Dynamic Storytelling is an insightful, rich work that examines the most effective storytelling methods from the ground up, from their archetypal origins, to their most vibrant examples as utilized by the world's finest authors. We see this as one of our lead titles for Fall 2015. | Dynamic Storytelling will focus on an archetypal process of writing (though in many cases Jung and Joseph Campbell use the term 'creativity' or 'artist') and relate it to the master author who used it.
For example, consider the Iceberg technique ? the Archetypal Process of Collective Resonance. This is where you are only be seeing the surface of the scene, but there's still another level the writer hints at that hits the reader on an unconscious level giving the scene numerous layers and take-aways.
Dynamic Storytelling will be written in the same format as the Feminine and Masculine Journeys in Victoria's 45 Master Characters and Ronald Tobias's 20 Master Plots. The reader will know exactly what the writing process is, no longer bogged down by story theory and plotting devices. They will understand the process they go through and gain mastery over it.
Most of Victoria's reader letters are about how the opening section of her book Book in a Month on the psychology of reaching a goal helped them immensely. This new book will take that all the way to the end, explaining the entire process of writing and giving more exercises to experience the concepts.
Victoria will take into account the different types of 'writer archetypes' here as well - those who write by the seat of their pants, those who plot and prepare first, those who dabble, those who buy into the tortured artist myth.
This will reference Joseph Campbell's work Creative Mythology, which picks up where Hero with a Thousand Faces leaves off and will also call on Jung's work on the creative imagination, Eric Maisel, and Flow Psychology by Mihaly Csðkszentmihaly.
In Creative Mythology Joseph Campbell adds a new dimension to creativity. In his introduction he writes:
""In the context of traditional mythology, the symbols are presented in socially maintained rites, through which the individual is required to experience, or will pretend to have experienced, certain insights, sentiments and commitments. In what I'm calling creative mythology, on the other hand, this order is reversed: the individual has had an experience of his own - of order, horror, beauty, or even mere exhilaration-which he seeks to communicate through signs; and if his realization has been of a certain depth and import, his communication will have the force and value of living myth-for those, that is to say, who receive and respond to it of themselves, with recognition, uncoerced.""[1]
""During the popular television series, ""The Power of Myth,"" Joseph Campbell discussed the artist's crucial role in spreading mythical images:
Moyers: ""Who interprets the divinity inherent in nature for us today? Who are our shamans?""
Campbell: ""It is the function of the artist to do this. The artist is the one who communicates myth for today.?.""""
