When an author composes his book, he does so with the intention of getting a story across to the reader. While intentions may be driven towards something exact, the way in which the reader views it may not abide by the thoughts that the author was trying to share with his audience. This "way" is the reader's perspective. The author and the reader both reside within two different spectra. While unique from each other, the differing perspectives connect in order to piece together the definition of the story. But the end product will not always be identical. The outcome results in two different definitions that come from two different perspectives. But this juxtaposition of interpretations helps "build a story from another story".
Suppose you've come across a situation in the story wherein the characters are acting in such a way that connotes desires for sexual actions. Naturally if sexual innuendo is evident in the conversation between the two characters, the human mind will try to highlight the undertones of debauchery and make them as crystal clear as the words on the paper. However, suppose this innuendo wasn't intended by the author. Further suppose that the author may have been trying to throw a fork in the road for his or her readers, whether intentional or unintentional. He or she gives the reader the option to expose the innuendo that may have been brought out by items the characters where using that could represent something sexual. However, the alternative is to carry on with your reading without suggesting that these undertones have the spotlight put on them. Put to each their own.
The fact is, without interpretation, the story has nowhere to go. It is, if anything, at a steady pace without acceleration and without taking turns. But when we process what's on the paper and we become impacted by what we read, the story starts to careen into another lane. Sometimes the act of interpreting a story can be done so in a way that does not oppose the author's perspective, however. For this circumstance, let's suppose a pimply faced teenager has to get food for his mother at a grocery store. During his trip to the store, he encounters an angry german shepherd who tries to attack him. As he makes it to the store, he is accosted by the girl of his dreams who is completely smitten with the school star quarterback. Both of these characters act as antagonists towards the pimply faced boy, who is the protagonist of this situation. Speaking in terms of interpretation, without the aforementioned "careening into another lane", and highlighting the idea of "not opposing the author's perspective", the story can build into something larger. We can view the pimply faced boy as a knight on a quest, doomed to face assailants during his journey and at his point of arrival. The knight is ultimately looking to acquire something (in this case it's grocery store food) so that his quest can become complete.
The idea of perspective doesn't have to make a story grandiose, though. It can be done so that a situation may seem more practical and down to earth so that it may be easier for the reader to follow. Inevitably, we will interpret stories differently from how they may have actually been written, or how our friends may have read them. We are all wired completely different from one another. We do, however share the similarity of being able to turn stories into bigger stories or new stories as our perspectives paint portraits larger than what we could have ever anticipated.
The fact is, without interpretation, the story has nowhere to go. It is, if anything, at a steady pace without acceleration and without taking turns. But when we process what's on the paper and we become impacted by what we read, the story starts to careen into another lane. Sometimes the act of interpreting a story can be done so in a way that does not oppose the author's perspective, however. For this circumstance, let's suppose a pimply faced teenager has to get food for his mother at a grocery store. During his trip to the store, he encounters an angry german shepherd who tries to attack him. As he makes it to the store, he is accosted by the girl of his dreams who is completely smitten with the school star quarterback. Both of these characters act as antagonists towards the pimply faced boy, who is the protagonist of this situation. Speaking in terms of interpretation, without the aforementioned "careening into another lane", and highlighting the idea of "not opposing the author's perspective", the story can build into something larger. We can view the pimply faced boy as a knight on a quest, doomed to face assailants during his journey and at his point of arrival. The knight is ultimately looking to acquire something (in this case it's grocery store food) so that his quest can become complete.
The idea of perspective doesn't have to make a story grandiose, though. It can be done so that a situation may seem more practical and down to earth so that it may be easier for the reader to follow. Inevitably, we will interpret stories differently from how they may have actually been written, or how our friends may have read them. We are all wired completely different from one another. We do, however share the similarity of being able to turn stories into bigger stories or new stories as our perspectives paint portraits larger than what we could have ever anticipated.
