If you’re a writer, and I’m assuming you are since you’re here, you’ve probably been told about a million times that there is one thing that all writers have in common: they write. Being a writer is not about being published or receiving fan...
I'm predicting Wired for Story as the Next Big Thing in writers' guides. Not exaggerating, it will change the way you approach your storytelling. In fact, it has already helped me improve my own stories. I plan on reading it again and again. It's one of the few books I keep within easy reach in my writing space, stacked with other go-to greats such as Save the Cat!, Plot & Structure, and The Breakout Novelist.
My honest opinion-- I have not been paid in any way, monetary or otherwise, to endorse this book-- is that anyone who has a career in storytelling, whether they be a novelist, short story author, screenwriter or playwright, would be doing themselves a great disservice if they didn't read this book.
Here are the "Top 8 Apps" for digital storytelling picked by Inov8. They point out that these apps encourage creativity, provide support and remediation for students with special needs, and can be used in many different classroom settings. "They are motivating, engaging and will encourage learners to demonstrate their strengths."
"For students with special needs, the creativity of digital storytelling apps has allowed us, as educators, the opportunity to observe and understand the strengths of our students. New apps are primarily hands-on and highly visual, and provide an opportunity for those learners who struggle with traditional instructional methods to take advantage of their abilities and strengths. Professionals in special education want to use apps in many different contexts, integrated into global curricula, across disciplines, as well as be able to insert their own content. Ultimately we want to customize, individualize and personalize the use of these digital storytelling apps for our students."
"Writing is a public act,” says New York teacher Ileana Jimenez, who encourages her students to blog. Rather than having them write a paper and hand it in only for the teacher to read, waiting for some kind of assessment, Jimenez offers a different perspective in this interview with the Atlantic at the Aspen Ideas Festival: “Writing should be public, it should give a sense of urgency and visibility… for students to feel that their writing has a voice in the world.”
In late 1920, the Dadaist writer Tristan Tzara wrote \'dada manifesto on feeble love and bitter love,\' which included a section called \'To Make a Dadaist Poem,\' and it gave these instructions: ...
Take a newspaper. Take some scissors. Choose from this paper an article of the length you want to make your poem. Cut out the article. Next carefully cut out each of the words that makes up this article and put them all in a bag. Shake gently. Next take out each cutting one after the other. Copy conscientiously in the order in which they left the bag. The poem will resemble you. And there you are – an infinitely original author of charming sensibility, even though unappreciated by the vulgar herd.
Decades later, the Beat writer William S. Burroughs took this basic concept and put his own twist on it. Between 1961 and 1964, Burroughs published The Nova Trilogy,
When we think video technologies, we tend to think higher resolution, or more recently, 3-D. But none of these tools fundamentally rethinks the experience of watching video in a more interactive way. ...
...When we think video technologies, we tend to think higher resolution, or more recently, 3-D. But none of these tools fundamentally rethinks the experience of watching video in a more interactive way.
Condition One is a startup backed by investors like Mark Cuban (who’s dropped $500,000 into the company) that began as an experiment in war reporting. Their technology allows full motion video to be explored--panned and tilted--through simple interactions, like finger swipes. The effect is a lot like exploring a large photo, but in a continuous stream of animation the effect is infinitely richer. http://itunes.apple.com/us/app/condition-one/id440571303?ls=1&amp;mt=8 ...
A. I was excited by the prospect of being able to talk to (and with—comments are encouraged, and I respond to them) hundreds (maybe thousands—my course is now on its way to 570 students, and I get five to 10 new students each day) of people around the world who might not have any other access (or who might have some access, but not very impressive access) to university-level ideas about art.
My ego also played a part. I was flattered to have been asked.
I'm excited about poetry as well, and I love to talk about it. To anyone.
Q. What's it like so far? Briefly describe what a typical "day" of online teaching is like.
A. I love it. Every Saturday my tech-savvy sister comes to my house and sets up the microphone (Udemy, in whose Faculty Project I take part, had the mike sent to me) and the camera and the light. The night before, I've typed out a lecture about a poem (I feature, with each lecture, one important modern poem in English or in translation). I place this lecture on a podium (it's a music stand, actually), and away we go.
We film in front of my piano; the room it's in has a lot of windows, so the natural midday light is usually enough.
When I've finished the lecture (I've done nine, and so far haven't had to do extra takes or anything), my husband, sister, and I sit down for lunch together. It's a great feeling, knowing I've written and presented something that someone in China who loves American poetry will be reading.
As the CEO of an international organization, I know how important it is to tell a good story. Most donors want to know how we have helped people in the developing world, and there is no better way to demonstrate our impact than with stories from people that have been positively affected by the work done by NetHope and our 35 member organizations.
But it is not enough to write a blog entry or tweet on our success. To compete among the sea of content available online, there's a demand to rethink our storytelling and to make things more visual and interactive in order to draw attention from donors and resonate with consumers.
n a recent Huffington Post blog entry, Content Marketing Specialist Michael Parrish DuDell said, "today it's about the story, the narrative, the "why" behind "what." The future of business isn't just about innovating products and services; it's about innovating the storytelling process behind those products and services and doing it in the most compelling and authentic way possible."
This post has been making the rounds but it is so right on, I couldn't resist bringing it into this collection.
I particularly love this poster because it contains great story wisdom!
I particularly like its focus on characters. If you can focus on creating and conveying your characters well, it makes all the difference in crafting compelling biz stories.
