Why should teachers need to entertain their students? Because storytelling is the access point for all learning. As Rudyard Kipling said, “If history were taught in the form of stories, it would never be forgotten.” Language, history, science, even math problems all tell narratives. If we can identify these stories for children by teaching in stories and encouraging stories from students, we improve their level of understanding.
From the 1st through the 6th of February 2011, we were shooting, editing and screening an immediated autodocumentary video at the Transmediale digital art and culture festival in the House of World Cultures in Berlin. Along with events like Ars Electronica and Future Everything, Transmediale is one of the most significant media art events in Europe. We were honored to be included in the Open Zone, a space which will be open to the public, described in the festival programme as “a social experiment with different social territories that are occupied by artists and media activists”. We are calling this project The Future of Art.
Give ABC's Jonathan Karl some credit. The guy's creative--and willing to risk the snarky ridicule of those media websites. In an effort to explain the federal budget, Karl got his hands on $100 in pennies, and then proceded to cover a conference room table with them--all divided up according to the spending in the president's budget. Kinda makes your head hurt just thinking about doing that, right?
The 2007 Bioware role-playing game, Mass Effect, along with its 2010 sequel, is an impressive example of the power of interactive storytelling. The player has an enormous impact on the events that take place throughout both games, thus making it a great jumping off point for my research. Mass Effect takes you beyond simply controlling your character as the story plays out around him (or her) and instead allows you to make decisions that dictate the narrative. In doing so, the people behind the game have managed to take a massive universe and make it feel surprisingly personal.
Are you familiar with what screenwriters call a “log line?”
It’s an extremely useful tool—not just for writers, but for artists and entrepreneurs of all kinds. Today I’m going to interview an expert on the subject, Hollywood script consultant Jen Grisanti, who’s the author of a new book that I recommend highly–Story Line.
But it’s rare to find a project that truly lives up to the hype — that really feels “revolutionary.” Well, prepare to be blown away: “Welcome to Pine Point” is an interactive documentary. A virtual scrapbook. A “liquid book.” It’s hard to define, because I’ve never seen anything like it before. But it’s most certainly a beautiful project that, to me, signals a new era in storytelling.
One could say that storytelling via blog posts is an increasingly common recommendation. If you skim the most popular posts at Copyblogger.com, for example, you see advice on how to make your copy sticky, how to envelope your readers in what you’re saying, and how to infuse your personality into everything you write. One of the most popular posts, and one of my favorites from 2010, uses the story of Eminem to make immensely important points about blogging.
The definition of a story is fundamental. It is a piece of fiction that narrates a chain of related events, to which definition I would add only the necessary structure of a beginning, a middle, and an end. There is a decided difference between telling a story and recounting a series of events.
Thanks to all of you for your welcome - and for the chance to be here among so many kindred spirits. Your dedication to factual broadcasting, to our craft and calling; your passion for telling stories that matter; for connecting the present to the past, has created a community whose work is essential in this disquieting time when "what is happening today, this hour, this very minute, seems to be our sole criterion for judgment and action." It is a sad world that exists only in the present, unaware of the long procession that brought us here. As Milan Kundera’s insight reminds us, the struggle against power "is the struggle of memory against forgetting."
I love how NPR experiments with storytelling. I’ve seen them use this method before: Conversation as news story. It’s one “This American Life” uses regularly — it’s as if the listener is eavesdropping...
The most powerful tool for getting reader feedback and generating civil conversation is the open-ended question. Ask readers, in print or online, what they think or how they feel, and you can inspire double or triple the number of usual responses.
