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Fisher's theory laid plainly

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Narrative paradigm is a concept in communication theory and was developed by Walter Fisher. The concept is adopted from the oldest form of communication - story telling. He stated that all meaningful communication is in the form of storytelling. Peoples past experiences influence our need for communication and also base our behaviour. Thus narrative paradigm is very helpful in analysing the nature of human communication.
The Narrative Paradigm
Narrative is any verbal and nonverbal interpretation which is arranged logically to generate a meaning. This communication process is influenced by the experiences and other factors from the past. The concept upholds the idea that communication happens between a narrator and the listener in the form of a story. The story includes the events that the narrator wants to communicate with the listener and does not fit in a single category.

Narrative paradigm works two principles. They are
Coherence
Any content while communicating is effective only if it makes sense to the listener and coherence is the degree of sense making of a narrative. The effectiveness in delivering a story is influenced by three factors such as

The structure of the narrative

The resemblance between stories

Credibility of characters

Fidelity
The second principle, fidelity defines the credibility or reliability of the story narrated. It is greatly shaped on the persuasion of the listener whether the person accept the story or not. A set of values is followed for accepting the reliability of the story. The fidelity is attained by following a series of questions.

Are the events described really factual?

Has the facts been distorted while narrating?

The reasoning patterns followed while narrating

How does the argument in the story effect the decision making of the listener?

How are the importance of the story been narrated?

Critics
The narrative paradigm is a broad concept in human communication and it is almost impossible to conduct a study. To contradict this concept many philosophers believe that communication is not always narrative, for instance a fantasy story cannot be narrative as it is out of one's imagination and it will alter from the principles of narration such as the structure and reliability.
Application
The narrative paradigm is an innovative concept which reveals the nature of human communication. While considering communication as a form of an array of events, the people judge its credibility by understanding the reliability of the narrative. The studies can be further developed in understanding the human communication mechanism and can be applied to various fields.
Example
Ryan believed in extra-terrestrial existence. He used to spend hours researching the possibility of alien invasion and its presence. So whenever any abnormality occurs, he reasons the event with the existence of extra-terrestrial being. But in his friend circle, majority rejected the idea or they didn't listen to what Ryan's arguments. The few interested believed. The reason for the majority to discard the argument is due to the vagueness and mystery in the story that he narrated. People accept narrations following the principles of coherence and fidelity thus making most of Ryan's friends rejects the idea. The few who accepted the narrative was influenced by their past experiences and other cultural backgrounds.

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Introduction Narrative paradigm is a concept in communication theory and was developed by Walter Fisher. The concept is adopted from the oldest form of communication - story telling. He stated that all meaningful communication is in the form of storytelling. Peoples past experiences influence our need for communication and also base our behaviour.

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"Atlanta" The Big Bang (TV Episode 2016)

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"Atlanta" The Big Bang (TV Episode 2016) Trivia on IMDb: Cameos, Mistakes, Spoilers and more...

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Humor and Social Commentary in Donald Glover's Atlanta

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The stars and creators of this FX original series discuss why telling a story about two cousins finding purpose in a city as unique as Atlanta is worthwhile.

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The famously gross video blog site

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WorldstarHipHop is home to everything entertainment & hip hop. The #1 urban outlet responsible for breaking the latest urban news!

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From left to right; Lakeith Stanfield (Darius),  Stephen Glover (Writer), Zazie Beetz (Vanessa), Brian Tyree Henry (Alfred "Paperboi" Miles), Donald Glover (Earnest "Earn" Marks, Creator, Writer, Director, Executive Producer)

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Kendrick Lamar is right about white fans rapping; The N-word is off limits.

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Kendrick Lamar is right about white fans rapping; The N-word is off limits.

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THE GUARDIAN's Ellie Mae O' Hagan discusses why the N-word belongs to the African-American community alone

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Kendrick Lamar is right about white fans rapping. The N-word is off limits | Ellie Mae O'Hagan

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Let's move on from this fruitless discussion. It's clear that white people using the N-word is offensive and unacceptable, says freelance journalist Ellie Mae O'Hagan

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Atlanta Series Premiere Recap: A Great Environment

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Atlanta Series Premiere Recap: A Great Environment

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VULTURE's Michael Arceneaux explores "The Big Bang"

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When I first heard Donald Glover was making a show called Atlanta, my initial response lingered on, "Uh, I don't know about all that." I know Glover was raised in Stone Mountain, Georgia, but as much as I've respected his career path, I've never been quite sure what to make of him. I don't believe in measuring anyone's blackness; it's stupid, sophomoric, and, forever and always, incredibly boring.

Still, I've taken issue with previous comments he's made about black culture, most notably how he's referred to it as a "fight." It's fine to talk about hypermasculinity and homophobia within our community, but it's just as important to properly contextualize those issues - that is, considering their roots and the outside forces at play in keeping them alive. Also, whenever I hear black people opine about liking both rap acts and emo bands, my eyes roll into the back of my head. You're not the only one, beloveds, and plenty of us can relate to mixed tastes. Being well-spoken, being educated, and not being thuggish or "hard" does not automatically make you disconnected from the black community at large. But for whatever disconnect that's been mentioned in the past, Glover didn't help his case with comedy sketches like "bro rape" or the fetishizing of Asian women under his rap moniker Childish Gambino.

