The day email came to my ship (finally).

 

Me, sort of.

The fast break on DST Media Production.

Ohler (2008) discusses the DST media production process, from preproduction to performance, in Chapter 12, The Media Production Process. Although I continue to find much of Ohler's book a huge missed  opportunity to put into practice, at least some of what he preaches; that in no way negates the rather excellent processes the dedicated researcher so freely offers others.

So to of Chapter 12, really great information about packing information, itself not packed well at all. What might have been done differently? There are many things that might be done, including the completely frivolous.

For example, let's take a fresh look at Chapter 12, from the perspective of a frying omelet. Although in no way illustrating a complete instructional concept, consider ii merely food for thought.

Disclaimer: If you're not easily amused, but still find Ohler's work sort of boring at times please read Robert's blog instead of my blog.

How to make a digital story:

Scene setter: Imagine, you wake up with a, fill in the [          ], and you're ravenous (a not-feeling-sexy-at-all-morning).

Decide on omelets

1. Determine what you want to eat for breakfast, say an omelet.

2. Decide what kind of omelet

3. Gather the ingredients (hell yeah, there's eggs left!)

Cook the omelets

1. Grab any last second ingredients

2. Pay attention to detail (remember to point the frying pan handle in)

3. Continue cooking 'til done

Dish the omelets

1. Provide serving dish

2. Add desired garnishes

3. Thank anybody that helped (or promises to later)

Serve the omelets

1. Set the table

2. Announce that chow is on

3. Eat

4. Reflect (on how not to feel this way again, E V E R)

Prior Planning Produces Proper Performance (The 5 P's).

In Chapter 11 of Digital Storytelling in the Classroom, Jason Ohler (2008) introduces the DST production process. Although all steps in the process are mentioned, the author dedicates most of the chapter to just two key steps: Phase I-Story Planning, and Pre-Phase I –Getting Ready. I agree with Ohler on this; like any project, planning is often the difference between success and failure. He is right in emphasizing the importance of these steps.

Pre-phase I is described by Ohler (2008) as, “… a few big picture issues to consider that can make or break a project” (pg.135, para.2). As such, pre-phase I tasks involve the larger picture of validating the environment in which the DST will eventually be presented. Questions like, has there been administrative buy-in? Do you have permission to use the media? Is parent permissions going to be needed, and do you have them? As well as questions on the technology required and other big-picture considerations.

(Ohler, 2012).

Phase I is described by Ohler (2008) as “…story planning and development...” (pg.140, para.1). The author also distinguishes between two major types of DSTs – Computer-Based DST and Performace-Based, or “green screen storytelling” (pg.140, para.1-2).  I agree with the author on this distinction as well. The two different forms have inherently major differences when it comes to production; and the author is right to point this out.

Imagine Compter-Based DSTs as slide shows with voice-overs. Performance-Based DSTs on the other hand are videos featuring the storyteller standing in front of the supporting media presentation; just like the TV weatherman does. One type is not necessarily more difficult to produce than the other type, but planning and production do have major differences. Those differences are discussed in detail in Chapter 11 by the author, resulting in an excellent resource for teachers on the subject in my view.

One last thought on Chapter 11. Ohler emphasizes his website (www.jasonohler.com/storytelling) by encouraging readers to download his digital storytelling storyboard templates for use in creating “something more formal” (Ohler, 2008, pg.143, para.3). In fact however, there are quite a few very useful and downloadable artifacts to be found on the author’s website. Numerous planning and development tools that Ohler uses personally; potentially valuable tools the author has made free to anyone who may want to jumpstart their own DST project. 

Cracking cultural nuts.

“Story structure is culturally dependent, not universal”, writes Jason Ohler in Chapter 10, Digital Storytelling in the Classroom (2008, pg.128, para.3). I agree with the author’s suggestion. Why do I agree?

(Fig.1. Tanuki statue.
Wikipedia, 2012).

