Average customer rating:
- Many good examples of illustrations
- What a gem - but not your first design book
- Not a text book but a knowledgeable friend
- A must-read for anybody with something to tell
- Explaining Quality Visual Information
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Visual Explanations: Images and Quantities, Evidence and Narrative
Edward R. Tufte
Manufacturer: Graphics Press
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Envisioning Information
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ASIN: 0961392126 |
Amazon.com
With Visual Explanations, Edward R. Tufte adds a third volume to his indispensable series on information display. The first, The Visual Display of Quantitative Information, which focuses on charts and graphs that display numerical information, virtually defined the field. The second, Envisioning Information, explores similar territory but with an emphasis on maps and cartography. Visual Explanations centers on dynamic data--information that changes over time. (Tufte has described the three books as being about, respectively, "pictures of numbers, pictures of nouns, and pictures of verbs.")
Like its predecessors, Visual Explanations is both intellectually stimulating and beautiful to behold. Tufte, a self-publisher, takes extraordinary pains with design and production. The book ranges through a variety of topics, including the explosion of the space shuttle Challenger (which could have been prevented, Tufte argues, by better information display on the part of the rocket's engineers), magic tricks, a cholera epidemic in 19th-century London, and the principle of using "the smallest effective difference" to display distinctions in data. Throughout, Tufte presents ideas with crystalline clarity and illustrates them in exquisitely rendered samples.
Customer Reviews:
Many good examples of illustrations.......2007-08-20
Many excellent examples on conveying many types of quantitative data across a wide variety of subjects. The only problem is that, to create most of these, one must be a graphic artist. If one needs to convey highly technical quantitative information, especially to layman, this gives the reader a good idea/perspective of how to explain to graphic artists hired along what general lines an illustration should be made.
What a gem - but not your first design book.......2007-02-15
Tufte's series on visualization will surely go down as classics. He's readable, he's right, and he's engaging.
The only thing is, as pretty and as well-founded the book is in certain principles, it's my opinion that... that the average reader doesn't understand design problems enough that this book will present anything new.
Meaning, the book is so intuitive, that, it seems pointless anyone would ever have to write a beautiful book like this -- *UNLESS* you have been stymied over and over again by mudglobs of creative ad hoc-kery and ad-hoc functionality, or, if you have been victimized by the unfunctional sheen of superglossy animated 3-d search engines (data visualizations, etc).
Here's maybe the test -- if the price tag of this book seems excessive, you haven't been slogging through enough terrible textbooks to see what a light and airy gem of fresh... >sigh
< air this book is.
Otherwise - buy the Tufte series all at once, and see if you can't save bucks on the group discount.
Not a text book but a knowledgeable friend.......2005-08-28
Visual Explanations is not a usual book. It is like a knowledgeable friend walking with you through a museum: pointing out good design and bad ideas; linking various domains (graphic design, usability, psychology) together. You learn things slowly, almost by symbiosis. Visual Explanations will be enchanting for people who have the time to read it in that way. It will be frustrating for people looking for a practical guide: This is not a textbook. The book itself is beautifully produced.
Topics covered include: clarity and purpose of information, color scheme choice, and composition of images.
A must-read for anybody with something to tell.......2005-07-25
In this book, an expert of visual explanations uses visual explanations to tell us his ideas how to use visual cues to explain concepts, quantities, timelines etc. Tufte, with his eternal self-confidence and succinct prose gives good examples and shows how a good image can be better; gives bad examples and has no hesitation to call something (even authorities' products) 'ghastly' or 'nightmare'. I think this book is a must for anybody who wants to use visual cues and examples for the ideas they want to convey. That is, everybody, in this time and age of information.
Explaining Quality Visual Information.......2004-09-26
Edward Tufte's book "Visual Explanations: Images and Quantities, Evidence and Narrative" is a 157 page exercise in critical thinking. The author discusses and analyzes visual information, pointing out flaws and strengths of various visual depictions. One becomes more aware of visual information and what constitutes ideal pictorial information.
"Visual Explanations" covers the topics of images and quantities, displaying evidence, pictorial instructions and disinformation, the smallest visual effective difference, repetition and change, multiples, and visual confections. Although the book has little to do with charts and graphs, reading the book makes one aware of all visual information and its ideal presentation. Anyone that works with or uses charts, illustrations, and any visual data will probably find this book useful. The book is richly illustrated with examples.