That is to say, past skepticism of Glover is not unwarranted. I have a few friends from Atlanta that feel a way about Glover being the person afforded the chance to make a show about their city. Such is their right, but to Glover's credit, he certainly seized the opportunity. Atlanta is fantastic work, no matter the weariness I felt prior to viewing. Although this may be the first time I've seen Glover in a majorly black story, I'm happy to call a very good thing exactly what it is.

It's impossible for me to not enjoy a show that includes the shouting of "Worldstar!" in its first 30 seconds. I became even more excited 90 seconds later, after hearing the voice of rapper OJ Da Juiceman. It's those sort of specific references - black, and in other cases, southern and black - that make Atlanta 's first episode function so well.

"The Big Bang" opens with a confrontation in a convenience-store parking lot - a setting for many a black man's incarceration tale - where Earnest "Earn" Marks (Glover) tries to calm down Alfred "Paper Boi" Miles (Brian Tyree Henry), his drug-dealer-slash-aspiring-rapper cousin, as he confronts a man who tore off his rearview mirror. But once we hear the sound of a gunshot, we're quickly taken back to the previous morning, when Earn wakes up next to Van (Zazie Beetz), the mother of his daughter, Lottie.

Theirs is a peculiar relationship. Earn and Van are intimate enough that he can joke about her curry-flavored morning breath, but she soon tells him to kick in rent money and watch their daughter that night because she has a date. When Earn hears this, he looks at his adorable daughter and says, "No, this is a great environment for you." Fair assessment, though, once you learn more about Earn, you can see why Van is exploring her options.

As "The Big Bang" reveals, Earn is a young dad and Princeton dropout presently making $5.15 an hour at an airport kiosk, where he tries to sign up people for credit cards they likely do not need. When he cuts out of work to stop by his parents' house, he's not allowed inside because (1) they're tired of giving him money, and (2) he can't even be bothered to flush the toilet. And according to his mom, who examined what should have been flushed, he needs to start consuming actual food as opposed to candy. That's disgusting, but also, very motherly.

Back at the airport, Earn is alerted to Paper Boi by his co-worker Swiff - who some may recognize as that guy from VH1's Single Ladies who was convicted of molestation charges - and after realizing that the rapper is his cousin, Earn quickly tries to latch onto his rising success by offering to become his manager. Paper Boi ultimately listens to Earn's proposal, though he doesn't waste time reminding him, "Nigga, I ain't seen or heard from you since my mom's funeral, and the first thing I hear out your mouth is 'Let's get rich.'" By the way, upon reading select reviews of Atlanta elsewhere, here's a quick PSA: White people, he's not calling Earn "nigger." There is a subtle yet substantial difference. You're welcome.

Paper Boi's eponymous first single, which Earn manages to get on the radio, is apparently not even liked by Paper Boi himself. It's a well-drawn detail, and it suggests that Atlanta will treat his character with nuance in coming episodes. That would be a welcome addition to television because for all the melodrama on Empire, there's not exactly much in terms of depth to the singers and rappers featured on it. (Granted, that is not Empire 's aim.) Even so, if I heard Paper Boi at the club, I'd bop to it.

As we see throughout "The Big Bang," a bit of separation exists between the folks who surround Earn and Earn himself. It's certainly there in the scene between Earn and Dave, the white radio-station employee he knows, who feels comfortable enough to use "nigga" around him - something he dares not do around other black people. I look forward to learning more about why that is, 'cause I'll be damned if a white person ever feels comfortable enough to say that around me.

Glover recently explained that he "wanted to show white people, you don't know everything about black culture." The scene between Earn and Dave may not have been the best example of that, but to Atlanta 's credit, the episode doesn't go out of its way to explain black people to anyone. These characters are simply just being themselves.

With Atlanta, Glover has created a series in which black folks get to be as idiosyncratic as everyone else on television. Sadly, although Glover has repeatedly said that he isn't trying to make a statement with the show, others will certainly try to identify one. It's already been called a "black Master of None," a series that will " fill a void left by The Wire," and it's been hailed for showing "everyday blackness." One critic claimed that Atlanta "offers a view of city life in neighborhoods that television rarely explores, places that aren't glitzy or safe." I've previously written about television's problems with shows centering on working-class black people, but when I think of past sitcoms like and the brilliant Everybody Hates Chris, I often ask myself, where were these critics back then?

Perhaps Glover, a smart, black man who knows how to navigate mainstream spaces, can score much-needed success for a show about the complexities of black people and black culture. However, Glover's intentions are clear: He's not trying to make the grandiose statements that others have ascribed to his work. So, let's just enjoy Atlanta for what it is: a funny, well-done show.

