There are strange terms permeating everyday conversation. I recently joined Twitter and have been making a conscious effort to be more active on Facebook and LinkedIn. But I swear, some of the other folks on these social networking sites speak a completely foreign language.
One posting on a LinkedIn group which focuses on content creation was asking for connections to people who own or create video content. Well, I know a few people who do that, so I replied and said so. The woman who posted invited me to check out her website and send my contact info so we could talk off line.
I went to her website, which indicated that they provide “mashup” software to clients via the web. I had to Google mashup and learned that it’s just a fancy word for repurposing video, text, audio, etc to create derivative materials. OK, but how do the owners of the original materials get paid? Still not sure on that.
The first few times I heard people reference SEO I thought they really meant to say CEO and were just misspeaking. I’m glad I kept my mouth shut for once and did not politely correct them. It finally sunk in that they were talking about Search Engine Optimization.
Last week my business partner and I went to an SEO workshop where we learned that we have to pick key words for each page of a website and then use those same key words in the copy of each page a bunch of times in hopes that search engines will be impressed with our redundancy, index our pages, and give us a high ranking. It poses an interesting problem for people who make their living by providing clean writing to a variety of customers. We decided to simply find a balance.
I guess the bottom line is that our world is constantly changing and there are always tons of new things to learn. We can’t tackle them all, but if we can at least take a closer look at a few here and there, we not only learn a little bit, but we might also have some fun. Think of it as making life mashable.
See you on Twitter!
Thursday, April 30, 2009
Monday, March 30, 2009
Interview with International Author Tess Onwueme
Creativity and Possession: Synopsis of a Nigerian Author
Tess Onwueme was raised by her grandparents in a small Nigerian village. A self proclaimed peasant girl, she never dreamed that she would become a writer, yet has achieved major recognition within the drama community, and has established a writing career that spans continents.
“Now, let me say that writing found me. It’s an odd statement, but that seems to capture the whole circumstance around what I call my epiphany in the whole business of writing.”
As a girl of modest means attending an exclusive all girls’ boarding school, where classmates were the children of wealthy and influential parents, Onwueme had to work hard. She found herself excelling at academics and athletics and surrounded by friends. However, when she was recognized as one of the top ten students in the entire state, jealousy and backbiting erupted. The once popular girl found herself pushed out of the circle of peers who had once embraced and celebrated her, crushed by her feelings of isolation.
One evening, as she was thinking about the situation, she began to writing about her feelings, eventually developing a poem called “The Stinging Tongue.”
“Once I wrote that it was like exhaling. It was so therapeutic. And I had found a certain power, a certain community within that circumscribed space that I had created. From then on, anything, be it joyful, be it sorrowful, be it whatever I felt, I wrote it down.”
By the time Onwueme finished high school she had completed five booklets of poetry. She became a continuous writer. She didn’t stop when she married – or had her five children – or when she worked on and completed her Masters and PhD – or taught in university classrooms. She did begin sensing distinct characters in her inspirations, however, and had to move beyond the expression of poetry to plays.
“There were other voices like a community just pushing to be heard. That’s how I wrote my first play. And I continued. It was like my private, secret encounters with the world and my own conversations with the world around me. When I wrote that first play, it lifted me into a new scope and gave me a new landscape to perform.”
The first play she submitted to a publisher, A Hen Too Soon, was rejected. But she persisted. She sent it to a small press, who published it in 1983. Onwueme immediately sent two more plays which were not only published, but were also adopted in high school curriculums. But the icing on the cake came when she won her first literary award, the 1985 Association of Nigerian Authors Award for Drama. Several other major awards and offers from large publishers followed.
By 1988 three of her works had been staged in the U.S. She was invited to attend a performance of her play The Broken Calabash in Detroit. As luck would have it, she was also invited to attend a conference on women playwrights in Buffalo at about the same time. But she knew it was meant to be when she learned that her expenses would be covered by various cultural embassies in addition to a stipend. The play went on to win the Martin Luther King Writer’s Award – which came with a one year fellowship at Wayne State University. So she moved with her five children to the U.S.
