"…no given set of casually recorded historical events can in itself constitute a story; the most it might offer to the historian are story elements. The events are made into a story by the suppression or subordination of certain facts and the highlighting of others, by characterization, motific repetition, variation of tone and point of view, alternative descriptive strategies, and the like—in short, all of the techniques that we would normally expect to find in the emplotment of a novel or a play. For example, no historical event is intrinsically tragic; it can only be conceived as such from a particular point of view or from within the context of a structured set of events of which it is an element enjoying a privileged place. … Considered as potential elements of a story, historical events are value-neutral. Whether they find their place finally in a story that is tragic, comic, romantic, or ironic—to use Frye’s categories—depends upon the historian’s decision to configure them according to the imperatives of one plot structure or mythos rather than another.
"… The important point is that most historical sequences can be emplotted in a number of different ways, so as to provide different interpretations of those events and to endow them with different meanings."
Hayden White, The Historical Text as Literary Artifact (1972)