an audience would care about, would want to follow, would want to know what happens next. As Aristotle saw, the hero who shows a human side—some flaw or weakness to which mortals are prone—is intrinsically dramatic by logging.
3. the fundamental aim of storytelling
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A. Whatever its thread, the weaving of this story was done with a prime purpose. The listeners must be kept listening. They must not fall asleep. So, as the story went on, its audience should be sustained by one question above all. What happens next? B. We know that specialised storytellers and poets can recite from memory literally thousands of lines, in verse or prose, verbatim—word for word. C. The formal practice of narrating a story aloud would seem—so we assume—to have given way to newspapers, novels and comic strips. This, however, is not the case. Statistically it is doubtful that the majority of humans currently rely upon the written word to get access to stories. D. Two theatrical types of storytelling, tragedy and comedy, caused Athenian audiences to lose themselves in sadness and laughter respectively. E. Homer created credible heroes. He made his heroes sulk, bicker, cheat and cry. They were, in short, characters—protagonists of a story that an audience would care about, would want to follow, would want to know what happens next. As Aristotle saw, the hero who shows a human side—some flaw or weakness to which mortals are prone—is intrinsically dramatic by logging.
4. a description of reciting stories without any assistance
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A. Whatever its thread, the weaving of this story was done with a prime purpose. The listeners must be kept listening. They must not fall asleep. So, as the story went on, its audience should be sustained by one question above all. What happens next? B. We know that specialised storytellers and poets can recite from memory literally thousands of lines, in verse or prose, verbatim—word for word. C. The formal practice of narrating a story aloud would seem—so we assume—to have given way to newspapers, novels and comic strips. This, however, is not the case. Statistically it is doubtful that the majority of humans currently rely upon the written word to get access to stories. D. Two theatrical types of storytelling, tragedy and comedy, caused Athenian audiences to lose themselves in sadness and laughter respectively. E. Homer created credible heroes. He made his heroes sulk, bicker, cheat and cry. They were, in short, characters—protagonists of a story that an audience would care about, would want to follow, would want to know what happens next. As Aristotle saw, the hero who shows a human side—some flaw or weakness to which mortals are prone—is intrinsically dramatic by logging.
5. how to make story characters attractive
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A. Whatever its thread, the weaving of this story was done with a prime purpose. The listeners must be kept listening. They must not fall asleep. So, as the story went on, its audience should be sustained by one question above all. What happens next? B. We know that specialised storytellers and poets can recite from memory literally thousands of lines, in verse or prose, verbatim—word for word. C. The formal practice of narrating a story aloud would seem—so we assume—to have given way to newspapers, novels and comic strips. This, however, is not the case. Statistically it is doubtful that the majority of humans currently rely upon the written word to get access to stories. D. Two theatrical types of storytelling, tragedy and comedy, caused Athenian audiences to lose themselves in sadness and laughter respectively. E. Homer created credible heroes. He made his heroes sulk, bicker, cheat and cry. They were, in short, characters—protagonists of a story that an audience would care about, would want to follow, would want to know what happens next. As Aristotle saw, the hero who shows a human side—some flaw or weakness to which mortals are prone—is intrinsically dramatic by logging.
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