“It was extremely liberating. For once I had space of my own. But I had children ranging from 4 to 12. I came to this new world with a lot of challenges, but I was also quite invigorated.”
Onwueme has succeeded both as an educator, and as an author. Currently UW Eau Claire’s Distinguished Professor of Cultural Diversity and Professor of English, she has been awarded two Ford Foundation grants, published a total of 18 books, and received numerous literary awards. Her work has aired on the BBC, and is staged and studied in classrooms around the world. She recently completed a novel, What I Cannot Tell My Father, which she refers to as a fictional biography.
Many of her works deal with the lives of women in rural Africa, the good and the bad. Some of her plays discuss the effects of oil production on local economies and cultures. Others focus on family issues or social structures. But they are all written with passion.
“The words, the action, the narrative, the dialogue I want to engage society in lives in me as I work with people and the world around me. Each work has its own gestation period, and, when ripe, will burst open. When ideas are ready to be born and they burst open, like labor, you can’t hold them back.
“In the Igbo language of the Nigerian delta, the word agwu means creativity, but it also means madness or lunacy. You see, you cannot control lunacy or creativity. It can possess you; it can grip you, at any moment. And when it does, you must yield.”
Additional information about Onwueme can be found at http://www.writertess.com.
You can find Tess Onwueme’s books at many librarires, and through Michigan State University Press, Africa Heritage Press, or Amazon.com.
They include:
No Vacancy (a play), 2005
What Mama Said (an epic drama), 2003
The Missing Face, 2002
Then She Said It! (a play), 2002
Why the Elephant Has No Butt (a novel), 2000
Shakara: Dance-Hall Queen (a play), 2000
Tell It To Women (an epic drama), 1997
Riot in Heaven (a play) 1996
Three Plays: An Anthology of Three Plays, 1993
Parables for a Season (a play), 1991
Legacies (a play), 1989
The Reign of Wazobia and Other Plays (1988)
Mirror For Campus (a play), 1987
Ban Empty Barn and Other Plays (1986)
A Scent of Onions (a play), 1986
The Desert Encroaches (a play), 1985
The Broken Calabash (a play), 1984
A Hen Too Soon (a play), 1983
Wednesday, March 4, 2009
In-demand documentary: Example of a news release
NOTE: This news release generated a response in less than an hour. The documentary, howevery, took two years to complete. We did pre-interviews with over a dozen people and narrowed it nine for filmed interviews. We had to cut four interviews for length, and plan to create a second film utilizing the interviews from the original piece. All interviewees were from families where numerous drugs - including Meth - were used, sold or manufactured. It was an interesting yet heartbreaking project. I hope you'll take the time to view the first documentary on line. Sue
FOR MORE INFORMATION CONTACT:
Susan Reetz, Writer/Producer
715-355-9159 (office)
715-212-6239 (mobile)
Reetz@RucinskiReetz.com
LOCALLY PRODUCED DOCUMENTARY IN DEMAND AROUND THE COUNTRY
Living in Shadows, a documentary about growing up with addicted parents
Living in Shadows - a documentary about drug endangered children who live or have lived in homes where drugs were used, sold, or manufactured - is in high demand across the U.S. The film was produced by Rucinski & Reetz Communication (Mosinee) and funded by Ministry Healthcare, the U.S. Attorney’s Office – Western District of Wisconsin, and the Wisconsin Alliance for Drug Endangered Children. Since its release in September of 2008, more than 2000 DVD copies have been given away, and it is a frequent download on the Wisconsin Alliance for Drug Endangered Children website. Living in Shadows has also recently been listed on the National Criminal Justice Reference Service (NCIRS) resource page.
The documentary incorporates the reflections of individuals ranging from 11 years old to mid-thirties. Some talk about witnessing or being subjected to violence. Others talk about emotional and physical neglect, and sexual abuse. One man talked about growing up in a home where both parents used and dealt drugs. He began using pot himself at age 9, and by age 12 had advanced to Meth. He himself became a parent whose children suffered because of his addiction. A Native American woman talks about helping raise over a dozen nieces, nephews, and grandchildren because the drug addicted parents were unable to care for the children properly. A parent talks about numerous treatment attempts, and the struggle to regain her family.
