The storytelling elements:
1. The Contract
In the very beginning, you have to make a promise. Will this be violent? Scary? Fun? Tense? Dramatic?
2. The Pull
Keep it light in the beginning. You don’t want to scare people away by being too dense — you must trust The Contract.
3. The Incident
This is the event that sets everything in motion. Should occur early and keep the story together.
4. The Reveal
Just before the Point Of No Return, the main character learns what the story is really about.
5. Point Of No Return
The forces of good are faced with an impossible decision that concerns fear, safety, love, hate, revenge or despair.
Sorry, but you must allow the the forces of evil to have an epic win.
7. All-Is-Lost Moment
The moment where all is lost. You must portray the deepest despair for the forces of good.
8. News Of Hope
This is the possibility for one of the side characters to shine. A light that shines into the total darkness of the moment.
The shit hits the fan and the good puts everything at stake and overcomes — despite impossible odds.
10. The End
Public displays of relief and happiness, love and forgiveness. It’s great! We also learn that the hero has evolved.
Article from Doktor Spinn written by Jerry Silfwer aka Doktor Spinn
“How do you tell a powerful story that addresses systemic flaws when you’re doing an explanatory, rather than a scenic, narrative? Lithwick and Dobson have provided a primer.”
Nieman Storyboard reviews Dahlia Lithwick’s Slate piece on a man wrongfully convicted of rape 34 years ago.
via Nieman Storyboard:
In her story, written for Slate and edited by Will Dobson, Lithwick consistently underplays the drama. She spends just two sentences describing the moment that attorney-advocate Jonathan Sheldon found Barbour and told him of his exoneration – and she does it with a quote.
But providing some emotional connection is key, and Lithwick knows that Barbour – a human being who was robbed of five years of his life, his new marriage and his relationship with his daughter – is the heart of her story. And so she uses his experience as a narrative thread running through what is largely an explanatory piece.
Not every story will be written in scenes. And in this case, the writer deliberately avoided many of the personal details about Barbour and his life that had already been covered by local news organizations. But Lithwick shows how finding the narrative touchstone in an explanatory piece and returning to it in the right rhythm can draw readers through complicated events into a better understanding of not just one person’s tragedy but widespread injustice.
The New Digital Storytelling Series: Hugues Sweeney: drewvigal:
One of the difficult things though is to find a perfect equilibrium between form and content – how do you make sure that the user experience is not drowned by design or technology ……
“The situated documentary allows us to examine the emerging transformation of the storytelling model of journalism from the analog to the digital age. In the traditional model of analog journalism, storytelling is dominated by a linear presentation …
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