This book would be great for people that use statistics in their work or make presentations. It teaches people to be a critical thinkers concerning visual information and presentation. Even if you do not agree with Tufte, "Visual Explanations" will make you think about things you otherwise might not have.
Book Description
Is there a significant difference in attitude between immersion in a game and immersion in a movie or novel? What are the new possibilities for representation offered by the emerging technology of virtual reality? As Marie-Laure Ryan demonstrates in Narrative as Virtual Reality, the questions raised by new, interactive technologies have their precursors and echoes in pre-electronic literary and artistic traditions. Formerly a culture of immersive ideals--getting lost in a good book, for example--we are becoming, Ryan claims, a culture more concerned with interactivity. Approaching the idea of virtual reality as a metaphor for total art, Narrative as Virtual Reality applies the concepts of immersion and interactivity to develop a phenomenology of reading.
Ryan's analysis encompasses both traditional literary narratives and the new textual genres made possible by the electronic revolution of the past few years, such as hypertext, interactive movies and drama, digital installation art, and computer role-playing games. Interspersed among the book's chapters are several "interludes" that focus exclusively on either key literary texts that foreshadow what we now call "virtual reality," including those of Baudelaire, Huysmans, Ignatius de Loyola, Calvino, and science-fiction author Neal Stephenson, or recent efforts to produce interactive art forms, like the hypertext "novel" Twelve Blue, by Michael Joyce, and I'm Your Man, an interactive movie. As Ryan considers the fate of traditional narrative patterns in digital culture, she revisits one of the central issues in modern literary theory--the opposition between a presumably passive reading that is taken over by the world a text represents and an active, deconstructive reading that imaginatively participates in the text's creation.
Average customer rating:
- There's no future in Murray's dreaming...
- playing with Story in cyberspace
- Take a spin into the midst of the future
- Superb look at the structures of digital storytelling
- The history of the video game meets narratology
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Hamlet on the Holodeck: The Future of Narrative in Cyberspace
Janet H. Murray
Manufacturer: The MIT Press
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ASIN: 0262631873 |
Amazon.com
Technology changes storytelling--movies don't tell stories in the same manner as wandering bards. Janet H. Murray, director of the Laboratory for Advanced Technology in the Humanities at the Massachusetts Institute of Technology, is fascinated with the changes emerging technologies may bring. Interactive tales, more versatile structures, stories as games, and games as stories are among the topics she explores in her very personable and entertaining style. And what about fears that interactive escapism could be the coming addiction? She makes an unblinking examination of this question with insight into both the technological possibilities and the strengths of the human psyche. Strongly recommended for anyone who loves the art of storytelling in any medium.
Book Description
Stories define how we think, play, and understand our lives. In this comprehensive and readable book -- already a classic statement of the aesthetics of digital media, acclaimed by practitioners and theorists alike -- Janet Murray shows how the computer is reshaping the stories we live by.
Murray discusses the unique properties and pleasures of digital environments and connects them with the traditional satisfactions of narrative. She analyzes the dramatic satisfaction of participatory stories and considers what would be necessary to move interactive fiction from the formats of childish games and confusing labyrinths into a mature and compelling art form. Through a blend of imagination and techno-wizardry, Murray provides both readers and writers with a guide to the storytelling of the future.
(cloth published by Free Press, 1997)
Customer Reviews:
There's no future in Murray's dreaming..........2005-02-14
This book came highly recommended to me. With all the hype surrounding its apparent genius I expected to be blown away. Sadly though, this book comes across as someone who has just played a video game for the first time (MYST) and decided that the kids might be on to something. Murray proclaims that one day in the distant future, they'll make a 'holodeck' and we'll finally have true immersion. In the mean time, we can gloss over all the interactive components that make such an experience compelling in the first place. The future of gaming/narratology/ludology whatever-you-want-to-call-it is already here. You don't need a "VR Suit" or some imaginary technology to have a truly immersive experience. Her woefully uninformed look at the games of her day are completely inexcusable:
"...interactors will be lured into worlds where they float, tumble, and arc through thrillingly coloured spaces, fly through imaginary clouds and swim lazily across welcoming mountain ponds. The nightmare landscape of the fighting maze, in which we feel imperiled may give way to enchanting worlds of increasingly refined visual dealight that are populated by evocative fairy-tale creatures."