The documentary is used in trainings for law enforcement, social service providers, medical professionals, attorneys, law makers, and others. It’s also used to raise awareness among the general public of the need to help drug endangered children. The video can be viewed free of charge by going to http://www.wisconsindec.org/, clicking on the resources button, and selecting Living in Shadows. DVD copies are also available free of charge by calling 1-888-415-9821.
Why is this important? Because kids who grow up in homes where drugs are used, sold, or manufactured not only face physical, psychological, and social trauma, but are also more likely to grow up to repeat their parents’ behavior. The best way for professionals and other community members to help interrupt the generational pattern of drug abuse is to understand the signs of adult addiction and recognize when children are at risk because of a caregiver’s drug activity. An educated population is better prepared to effectively intervene, thus reducing crime rates and individual suffering.
- end -
FOR MORE INFORMATION CONTACT:
Susan Reetz, Writer/Producer
715-355-9159 (office)
715-212-6239 (mobile)
Reetz@RucinskiReetz.com
LOCALLY PRODUCED DOCUMENTARY IN DEMAND AROUND THE COUNTRY
Living in Shadows, a documentary about growing up with addicted parents
Living in Shadows - a documentary about drug endangered children who live or have lived in homes where drugs were used, sold, or manufactured - is in high demand across the U.S. The film was produced by Rucinski & Reetz Communication (Mosinee) and funded by Ministry Healthcare, the U.S. Attorney’s Office – Western District of Wisconsin, and the Wisconsin Alliance for Drug Endangered Children. Since its release in September of 2008, more than 2000 DVD copies have been given away, and it is a frequent download on the Wisconsin Alliance for Drug Endangered Children website. Living in Shadows has also recently been listed on the National Criminal Justice Reference Service (NCIRS) resource page.
The documentary incorporates the reflections of individuals ranging from 11 years old to mid-thirties. Some talk about witnessing or being subjected to violence. Others talk about emotional and physical neglect, and sexual abuse. One man talked about growing up in a home where both parents used and dealt drugs. He began using pot himself at age 9, and by age 12 had advanced to Meth. He himself became a parent whose children suffered because of his addiction. A Native American woman talks about helping raise over a dozen nieces, nephews, and grandchildren because the drug addicted parents were unable to care for the children properly. A parent talks about numerous treatment attempts, and the struggle to regain her family.
The documentary is used in trainings for law enforcement, social service providers, medical professionals, attorneys, law makers, and others. It’s also used to raise awareness among the general public of the need to help drug endangered children. The video can be viewed free of charge by going to http://www.wisconsindec.org/, clicking on the resources button, and selecting Living in Shadows. DVD copies are also available free of charge by calling 1-888-415-9821.
Why is this important? Because kids who grow up in homes where drugs are used, sold, or manufactured not only face physical, psychological, and social trauma, but are also more likely to grow up to repeat their parents’ behavior. The best way for professionals and other community members to help interrupt the generational pattern of drug abuse is to understand the signs of adult addiction and recognize when children are at risk because of a caregiver’s drug activity. An educated population is better prepared to effectively intervene, thus reducing crime rates and individual suffering.
- end -
Tuesday, November 11, 2008
Tapping into Creativity
I stand before the door of inspiration, lightly tapping. No answer.
I return, bearing gifts of hope, positive energy and absolute deference. I tap again. Still no answer.
I wait, politely. Perhaps someone is donning slippers and a robe to answer my unbidden knock. After all, it is after midnight on the eve of deadline. I tap again, just a bit louder in case they are lost in REM. Still no answer. I pound, shout, and even light a firecracker.
