{"id":34,"date":"2015-05-22T22:58:42","date_gmt":"2015-05-22T22:58:42","guid":{"rendered":"http:\/\/opentextbc.ca\/abealfreader6\/?post_type=chapter&p=34"},"modified":"2022-07-22T20:40:04","modified_gmt":"2022-07-22T20:40:04","slug":"writing-the-script","status":"publish","type":"chapter","link":"https:\/\/opentextbc.ca\/abealfreader6\/chapter\/writing-the-script\/","title":{"raw":"Writing the Script","rendered":"Writing the Script"},"content":{"raw":"

Click play on the following audio player to listen along as you read this section.<\/p>\r\nhttps:\/\/media.bccampus.ca\/id\/0_i64yn48t?width=608&height=70&playerId=23449753\r\n\r\n[caption id=\"attachment_96\" align=\"aligncenter\" width=\"450\"]\"a<\/a> Book[\/caption]\r\n\r\nOne of the most common pieces of [pb_glossary id=\"646\"]advice[\/pb_glossary]<\/strong> given to storytellers is, \u201cShow, don\u2019t tell.\u201d This means that a storyteller should allow the audience to experience the story through [pb_glossary id=\"715\"]scenes[\/pb_glossary]<\/strong>, rather than through a summary of events. A [pb_glossary id=\"715\"]scene[\/pb_glossary]<\/strong> is alive with action, words, thoughts, feelings, and senses. A summary simply tells the facts of what happened. We will return to the difference shortly.\r\n\r\nBefore creating a [pb_glossary id=\"715\"]scene[\/pb_glossary]<\/strong>, the storyteller needs to identify which [pb_glossary id=\"715\"]scenes[\/pb_glossary]<\/strong> will best tell the story and its insight. There may be one [pb_glossary id=\"715\"]scene[\/pb_glossary]<\/strong> or many. The most important [pb_glossary id=\"715\"]scene[\/pb_glossary]<\/strong> to include is usually the moment of change. In Tanya<\/em>, Monte Hallis starts by explaining she didn\u2019t really know what a friend was. The digital story ends with a [pb_glossary id=\"715\"]scene[\/pb_glossary]<\/strong> where Tanya asks Monte to lie down\u00a0next to her so she can tell her a secret. In this moment, Tanya refers to her as \u201cMonte Faye.\u201d Monte was [pb_glossary id=\"717\"]stunned[\/pb_glossary]<\/strong> that Tanya knew her middle name. Monte does not say, \u201cThis is when I knew I had made a real friend,\u201d but the audience\u00a0can [pb_glossary id=\"703\"]powerfully[\/pb_glossary]<\/strong> feel it through the scene. This was Monte\u2019s moment of change.\r\n\r\nIn Go Around<\/em>, Cathy Jaynes starts by explaining she had been in an [pb_glossary id=\"638\"]abusive[\/pb_glossary]<\/strong> relationship. During that time, her feelings and her voice didn\u2019t matter. She once told a helicopter pilot that he was about to crash and he [pb_glossary id=\"680\"]ignored[\/pb_glossary]<\/strong> her warning. Once again, what she had to say was [pb_glossary id=\"680\"]ignored[\/pb_glossary]<\/strong>. The digital story ends with a scene where Cathy tells a helicopter pilot to stop, or they will land on a bunch of wires. The pilot listens. Cathy did not say, \u201cThis was when I knew that my voice matters and there are people who will listen to me,\u201d but the audience\u00a0can feel it through the [pb_glossary id=\"715\"]scene[\/pb_glossary]<\/strong>. This was Cathy\u2019s moment of change.\r\n\r\nWhat was the moment of change in your story?\r\n\r\nThe structure of the story can be\u00a0built around this moment of change.\u00a0Keep in mind that the script should be quite short -- between 250 and 375 words long. This will result in a digital story of about three to five minutes. You can rely on the audience\u2019s [pb_glossary id=\"655\"]common sense[\/pb_glossary]<\/strong> to fill in some of the more [pb_glossary id=\"694\"]obvious[\/pb_glossary]<\/strong> details. You will also be able to rely on images to tell part of the story. A storyteller gives the audience just enough information to understand the importance of this moment. If the audience is [pb_glossary id=\"698\"]overloaded[\/pb_glossary]<\/strong> with information, they may grow bored.\r\n

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Digital Story Spotlight<\/p>\r\n\r\n<\/header>\r\n

\r\n\r\nIn Memory<\/a><\/em>, Salomeja Karaseviciute demonstrates what it means to \u201cshow, not tell.\u201d She begins her tale by talking about cheques that arrive every month. At first, she does not tell us that she receives these cheques as [pb_glossary id=\"656\"]compensation[\/pb_glossary]<\/strong> from the government for [pb_glossary id=\"661\"]deporting[\/pb_glossary]<\/strong> one of her parents. However, we know this because the image shows the words \u201cdeportee daughter.\u201d When someone is deported from a country, they are forced to leave. When Salomeja does reveal that her parent was deported, she once again shows us rather than tells us. She creates a scene about the day she learned about the deportation. Now the audience\u00a0has just enough information to understand why Salomeja is receiving these cheques. We can imagine feeling that there is no right\u00a0way to spend the money that she receives to make up\u00a0for her parent's\u00a0suffering. Salomeja\u2019s moment of change comes when she finally spends the money. She does not say, \u201cThis moment changed me,\u201d but we know that it does.\r\n