Storytelling is a wonderful platform to share a message. Instead of making an argument through writing an essay, a story can place the reader in a scenario where they can empathize with characters and become emotionally involved in the message the author wants to convey. Entertainment is at its best when the story has meaning, but ever since Joseph Campbell and George Lucas hooked up to cross-promote each other’s work—Campbell using the popularity of Star Wars to boost his mono-myth theory of mythology and Lucas using the Hero’s Journey to lend a sense of intellectual credibility to his popcorn space adventure flicks—Hollywood has been obsessed with churning out cookie-cutter Campbellian scripts that follow the Hero’s Journey formula. The formula does more than just stifle creativity, it contains a framework which will nearly always produce the same message, one based in pre-Enlightenment thinking that hero’s are born not made, humans require rule from divinity, and problems can only be resolved through spiritual metamorphosis. I say it’s time to let go of this Eurocentric, often misogynistic writing formula and mystical view of the world and begin celebrating the humanist ideals from the age of reason through the art of storytelling.
The VIDA numbers provide a start toward an answer: Of the new writing published in Tin House, Granta,and The Paris Review, around one-third of it was by women. For many fiction writers and poets, publishing in these journals is a first step to getting a book contract. Do women submit work to these magazines at a lower rate than men, or are men’s submissions more likely to get accepted? We can’t be sure. But, as Robin Romm writes in Double X, “The gatekeepers of literary culture—at least at magazines—are still primarily male.” If these gatekeepers are showing a gender bias, there’s not much room to make it up later.
The Land of Me is a fabulous collection of creative games and activities packaged as a digital story book. The software lets you journey through six unique chapters with three intrepid friends, Buddy Boo the bear, Eric the raccoon and Willow the owl.
As the traditional media paradigm limps toward extinction, the debate continues on what exactly will replace it. It’s into this void that journalist/filmmaker/new media professor Hanson Hosein sees the potential for a storytelling uprising led by…you.
‘The Mill – City of Dreams’ will tell the story of Bradford today, shaped by its rich history and the people who live here. Drummonds Mill closed its doors over 8 years ago and we want this production to bring it back to life with your help.
You can get involved by:
Sharing your story with us Be a volunteer steward Come and see whats going on at an open rehearsal
One year ago, at the suggestion of my editors at Foreign Policy, I established a Twitter account associated with my blog, Turtle Bay. I obliged the request, but as a longtime newspaper reporter, I was skeptical that having access to a series of 140-character missives would change the way I report the news. Simply put, I was wrong. I've been covering the United Nations for over a decade, but joining Twitter gradually changed the way I cover my beat. Following the latest events in Egypt, I'm reminded that those changes are for the better and worse.
The authors’ latest work, published by Hill and Wang in September 2010, is similarly ambitious: Anne Frank, a graphic biography commissioned by the Anne Frank House in Amsterdam. For Jacobson, 81, and Colón, 79—a pair of politically aware grandfathers who both came of age in New York City in the 1940s—doing justice to the historical and psychological dimensions of the project summoned all their storytelling craft.
To blurb or not to blurb? This seemingly innocent question was put to me for the first time a couple of weeks ago when a paperback review copy of a non-fiction book arrived in my mailbox. I knew it was coming. The author, Earl Swift, is a former newspaper colleague and an old friend, and he had written earlier to say he was hoping I would give his new book a blurb. At the time I didn’t even consider saying no because, as a blurb virgin, I thought I was simply being asked to do a friend a small favor. I had no idea I was agreeing to walk across an artistic, personal and ethical minefield.
From its first inception, Creative Collaboration has been at the core of the Storymaker experience. The first-time user is invited to explore scenes that link together to form a number of possible stories in a “web” of tales. From the very start, we develop a sense of belonging and meaningful interaction with this web.
Before the house was complete, he died suddenly. His wife died suddenly the following year. Their son, Walter, went to see the Architect in Chicago to inform him that the hill was cursed. Walter was killed with a letter-opener. Six more individuals in charge of the mansion met unusual deaths: one went insane & died in an asylum, another was stabbed, one mysteriously disappeared, the next decided to make the house into a hospital and died while on an outing before the doctor could arrive, the following caretaker booked passage on the Titanic, the last caretaker died of alcoholism.
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