At the time of this book's publishing (1997) games such as Jumping Flash, Mario 64, and Tomb Raider had already taken the world by storm. By reducing contemporary gaming to mindless, juvenile violence (while championing those themes in 'War & Peace', 'Hamlet' and 'Star Trek') Murray shows a complete lack of interest and imagination.
The heavy hand of narrative is not the only way to tell a story. We don't need a "cyberdramatist" the likes of a Dickens or a Shakespeare to show us the way. She could have explored the work of Miyamoto, Wright or Kojima and the stories that arise out those gaming experiences. Instead she focuses on the Miller Brothers because they offered up the most conventional form of storytelling. Eight years on, their impact is almost forgotten. Above all, people want to act - not in the theatrical sense, but in the name of imaginative 'play'. Maybe someday she'll prove us all wrong and the "Dr. Quinn Holodeck" will sweep us up in the rapturous joy of existing in a town populated by:
"...blacksmiths, barbers, general store owners, saloon keepers, scouts, and, of course, female doctors and who could be given their own homesteads or boardinghouse rooms in particular physical locations within the fictional world."
Sounds like fun.
Criticism aside, I did enjoy the chapter "Eliza's Daughters". Murray's look at procedural characters and believable agents proved informative and intriguing. If only the rest of the book were as objective and plausible then I might actually believe the hype surrounding, "Hamlet on the Holodeck".
playing with Story in cyberspace.......2001-08-19
janet murray's book is a seminal work for anyone interested in what story-entertainment is going to look like in cyberspace.
imagine if you were alive in 1889 when the movie camera was invented. it was not immediately obvious that this new invention would play a role in the world of story. There wasn't until the teens of the 20th century that dw griffith developed a language of story on film... and not until the early teens until the movie theatre with pop corn came upon the scene.
we are at a similar place with the new technologies of digitalness, cbyberspace, interactivity, ..... as humans were with the movie technology over 100 years ago.
janet murray's book gives us the thinking of the best minds at the MIT Media lab as to what might be going on here.
a great book...
Take a spin into the midst of the future.......2001-02-05
Some may find this terse, warmly witty, and tidy treatise about "whither literature in the world of CyberSpace" as just too esoteric to read. Stop. This is not a book grieving over the lost art of words and writing that nurtures the lives of all readers. This wise book is a guide to the possibilites that elude pessimists wary of the ultimate effects of the computer on this century. Relax, discover the possibilites about which you've never dreamed, and let Murray tell you some stories in the mode of the future. For writers, for teachers....but also for the committed readers. Enjoy!
Superb look at the structures of digital storytelling.......1999-04-20
Great book that gives an thorough account of the structures that are given by the format of the digital media. You not only learn to analyse how digital storytelling works but also how it could and should migrate from the status quo to elevate itself onto the next literary level. To anybody who is interested in digital storytelling I recommend this book with all my heart.
The history of the video game meets narratology.......1999-02-09
I'm writing a dissertation on postmodern literature and thus had the pleasure of considering this book as research. The truth of the matter is, that in the dull, dry world of books on narrative theory, this one was FUN! This is exactly the point- video games and Star Trek have EVERYTHING to do with the way narrative works today, (which Murray compares with the way it worked in Shakespeare's time,) and will work once the average American can no longer remember a time when video games had no graphics.
It's fun AND it shows how things are changing and how quickly.
Book Description
Narratology has been conceived from its earliest days as a project that transcends disciplines and media. The essays gathered here address the question of how narrative migrates, mutates, and creates meaning as it is expressed across various media.
Dividing the inquiry into five areas: face-to-face narrative, still pictures, moving pictures, music, and digital media, Narrative across Media investigates how the intrinsic properties of the supporting medium shape the form of narrative and affect the narrative experience. Unlike other interdisciplinary approaches to narrative studies, all of which have tended to concentrate on narrative across language-supported fields, this unique collection provides a much-needed analysis of how narrative operates when expressed through visual, gestural, electronic, and musical means. In doing so, the collection redefines the act of storytelling. Although the fields of media and narrative studies have been invigorated by a variety of theoretical approaches, this volume seeks to avoid a dominant theoretical bias by providing instead a collection of concrete studies that inspire a direct look at texts rather than relying on a particular theory of interpretation. A contribution to both narrative and media studies, Narrative across Media is the first attempt to bridge the two disciplines.
