Post #148 December 10, 2018

“Man, the Storyteller”

Picture Og and Grog sitting around the campfire one evening after a dinner of mammoth meat and tree roots.  Og is sharpening his spear points.  Grog is skinning a hide.  Og grunts and gestures at Grog: “If you had followed my orders, you wouldn’t have been injured by that mammoth, you stupid dolt.”  After some loud arguing back and forth, and few threats, Slamdok intervenes and, using more gestures and grunts, recounts the events of the day that led to Grog’s injury and tonight’s dinner.  Some modifications are made to the account and after awhile, after everyone is stuffed with enough mammoth meat and some fermented berries that Slamdok’s wife made, everybody agrees that this is what happened.  The day’s hunt goes down in the annals of the tribe as “the way things happened.”

It becomes a legend.  Later, maybe a myth.

Man is preeminently a storytelling animal.  We don’t know if this is how stories began but we do know, from research, that stories have for generations served a profoundly important evolutionary purpose.

I have posted about this before.  Why does our brain love stories so much?  In an article from the Greater Good Science Center (University of California, Berkeley) in December 2013, neurobiologist Paul Zak says this:

The first part of the answer is that as social creatures who regularly affiliate with strangers, stories are an effective way to transmit important information and values from one individual or community to the next. Stories that are personal and emotionally compelling engage more of the brain, and thus are better remembered, than simply stating a set of facts.

Think of this as the “car accident effect.” You don’t really want to see injured people, but you just have to sneak a peek as you drive by. Brain mechanisms engage saying there might be something valuable for you to learn, since car accidents are rarely seen by most of us but involve an activity we do daily. That is why you feel compelled to rubberneck.

To understand how this works in the brain, we have intensively studied brain response that watching (compelling video) produces. We have used this to build a predictive model that explains why after watching the video, about half of viewers donate to a charity. We want to know why some people respond to a story while others do not, and how to create highly engaging stories.

We discovered that there are two key aspects to an effective story. First, it must capture and hold our attention. The second thing an effective story does is “transport” us into the characters’ world.”

Grabbing and maintaining attention and building empathy for your characters are thus two critically important jobs that any storyteller has to complete.  There is now strong neural evidence to support this.  Let’s look at how these could best be done to work with your reader’s brain. 

According to Zak, one good way of grabbing and maintaining the reader’s attention is to continually ratchet up the tension in the story.  Use James Bond as an example.  Imagine Bond fighting with a villain on top of a speeding train.  We don’t know what’s going to happen…things fly past our eyes in a blur…our heart rates elevate…our palms become sweaty…will he survive that tunnel coming around the turn?  Will Bond beat the bad guy?  Zak’s lab has shown that such physiological responses are consistent and can be predicted depending on whether certain responses are provoked.

Zak adds, “We attend to this story because we intuitively understand that we, too, may have to face difficult tasks and we need to learn how to develop our own deep resolve. In the brain, maintaining attention produces signs of arousal: the heart and breathing speed up, stress hormones are released, and our focus is high.

Once a story has sustained our attention long enough, we may begin to emotionally resonate with story’s characters. Narratologists call this “transportation,” and you experience this when your palms sweat as James Bond trades blows with a villain on top of (that) speeding train.

Transportation is an amazing neural feat. We watch a flickering image that we know is fictional, but evolutionarily old parts of our brain simulate the emotions we intuit James Bond must be feeling. And we begin to feel those emotions, too.”

Building empathy for your characters is the second key to telling a good story that will make your readers sweat and pant. 

Zak describes the neural basis for building empathy… “Emotional simulation is the foundation for empathy and is particularly powerful for social creatures like humans because it allows us to rapidly forecast if people around us are angry or kind, dangerous or safe, friend or foe.

Such a neural mechanism keeps us safe but also allows us to rapidly form relationships with a wider set of members of our species than any other animal does. The ability to quickly form relationships allows humans to engage in the kinds of large-scale cooperation that builds massive bridges and sends humans into space. By knowing someone’s story—where they came from, what they do, and who you might know in common—relationships with strangers are formed.

We have identified oxytocin as the neurochemical responsible for empathy and narrative transportation. My lab pioneered the behavioral study of oxytocin and has proven that when the brain synthesizes oxytocin, people are more trustworthy, generous, charitable, and compassionate. I have dubbed oxytocin the “moral molecule,” and others call it the love hormone. What we know is that oxytocin makes us more sensitive to social cues around us. In many situations, social cues motivate us to engage to help others, particularly if the other person seems to need our help.

When people watch (a story) in the lab—and they both maintain attention to the story and release oxytocin—nearly all of these individuals donate a portion of their earnings from the experiment. They do this even though they don’t have to.

This is surprising since this payment is to compensate them for an hour of their time and two needle sticks in their arms to obtain blood from which we measure chemical changes that come from their brains.”

Empathy and attention…two critical aspects that every story needs to have, even non-fictional ones. 

We’re neuro-biologically wired to love stories and we particularly love those stories that command our attention and involve characters we can empathize with.  Not exactly news to discerning writers and readers but it’s nice to know that current research in Science can support this age-old dictum of storytelling.

The next post to the Word Shed will come on December 17, 2018.   And watch out for that tunnel up ahead!

See you then.

Phil B.