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to enhance the social dimension. We are starting by enriching the communication
between agents.
What is next? Currently we are working on improving the cognitive abilities of
MEXICA (e.g. see Morales and Pérez y Pérez [
23
]) to produce more elaborate plots
where features like suspense can be included; we are interested in incorporating
explicit cultural representations, like social norms, and study their influence in plot
generation and evaluation (see Guerrero-Román[
24
]); we are experimenting with
visual narratives (see Pérez y Pérez and Morales [
25
] and Pérez y Pérez [
26
]) and,
of course, we want to enrich the Evaluator and the collaboration between agents.
In the literature one can find important works on plot generation (e.g. [
9
,
27
-
29
]);
nevertheless, much more research is needed. We need novel ideas in order to tackle the
problems we are facing. Initiatives like SLANT ([
30
]), where three well recognised
systems collaborate to produce stories that neither of them could produce alone, are
important.
Narrative generation is one of the most challenging areas within computational
creativity. There is much work left to do. If I were asked to explain what computer
models of creativity are useful for, this would be my answer:
They are tools for reflection that challenge our deep-rooted ideas about how we
create
.
I hope that through this chapter you have confronted some of yours.
References
1. Eubanks, P.: Poetics and narrativity: how texts tell stories. In: Bazerman, C., Prior, P. (eds.)
What Writing Does and How it Does It. LEA, Mahwah (2004)
2. Sharples, M.: How We Write: Writing as Creative Design. Routledge, London (1999)
3. Sharples, M.: An account of writing as creative design. In: Levy, C.M., Ransdell, S. (eds.)
Science of Writing: Theories, Methods. Individual Differences and Applications, pp. 127-148.
Erlbaum Press, Mahwah (1996)
4. Pérez y Pérez, R.: A Computer-based Model for Collaborative Narrative Generation (under
review)
5. Pérez y Pérez, R., Sharples, M.: Three computer-based models of storytelling: BRUTUS.
MINSTREL and MEXICA. Knowl. Based Syst.
17
(1), 15-29 (2004)
6. Pérez y Pérez, R., Sharples, M.: MEXICA: a computer model of a cognitive account of creative
writing. J. Exp. Theor. Artif. Intell.
13
(2), 119-139 (2001)
7. Pérez y Pérez, R.: Employing emotions to drive plot generation in a computer-based storyteller.
Cognit. Syst. Res.
8
(2), 89-109 (2007)
8. Clayton, J.J.: Introduction: on fiction. The Heath Introduction to Fiction. Heath and Company,
Lexington (1996)
9. Turner, S.R.: MINSTREL: a computer model of creativity and storytelling. Ph.D. Dissertation,
University of California, Los Angeles (1993)
10. Pérez y Pérez, R.: MEXICA: a computer model of creativity in writing. Doctoral Dissertation,
University of Sussex (1999)
11. Johnstone, K.: IMPRO Improvisation and the Theatre. Methuen Drama, London (1989)
12. Gelernter, D.: The Muse in the Machine. Fourth Estate, London (1994)
13. Pérez y Pérez, R: The three layers evaluation model for computer-generated plots. In: Proceed-
ings of the Fifth International Conference on Computational Creativity, Ljubljana, Slovenia
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