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Shelley's novel is constructed in multiple narrative frames, with the story of one young scientist's disastrous desire to play God told not only by Victor Frankenstein, but also by the traveler who finds him in extremis and, in the work's most audacious chapters, the monster.
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From Tony's Dead Calm-ish discovery of what was in the dark depths of the yacht belonging to Ian Garrett (Ken Stott), to the framing of the episode from the perspective of Garrett's wife Mary Diana Quickk), there were multiple narrative layers on display.
Finally, to reinforce the basic narrative frames tenets, ten essential features of narrative frames to be conscious of when designing and using frames are noted.
It then re-examines the strengths and limitations of narrative frames discussed in the original article.
Finally, suggestions for ways in which narrative frames can be used in future research are made.
It starts by describing what narrative frames are and considering the significance of narrative in research on language teaching and learning.
This article revisits the use of narrative frames as a research instrument first proposed in a 2008 System article.
Following a summary of recent narrative frames research, an example of a frame used in an ongoing research project is presented and its use illustrated.
As the sculpture rises, multiple narratives unfold.
There are always multiple narratives.
The mistakes begin with the narrative framing device.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com