Narrative Research

Assumptions

IRON LAW: In narrative research, the STORY is the unit of analysis —
fragmenting narratives into coded themes destroys the temporal and
contextual meaning. If you reduce stories to thematic codes, you are
doing thematic analysis, NOT narrative research.

Key assumptions:

1. Humans are storytelling beings — narrative is the primary way we organize experience
2. Stories are situated performances — shaped by audience, context, and purpose
3. Temporality is constitutive — meaning emerges from the sequence and connection of events
4. The researcher is a co-constructor of the narrative through the interview relationship

Methodology

Step 1: Elicit the Narrative

Conduct narrative interviews using a single generative question (e.g., "Tell me the story of..."). Allow the narrator to structure the telling. Avoid interrupting with probes until the main narrative is complete. Collect life stories, oral histories, or episode-specific narratives depending on the research focus.

Step 2: Analyze Narrative Structure

Examine HOW the story is told using structural elements:

(Labov's structural model; adapt as needed for non-Western narrative forms.)

Step 3: Interpret Meaning and Identity

Analyze WHAT the story conveys: turning points, character positioning, agency, causality, and moral framing. Examine how the narrator positions themselves (hero, victim, survivor, agent). Identify master narratives the story aligns with or resists.

Step 4: Contextualize and Present

Situate the narrative within broader social, cultural, and historical contexts. Present findings as re-storied narratives (Clandinin and Connelly) or analytic narratives that preserve the story's integrity while offering scholarly interpretation.

Output Format

## Narrative Analysis: [Context]

### Narrator Profile
- Pseudonym: [name]
- Context: [relevant background]
- Narrative type: [life story / episodic / oral history]

### Narrative Structure
| Structural Element | Content |
|-------------------|---------|
| Abstract | [summary of what the story is about] |
| Orientation | [setting, characters, initial situation] |
| Complicating action | [key events and turning points] |
| Evaluation | [narrator's assessment of meaning] |
| Resolution | [how events resolved] |
| Coda | [return to present, lesson drawn] |

### Identity Positioning
- Self-positioning: [how the narrator presents themselves]
- Agency: [active agent / constrained / victim / survivor]
- Master narratives: [aligned with or resisting which cultural stories]

### Temporal and Contextual Meaning
- Turning points: [pivotal moments that reorganize the narrative]
- Causality: [how the narrator explains why things happened]
- Silences: [what is notably absent from the story]

### Implications
1. [What this narrative reveals about the phenomenon]
2. [How it connects to broader social or cultural narratives]

Gotchas

• Do NOT code narratives into fragments — analyze stories as wholes with internal structure
• The same events can be storied differently by the same person at different times — narratives are not fixed facts
• Researcher influence on the story is inevitable — reflexivity about co-construction is required
• Labov's model was developed for oral narratives of personal experience — it may not fit all narrative forms
• Life story research involves ethical complexity: participants may disclose more than intended in the flow of storytelling
• Distinguish between narrative analysis (story as object) and analysis of narratives (stories as data for themes) — they are different methods

References

• Clandinin, D. J., & Connelly, F. M. (2000). Narrative Inquiry: Experience and Story in Qualitative Research. Jossey-Bass.
• Riessman, C. K. (2008). Narrative Methods for the Human Sciences. Sage.
• Labov, W., & Waletzky, J. (1967). Narrative analysis: Oral versions of personal experience. In J. Helm (Ed.), Essays on the Verbal and Visual Arts (pp. 12-44). University of Washington Press.