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28.06.2015
Has your vision for a digital piece this month hit some expected and unexpected walls, either due to limitations of technology or some other logistical quagmire? We hope you will share your work across the various Digital Writing Month spaces that you inhabit.
Like our learning, our digital writing stretches across and is informed by the stuff of our everyday lives–the things, ideas, and experiences that we make and which make us.
Press play below to weave with me, to bring the pieces that are surfacing in your life in conversation with those that are materializing in mine.
I invite us to consider how in transmedia, it is not just media across which a piece moves, but also meanings, modalities, motives, persons, processes, pasts, etc.
When I first started thinking about this post, I imagined I might try to create an activity that explored the use of visuals to communicate in some sort of weird and interesting way, artistic, fun and far removed – a distraction from? It’s been nagging at me, because it’s making me think: well, why shouldn’t or couldn’t #digiwrimo help directly with our routine or work-related writing – rather than being seen as a distraction preventing us from getting back to the *real* writing? Visual reports….like this example from Toby Hewitt, who reported the results of his training needs analysis as an infographic.
Another thing I’ve been wanting to do more for a while is to experiment, play with and explore, and use digital tools for creating sketchnotes, infographics and data visualisation.
Several weeks ago I saw Laura Ritchie’s tweet announcing her new online course about music. Like many, I already had a general idea about how some places are acoustically better than others.
As a first step to train our ears to listen and hear more, Laura has a task that inspired me to pay attention to the sounds around me. I didn’t participate in the task online but I got very involved in the experiment for days, and I still do it whenever I remember or notice something new. This picture is of an Indian vendor, not an Egyptian one, because I couldn’t find any from Egypt — something that I need to remedy , but ours are almost identical. This is what I hear sitting on the terrace, in my favorite corner, very early in the morning, as early as 5 or 6 am, depending on when the sun starts to come up and the birds start to chirp. If you have been following Digital Writing Month the past few weeks, you may have noticed a progression of themes.
In simple terms, I like to think of transmedia as storytelling with few if any boundaries, and as we continue to explore digital writing this month and beyond, this idea of taking a story for a walk across platforms seems to be right in tune with the possibilities of writing in a digital age. Closer to home, our impromptu Storyjumpers Project at Digital Writing Month has been a lesson in transmedia collaboration, as more than 25 writers from all parts of the world are passing a story from blog to blog as November rolls on. Unfortunately, in some ways, book publishing companies are at the forefront of much of the transmedia story experiences (as are now many other businesses) we encounter in the wider world. I guess this strategy of “hook the kids” must work because I do see more and more of these book series being offered.
It’s one thing to write a blog post, with links and maybe even added embedded media on a page.
There may yet be a day when our technology applications and websites and devices work in seamless concert with each other — where writing a story across platforms is not hindered by the differences of technology, but complemented by the common pathways. When the funeral service was afflicted by The Silence, the officiant decided to keep things moving. Listeners, though, especially those listening to material being broadcast, don’t have that same ability.
With both text and audio, the pacing of what we say has to be carefully crafted to help the audience process what we’re saying.
This is something I often struggle with as I create episodes of HybridPod, the podcast extension of Hybrid Pedagogy.
Even though I still struggle to create the right pacing, I want to provide a simple example of how quickly silence can draw attention to itself and how effectively it can be used. In an episode of 99% Invisible (a podcast about design, architecture, and the built world around us), producer Roman Mars helped a reporter describe the structure of CitiCorp Tower, a building that was the centerpiece of the episode.
That momentary pause, that fleeting hesitation — the one I’ve represented with an ellipsis — lasts only a fraction of a second, but it’s enough time for listeners to stop, take notice, and predict that the worried “Right?” is coming. I recall one episode of Radiolab — a podcast I respect and admire — that included a segment about “yellow rain” containing a deeply unsettling interview in which the interviewee was brought to tears by difficult subject matter and inappropriately callous interviewing practices, and she called off the rest of the conversation. I have long dabbled in the craft of handmade greeting cards but I never really made anything I am proud of.


