Seeing Story Everywhere/Story craft in technical writing

Story cra) in technical wri0ng

[email protected]

© 2015; Elisa R. Sawyer, MS 1

Who I am professionally

•  MS in Urban Studies, focus on environment •  Program developer/Grant proposal writer •  CerJficate in tech wriJng •  SDK/API docs writer •  Master classes in wriJng •  Clients include Google and Apple •  CerJficate in screenwriJng through UCLAX

−specializing in being a generalist−


Urban studies? Environmental Planning? What does that have to do with high tech?


ADVANCED WRITING SKILLS

Metaphor, characterization, context, story, irony, word play, relationship, learning theory, language and culture, neuropsychology,

…and more…


The most successful communicators will be the ones who help audiences learn and do things by themselves…combinaJons of content and context is the only way forward.

hVp://www.inc.com/howard-‐tullman/communicaJon-‐mulJtasking-‐and-‐distracted-‐audiences.html



A story structure emerged… A story structure emerged… A story structure emerged… A story structure emerged… A story structure emerged… A story structure emerged… A story structure emerged… A story structure emerged…






Opening scene of “Casablaca” © 2015; Elisa R. Sawyer, MS 12

•  Hollywood formula movie •  Made by veteran team in six weeks (most films take 3 months or more just to shoot) •  ShooJng began before script was finished •  Exceeded expectaJons •  Recognized as a classic •  Famous quotes include “Round up the usual suspects,” and “Here’s looking at you, kid!”

Because of its success…



Some Agile user story formats

•  "As a <role>, I want <goal/desire>” •  "As a <role>, I want <goal/desire> so that <benefit>” •  “As a <type of user>, I want <some goal> so that <some reason>”

•  "In order to <receive benefit> as a <role>, I want <goal/desire>”

•  "As <who> <when> <where>, I <what> because <why>.”

•  "As a <role>, I can <acJon with system> so that <external benefit>”

From hVp://en.wikipedia.org/wiki/User_story


…yes, and then, how?

The Hollywood Formula

Story arc: 1.  Call to adventure

resisted and then answered.

2.  Journey into unknown toward overcoming impossible odds.

3.  Victory and triumphant return.

In Star Wars Episode IV: •  A message leads Luke to

his mentor and life as he knew it, is destroyed.

•  Luke travels into space, learns to use “The Force,” and joins the rebellion.

•  Luke uses “The Force” to destroy the death star and is honored.


emerged out of what works, in three acts:

Vogler’s Famous Memo

Christopher Vogler, from a memo written in mid-1980’s while at Disney Studios


To create a drama0c and memorable scene: •  Know why you need the scene. •  Make the day like none other. •  Create a beginning, middle and end. •  Create obstacles that require acJon. •  Illustrate a change. •  Turn the scene by adding a twist.


Assemble Scenes into Story Arc

From: http://www.thewritersjourney.com/hero%27s_journey.htm#Memo © 2015; Elisa R. Sawyer, MS 19

ACT 1: DEPARTURE

ACT 2: INITIATION

ACT 3: RETURN

Learning scene structure

Scenes are mini-‐stories. Can you think of structured authoring topics as scenes? Exercising your story-‐crap skills increases flexibility of mind.

Illustrations from Dakota Powell’s course materials for “Theme and Scene,” UCLAX


THE GREAT QUESTION OF CREATIVITY

Is the structure confining, or does it free you to focus on what’s

important?


... "if you mess up the count, they beat yo ###" ...

Quote from minor character in the TV series “The Wire,” season 1 ep. 8; “Lessons.” Conceived by David Simon; hVp://youtu.be/O1mmePD549o


Another look at story •  Opening image •  Theme stated •  Set-up •  Catalyst •  Debate •  Break into act two •  B-story •  Fun and games

•  Midpoint •  Bad guys close in •  All is lost •  Dark night of the soul •  Break into act three •  Storm the castle •  Aftermath •  Final Image

From Blake Snyder’s “Save the Cat” © 2015; Elisa R. Sawyer, MS 23

Versions of story-‐in-‐seven-‐steps

•  Weakness and need •  Desire •  OpposiJon •  Plan •  BaVle •  Self-‐revelaJon •  New equilibrium

•  Once there was ___. •  And every day, ___. •  UnJl one day ___. •  And then ___. •  Because of that, ___. •  UnJl finally ___. •  And ever since ___.



CHARACTER

Make your characters immediately knowable. Create character arcs with satisfying endings.


Another quote from Vogler’s memo Campbell’s thinking runs parallel to that of Swiss psychologist Carl Jung, who wrote of the “archetypes:” -‐-‐ constantly repea0ng characters who occur in the dreams of all people and the myths of all cultures. Jung suggested that these archetypes are reflec0on of aspects of the human mind – that our personali0es divide themselves into these characters to play out the drama of our lives.


