Inventology makes use of different inventors' stories to show to readers that inventions can come from anyone and anything. Kennedy's job is to parse who exactly comes up with inventions, how they do it, and, most importantly, how they were able to succeed. In order to truly show and not tell the secrets of inventology, Kennedy uses a narrative style of writing.
The stories of inventions are typically exciting because they are exactly that: stories. Our favorite inventions involve underdog heroes, who rise from humble beginnings to change the world or fantastical discoveries seemingly straight out of a sci-fi book. Kennedy understands the human desire to empathize with others and presents her various investors' storylines in a narrative style. The effect is to both keep readers interested, but also help them understand the lessons of inventology through inference. (The CPM method, if you will.)
This style of writing is effective at helping readers understand Kennedy's points, as well as for making an interesting reading experience.
Sunday, April 17, 2016
Thursday, April 7, 2016
TOW #23 - The Thrilling Uncertainty of the Understudy (Written)
"The Thrilling Uncertainty of the Understudy" by Rebecca Mead in The New York Times celebrates the often thankless work of understudies in Broadway productions. Using comparisons toward the conclusion of her article, Mead effectively champions the beauty of an understudy's performance.
Prompted by the appearance of an understudy's understudy in the Broadway production "Hamilton", Mead's article focuses on the musical's lesser known stars. She describes the first appearance of an understudy on stage, "When an unfamiliar actor steps into the light as Hamilton, the applause that greets him is scattered, more muted, as audience members rustle their Playbills for the overlooked white slip." The understudy is often unknown and perhaps even undesired, as people clamor to Broadway to see their favorite stars. However, Mead makes a daring comparison between the understudy and Hamilton himself, "The challenge that faces Hamilton, the character, as the play unfolds—how to make an impression against all expectations—is also the challenge that the actor confronts in playing him." Mead endows respect onto the work of the understudy by drawing this parallel.
Mead understands that her readers will respect the work "Hamilton," but perhaps not the work of the understudy. A comparison between the musical and the understudy is both thought-provoking and enlightening.
Prompted by the appearance of an understudy's understudy in the Broadway production "Hamilton", Mead's article focuses on the musical's lesser known stars. She describes the first appearance of an understudy on stage, "When an unfamiliar actor steps into the light as Hamilton, the applause that greets him is scattered, more muted, as audience members rustle their Playbills for the overlooked white slip." The understudy is often unknown and perhaps even undesired, as people clamor to Broadway to see their favorite stars. However, Mead makes a daring comparison between the understudy and Hamilton himself, "The challenge that faces Hamilton, the character, as the play unfolds—how to make an impression against all expectations—is also the challenge that the actor confronts in playing him." Mead endows respect onto the work of the understudy by drawing this parallel.
Mead understands that her readers will respect the work "Hamilton," but perhaps not the work of the understudy. A comparison between the musical and the understudy is both thought-provoking and enlightening.
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