I get all my supplies from Winners as several of these locations here in Vancouver carry a great range of scrapbooking stuff at a fairly reasonable price.
I found that transmedia composition required a new degree of persistence, and that these were some of the textures of that persistence.
We bring all that we are, were, and imagine ourselves and our world to be to a piece of digital writing, a piece that is dancing along its own pathway across media, platforms, intentions, world-views, etc.
How do the branches and connections within and without a story expand the notions of writing?
At other times, I can be found exploring and experiencing life with my son, erratically connecting with intriguing people on the internet, facilitating edcontexts.org, and occasionally trying to complete a masters dissertation. Seeing as #digiwrimo = digital writing month, I’m going to use this opportunity to give myself the kick up the backside I need to actually Do It – and to share my endeavours and experiments with the #digiwrimo community.
Currently working as an independent consultant, I’ve been in the field of Learning and Development since 1992 as an instructional designer, trainer and coach. I decided to take a look at the content of the course and perhaps sample parts of it that I find interesting to me as a music amateur.
I am quoting part of the task here and you can see the complete description of the task on Laura’s blog.
I went around my apartment and my terrace with my phone, recording different normal daily activities and spaces. They go around banging on their tricycles to announce their presence to the residents who still use cylinders — most buildings now have piped natural gas. We began our first week exploring the concept of writing itself, and of what it means to be a digital writer. I say “unfortunately” because the books that I see being marketed at my own children and my sixth grade students as transmedia (they don’t often call them that but that is what they are) begin with a book in text that links to a publisher’s website with a game experience of some sort, all in the hope of selling more books and products. In my opinion, the writer for young adult readers that I have seen pull this off with any level of real success is the talented Patrick Carmen, whose Skeleton Creek series, with video links, are creepy and mysterious and go deep when the media elements are connected to the reading experience. I wanted to speak, but I couldn’t — not for the lump in my throat or the tears in my eyes or any of the affective, funereal reasons. We’ve been in rooms that are awkward and pensive, where people are contemplating what, when, and whether to speak. The way we build in and work with natural pauses in our thinking and storytelling can help or hinder the audience in profound ways.
One strategically placed finger lets a reader take all the time they want to think, to process, to digest, to respond, to take notes, or do practically anything else before returning to the same spot and resuming the story.
Marks of punctuation serve critical roles in helping readers understand the flow of our words and ideas, providing stage direction and speed limits for our inner voice to navigate. Mars tells about several unexpected features of the building, making it sound like the thing shouldn’t be able to exist.
Audio stories can be so personal, so intimate, and so raw that they unavoidably evoke a visceral reaction from listeners. The producers knew her frustration and breakdown were hard to listen to, so they included five full seconds of complete silence after the interview concluded to help listeners recover. As with the flexible, nuanced pacing of everyday conversations, silence in audio recordings serves a variety of purposes. But a month ago I decided to give it another try when I saw some great cardstocks on sale at Winners and I came up with these three designs that I really like so I thought I'd share them with y'all. I started watching her videos years ago just for fun but eventually got hooked and wanted to try to make my own cards as well. I don’t think I had really thought about what I expected to find in the course, but the first session had a couple of interesting surprises that changed how I listen to the world around me. An opera troupe in Los Angeles, for example, is doing an interesting performance called Hopscotch by moving scenes of the opera into the fabric of the real city, coordinating scenes across the urban landscape, with the audience following the dancers.
We are hearing sounds, watching associated videos, viewing images … all in the name of the story that is always in the midst of transition, even as participants write and pass it along to the next person. The experience is incredibly engaging, in ways that can’t quite be replicated off the screen. Composing a transmedia piece is at the heart of writing in a digital age, with all of its limitations and all of its potential. Or we’ve been in rooms where the general noise of chatter inexplicably fades to momentary silence, shattered by shards of tension-releasing self-conscious laughter. For many in the audience, it may have been time they needed to build their confidence or their composure.


And while pausing a podcast is technically simple, it may be difficult — many people listen to podcasts while driving or doing other things that keep their hands busy at the time. Working with audio, though, the speaker has almost exclusive control over that navigation, and we cannot forget that responsibility. Recreations of that sound through speakers or headphones then shake the air that then shakes listener’s eardrums. But I digress.) When I interview people for the episodes, our conversations follow a natural rhythm, pausing and accelerating as needed. The design sounds magical…or physically impossible, with structural supports in the middle of walls, rather than their corners, and with massive amounts of open air beneath the solid mass of the building. Those five seconds of “dead air” — an eternity for audio producers — were an essential means for showing respect to the anguished voices in the show and to give listeners an opportunity to grieve and recover before moving ahead with new ideas. After a particularly intense moment (emotionally or intellectually), a pause allows listeners to finish their thinking about a segment, reach their conclusions, and “gather their thoughts”.
For almost two months, as I worked with video footage, mosaic pieces, dancers, editing software, books, game platforms, words, etc., I repeatedly failed in composing a transmedia piece (itself called ‘pieces’). Those vendors go around buying and selling any used things — except glass, I discovered. That transmedia project has enriched the collaborative nature of this month’s digital writing experiences.
When the officiant asked for volunteers to step forward and offer their remembrances, she made eye contact with That One Brave Soul who said before-hand that she would talk. Or perhaps we’ve attended a concert where the applause holds off for a moment or two after the final note fades away. I was waiting for the right moment, and for a couple more ideas to fall into place, before offering my thoughts. As Anne Fernald explained in the “Musical Language” episode of the podcast Radiolab, “sound is kind of touch…at a distance.” The more we talk, the more we share that touch with our audience. But when I edit the conversations together into a single story, I have to consciously include the right amount of time for where breaths and thoughtful contemplation should go. Anyone who has helped another person learn something new has seen the importance of a well-timed pause to allow things to “sink in”.
My guest post is focussed on adding your voice to your writing and my other ongoing investigation is around the human aspect of writing and learning online. I realized what they are saying because I speak Italian but most Egyptians don’t have a clue where the word comes from, they only know what it means.
Use any tool you like, experiment with a new one, shout out if you want to learn a new tool and would like some company learning or want to collaborate with a bunch of us. As a teacher, my passion is bring my young writers into the world of writing, now and into the future, and I think one of my jobs is to get them composing their own interactive, digital texts.
You have to weigh the pros and cons of the experience, and wonder, does it help or hinder the story? Once she was at the podium, the speaker dazzled us by donning a feather boa and a festive costume hat (the deceased loved Halloween). That one moment — that pause, that stillness, that calm before the storm — is electric, filled with anticipation, bursting with emotional awareness.
As an educator who writes, and one who writes digitally in order to explore the way composition is changing with technology (or not, as is sometimes the case), I also task myself with trying out different kinds of writing to push myself, and to consider possibilities for my students, and transmedia writing is no different.
Always, it is important to remember that the story is at the heart of the matter, not the technology. The speaker made us laugh with character descriptions that were just on the truthful side of slanderous.
In whatever you’re writing this month, pay a little extra attention to the pacing, the punctuation, or the pauses.



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