Why people die in novels: testing the ordeal simulation hypothesis

Abstract

What is fiction about, and what is it good for? An influential family of theories sees fiction as rooted in adaptive simulation mechanisms. In this view, our propensity to create and enjoy narrative fictions was selected and maintained due to the training that we get from mentally simulating situations relevant to our survival and reproduction. We put forward and test a precise version of this claim, the "ordeal simulation hypothesis". It states that fictional narrative primarily simulates "ordeals": situations where a person's reaction might dramatically improve or decrease her fitness, such as deadly aggressions, or decisions on long-term matrimonial commitments. Experience does not prepare us well for these rare, high-stakes occasions, in contrast with situations that are just as fitness-relevant but more frequent (e.g., exposure to pathogens). We study mortality in fictional and non-fictional texts as a partial test for this view. Based on an analysis of 744 extensive summaries of twentieth century American novels of various genres, we show that the odds of dying (in a given year) are vastly exaggerated in fiction compared to reality, but specifically more exaggerated for homicides as compared to suicides, accidents, war-related, or natural deaths. This evidence supports the ordeal simulation hypothesis but is also compatible with other accounts. For a more specific test, we look for indications that this focus on death, and in particular on death caused by an agent, is specific to narrative fiction as distinct from other verbal productions. In a comparison of 10,810 private letters and personal diary entries written by American women, with a set of 811 novels (also written by American women), we measure the occurrence of words related to natural death or agentive death. Private letters and diaries are as likely, or more likely, to use words relating to natural or agentive death. Novels written for an adult audience contain more words relating to natural deaths than do letters (though not diary entries), but this is not true for agentive death. Violent death, in spite of its clear appeal for fiction, does not necessarily provide a clear demarcation point between fictional and nonfictional content.

Pandemic practice: Horror fans and morbidly curious individuals are more psychologically resilient during the COVID-19 pandemic

“…Intentionally exposing oneself to fearful situations is, on its face, a peculiar phenomenon. An empirically supported explanation for why people engage in frightening fictional experiences is that these experiences can act as simulations of actual experiences from which individuals can gather information and model possible worlds ( Clasen, 2017 ; Clasen, Kjeldgaard-Christiansen, & Johnson, 2018 ; Mar & Oatley, 2008 ; Morin, Acerbi, & Sobchuk, 2019 ). In a simulated experience, such as an oral story, a novel or a film, one can explore possible futures or phenomena, gathering information about what the real version of such an experience would look like, and learn how to prepare for analogous situations in the real world ( Scalise-Sugiyama, 2001 ).…”

“…Through engaging in rough-and-tumble play, animals can develop and practice the use of cognitive and motor skills required for facing actual dangerous confrontations in adulthood ( Kniffin & Scalise-Sugiyama, 2018 ; Scalise-Sugiyama, Mendoza, White, & Sugiyama, 2018 ). Similarly, fitness-relevant information can be learned through cognitive play with stories ( Johnson, Carroll, Gottschall, & Kruger, 2011 ; Morin et al, 2019 ; Scalise-Sugiyama, 2005 ; Smith et al, 2017 ; van Krieken, 2018 ).…”

Playing With Fear: A Field Study in Recreational Horror

“…A recent speculation among scholars of horror is the idea that recreational fear may be thought of as a form of play (Clasen, 2017; Grodal, 2009). The essential idea here is that recreational fear, such as horror entertainment, provides a context in which individuals can have low-cost, risk-free experience with fear and related negative emotions (Clasen et al, 2020; Morin, Acerbi, & Sobchuk, 2019). Horror-film viewers, for example, respond to the film with negative emotions such as fear, anxiety, dread, and disgust without being in actual danger.…”

An Infectious Curiosity: Morbid Curiosity and Media Preferences During a Pandemic

“…Indeed, the very function of fiction could be to create compelling simulations of experiences from which important information can be gleaned and transmitted (Mar and Oatley 2008). Just as we may play with materials or ideas in order to make sense of them, we might "play" with simulated scenarios in order to learn about the situations they present (Piaget 1945;Clasen, Kjeldgaard-Christiansen, and Johnson 2018;Morin, Acerbi, and Sobchuk 2019). Because humans can learn about dangerous phenomena through simulations, the costs of learning about dangerous phenomena can be low.…”