bill law’s three-scene storyboarding

1. bill law’s three-scene storyboarding to help you to… > probe narrative methods > focus turning-point episodes > enable ‘remembering’, ‘showing’ & ‘futuring’ > use narrative face-to-face & in learning programmes > enable students in interrogating narratives > draw on the narrative imagery of race & journey > see where filmic techniques can help your work> sift evaluative evidence bill law’s three-scene storyboarding ™updated 15/05/13 this presentation at: http://bit.ly/dmpApt support material at: http://bit.ly/HwgZwY

2. storyboarding basics what story? news student’s reading movie research your own on-line speaking of… > action - on or by the people saying WHAT > people - seeing it differently saying WHO > thoughts & feelings saying WHERE > turning-point - in seconds, minutes, days, weeks saying WHEN > something needing to be done saying HOW > which matters saying WHY less calling for attention to expertise, more giving voice to experience

3. storyboarding basics why do this? can it be useful in your work? sharing ideas > any hopes for storyboarding? > particular purposes in mind? > reservations?

4. storyboarding basics setting down an episode in three scenes - ‘opening’, ‘big’ & ‘following’… > opening scene - how it is to begin > big scene - the turning-point > following scene - how it is after ‘happy endings’ are not most common, or most authentic, or most useful

5. storyboarding basics another episode stages in reflection - 1, 2 & 3… > remembering - sort & sequence > showing - design words & images > futuring - plan & rehearse action this is learning-to-learning, not receiving information but processing it

6. storyboarding basics turning points for flexibility tracking narrative elements for a future not predicted by a past experiencehow it seems settingwhere it happens possibilitieswhat it calls up changedpoint-of-view wider horizons newdirection stayingput movingon holdingon lettinggo family neighbourhood course on-line on-the-street tv reading visit surprise curious encounter hope fear gain loss lucky unforgettable equal-op issues - helpers need to appreciate what’s held onto & what’s let go

7. storyboarding basics finding a turning point? how a story may be useful where assessment-&-information may not… trying it out > get inside a life-management story you know well > focus a turning-point episode in that story > set the episode down in storyboard format

8. > an agenda no need to show it to anyone else > worked out with a client can you now see how it might help? > in partnership with a helper how can I help you? > on what a client needs-to-find > in a person-to-person exchange may I ask you about this? from what you say, this can help you storyboarding in face-to-face workindividualstoryboarding where storyboarding works as part of…

9. > a prepared scheme-of-work > based on a programme design how could we use this in our lives? > sharing group experiences this learning is useful because... > based on what students need-to-know you can use this anytime - anywhere > in a stage-by-stage progression try it out first review, re-apply adapt, record, store, share storyboarding in a programmegroup-workstoryboarding where storyboarding works as part of …

10. over-viewingkey concepts intuition habit encounter instinct luck impulse easily-neglected elements that round-out the story… > of a significant turning-point episode > linking reflection to experience > speaking of both the self & other people > acknowledging other points-of-view > interweaving talk, thoughts & feelings > engaging embodiment, reach & grasp > finding a meaning & establishing a purpose > with the person as both author & audience

11. > physicality - expression / posture / gesture > engagement - surprises / disturbs / enlarges > internalising - stirring / restless / with hope-&-fear it doesn’t look right! is there something missing? I want to make a truer version? wait a minute!why did I draw it like that?& why am I jittery? why should I bother about this? more going on than I knew!what can I do about anything? enabling embodiment tangibly setting down a life in that person’s own terms - identity embodiment, reach & grasp are ways-of-seeing not skills - modelled not trained

12. > as though a race - taking on the challenge / being a winner / tolerating pain > as though a journey - widening horizons / trying out paths / navigating routes > learning for living - seeing in more than one way / for me & others / a new start could this be for my life? can I make a difference?dare I feel hopeful? why should I care about this? school is not interesting! my life is more interesting! I do care!suppose I were to…? should I be telling somebody? enablingreach scoring in a test - finding meaning & purpose in experience learned here, to be used somewhere else - transfer-of-learning

13. > finding-out - looking / seeing / listening > sorting-out - noticing / comparing / contrasting > checking-out - sorting / focusing / probing > working-out - explaining / anticipating / trialing why such a surprise? different from anything I know! I can usually ignore school stuff do I have to let it bug me? why is rejecting it so hard? can I do anything about it? what’s going on here? who - what - when - where? got enough to figure out how? how did it get this way? what can I do about it? how can I make it work? enablinggrasp beyond absorbing content, into a process of taking hold of content > finding-out - getting enough to go on > sorting-out - putting things into useful order > checking-out - pointing to what really counts > working-out - grasping what leads to what stories can mislead so take nothing for granted - & that needs critical thinking