Book Description
As computer games become more and more like Hollywood productions, the need for good story lines increases. Research shows that stories are highly valued by game players, so today's studios and developers need good writers. Creating narrative - a traditionally static form - for games is a major challenge. Games are at their heart dynamic, interactive systems, so they don't follow the guidelines and rules of film or T.V. writing. Game Writing: Narrative Skills for Videogames addresses these issues and is the first book written to demystify this emerging field. Through the insights and experiences of practicing game writers, the book captures a snapshot of the narrative skills employed in today's game industry. This unique collection of practical articles provides the foundations to the craft of game writing. The articles, written by member of the International Game Developer's (IDGA) Game Writer's SIG, detail aspects of the process from the basics of narrative and non-linear narrative to writing comedy for games and creating compelling characters. Throughout the articles there is a strong emphasis on the skills developers and publishers will expect a game writer to have. The book is suitable for both beginners and experienced writers, and is a detailed guide to all the techniques of game writing. This book is an essential read for anyone wishing to get into this exciting field, particularly for new game writers wanting to hone their skills, and film and T.V. scriptwriters who want to learn how to transfer their skills to the games industry.
Customer Reviews:
Great for knowledge on how video games are made.......2007-03-12
Great book for seeing how video games are made!
Good, but Focused.......2006-12-30
This is a good book. It suffers from having multiple authors in that it lacks the consistent tone that most writng books have, but all the writng is still good.
It is focused on the interface betwen the writer, the game, and the team, and is long on cautionary points. It will be of value to anyone who is writing, producing, or leading all or part of a game team, particularly if they lack practical experience.
If you are only interested in a book about writing for games, Lee Sheldon's 'Character Development and Storytelling for Games' is probably a better choice, but if you are intending or actually writing game, or working with a game writer, this is a good read and a potentially vital resource.
A 'must' for any video or computer game writer........2006-10-14
Computer games are becoming more like Hollywood productions, requiring good plots and valued story lines which use good narrative styles. In Chris Bateman, Editor's Game Writing: Narrative Skills for Videogames are practical articles on how to do so, written by members of the International Game Developer's Association and covering all kinds of game writing, from comedy to plots. A 'must' for any video or computer game writer.
Diane C. Donovan
California Bookwatch
Bringing a Story to Computer Games.......2006-08-10
The days of the super simple games like Pac-Man are long gone. Today's games must entertain with all the finesse and skill of a Hollywood movie. This is not to say that a game must be all narrative, neither is a movie.
This book is the first complete guide to writing stories for games. They are not stories alone, that would just be a book. But nor are they just action games. They are games with a story.
The book is edited by Chris Bateman, an expert in market oriented game design and narrative. He has gotten an even dozen of game developers to contribute in various aspects. They range from game developers to writers, to educators, to journalists. Each is able to bring his/her own insight to the book and to the writing profession.
As computers, software, game engines (and always more memory) develop, games can grow more powerful, more lifelike, more movie like.
Book Description
Computer-generated effects are often blamed for bad Hollywood movies. Yet when a critic complains that "technology swamps storytelling" (in a review of Van Helsing, calling it "an example of everything that is wrong with Hollywood computer-generated effects movies"), it says more about the weakness of the story than the strength of the technology. In Digital Storytelling, Shilo McClean shows how digital visual effects can be a tool of storytelling in film, adding narrative power as do sound, color, and "experimental" camera angles--other innovative film technologies that were once criticized for being distractions from the story. It is time, she says, to rethink the function of digital visual effects.
Effects artists say--contrary to the critics--that effects always derive from story. Digital effects are a part of production, not post-production; they are becoming part of the story development process. Digital Storytelling is grounded in filmmaking, the scriptwriting process in particular. McClean considers crucial questions about digital visual effects-- whether they undermine classical storytelling structure, if they always call attention to themselves, whether their use is limited to certain genres--and looks at contemporary films (including a chapter-long analysis of Steven Spielberg's use of computer-generated effects) and contemporary film theory to find the answers. McClean argues that to consider digital visual effects as simply contributing the "wow" factor underestimates them. They are, she writes, the legitimate inheritors of film storycraft.
Customer Reviews:
GREAT CRITIQUE OF CRAFT FOR VIZ F/X ARTISTS AND PRODUCERS .......2007-04-03
The faults of this book? Point size is under 9 points which strains the eyes given that this is 99% text. There are a few photographs, but the focus of this book is use of Digital Visual Effects in contemporary movies, and how the author and critics are responding to them.
