Hands-free narration of this study — good for the car.
Synopsis
Narration is 'the recital of an incident, or a group of facts and occurrences, in such a manner as to produce a desired effect,' and the platform speaker's use of it is narrower than the story-writer's — shorter, with less dialogue and character-drawing, yet sharing the same care for climax, concealed denouement, and suppression of needless detail. The chapter treats three forms: the anecdote, biographical narration, and narration of events in general. An anecdote must be an illustration with a genuine point, never a purposeless story dragged in by the nape; its application may precede the story, follow it, be split before and after, or be made altogether unnecessary by a story whose meaning is self-evident, as illustrated from Grady, Ade, and a satirical model of the clumsy introduction to avoid. Biographical narration weaves anecdote into a larger recital of a life, illustrated by De Quincey's Marius and Theodore Parker's Lexington reminiscence, which moves from historical fact into vivid personal memory. Narration of events, exemplified by Curtis's Paul Revere's Ride, freely mingles description and even allegory, since 'the efficient speaker cuts loose from form for the sake of a big, free effect' rather than being bound by rigid categories.
Key points
- Narration is the recital of incidents or facts arranged to produce a desired effect, more compact and less detailed on the platform than in fiction.
- An anecdote must function as a genuine illustration with a point — a purposeless story is 'of all offenses on the platform the most asinine.'
- The application of an anecdote may come before, after, split around, or be made unnecessary by the story itself.
- Biographical narration, as in the Marius and Lexington examples, blends anecdote, history, and personal memory into a single sustained recital.
- The best platform narration cuts loose from rigid form, freely mingling narration with description, exposition, and even allegory for a unified, free effect.
Key texts
- Luke 15:11-32
- Acts 26:9-18
- John 9:1-25
From the book
Chapter XXI — Influencing by Narration · Open the reader
- “Narration--more easily defined than mastered--is the recital of an incident, or a group of facts and occurrences, in such a manner as to produce a desired effect.”
- “To regard an anecdote as an illustration--an interpretive picture--will help to hold us to its true purpose, for a purposeless story is of all offenses on the platform the most asinine.”
- “The efficient speaker cuts loose from form for the sake of a big, free effect.”
Put it into practice
- Before telling any anecdote, be sure it functions as an illustration of a real point, not decoration for its own sake.
- Decide deliberately whether to place the application before, after, or split around the story — or whether the story needs no application at all.
- Suppress needless, hurtful details and arrange the recital so it builds toward a genuine climax rather than trailing off.
- Comprehension
1. How does the chapter define narration?
- Scripture
2. Read the description of Marius and the slave. What did Marius's words and bearing accomplish?
- Doctrinal Clarity
3. Why does the chapter insist an anecdote must be a genuine illustration?
- Comprehension
4. In what ways can a speaker place the 'application' of an anecdote, according to the chapter?
- Contrast
5. Contrast platform narration with narration in a magazine story.
- Contrast
6. Contrast wit and humor as the chapter distinguishes them in relation to the anecdote.
- Comprehension
7. What satirical point does Captain Harry Graham's 'best story' passage make about introducing an anecdote?
- Comprehension
8. How does Curtis's 'Paul Revere's Ride' passage mix narration with other forms?
- Application
9. Recall one true incident from your own life that could illustrate a spiritual point, and decide where you would place its application.
- Application
10. Practice suppressing needless detail: retell a story you know in half as many words without losing its point.