“A character archetype is an ideal example of a fictional character who has a specific

narrative function.”

•  Protagonist •  Nemesis (Antagonist) •  A]ractor • Mentor •  Trickster

Included with permission of Scott Myers. His blog: gointothestory.blcklst.com


Another look at character archetypes


Devices as characters A depressed Web server 404−File not found The requested document in no more. No file found Even tried mulJ Nothing helped I’m really depressed about this. You see, I’m just a Web server. …here I am, brain the size of the universe, Trying to serve you a simple web page And then it doesn’t even exist! I think I’ll crawl off into the trash and decompose. Figures, huh? Everything here is just mind-‐numbingly stupid. That makes me depressed too, since I have to serve them, all day and all night long. Two weeks of informaJon overload, and then *pffpt*, consigned to the trash. What kind of a life is that? Now, please let me sulk alone. I'm so depressed._

Hal in 2001 Dave Bowman: Open the pod bay doors, HAL. HAL: I'm sorry, Dave. I'm afraid I can't do that. Dave Bowman: What's the problem? HAL: I think you know what the problem is just as well as I do. Dave Bowman: What are you talking about, HAL? HAL: This mission is too important for me to allow you to jeopardize it. Dave Bowman: I don't know what you're talking about, HAL. HAL: I know that you and Frank were planning to disconnect me, and I'm afraid that's something I cannot allow to happen. Dave Bowman: [feigning ignorance] Where the hell did you get that idea, HAL? HAL: Dave, although you took very thorough precauJons in the pod against my hearing you, I could see your lips move. Dave Bowman: Alright, HAL. I'll go in through the emergency airlock. HAL: Without your space helmet, Dave? You're going to find that rather difficult. Dave Bowman: HAL, I won't argue with you anymore! Open the doors! HAL: Dave, this conversaJon can serve no purpose anymore. Goodbye.

hVp://www.acm.uiuc.edu/sigops/roll_your_own/SIGOPS hVp://www.imdb.com/Jtle/V0062622/quotes


State of being

Archetypal

Abstract symbolic

Literal symbolic

ObjecEve reality


•  State of being—" " •  Archetypal—"As our top diplomat, he’s the bridge between our cultures."

•  Abstract symbolic—"Let’s build bridges between our departments"

•  Literal symbolic—"We’re using the conference bridge."

•  ObjecJve reality—"I cross the Bay Bridge every morning."


Networking Layers (levels) This graphic courtesy of http://www.boran.com/security/it10-lan-wan.html.


Using Dreyfus’ model of skill acquisi0on Skill Level Experience Needs Beginner Little to none Context-free rules Advanced Beginner Recognizes recurring

aspects Rules with some context

Competent Understands standard practices

Guidance on salient features

Proficient Zeros in accurately on important areas

Maxims

Expert Intuitive grasp of many situations

Patterns

Master Creates new traditions

Core concepts

Dreyfus, Stuart E.; Dreyfus, Hubert L. (February 1980). A Five-Stage Model of the Mental Activities Involved in Directed Skill Acquisition


An example arc for learning cli

Headings 1.  Useful Jps 2.  Get around 3.  Command anatomy 4.  Get comfortable 5.  Clear the screen

Subliminal message •  “Here, try this.” •  “Now try a bit more.” •  “You can understand…” •  “And you can also…” •  “You’ve got it!”


DITA as Object Oriented Authoring •  What happens when we think of DITA topics as scenes?

•  What arc is most appropriate for your audience?


Stories might look linear but generally they’re not.

“The average Super Bowl spot has a produc0on cost that’s north of $1 million and, based on how extravagant the concept is, some can easily double or triple this price.”

hVp://www.forbes.com/sites/onmarkeJng/2014/01/29/yes-‐a-‐super-‐bowl-‐ad-‐really-‐is-‐worth-‐4-‐million/


Lessons

•  Practice flexibility. •  Find the stories. •  Writing is re-writing. •  Be aware of the characters. •  Don’t get distracted by special effects. •  Sometimes our “worst” ideas are worthy. •  We write love stories for nerds.


The myth is infinitely flexible, capable of endless varia0on

without sacrificing any of its magic, and it will outlive us all.

From Vogler’s famous memo


Some resources •  ScoV Myers’ blog: gointothestory.blcklst.com •  UCLAX writers program: uclaextension.edu •  Save the Cat: savethecat.com/ •  Writers Store: writersstore.com •  Writer Wrench: writerwrench.com •  Vogler’s famous memo: hVp://www.thewritersjourney.com/hero%27s_journey.htm


Date post:	28-Jan-2018
Category:	Technology
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Seeing Story Everywhere/Story craft in technical writing

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