Quietly, discreetly, a small note appears as it is nudged beneath the locked door. It reads,
“It is my duty to inform you that your muse is currently on vacation in sunny Tuscany. She will return in three to four weeks. Maybe. You may leave a message, or, if you need immediate help, you may contact her temporary replacement, Bruno Blockhead, or try the attached Self Help Guide to Creativity. Thank you for your patience. The Management.”
Oh great! The last time I asked Bruno for help all I got was a bunch of cheesy suggestions from a totally crumbled cracker. I guess I’ll check out the Self Help Guide to Creativity. Time is racing and I’ve got nothing to lose. Here goes:
Self Help Guide to Creativity
Technique 1: BRAIN DUMP
This technique specifically involves clearing the way for creativity to enter. Quite simply, you sit down and write out all the information you can think of that is related to your project. Getting all the details out of your head and onto paper alleviates some mental pressure and allows you to quickly organize the material and begin looking for metaphors for your creative concept. Think about it. One person can only juggle so many items. If you put one thing down, you are free to pick up another and get it into play. See our addendum on Juggling Metaphors for Fun and Profit.
Technique 2: FREE ASSOCIATION
This technique has nothing to do with a complimentary membership to a dues oriented organization. Rather, free association means letting your mind roam from one idea to the next. Tangents are good here. Tangerines may also be good. But I digress. Think about the general topic of your project. Play around with different facets of focus and see where you go. It’s best to take notes as you go so you don’t forget some of the great ideas you’ll come up with. Don’t panic. If you have a phobia for writing (or typing) you can use a voice recorder, although at some point you will need to make notes so you can share your ideas with the rest of your team.
Technique 3: Watch TV and Google Websites
Now, I know you may have been told that watching TV and Googling websites is stalling. Procrastinating. Maybe even, egad, wasting time. It simply isn’t always true. If done early enough in the creative process, looking at the work of others can help generate fresh creative ideas for your projects. As professionals, we always want to be careful not to plagiarize someone else’s work or idea. However, you can often find something someone else did and give it your own twist. It could be a camera style, graphics treatment, story approach, etc. You can get a lot of great ideas to modify and apply to your latest project.
Technique 4: Listen to Music
You’ve probably been told all your life that you can’t do two things at the same time. But, that advice is not always right. Sometimes getting the brain to focus on something like music helps quiet your inner critic. You know. The one that says, “That’s a dumb idea. You’ll never make it work.” Once that little guy is sufficiently lulled into silence, you can begin to think in peace. The imagery in lyrics and musical phrasing may also help inspire your creative juices. Personally, I find that listening to classical music while I write sets the mood and helps me get into a creative rhythm. Of, if I’m writing something tied to a particular culture, I’ll listen to that type of music to transport me to the place.
Technique 5: Collective Brainstorming
Round up a few other creative types or colleagues and toss some ideas around. Before you begin get everyone to agree that no bad ideas will come from this session, although all ideas will not be feasible. Give everyone the freedom to comfortably offer half baked ideas (they can always be thrown back in the oven later) without booing, hissing, or any other form of jeering from fellow brainstormers. Have one person start an idea and the next person add to or modify the previous person’s thought until everyone has contributed. Or, allow a specific amount of time for everyone to come up with a creative idea on their own and the present it for discussion and collective fine tuning. You may be surprised about what develops.
Well, I think I’m well on my way to a great creative treatment for my project. Hmmm. I wonder what my muse will bring me from Tuscany?
I stand before the door of inspiration, lightly tapping. No answer.
I return, bearing gifts of hope, positive energy and absolute deference. I tap again. Still no answer.
I wait, politely. Perhaps someone is donning slippers and a robe to answer my unbidden knock. After all, it is after midnight on the eve of deadline. I tap again, just a bit louder in case they are lost in REM. Still no answer. I pound, shout, and even light a firecracker.
Quietly, discreetly, a small note appears as it is nudged beneath the locked door. It reads,
“It is my duty to inform you that your muse is currently on vacation in sunny Tuscany. She will return in three to four weeks. Maybe. You may leave a message, or, if you need immediate help, you may contact her temporary replacement, Bruno Blockhead, or try the attached Self Help Guide to Creativity. Thank you for your patience. The Management.”