As I'm a sucker for anything related to Visual Effects, I enjoyed this book. He defines concepts that are perhaps intuitive to a visual effects artist. Yet, making you aware of these things is quite cool. Someone has noticed, and taken the time to process what it all might mean.
I appreciate that the author connects the story and visual effects, though some quotes are heavy handed. An ILM staffer complains that "Borne Identity" lost him during a exaggerated shot. It's a movie, not a documentary. The most perceptive part goes into the misidentification of f/x by critics, specifically "Eternal Sunshine of the Spotless Mind," which used extensive digital effects that were attributed to incamera or old-style f/x. I wish he would've discussed Roman Coppola's CQ, which went whole hog chemical f/x. Still, there's plenty to consider. F/X are not the enemy. Mediocre filmmaking is.
Average customer rating:
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Emotion and the Structure of Narrative Film: Film As An Emotion Machine (Les's Communication Series)
Ed S. Tan
Manufacturer: Lawrence Erlbaum
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ASIN: 0805814094 |
Book Description
From The Newseum, America's first interactive museum of news, comes the definitive book detailing behind-the-scenes stories of how journalists covered the deadly assaults of September 11, 2001. Three kinds of people instinctively run toward danger--firefighters, police officers, and journalists. Collected here are dramatic first-person stories of more than 100 reporters and photographers who raced to the scenes of the terrorist attacks at the World Trade Center, the Pentagon, and in rural Pennsylvania.
Customer Reviews:
An exciting, insightful read........2006-01-29
A great insight into the world of the 'forgotten superheros', the people who deliver the news of the tragedies that occur. This is very interesting, giving lots of different points of view from across the affected area. It could have done with more pictures and photos, but the stories of the pressure-filled newsrooms paint a good enough picture to keep you interested throughout this book.
Heroes for one day.......2002-12-01
This is a round of fraternal applause for American journalists, who earned everyone's sincere respect on September 11th. Journalists from all levels of the profession who were on the story are interviewed. Their tales are then spliced up and laid out in chronological order, from onset to post-traumatic jitters. The professionalism on display here is absolutely superb. Most people have some idea of how hectic the job of getting the news produced each day is. Here we have the spectacle of these brave professionals getting the job done minus most of their familiar tools and surroundings, and plus a soul-sucking fear that they or their colleagues are about to die. No smirks, no condescension, no "women and minorities hardest hit" credentializing.
So is this book an adequate tribute to them? Yes. Can't go wrong. The text is punchy and hot-off-the-presses, and the photos really crackle. There is a problem, though.
The book seems to discriminate against Foxnews. Apart from a screenshot of Shepard Smith and a photo of a correspondent at the Pentagon, Foxnews is excluded from this collection. This is very strange, since Foxnews is based in New York and is the number four American news network, behind the networks and ahead of CNN. Could it be that the Newseum staff who edited this book don't consider those eeeevillll conservatives to be *real* journalists? That's a nasty thought, but what other explanation could there be? Even a reporter from the Milwaukee Journal-Sentinel, in town for a fashion show and caught up in events, is quoted multiple times. To be sure, staff from the Wall Street Journal are quoted extensively, as their offices were hardest hit.
Apart from that, the book is gripping. The journos' professional instincts snapped into action. Taking to bicycling when traffic congeals, giving the cordon police the slip, phoning Mom to relay a report second hand, the ingenuity and dedication is impressive. There's also a seldom-reported sensitivity. Some reporters pitch in with relief efforts. Some cry along with the sobbing victims they are interviewing. There's only one case of a reporter getting the bum's rush, from some firemen who were trying to catch their breath.
We get all meat in this book. The actual TV broadcasts that day were teeming with hastily miked-up guests experts, helping the gabbling anchors fill air time until actual news got into their earpieces. But ever the pro, Peter Jennings signaled for silence on the set when the towers came down. No comment was necessary.
It might have been nice to include a story or two from a West Coast news outlet. When the attacks happened, I couldn't get into any of the national news websites. I finally connected to the Sacramento Bee's site. The webmaster was frantically posting up wire photos and rolling copy through, with what must have been a small, sleepy crew.
