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Narrative: Universally Practiced but Individually Defined
A Three-part Approach to Teaching Narrative
Narrative: Universally Practiced but Individually Defined
Perhaps one reason narrative is difficult to teach in technical communication is that there is no consensus among teachers, scholars, and practitioners of TPC as to what exactly constitutes a narrative. Do stories follow a specific pattern (e.g., the hero’s journey)? Must they observe a specific timeline (i.e., a beginning, middle, and end)? Should they contain certain elements (e.g., a plot, characters, and setting)? Are specific events such as conflict, climax, and resolution required? While narratives are universally recognizable (we all know a story when we hear one), they are not universally defined.
Many scholars use the terms “narrative” and “story” interchangeably (Clark, 2010; Hirst, 2017; Journet, 2012; Perkins & Blyler, 1999; Torres & Pruim, 2019), yet others see these as two distinct things (Dettori & Paiva, 2009; Small, 2017). For instance, Small (2017) draws a distinction between the terms “story” and “narrative,” identifying “narrative” as a compilation of smaller stories. Torres and Pruim’s (2019) definition contradicts Small’s view, claiming that a story is the coherent narrative whole while anecdotes are the smaller building blocks of stories. Clark (2010), too, uses the two terms synonymously and defines narrative as a sequence of events found meaningful by a particular audience.
Like Clark and others, I prefer to use the terms “narrative” and “story” interchangeably, as I find this broader conceptualization helpful in recognizing the many ways narrative elements can be used in technical communication. While I do not suggest we commit to a singular definition of narrative (as I do not believe it possible to distill such a complex idea down into one universally true explanation), I think it important to recognize how the variety of ways in which we view the idea of narrative contributes confusion to how we discuss narrative in the classroom and the field. That is, narrative is not a simple concept to define for our students; we must acknowledge that the idea of narrative is flexible and its definition largely contextual and culturally situated. Only then can we help students to see the complexities of stories and the different—and oftentimes subtle—ways they can be used in technical and professional communication.
Admittedly, the flexibility of narrative makes it impossible to teach in a single way. One trend in education is to use game-based narrative learning environments to supplement instruction, thus allowing students to learn through interaction with a digital story (Derrori & Paiva, 2009; Mott et al., 1999). A similar method applies narrative as a lens from which to view the course material. Bridgeford (2004) takes this narrative lens approach to her pedagogy by choosing to frame her technical communication courses around literature that provides context for course activities. In one example, Bridgeford uses the novel Terrarium as a scenario and basis for a student documentation project. More recently, Lee (2021) speaks of using science fiction as a tool to help TPC students consider ethics when communicating about new technology. In many ways, these approaches are similar to my own experience with Campbell’s hero’s journey because they offer students a framework from which to consider their projects. However, using narrative only as a scenario to engage with fails to prepare students to use story in all its various forms.
To be clear, narrative is not merely a device for instructors to use in the classroom; as instructors, it is our job to prepare the next generation of technical communicators to see narrative as a dynamic tool that surrounds every aspect of the work they do. To help our students fully comprehend the role of narrative in technical communication, we as instructors need to move beyond attempts to define narrative and away from viewing it only as a pedagogical tool. Instead, we can teach narrative more holistically by helping students recognize the different ways narrative functions. Essentially, we should train students to listen to the stories of others, weave aspects of stories into their own work, and recognize the role they themselves play in a larger narrative.
This approach is informed by Clark and Rossiter’s (2008) theory of the three elements of narrative present in adult learning; Clark and Rossiter claim that “learning through stories is a multifaceted process” (2008, p. 65) that involves stories being heard, told, and recognized. Because the classroom environment helps construct students’ knowledge and offers students a safe space to practice the implementation of story in their work, it is an ideal place for instructors to introduce these three elements—hearing, telling, and living out stories—and show how they matter to our field. In the following sections, I will build on Clark and Rossiter’s three-part framework and show how it applies to the teaching of TPC. I will then propose that a thorough understanding of these three elements of narrative is essential for preparing technical communicators for ethical social action that promotes equality and justice in workplaces and communities.