A Survey on Story Generation Techniques for Authoring Computational Narratives <s> A. Components of Narrative <s> Preface 1. Narrative and life: The universality of narrative Narrative and time Narrative perception 2. Defining narrative: The bare minimum Story and narrative discourse The mediation (construction) of story Constituent and supplementary events Narrativity 3. The borders of narrative: Framing narratives Paratexts The outer limits of narrative Is it narrative or is it life itself? 4. The rhetoric of narrative: Causation Normalization Masterplots Narrative rhetoric at work 5. Closure: Conflict: the agon Closure and endings Closure, suspense, and surprise Closure at the level of expectations Closure at the level of questions Absence of closure 6. Narration: a few words on interpretation: The narrator Voice Focalization Distance Reliability Free indirect style Narration on stage and screen 7. Interpretation: The implied author Underreading Overreading Gaps Cruxes Repetition: themes and motifs 8. Three ways to interpret narrative: The question of wholeness in narrative Intentional readings Symptomatic readings Adaptive readings 9. Adaptation across media: Adaptation as creative destruction Duration and pace Character Figurative language Gaps Focalization Constraints of the marketplace 10. Character and self in narrative: Character vs. action Flat and round characters Can characters be real? Types Autobiography Life writing as performative 11. Narrative contestation: A contest of narratives A narrative lattice-work Shadow stories Motivation and personality Masterplots and types Revising cultural masterplots Battling narratives are everywhere 12. Narrative negotiation Critical reading as narrative negotiation Closure one more time The end of closure? Glossary Index. <s> BIB001 </s> A Survey on Story Generation Techniques for Authoring Computational Narratives <s> A. Components of Narrative <s> In this paper, we present the design, implementation, and evaluation of an end-to-end camera planning system called Darshak. Darshak automatically constructs cinematic narrative discourse of a given story in a 3-D virtual environment. It utilizes a hierarchical partial-order causal link (POCL) planning algorithm to generate narrative plans that contain story events and camera directives for filming them. Dramatic situation patterns, commonly used by writers of fictional narratives, are formalized as communicative plan operators that provide a basis for structuring the cinematic content of the story's visualization. The dramatic patterns are realized through abstract communicative operators that represent operations on a viewer's beliefs about the story and its telling. Camera shot compositions and transitions are defined in this plan-based framework as execution primitives. Darshak's performance is evaluated through a novel user study based on techniques used to evaluate existing cognitive models of narrative comprehension. Initial study reveals significant effect of the choice of visualization strategies on measured viewer comprehension. It further shows significant effect of Darshak's choice of visualization strategy on comprehension. <s> BIB002 </s> A Survey on Story Generation Techniques for Authoring Computational Narratives <s> A. Components of Narrative <s> This chapter proposes a new approach to style, arising from our work on computational media using structural blending, which enriches the conceptual blending of cognitive linguistics with structure building operations in order to encompass syntax and narrative as well as metaphor. We have implemented both conceptual and structural blending, and conducted initial experiments with poetry, including interactive multimedia poetry, although the approach generalizes to other media. The central idea is to generate multimedia content and analyze style in terms of blending principles, based on our finding that different principles from those of common sense blending are often needed for some contemporary poetic metaphors. <s> BIB003 </s> A Survey on Story Generation Techniques for Authoring Computational Narratives <s> A. Components of Narrative <s> Curveship, a Python framework for developing interactive fiction (IF) with narrative style, is described. The system simulates a world with locations, characters, and objects, providing the typical facilities of an IF development system. To these it adds the ability to generate text and to change the telling of events and description of items using high-level narrative parameters, so that, for instance, different actors can be focalized and events can be told out of order. By assigning a character to be narrator or moving the narrator in time, the system can determine grammatical specifics and render the text in a new narrative style. Curveship offers those interested in narrative systems a way to experiment with changes in the narrative discourse; for interactive fiction authors and those who wish to use of the system as a component of their own, it is a way to create powerful new types of narrative experiences. The templates used for language generation in Curveship, the string-with-slots representation, shows that there is a compromise between highly flexible but extremely difficult-to-author abstract syntax representations and simple strings, which are easy to write but extremely inflexible. The development of the system has suggested ways to refine narrative theory, offering new understandings of how narrative distance can be understood as being composed of lower-level changes in narrative and how the order of events is better represented as an ordered tree than a simple sequence. <s> BIB004
We use the following definitions for narrative, and its components. 1) Narrative is defined as having a story, pertaining its main content, and a discourse, which is the particular telling of a story. 2) Story is the main content of the narrative; this includes what happens in the narrative, the plot, and the space in which the narrative occurs. 3) Plot is a set of events with an overall structure which represents both the temporal ordering, and the causal relations between the events. Events typically consist of one or more low-level actions, instigated by and/or affecting a number of entities in the space. 4) Space includes the characters, settings, props, and anything which is present either physically or abstractly in the space of the narrative also called the existents. Because existents change and evolve over time, the space also consists of an initial state which contains the set of all existent states as they exist before the start of the plot. 5) Discourse is the particular telling of a story. This may include the style of the space, the ordering and duration of the events in the plot, etc. For the definitions, we drew upon the narrative structures proposed in the above surveys, and more specifically, the struc- Fig. 1 . Proposed structure of narrative, with the main terms emphasized turalist narrative theories provided by Barthes  , Abbott BIB001 , and Chatman  . All three authors explicitly separate the content of the narrative from the way in which this content is presented to the reader. The terms narrative, story, discourse, plot, and space come directly from Abbott and Chatman. Our definition of plot and its events and structure are based upon the similar definitions given by Kukkonen  . The definition of space is likewise strongly influenced by the definitions used by Ryan  , in which space is also viewed to have a spatial structure as well as a temporal structure that is dependent on the duration and effects of events in the plot. Finally, although in this survey we are focused solely on story generation, there also exists a significant body of research dedicated to discourse generation. Three prominent examples are Montfort's CURVESHIP BIB004 , which generates discourse for a given story using Genette's formal categories of discourse (order, duration, frequency, mood, and voice)  , Jhala and Young's DARSHAK system for cinematic discourse BIB002 , and Goguen and Harrell's GRIOT system BIB003 for generating style and figuration. Fig. 1 shows our definition of narrative. While not intended as a complete formalization of narrative, it does allow us to classify existing narrative generation research according to precisely which components of narrative are generated. We found that most existing research obeys this structure of narrative (although space is sometimes referred to as world or game world depending upon the context of the research).