And then in a few weeks things were back to normal. NPR's Loren Jenkins blurted in an interview that he would "smoke out" and disclose the location of any U. S. troops on a secret mission, if it meant getting the story. The TV news people harrumphed at Fox for wearing lapel flags, fearing that the sight of the national flag on the set would signify support for the Bush administration and not the country as a whole. Reuters insisted on calling Arab terrorists "militants", and putting "terrorism" in skepticism-implying quotation marks. The liberal pundits covered the Afghan war like children in the back seat whining "Are we there yet?" New York Times editorial page editor Howell Raines concluded that the war on terror was Vietnam II, and used his page of that august newspaper to try to block further retaliation. But even with all its faults, the American press is mano-a-mano the greatest in the world. It's inspiring to see this record of how great it was on a day when it laid its faults aside.
RUNNING TOWARD DANGER: Stories Behind Breaking News of 9/11.......2002-10-10
From Library Journal Reviews ; October 1, 2002 Tuesday By Audrey Snowden
The Newseum, an interactive museum of news located in Arlington, VA, was operating as usual on September 11, 2001. After seeing smoke billowing from the ravaged Pentagon, its staff members immediately closed the museum and worked through the night assembling an exhibit of wire service photos from around the world. This book is the outgrowth of that initial exhibit. What sets it apart from the plethora of books on 9/11 is its focus. Told chronologically through 100 first-person vignettes and 75 powerful color and black-and-white photographs, the book covers the varied experiences of members of the press. Big-name anchors weigh in, but the stage belongs to the reporters and photographers who usually work behind the scenes. Authors Trost, a former Wall Street Journal reporter, and Shepard, award-winning media critic, provide a firsthand - and very human - look at the process behind the coverage, revealing how the immediacy of ongoing television and Internet coverage helped journalists, photojournalists, and anchors shape a nation's perception of a tragically unique day. A valuable addition, especially to school libraries. - Audrey Snowden, formerly with Clark Univ., Worcester, MA
Newseum with Cathy Trost & Alicia C. Shepard. Rowman & Littlefield. 2002. c.256p. photog. ISBN 0-7425-2316-0.
Best of the 9/11 books!.......2002-09-12
The authors do an amazing job of letting the stories stand on their own in providing readers with a rare and engaging look at how the press responded to a national tragedy. Even just one year later, Running towards Danger, is already an important piece of American history.
Outstanding Book!.......2002-09-09
The photographs and the reporters' accounts of their September 11th experiences are a piercing and necessary reminder to all Americans of why the war on terrorism must be won.
Book Description
Narrative and Genre introduces students to two key concepts in Media Studies, complementing Image and Representation published in 1998. The book covers the major narrative theorists and is illustrated with numerous case studies including The X-Files, Wuthering Heights, Se7en, and newspaper reporting. A brief history of narrative in literature surveys text from The Epic of Gilgamesh to Paul Auster's postmodern Ghost. The section on genre offers exhaustive case studies on film noir and the "hard-boiled" detective novel, the TV cop genre, and soap opera.
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Storytelling in Daily Life: Performing Narrative
Kristin M. Langellier , and
Eric E. Peterson
Manufacturer: Temple University Press
ProductGroup: Book
Binding: Paperback
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ASIN: 1592132138 |
Book Description
Storytelling is perhaps the most common way people make sense of their experiences, claim identities, and "get a life." So much of our daily life consists of writing or telling our stories and listening to and reading the stories of others. But we rarely stop to ask: what are these stories? How do they shape our lives? And why do they matter?
The authors ably guide readers through the complex world of performing narrative. Along the way they show the embodied contexts of storytelling, the material constraints on narrative performances, and the myriad ways storytelling orders information and tasks, constitutes meanings, and positions speaking subjects. Readers will also learn that narrative performance is consequential as well as pervasive, as storytelling opens up experience and identities to legitimization and critique. The authors' multi-leveled model of strategy and tactics considers how relations of power in a system are produced, reproduced, and altered in performing narrative.
The authors explain this strategic model through an extended discussion of family storytelling, using Franco Americans in Maine as their exemplar. They explore what stories families tell, how they tell them, and how storytelling creates family identities. Then, they show the range and reach of this strategic model by examining storytelling in diverse contexts: a breast cancer narrative, a weblog on the Internet, and an autobiographical performance on the public stage. Readers are left with a clear understanding of how and why the performance of narrative is the primary communicative practice shaping our lives today.
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