Even a cursory review of Japanese literature will reveal the truth in Ohler’s contention. As an example, take the children’s tale of the Tanuki – raccoon-like creatures carrying bottles of booze!

(Fig.2. Tanuki "dolls with balls". Wikipedia, 2012).

With statues quite literally all over Japan, the iconic engorged nut-sacks on these dudes are really hard - um - to miss! 

Although it's culturally acceptable to depict otherwise cute and wholesome raccoons in this way to Japanese schoolchildren, creators of Western educational DSTs might not fair so well with their own nutty mis?-creations.

And this is Ohler's point in Chapter 10, it is wise to create DSTs with the intended learner fore-most in mind. Or you may end up ill-advisedly cracking on someone's cultural nut!

Feeling lost? Find a map.

Ohler’s Chapter 9 from Digital Storytelling in the Classroom (2008) might be the single best compilation of story mapping ideas ever written.

(Fig.1. Google Images, 2012)

Why are story maps useful? What do story maps look like? Which type of story map is best for creators of DSTs to use? Three common questions, all answered by Ohler at various points in his book.

The reader might recall from Ohler Chapter 3, that story maps can take many forms. And the reader might remember too that story maps are useful in a way that story boarding really isn’t. Instead of a focus on scene sequences like story boards typically do, story mapping attempts to map the flow of emotion - and the affect of conflict and growth on the story’s central character (pg.80, para.1). Chapter 9 presents several story mapping ideas – from Aristotle's Story Map to present-day Treasure Maps.

(Fig.2. Aristotle's "Peripeteia" Basic Story Map, Ohler, 2008).

Story Maps might be thought of as writers' tools; and like a mechanics' tool chest, there is no one-best-tool in the drawer. And true masters know their art, most often lies in the choice and application of their tools.

Need story boO!!Mm!! ? Simply upright mR. bEn BloOm !

 

In Chapter 8 of Jason Ohler’s Digital Storytelling in the Classroom (2008), the author suggests that the most compelling stories are based on compelling transformations – first with the hero in the story, then hopefully with the affected reader as well (pg.107, para.1).

So how do creators of DSTs embed necessary transformations within our stories? The same way story writers always have – by simply adding some Bloom to the central character’s background theme of personal growth (pg.108, para.1). Then hopefully the magic of the readers’ mind and human nature take over, creating a compelling story.

(Fig.1. Does your story core turn Benjamin Bloom
upside down?, Google Images, 2012).

Ohler suggests that character transformations within stories are both identifiable and therefore definable; indeed, great and moving story transformations are creatable! The author presents several tables that specifically list key character-story transformations: The Eight Levels of Character Transformation, Bloom’s Taxonomy of Cognitive “Transformation”, and Bloom’s Taxonomy of Affective “Transformation”. 

The figure below is this author's attempt to depict Ohler's contentions - but in a visual way. And now we can see that Hero's are never static (like boring data tables). The most compelling story heroes are quite alive! - constantly transforming! - with emotional learning spirals! 

Epic stories can now be seen as moving in-and-out-and-in-and-out-and-in-and-out-and-in-again, along something this author has coined Ohler-Bloom Story-Spirals.

Perhaps when used as a design and writing tool, mapping stories using Ohler-Bloom Story-Spirals might result in a sort of cognitive-affective-psychomotor character-clarity, something not only hard to capture with text alone, but also difficult to simply imagine.

With O-B Story Spirals however, a story's cause and affect interrelationships can be more clearly mapped (and planned); and hopefully result in stories, or digital stories, that are not only easier to write and create,  but inherently compelling as well.

How? Imagine if you were to replace the green "level" descriptions on the cognitive, affective, and psychomotor O-B spirals, with instructional units. In other words, learning units tied to story-lines, tied to clear character transformations that are thought to really work!

(Fig.2. The Heroes' Ohler-Bloom Story Spiral. Reproduced from K.M. Day's notes, 2012).