Telling stories is based on the premise that we might see things differently, better, more insightfully, more poignantly, if we slow them down and let them go by in words, in a process in which the teller of the story has full power to comment, highlight, embellish, even create new realities that may never even have actually existed in anything but the teller's imagination. In fact, the story teller's imagination becomes every bit as valid a source as a photographic, tape recorded archive of data created from existing life experience.

Story is also our mutual imaginings of what might turn out if only something specific would happen or if someone struggling through the story would be able to figure something out or accomplish a challenge in time to make a difference.

Story is the living through, with the story teller, of an imaginary situation, in an effort to figure what might turn out if only . . .

Story is a way we have of running back the tape on things that happened to see if we can make sense of them or tell others the sense we have made of them

Making sense of things usually involves embellishment with editorials, musings, philosophizing, make-believe

Story -- What we perceive of bits of the world, first hand, or second hand, or even as we imagine them, from vantage points we occupy, passing through our minds accumulating parts of us as they go, colors and shades and tones and sometimes wisdom of our take on things, and escaping out of us with everything blended together like mixed and risen bread to be shared with anybody we invite

Story -- the way we justify a lived life by going back and carefully uncovering glints of its grandeur. We tell stories to get at the style and the grandeur of life

There is a human will to survive with style and grandeur.' Wynton Marsalis (who tells the story of telling his family about how he scored a touchdown in a high school game, how it came out that he ran the ball 105 yards, when in fact he just fell on the ball in the endzone -- "now that is art, making it better than it was when it happened." Beethoven's Third Symphony -- "That ws the way he wanted you to hear what he heard."

The lies may distort the data but in doing so, they help the artist get at wha she/he considers grand and important, and to share it with others.

Story -- helps writer and reader collaborate to figure out how today has happened in light of yesterday and even how tomorrow might dawn.

Story -sharing some part of the life of the story teller or another and perhaps embellished, perhaps only shading or shadowing, to justify existence or give meaning.

Story always emphasizes that it is not so much the event that is significant but how it affects people who are living through it, or remembering it and trying to make sense of it.

Story importance -- Anton Dvorak, dying, impoverished, living in a flat. He had sold all of his major music for a pittance. Visited by Fritz Kreisler, the concert violinist who was enamored of his work. Kreisler described Dvorak's setting as something disheveled as if out of LaBoheme. He asked Dvorak if he had any new music that Kreisler could play. Dvorak gestured to a disorderly pile of manuscripts and said he was welcome to thumb through. Perhaps he could find something there. Kreisler found what later would be named "Humouresque" a piece that is commonly hummed tho slightly trivial. (Dum dedum dedum dedum, deDUM de dum de dum de dum de dum de dum de dum de dum de dum, etc.) The important point is that when you hear the story, it sets the melody in another realm and you feel the pathos of Dvorak's decline. Otherwise you dismiss the music.