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Atlanta Series Premiere Recap: A Great Environment

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When I first heard Donald Glover was making a show called Atlanta, my initial response lingered on, "Uh, I don't know about all that." I know Glover was raised in Stone Mountain, Georgia, but as much as I've respected his career path, I've never been quite sure what to make of him.

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Atlanta FX Bus scene (Ahmad White and Donald glover)

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How Atlanta Expanded The Limits Of Storytelling

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How Atlanta Expanded The Limits Of Storytelling

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WIRED's Jason Parham discusses the versatility of Donald Glover's dramedy hit and how it's impacted television narrative

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In anticipation of Sunday's Emmy Awards, this week WIRED staffers are looking back at some of their favorite shows from the past year.
When the first season of Atlanta quietly ended last November, it did so at a turtle's pace: low-key and unhurried. The episodes that preceded the finale embodied the same spirit-a farcical and surrealist satire bounded by Southern, downtempo cool. Along the way its creator-star Donald Glover seemed to be saying, I've got a destination in sight, but there's no rush; we'll get there when I'm ready.

Atlanta, akin to the city itself, is pure sprawl-thematically sweeping if sometimes implausibly lush, with its cabal of lovably thorny characters and its conceptually exhaustive format. Much to the credit of Glover and his all-black writers' room, it is a show without a roadmap that isn't afraid to take detours to uncharted territories (or get lost and find its way back). As such, the Emmy-nominated comedy (it's up for four awards on Sunday) has no precedent. In the short history of contemporary television, there have been more than a handful of shows that have traversed the highs and lows of black life-some of them exceptional, most of them simply OK. But there's never been a vision quite as specific and as versatile and as wonderfully gonzo as Atlanta: It speaks with a cultural knowingness that, until its debut, had never been given space on TV.

Glover plays the part of Earn Marks, an Ivy League dropout who can't seem to get things going (he's pinned down by a job as a low-level credit card salesman at the airport), until an opportunity to manage his cousin Paper Boi's on-the-rise rap career presents itself. The only thing is, Paper Boi (Brian Tyree Henry) would rather trade in fame for a simpler life: dealing drugs, playing Xbox, and smoking weed with his partner-in-hustle, Darius (Lakeith Stanfield's oddball performance is a series highlight). Across 10 episodes-each one stubbornly original in its conceit-the trio take us through Atlanta, its people and their folkways. At points anticipated and paradoxical, the show concerns itself with issues such as trans identity (as it relates to both gender and race), celebrity culture, police brutality, mental health, and the ethics of gun violence. During a midseason episode ("Nobody Beats the Biebs"), Darius visits a local shooting range where he's confronted by white patrons for using a target they consider unconscionable. "You can't shoot a dog!" one man fumes, to which Darius, in his typical stoner pragmatism, responds: "Well, why would I shoot a human target?" And because the distance between life and death is precariously ironic for black men, and because Glover knows this, Darius is quickly kicked out-at gunpoint.

The shades of black life are many, and Atlanta has attempted not to speak for the whole-really, what show could?-but for the few. Glover's result is a world structured around hyper-specific moments of joy and terror and mundanity. In his stratosphere, we encounter a black Justin Bieber, a teen who mockingly wears whiteface to school, an affluent couple who fetishizes Juneteenth, and the contentious Charlie Rose-styled talk show Montague, which is bookended by commercials that exclusively feature black people in satirized and true-to-life situations. It's a way of talking about race without explicitly talking about race. It's also the kind of storytelling that is resilient but never so overly reckless that it sacrifices the impact of the joke or the grace of the message.

Still, the genuine brilliance of the show lies within its mutability; its form and function are constantly changing-unhurried as it may seem. Months ago, writing about the new season of Insecure and its placement within the current TV landscape, I mentioned how Atlanta straddled the line between reality, situational farce, and morose surrealism. Its episodes are a direct reflection of this kaleidoscopic viewpoint-they're elastic formulations that reject trite formulas. Sneakily enough, it also feels like Glover's way of saying this is what being black often feels like now: That on any given day you might find yourself in a comedy, or a horror, or an absurdist fantasy-and sometimes all three at once.

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How 'Atlanta' Expanded the Limits of Storytelling

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In anticipation of Sunday's Emmy Awards, this week WIRED staffers are looking back at some of their favorite shows from the past year. When the first season of Atlanta quietly ended last November, it did so at a turtle's pace: low-key and unhurried.

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A Princeton dropout, an underground rapper, and a straight-up weirdo attempt to navigate Atlanta's music industry to provide for themselves.

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Theory: Walter Fisher's Narrative Paradigm

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Theory: Walter Fisher's Narrative Paradigm

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Narrative paradigm is a concept adopted from the oldest form of communication – story telling. Fisher states that all meaningful communication is in the form of storytelling. People's past experiences influence our need for communication and also base our behavior. Thus narrative paradigm assists in analyzing the nature of how people communicate and connect with one another.