Oh great! The last time I asked Bruno for help all I got was a bunch of cheesy suggestions from a totally crumbled cracker. I guess I’ll check out the Self Help Guide to Creativity. Time is racing and I’ve got nothing to lose. Here goes:
Self Help Guide to Creativity
Technique 1: BRAIN DUMP
This technique specifically involves clearing the way for creativity to enter. Quite simply, you sit down and write out all the information you can think of that is related to your project. Getting all the details out of your head and onto paper alleviates some mental pressure and allows you to quickly organize the material and begin looking for metaphors for your creative concept. Think about it. One person can only juggle so many items. If you put one thing down, you are free to pick up another and get it into play. See our addendum on Juggling Metaphors for Fun and Profit.
Technique 2: FREE ASSOCIATION
This technique has nothing to do with a complimentary membership to a dues oriented organization. Rather, free association means letting your mind roam from one idea to the next. Tangents are good here. Tangerines may also be good. But I digress. Think about the general topic of your project. Play around with different facets of focus and see where you go. It’s best to take notes as you go so you don’t forget some of the great ideas you’ll come up with. Don’t panic. If you have a phobia for writing (or typing) you can use a voice recorder, although at some point you will need to make notes so you can share your ideas with the rest of your team.
Technique 3: Watch TV and Google Websites
Now, I know you may have been told that watching TV and Googling websites is stalling. Procrastinating. Maybe even, egad, wasting time. It simply isn’t always true. If done early enough in the creative process, looking at the work of others can help generate fresh creative ideas for your projects. As professionals, we always want to be careful not to plagiarize someone else’s work or idea. However, you can often find something someone else did and give it your own twist. It could be a camera style, graphics treatment, story approach, etc. You can get a lot of great ideas to modify and apply to your latest project.
Technique 4: Listen to Music
You’ve probably been told all your life that you can’t do two things at the same time. But, that advice is not always right. Sometimes getting the brain to focus on something like music helps quiet your inner critic. You know. The one that says, “That’s a dumb idea. You’ll never make it work.” Once that little guy is sufficiently lulled into silence, you can begin to think in peace. The imagery in lyrics and musical phrasing may also help inspire your creative juices. Personally, I find that listening to classical music while I write sets the mood and helps me get into a creative rhythm. Of, if I’m writing something tied to a particular culture, I’ll listen to that type of music to transport me to the place.
Technique 5: Collective Brainstorming
Round up a few other creative types or colleagues and toss some ideas around. Before you begin get everyone to agree that no bad ideas will come from this session, although all ideas will not be feasible. Give everyone the freedom to comfortably offer half baked ideas (they can always be thrown back in the oven later) without booing, hissing, or any other form of jeering from fellow brainstormers. Have one person start an idea and the next person add to or modify the previous person’s thought until everyone has contributed. Or, allow a specific amount of time for everyone to come up with a creative idea on their own and the present it for discussion and collective fine tuning. You may be surprised about what develops.
Well, I think I’m well on my way to a great creative treatment for my project. Hmmm. I wonder what my muse will bring me from Tuscany?
Tapping into Creativity
I stand before the door of inspiration, lightly tapping. No answer.
I return, bearing gifts of hope, positive energy and absolute deference. I tap again. Still no answer.
I wait, politely. Perhaps someone is donning slippers and a robe to answer my unbidden knock. After all, it is after midnight on the eve of deadline. I tap again, just a bit louder in case they are lost in REM. Still no answer. I pound, shout, and even light a firecracker.
Quietly, discreetly, a small note appears as it is nudged beneath the locked door. It reads,
“It is my duty to inform you that your muse is currently on vacation in sunny Tuscany. She will return in three to four weeks. Maybe. You may leave a message, or, if you need immediate help, you may contact her temporary replacement, Bruno Blockhead, or try the attached Self Help Guide to Creativity. Thank you for your patience. The Management.”
