The Narrative Field

In storytelling, we often think of space and time as fixed dimensions—a backdrop against which events unfold. Yet, just as modern physics has shown that time is relative, the idea of space as an absolute framework is now being questioned. What if space, like time, is relative? What if both are emergent properties, shaped by perception and context? This paradigm shift is not just relevant in science but also profoundly important for storytelling.

The Narrative Field offers a dynamic framework for understanding how space and time function in stories. It captures the interplay of the external and internal, the objective and subjective, and how meaning emerges from their interaction. By recognizing this field, storytellers can craft narratives that feel both grounded and transcendent, capturing the complexity of human experience.

The Science behind the Narrative Field

In physics, Spacetime unites space and time as a single continuum, showing that neither is fixed. Instead, they are shaped by mass, energy, and the observer's perspective. Most of us are familiar with the concept that time is relative: clocks tick slower near massive objects, and observers moving at different speeds experience time differently. This idea has transformed how we see the universe.

But what about space? Increasingly, theories like the holographic principle and quantum mechanics suggest that space might not be fundamental either. It could be a construct—an emergent property that arises from deeper relationships and dynamics. This means that both space and time are relative, and their interplay shapes how we experience reality.

Applying this to storytelling reveals profound insights. Stories are, after all, human attempts to structure and make sense of the world. The Narrative Field mirrors the scientific concept, providing a framework where space and time are not rigid backdrops but dynamic elements that emerge from the story’s structure and meaning.

The Narrative Field in Storytelling

In the context of the Narrative Field, stories can be understood through two distinct but interrelated perspectives:

1. Spacetime Stories:
   • Space is objective, representing external, measurable realities like settings, events, and relationships.
   • Time is subjective, reflecting the internal, emotional experience of characters and audiences.
2. Timespace Stories:
   • Time is objective, providing a fixed, chronological framework.
   • Space is subjective, emphasizing relational or emotional distances rather than physical ones.

This interplay between objective and subjective dimensions creates a dynamic field where the story’s meaning emerges naturally. Let’s explore this with examples:

Examples - Real-World Applications

Spacetime Stories

In these stories, external events and settings (space) provide the objective framework, while the passage of time is shaped by internal experiences:

• Casablanca: The bustling, war-torn city of Casablanca (objective space) serves as the backdrop for Rick and Ilsa’s emotional journey through time (subjective).
• Rain Man: The physical road trip across the U.S. (objective space) parallels the brothers’ evolving emotional connection over time (subjective).
• Se7en: The gritty urban environment (objective space) intensifies the detectives’ descent into the subjective horror of confronting sin and evil over time.

Timespace Stories

Here, time provides the objective anchor, while space becomes a subjective experience shaped by relationships and perspective:

• Ex Machina: The fixed timeline of Caleb’s stay at Nathan’s remote facility (objective time) contrasts with the shifting, subjective spaces of trust and manipulation.
• Nebraska: The road trip’s temporal progression (objective time) highlights the emotional and relational spaces between a father and son.
• Tick, Tick… Boom!: The rigid countdown to Jonathan’s 30th birthday (objective time) serves as a framework for exploring his creative aspirations and subjective struggles.

Practical Tips for Storytellers

When determining whether your narrative leans more toward Spacetime or Timespace, consider the following:

Questions to Ask Yourself

• As the author, are you setting the objective reality of the story on external events and measurable realities (Spacetime), or on chronology and time as a key factor in weighing conflict resolution options (Timespace)?
• Do your characters subjectively feel as if they are running out of time as the options dwindle (Spacetime), or do they feel as if they are running out of options as time runs out (Timespace)?
• How important is the chronological timeline in your story? If it’s central, you may lean toward Timespace.
• Are the settings and events in your story designed to provide a fixed framework, or do they shift based on the perceptions of the characters or audience?

Why Spacetime is the Default

In modern storytelling, the trend leans heavily toward Spacetime narratives. These stories emphasize external realities (objective space) while allowing time to be shaped by subjective perspectives. This is why Spacetime is set as the default option in Subtxt.

In fact, in the Argument Builder, the option to switch to Timespace is deliberately hidden behind a hotkey to keep the interface streamlined. For those who wish to explore Timespace narratives, the option is also available in the Preferences Panel, ensuring flexibility for storytellers who wish to experiment with different narrative dynamics.

Final Tip

Remember that storytelling is about balance. Even if your story leans heavily toward Spacetime or Timespace, incorporating elements of the other can add depth and richness. The Narrative Field is a tool to help you navigate this dynamic and craft stories that resonate both objectively and subjectively.