Sentence examples for narrative cues from inspiring English sources

I decided to take a traditional novel structure and see what would arise if I followed certain narrative cues (plot points, you could say).

Stories – Wooden ramps and peaks with painted narrative cues encourage children to physically move from one cue to another while making up their own story.

Taking its narrative cues from the jagged path of O'Rourke's experience, "The Long Goodbye" begins and ends with the death of the mother — who made "a madrigal of quiet sounds" on the day she died, who kept her daughter close throughout the workaday horrors of her illness and told her she was not afraid to die.

Alongside its use of music, the lack of dialogue and conventional narrative cues in 2001 has been noted by many reviewers.

Rather, they are choreographies, a form of dance-for-the-camera that takes its visual cues as much from classic ballet as from dungeon fantasy and cosplay, and its narrative cues much more so". Australian-born photographer Brooke Mason has been capturing stunning images for the fashion and entertainment world for over 15 years.

What emerges onstage are Cliffs Notes narratives, cue-the-organ peril and florid emotions prepackaged for belting to the second balcony.

Christopher Akerlind's precise and spooky lighting is full of dramatic shadows and vanishing and reappearing spotlights that become narrative tools, cues and even props for Ms. Lauren, and the soundscape, created by Darron L West (mostly piano music that begins in Satie-like simplicity and gathers dissonance), is gorgeously effective in suggesting the turbulence of Woolf's emotional weather.

Two new pieces danced at the Skirball Cultural Center on Thursday showed him relinquishing narrative and cues to interpretation by means of music and slide projections, and focusing upon movement itself.

Individual interviews provided participants with the opportunity to first generate narratives without cues from other team members.

Even more radical was S/Z (1970), a line-by-line semiological analysis of a short story by Honoré de Balzac in which Barthes stressed the active role of the reader in constructing a narrative based on "cues" in the text.

From this point, the narrative takes its cue from Mortimer's glowering, mercurial presence, while the rest of the ensemble go, somewhat raggedly, about their business -- listening to music, fishing, eating at a place known simply as "the bad restaurant" -- to the reader's bemusement.