bill law’s
three-scene storyboarding
to help you to…
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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
storyboarding basics
what story?
student’s
news
reading
research
on-line
movie
your own
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
storyboarding basics
why do this?
can it be useful in your work?
sharing ideas
> any hopes for storyboarding?
> particular purposes in mind?
> reservations?
storyboarding basics
setting down an episode
in three scenes - ‘opening’, ‘big’ & ‘following’…
> opening scene how it is to begin
> big scene > following scene the turning-point how it is after
‘happy endings’ are not most common, or most authentic, or most useful
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
storyboarding basics
turning points for flexibility
tracking narrative elements for a future not predicted by a past
setting
experience
possibilities
where it happens
how it seems
what it calls up
family
surprise
neighbourhood
curious
course
on-line
tv
reading
visit
wider horizons
encounter
hope
fear
on-the-street
changed point-of-view
gain
new direction
staying put
moving on
loss
lucky
unforgettable
holding on
letting go
equal-op issues - helpers need to appreciate what’s held onto & what’s let go
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
storyboarding in face-to-face work
individual storyboarding
where storyboarding works as part of…
> an agenda
no need to show it
to anyone else
> worked out with a client
> in partnership with a helper
how can I help
you?
can you now see
how it might
help?
> on what a client needs-to-find
> in a person-to-person exchange
from what you
say, this can help
you
may I ask you
about this?
storyboarding in a programme
group-work storyboarding
where storyboarding works as part of …
> a prepared scheme-of-work
> based on a programme design
> sharing group experiences
this learning is
useful because...
how could we use
this in our lives?
> based on what students need-to-know
> in a stage-by-stage progression
you can use this
anytime anywhere
try it out first
review, re-apply
adapt, record,
store, share
over-viewing
key concepts
intuition
encounter
instinct
habit
luck
impulse
easily-neglected elements that round-out the story…
>
of a significant turning-point episode
>
linking reflection to experience
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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
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with the person as both author & audience
enabling
embodiment
tangibly setting down a life in that person’s own terms - identity
>
physicality
-
>
engagement
>
internalising - stirring / restless / with hope-&-fear
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expression / posture / gesture
surprises / disturbs / enlarges
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?
embodiment, reach & grasp are ways-of-seeing not skills - modelled not trained
enabling
reach
scoring in a test - finding meaning & purpose in experience
> as though a race
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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?
learned here, to be used somewhere else - transfer-of-learning
enabling
grasp
beyond absorbing content, into a process of taking hold of content
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finding-out --getting
looking
enough
/ seeing
to go/ on
listening
things
into useful
order
sorting-out --putting
noticing
/ comparing
/ contrasting
checking-out - pointing
what really
counts
sorting to
/ focusing
/ probing
working-out --grasping
what /leads
to what / trialing
working-out
explaining
anticipating
why such a surprise?
different from anything I know!
I can usually ignore school stuff
what’s going on here?
who - what - when - where?
got enough to figure out how?
do I have to let it bug me?
why is rejecting it so hard?
can I do anything about it?
how did it get this way?
what can I do about it?
how can I make it work?
stories can mislead so take nothing for granted - & that needs critical thinking
enabling embodiment, reach & grasp
your 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
checking design features
remembering
not like a worksheet… a data-base… or an assessment…
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sorts out natural muddle
>
looks for what is important
>
puts things into sequence
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anticipates ‘what might happen if . . . ?’
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probes - ‘why like this?’, ‘what now?’
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calls up new memories - encounters, locations, events
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expands identity - a greater sense of self
checking design features
showing
designing from the big scene makes flexibility the key concept
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big scene:
when things can be changed
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opening scene:
the way things are before that
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following scene: the way things become different
checking design features
futuring
moving on - means holding on & letting go…
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dealing with other people
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imagining what that might mean
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going over it with people who can help
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finding a basis for action
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talking about it with friends & family
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being ready for selection & recruitment people
maximising the scope
filmic methods
how a person designs the story in that person’s own terms…
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positioning-in-the-frame
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angle-of-shot
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looks & gestures
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width-of-field
>
talk
>
thoughts & feelings
maximising the scope
locating in a programme
wide programme links enable integrated lives…
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home-life talk
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face-to-face help
>
small-group work
>
visits-in & -out
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community projects
>
enquiries
>
role-plays
>
media-productions
>
action planning & rehearsal
>
programme research & evaluation
?
&
! €
learning for living
building narrative stage-by-stage
from experience to action…
no story
past & present
with me-&-mine
chaotic
experiencing
any story
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
careers education as
learning-for-living
other people’s
words, images & fun
familiar & friendly
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
storyboarding imagery
plots & stories
whose story calls up what imagery?
story forms
saga
legend
fable
myth
race & journey imagery
parable
poetry
novel
dance
soap
art
gossip
lyric
biography
adventure coach
coach
competecross-roads
cross-roads
adventure
coach
compete
adventure
compete
cross-roads
adventure
coach
compete
cross-roads
departure direction
direction diversion
diversion
gateway
departure
departure
gateway
departuredirection
direction diversion
diversion gateway
gateway
get-ahead
head-start
get-ahead
guide
head-starthorizon
horizon
get-ahead
guide
head-start
horizon
get-ahead guide
guide
head-start
horizon
hurdle
inside-track
map
performance
pursuit
hurdle
inside-track
map performance
hurdle
hurdle inside-track
inside-track map
map performance
performance
selection
signpost
spring-board
travel
pursuit
selection
signpost
spring-board
pursuit
spring-board
pursuitselection
selectionsignpost
signpost
spring-board
travel trophy
trophy
turning-point winner
trophy
turning-point
winner
travel
turning-point
winner
travel
trophy
turning-point
winner
who seeks what?
among so many narratives how can journey talk help people in a race?
criteria for evaluation
who values what?
evaluation seeks value…
trying it out
what would be the most valuable gain in
using storyboarding?…
>
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for you
for your students & their people
for your colleagues
for your employer
evaluating storyboarding
evidence for ‘s’, ‘c’ & ‘o’
…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
s-c-o
any hope here?
helping 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
yes/no
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yes/no
yes/no
yes/no
yes/no
yes/no
yes/no
if ‘yes’ - glad it’s useful
if ‘no’ - tell Bill why at - http://www.hihohiho.com
this presentation…
practice & theory in full…
help colleagues…
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