I also like: #7 -- come up with an ending first. Yes! Figure this out first and crafting the rest of your story will be much easier. Just be willing to have a new more powerful ending emerge as you work on your story. That happens sometimes!
The only rule I don't find helpful when crafting business stories is #4 -- the simple story spine. It's OK to get you started, but in reality, our business stories are much more varied in type and structure. So don't think this rule is the entire universe of story structure.
I would also add one additional rule:craft your biz stories to inspire action. Remember that all of our business stories must include a call to action, and be structured in such a way that they inspire action in your audience.
OK OK -- one other thing to remember -- storytelling is an art form. Knowing the rules is important for mastering the art form. But like all art, not being confined by the rules is just as important. So don't be a slave to this list.
Other than that, print these 'rules' out, tack the sheet by your computer, break a rule occasionally, and rock on!
I am at the National Storytelling Conference, a wonderful annual gathering of tellers from all walks of life and all range of experience. It's a great opportunity to hear stories, hone skills and meet new friends.
Truth to tell, I didn't really want to come. I've been very busy and was yearning for a quiet weekend at home. I knew once I got here I'd be glad, but wow, was I grumpy. And when you set out on a journey with that kind of attitude, you are guaranteed a different journey than the one you expect.
On Friday I packed my suitcase and called the cab, thinking if nothing else I'd have a chance to get some writing or reading done on the way.
Trigonis: "Tyler has recently unveiled to the world Whiz!Bam!Pow!, a transmedia product that unfolds parts of its story through a serialized novelette and a radio show, with even more looming on the horizon to further develop a story that brilliantly blends together the Golden Age of Comics with the pangs and pitfalls of our own Modern Age" ...
Write or Die is a web application that encourages writing by punishing the tendency to avoid writing. Start typing in the box. As long as you keep typing, you’re fine, but once you stop typing, you have a grace period of a certain number of seconds and then there are consequences.
Many people find themselves unable to write consistently. I believe that this is because their reason to write is intangible. For instance, I want to write and finish a book because I want to be published and make a living as a writer. That goal is a long way away so I often find it difficult to sit down to the task of writing.
Conversely, I’m in a creative writing class for which I manage to consistently write and finish projects (albeit at the last minute). I therefore draw the conclusion:
A tangible consequence is more effective than an intangible reward.
If I don’t write stories for class, I will receive scorn from my teacher and a bad grade in the class. If I don’t write my own stories I am only disappointing myself. I experience perpetual disappointment in myself so I’m kindof used to it. Add to that the fact that I simply have neither the self-discipline to write consistently on my own nor the capacity for self-deception that would enable me to create artificial deadlines. That is how Write or Die was born.
The idea is to instill in the would-be writer with a fear of not writing. We do this by employing principles taught in Introduction to Psychology. Anyone remember Operant Conditioning and Negative Reinforcement?
Negative Reinforcement “strengthens a behavior because a negative condition is stopped or avoided as a consequence of the behavior.”
Gentle Mode: A certain amount of time after you stop writing, a box will pop up, gently reminding you to continue writing. Normal Mode: If you persistently avoid writing, you will be played a most unpleasant sound. The sound will stop if and only if you continue to write. Kamikaze Mode: Keep Writing or Your Work Will Unwrite Itself
... These consequences will persist until your preset conditions have been met (that is, your time is up or you’ve written you wordcount goal or both)
This text box is not a word processor, it is not for editing, the way to save is to select all of the text, copy and paste into your own text editor. The idea is to separate the writing process and the editing process as much as possible.
This is aimed at anyone who wants to get writing done
Writing is integral to research. It is central both to thinking and to communication. This guide considers writing in general and aims to provide an overview of writing. It should be noted that, in doing so, it differs from the other guides in the Write Your Research series, which each focus on some particular task (such as writing an abstract or planning a piece of work).
The basic writing problem Writing models: basic and advanced Incubation Planning and preparation Drafting and redrafting Checking Presentation and publication Overview Further reading
To download the guide as a PDF, please click here: What you need to know about writing.
When German filmmaker Klaus Maeck, for example, needed a star for the dream sequences in Decoder, a low-budget dystopian tale of the government weaponizing emotion-killing muzak, he recruited Burroughs. The two men’s acquaintance proved even more fruitful than that: in 1991, Maeck directed the hour-long documentary William S. Burroughs: Commissioner of Sewers.
In it, he takes an in-depth interview with Burroughs, a series of his readings, a collection of his appearances in other movies, and even images of his paintings, then cuts them up (as is the Burroughs sensibility) and reassembles them using all the finest — or at least the strangest — visual effects and video filters the early nineties had to offer. Should documentarians work this way? Burroughs himself, in one of the film’s interview segments, has an answer: “There is no such concept as ‘should’ in art. Or anything.”
Sharing your scoops to your social media accounts is a must to distribute your curated content. Not only will it drive traffic and leads through your content, but it will help show your expertise with your followers.
How to integrate my topics' content to my website?
Integrating your curated content to your website or blog will allow you to increase your website visitors’ engagement, boost SEO and acquire new visitors. By redirecting your social media traffic to your website, Scoop.it will also help you generate more qualified traffic and leads from your curation work.
Distributing your curated content through a newsletter is a great way to nurture and engage your email subscribers will developing your traffic and visibility.
Creating engaging newsletters with your curated content is really easy.