Oh great! The last time I asked Bruno for help all I got was a bunch of cheesy suggestions from a totally crumbled cracker. I guess I’ll check out the Self Help Guide to Creativity. Time is racing and I’ve got nothing to lose. Here goes:
Self Help Guide to Creativity
Technique 1: BRAIN DUMP
This technique specifically involves clearing the way for creativity to enter. Quite simply, you sit down and write out all the information you can think of that is related to your project. Getting all the details out of your head and onto paper alleviates some mental pressure and allows you to quickly organize the material and begin looking for metaphors for your creative concept. Think about it. One person can only juggle so many items. If you put one thing down, you are free to pick up another and get it into play. See our addendum on Juggling Metaphors for Fun and Profit.
Technique 2: FREE ASSOCIATION
This technique has nothing to do with a complimentary membership to a dues oriented organization. Rather, free association means letting your mind roam from one idea to the next. Tangents are good here. Tangerines may also be good. But I digress. Think about the general topic of your project. Play around with different facets of focus and see where you go. It’s best to take notes as you go so you don’t forget some of the great ideas you’ll come up with. Don’t panic. If you have a phobia for writing (or typing) you can use a voice recorder, although at some point you will need to make notes so you can share your ideas with the rest of your team.
Technique 3: Watch TV and Google Websites
Now, I know you may have been told that watching TV and Googling websites is stalling. Procrastinating. Maybe even, egad, wasting time. It simply isn’t always true. If done early enough in the creative process, looking at the work of others can help generate fresh creative ideas for your projects. As professionals, we always want to be careful not to plagiarize someone else’s work or idea. However, you can often find something someone else did and give it your own twist. It could be a camera style, graphics treatment, story approach, etc. You can get a lot of great ideas to modify and apply to your latest project.
Technique 4: Listen to Music
You’ve probably been told all your life that you can’t do two things at the same time. But, that advice is not always right. Sometimes getting the brain to focus on something like music helps quiet your inner critic. You know. The one that says, “That’s a dumb idea. You’ll never make it work.” Once that little guy is sufficiently lulled into silence, you can begin to think in peace. The imagery in lyrics and musical phrasing may also help inspire your creative juices. Personally, I find that listening to classical music while I write sets the mood and helps me get into a creative rhythm. Of, if I’m writing something tied to a particular culture, I’ll listen to that type of music to transport me to the place.
Technique 5: Collective Brainstorming
Round up a few other creative types or colleagues and toss some ideas around. Before you begin get everyone to agree that no bad ideas will come from this session, although all ideas will not be feasible. Give everyone the freedom to comfortably offer half baked ideas (they can always be thrown back in the oven later) without booing, hissing, or any other form of jeering from fellow brainstormers. Have one person start an idea and the next person add to or modify the previous person’s thought until everyone has contributed. Or, allow a specific amount of time for everyone to come up with a creative idea on their own and the present it for discussion and collective fine tuning. You may be surprised about what develops.
Well, I think I’m well on my way to a great creative treatment for my project. Hmmm. I wonder what my muse will bring me from Tuscany?
Susan Reetz, of Rucinski & Reetz Communication, is a writer/director/producer for film, video and multimedia. She also writes feature articles, brochure copy, news releases, and other promotional materials. Her scriptwriting and producing work has earned numerous local, national, and international awards. She can be reached at 715-355-9159 or Reetz@RucinskiReetz.com.
I stand before the door of inspiration, lightly tapping. No answer.
I return, bearing gifts of hope, positive energy and absolute deference. I tap again. Still no answer.
I wait, politely. Perhaps someone is donning slippers and a robe to answer my unbidden knock. After all, it is after midnight on the eve of deadline. I tap again, just a bit louder in case they are lost in REM. Still no answer. I pound, shout, and even light a firecracker.
Quietly, discreetly, a small note appears as it is nudged beneath the locked door. It reads,
“It is my duty to inform you that your muse is currently on vacation in sunny Tuscany. She will return in three to four weeks. Maybe. You may leave a message, or, if you need immediate help, you may contact her temporary replacement, Bruno Blockhead, or try the attached Self Help Guide to Creativity. Thank you for your patience. The Management.”
