these four questions before crafting our internal communications strategy: What do we want to change? What do we want to be true that isn’t true right now? Whose behavior change is necessary to making that happen? Who has to do something (or stop doing something) they’re not doing now for us to achieve that goal? (This is about targeting a narrowly defined audience whose action or behavioral change is fundamental to your goal.) What would that individual or group believe if they took that action? In other words, what does that narrowly defined audience care about most, and how can we include that in our messages? How will we get that message in front of them? Where are their eyes?
focus on single person
We realized we were using insider language to describe innovation (as exemplified by internal blog post titles like “Using GIS Technology to Map Shelter Allocation in Azraq Refugee Camp”), rather than communicating what innovation looks like and the benefits it would bring to UNHCR staff (for example, “How UNHCR Used Creativity to Improve Journalistic Accuracy and Collaboration, One Step at a Time”). So, we hit the reset button and asked ourselves these four questions before crafting our internal communications strategy: What do we want to change? What do we want to be true that isn’t true right now? Whose behavior change is necessary to making that happen? Who has to do something (or stop doing something) they’re not doing now for us to achieve that goal? (This is about targeting a narrowly defined audience whose action or behavioral change is fundamental to your goal.) What would that individual or group believe if they took that action? In other words, what does that narrowly defined audience care about most, and how can we include that in our messages? How will we get that message in front of them? Where are their eyes?
Released in March as part of FrameWorks Institute’s 20th anniversary, the Explanation Declaration asks communicators to help people understand the “how” behind issues and see that how as a critical part of engaging and empowering people to take action.
News media often frame refugees as a burden or threat to a community, where humanitarian stories often frame refugees as helpless people in a far-off land in need of help. Both narratives — while sympathetic — consistently situate refugees as outsiders. Our job as communicators is to shift the narrative from “us” and “them” to “we.”
some of the best examples of digital storytelling that came out in 2016
The ARTSEDGE Role-Playing System is designed to teach students the process of creating a game, rather than focusing on game play. In this approach to the literary arts, students begin with an existing book or short story from the curriculum to create and present their own role-playing game (R.P.G.) using rules adapted from the Dungeons & Dragons 5th Edition Players Handbook. Educators use The ARTSEDGE Role-Playing System to guide students in groups of 3-6 through game ideation, world building, rule making, and game running, all based on the selected source material. Students are also encouraged to incorporate visual arts, music, and theatre into their presentations.
transmedia course syllabus
It was a fun presentation mixing the good and the bad. A chance to groan, cringe, shake one’s head in disapproval but also to smile and laugh. The goal was to learn from the mistakes and successes of others. Below is a brief roundup of the presentation, with some of the components of modern day storytelling. At the end of this post you’ll find a “cheat sheet” of do’s and dont’s when posting publicly which you can download, print and keep handy.
Before we get started…there’s a free PDF download available that’s related to this post. It has: 3 prompts to help you brainstorm what your comic could be about. 3 comic creation tips to help think more visually and help you create a comic. 5 comic page layouts you can use to sketch out your comic!
The study found that the non-narrative (expository) profile produced a greater increase in knowledge, while the narrative profile led to greater change in more responsible preventive attitudes and behaviours.
Benioff and Weiss steer the narrative lane away from the sociological and shifted to the psychological. That’s the main, and often only, way Hollywood and most television writers tell stories. This is an important shift to dissect because whether we tell our stories primarily from a sociological or psychological point of view has great consequences for how we deal with our world and the problems we encounter.
Why co-create and why now? Collective Wisdom is a first-of-its-kind field study of the media industry, that maps works that live outside the limits of singular authorship. While the concept of co-creation is entering the zeitgeist, it is an ancient and under-reported dynamic. Media co-creation has particular relevance in the face of today’s myriad of challenges, such as the climate crisis and threats to democracy. But it is not without risks and complications. In this study we look at how people co-create within communities; across disciplines; and increasingly, with living systems and artificial intelligence (AI). We also synthesize the risks, as well as the practical lessons from the field on how to co-create with an ethos grounded in principles of equity and justice. This qualitative study reframes how culture is produced, and is a first step in articulating contemporary co-creative practices and ethics. In doing so, it connects unusual dots.
