This volume will cover multiple different genres or approaches to writing a narrative, and how the
applications of economic theory can be understood within and complement each style of storytelling.
Historical Accounts & Non-Fiction
It is difficult to think of historical accounts as being an art form, but in fact if plot has real artistic value than what is history, but a series of events, characters, and actions that took place in the real world. It is quite harder for one to come up with a plot hole when writing a piece of nonfiction, because there are no plot holes in history. Because we are so confident of the economic integrity of historical accounts these stories can also be used in the greater discipline of economic theory and the study of choice. Historical examples are used to support or refute theories as long as the sources can be trusted because it can be held that those past events follow true economic laws.
The realm of fiction is where a lot of the skill of an artist comes in formulating a plot. Anything can be made up to fit the story that the author wants to portray. This comes as a freedom for the writer but also a trap with which they can easily make mistakes in. Historical accounts are almost by necessity relatable to the real world because of both the economic laws found in them and the real events that relate to the present world. For fiction writers, the author must be incredibly careful to have the plot follow proper economic reasoning or else the connection and meaning of the work will have little effect. The only limit of a fiction writer is their imagination meaning that they can create any premise from which to start their plot. This gives them an incredible range with which to create plots that convey a meaning and is likely why most works that are considered with artistic or literary merit do not limit themselves to non-fiction. This may also have to with the fact that many facts in history are unknown while a fictitious story can have every single detail filled in by an ambitious writer.
Allegory may be a somewhat synthesis between the real world non-fiction plot and that of a fictional story. In an allegory, the author creates a fictional story with a plot that includes many plot events, characters, and actions that exist in the real world as well. It is a way that an author can write the non-fiction story while being able to fill in all necessary plot gaps, and also use their freedom of fiction to accentuate scenarios that they see as important or want to emphasize. Allegory uses the plot to not only bring in connotations from the possibility of those choices within it’s own plot, but also to raise connotations from the non-fictitious plot of the real world. After those connections are established the author may further their own plot into how they believe real choices and their consequences will be within their own fictitious model of non-fiction.
Fantasy & Science-Fiction
It may seem initially inane that the problem that a knight has while battling a dragon can have any relevance to attributing meaning to any problems in the real world, but often fantasy and science fiction are cited as some of the greatest works of literary achievement. It is easy for a creative writer to design a dragon or a spaceship that does not exist in reality, but it is very difficult for an author to create a plot that does not follow economic law. Even wizards evaluate means and ends, and in one way or another try to maximize their utility. Markets still function in the same way even if they are for space widgets rather than earth widgets. Fantasy and Science Fiction are used often with allegory to create a fictional world in which fantastical creatures and aliens are exaggerations of the real world things which they represent. It is difficult to use other scientific possibilities to represent reality, and the use of fantasy and science fiction are an incredibly powerful shortcut for writers to use in connecting their fantastical fictitious world to the real one.
A game is typically not thought of as a plot, but in fact might be the best example of one. In a game the rules and setting are the economic environment, the players are the characters, and the various choices they have throughout the game are the determinants of the plot. This may not apply to certain abstract games such as puzzles. The only thing that game designers choose are the rules and the design of the game pieces. The rest is left up to the choices of the players, and the rolling of dice. A game designer may use the theme of a game to allow players to realize the connection between the choices they are making, and what they are valuing to a real world example of someone in that situation.
The goal of these posts was to synthesize the understanding of what makes a plot work and how choices are made in the real world. The validity or relevance of a plot being based on the having its plot points connected to economic law is the same as the validity of a painting having its colors be within the range of the light spectrum that can be seen by the human eye. Different genres function similarly to different strokes of a brush. Games are analogous to the painter being able to draw themselves and others into their painting. If we can consider a painting beautiful because of the connotations that it draws the viewer to because of its masterful combination of color, then we can consider a plot beautiful because of the connotations that it draws the reader to because of its masterful combination of economics.
Picture credit to http://www.holyworlds.org/blog/?p=1494