By far the most difficult part of teaching Mandalic Storyverse methods is asking creators to have an open mind about what they think they know about story structure. Regardless of which medium or industry they’re used to consuming their story escapism in—I must ask them to pour some narrative structure rules out of their cup and make room for new information.
Easier said than done. Storyverse work means a whole new construction method, so they will need some non-resistant room in the brainpan. Writers and artists living in survival mode will struggle with it more than the others. Neurodivergent creatives will likely pick this method up faster than others, simply by the nature of their non-linear thought patterns.
Essentially, my strategy has just been to talk about Mandalic Storyverse like it is already common knowledge. I drop phrases and pieces of the concept in standard conversations and just let them float awkwardly in the room. Ideally, after saying something a few times they will become accustomed to hearing it, even when it’s radical, or seemingly nonsensical. “She’s said that before… what’s she smoking?”
My favorite phrase lately is, “Mandalic Storyverse is not a standard three act structure, it is four-dimensional storytelling.”
If I could tell you how many crickets, raised eyebrows, looks of disgust or irritation, or even conversation gaps have occurred after I drop that phrase in a casual way—you’d die laughing. People look at me like a I’m a fucking lunatic. I love it. It never gets old.
Anyway, the point is that if I say it often enough, and with enough factualism behind it, after about the fifth time they hear it—someone eventually asks. “What the hell is four-dimensional storytelling?”
Bingo. We’re in. Curiosity is the gateway to creativity and innovation. Just asking the question means some space has opened up to consider new narrative design pathways.
I give them the surface answer, a water skipper jaunt over the ocean of information. It is intentionally vague, as to not be overwhelming or threatening. They’re unlikely to fit all the pieces together at this stage unless they happen to be accustomed to story cosmologies and franchise building practices. But if they’re curious, they’ll start digging. If they’re interested, their minds will make more room to fit the concept in and puzzle it around the noggin.
Some folks will peace out as the description clashes with their learned understanding of story framework, or their general disinterest in me as a person and what I’m talking about…while others will ponder it a while longer—then circle back for a repeat of the information and a slightly deeper dive into the concept.
Those are my people.
The search is officially on to find my people. Between grants, investor funds, and profit share planning I’m hoping to get at least three writers up to speed in the method and mediums over the next year. It feels urgent because if Pillars of Dawn and Life Erotic do well in the next stages, I cannot be both places at once without dropping a plate or four on accident. Additionally, releasing thirty projects into the development pool for consideration means it would be wise to have hands on deck, trained and ready to build if some of those projects gain interest. It’s a lot more work up front, but the end result will be worth it.
I’m used to the weird looks, the disbelieving snorts, and eye rolls. I can live with it. What I need now are people who WANT to build.
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