14. enabling embodiment, reach & graspyour questioning models their questioning helpers can ‘teach’ content but process is shared… trying it out > share your storyboard with another person > ask & answer why the storyboards are like this, what they mean, & what purpose that suggests > offer each other feedback on what sort of questioning helps

15. > sorts out natural muddle > looks for what is important > puts things into sequence > anticipates ‘what might happen if . . . ?’ > probes - ‘why like this?’, ‘what now?’ > calls up new memories - encounters, locations, events > expands identity - a greater sense of self checking design featuresremembering not like a worksheet… a data-base… or an assessment…

16. > big scene: when things can be changed > opening scene: the way things are before that > following scene: the way things become different checking design features showing designing from the big scene makes flexibility the key concept

17. checking design featuresfuturing moving on - means holding on & letting go… > dealing with other people > imagining what that might mean > going over it with people who can help > finding a basis for action > talking about it with friends & family > being ready for selection & recruitment people

18. > positioning-in-the-frame > angle-of-shot > looks & gestures > width-of-field > talk > thoughts & feelings maximising the scope filmic methods how a person designs the story in that person’s own terms…

19. > home-life talk > face-to-face help > small-group work > visits-in & -out > community projects > enquiries > role-plays > media-productions > action planning & rehearsal ? & > programme research & evaluation ! € maximising the scopelocating in a programme wide programme links enable integrated lives…

20. learning for living building narrative stage-by-stage from experience to action… no story past & present with me-&-mine chaotic experiencing careers education as learning-for-living any story other people’s words, images & fun familiar & friendly experiencing > enjoying ready for my story other people’s & my own fairy stories my story experiencing > enjoying > remembering ready to show who-what-where past-present & future why-how-when experiencing > enjoying > remembering > showing-&-futuring ready to question reflecting on experience ‘I’ looking at ‘me’ probing experiencing > enjoying > remembering > showing > questioning ready to move on meaning & purpose distinctively my own life-wide life-long experiencing >enjoying > remembering > showing > questioning > moving-on

21. storyboarding imagery plots & stories whose story calls up what imagery? parable lyric story forms saga novel art soap fable biography legend gossip dance myth poetry adventure coach compete cross-roads departure direction diversion gateway get-ahead guide head-start horizon hurdle inside-track map performance pursuit selection signpost spring-board travel trophy turning-point winner adventure coach compete cross-roads departure direction diversion gateway get-ahead guide head-start horizon hurdle inside-track map performance pursuit selection signpost spring-board travel trophy turning-point winner adventure coach compete cross-roads departure direction diversion gateway get-ahead guide head-start horizon hurdle inside-track map performance pursuit selection signpost spring-board travel trophy turning-point winner adventure coach compete cross-roads departure directiondiversion gateway get-ahead guidehead-start horizon hurdle inside-track map performance pursuit selection signpost spring-board travel trophy turning-point winner race & journey imagery who seeks what? among so many narratives how can journey talk help people in a race?

22. criteria for evaluation who values what? evaluation seeks value… trying it out what would be the most valuable gain in using storyboarding?… > for you> for your students & their people> for your colleagues> for your employer

23. …of personal satisfaction - for conversations with students …of professional usefulness - for conversations with colleagues …of commitments met - for conversations with the organisation narrate how experience influences action critically question experience as a source of knowledge apply this to other people’s experience & their own engage it in personal contact & on-line find meaning in experience for establishing purpose in life look to wider horizons offering unforeseen possibilities know how to draw on experience, fact, & point-of-view probe for causes & consequences in experience become witnesses to their own lives plan, rehearse & adapt intended action think independently of personal & social pressure transfer learning into life apply this learning life-wide - in all areas of experience embed this learning life-long - at all stages in experience develop a distinctive voice for recruitment & selection evaluating storyboarding evidence for ‘s’, ‘c’ & ‘o’ s-c-o

24. any hope here? helping you to . . . yes/no yes/no yes/no yes/no yes/no yes/no yes/no yes/no . . .probe narrative methods . . .focus turning-point episodes . . .enable ‘remembering’, ‘showing’ & ‘futuring’ . . .use narrative face-to-face & in learning programmes . . .enable students in interrogating narratives . . .draw on the narrative imagery of ‘race’ & ‘journey’ . . .see where filmic techniques can help your work. . .sift evaluative evidence if ‘yes’ - glad it’s usefulif ‘no’ - tell Bill why at - http://www.hihohiho.com this presentation… http://www.hihohiho.com/storyboarding/sbstrybrd.ppt practice & theory in full… http://www.hihohiho.com/storyboarding/sbL4L.pdf help colleagues…copy-&-paste urls into an e-mail background support… http://www.hihohiho.com/storyboarding/sbstockroom.html terms & conditions for use http://www.hihohiho.com/information/cafuserinfo.html hiho alerts… e-mail ‘yes’ to bill@hihohiho.com news & updates… https://twitter.com/billaw