Oh great! The last time I asked Bruno for help all I got was a bunch of cheesy suggestions from a totally crumbled cracker. I guess I’ll check out the Self Help Guide to Creativity. Time is racing and I’ve got nothing to lose. Here goes:
Self Help Guide to Creativity
Technique 1: BRAIN DUMP
This technique specifically involves clearing the way for creativity to enter. Quite simply, you sit down and write out all the information you can think of that is related to your project. Getting all the details out of your head and onto paper alleviates some mental pressure and allows you to quickly organize the material and begin looking for metaphors for your creative concept. Think about it. One person can only juggle so many items. If you put one thing down, you are free to pick up another and get it into play. See our addendum on Juggling Metaphors for Fun and Profit.
Technique 2: FREE ASSOCIATION
This technique has nothing to do with a complimentary membership to a dues oriented organization. Rather, free association means letting your mind roam from one idea to the next. Tangents are good here. Tangerines may also be good. But I digress. Think about the general topic of your project. Play around with different facets of focus and see where you go. It’s best to take notes as you go so you don’t forget some of the great ideas you’ll come up with. Don’t panic. If you have a phobia for writing (or typing) you can use a voice recorder, although at some point you will need to make notes so you can share your ideas with the rest of your team.
Technique 3: Watch TV and Google Websites
Now, I know you may have been told that watching TV and Googling websites is stalling. Procrastinating. Maybe even, egad, wasting time. It simply isn’t always true. If done early enough in the creative process, looking at the work of others can help generate fresh creative ideas for your projects. As professionals, we always want to be careful not to plagiarize someone else’s work or idea. However, you can often find something someone else did and give it your own twist. It could be a camera style, graphics treatment, story approach, etc. You can get a lot of great ideas to modify and apply to your latest project.
Technique 4: Listen to Music
You’ve probably been told all your life that you can’t do two things at the same time. But, that advice is not always right. Sometimes getting the brain to focus on something like music helps quiet your inner critic. You know. The one that says, “That’s a dumb idea. You’ll never make it work.” Once that little guy is sufficiently lulled into silence, you can begin to think in peace. The imagery in lyrics and musical phrasing may also help inspire your creative juices. Personally, I find that listening to classical music while I write sets the mood and helps me get into a creative rhythm. Of, if I’m writing something tied to a particular culture, I’ll listen to that type of music to transport me to the place.
Technique 5: Collective Brainstorming
Round up a few other creative types or colleagues and toss some ideas around. Before you begin get everyone to agree that no bad ideas will come from this session, although all ideas will not be feasible. Give everyone the freedom to comfortably offer half baked ideas (they can always be thrown back in the oven later) without booing, hissing, or any other form of jeering from fellow brainstormers. Have one person start an idea and the next person add to or modify the previous person’s thought until everyone has contributed. Or, allow a specific amount of time for everyone to come up with a creative idea on their own and the present it for discussion and collective fine tuning. You may be surprised about what develops.
Well, I think I’m well on my way to a great creative treatment for my project. Hmmm. I wonder what my muse will bring me from Tuscany?
Susan Reetz, of Rucinski & Reetz Communication, is a writer/director/producer for film, video and multimedia. She also writes feature articles, brochure copy, news releases, and other promotional materials. Her scriptwriting and producing work has earned numerous local, national, and international awards. She can be reached at 715-355-9159 or Reetz@RucinskiReetz.com.
Monday, October 13, 2008
Check out MCA-I ProTrack
If you are involved in any way with media production - writing, shooting, editing, graphics, audio, acting, programming - you need to attend the Media Communication Association - International's ProTrack 2008 in Anaheim (CA) at the end of this month. It's a great opportunity to brush up on your skills, learn something new, test drive cool software, and meet other media production pros from around the world. I've been going for about 10 years now, and have learned a lot. Just as important, I've made some good friends and now have a network of colleagues from all over the place that I can call on when I need help with a project, or just want to bounce an idea. Here's what our MCA-I president had to say in a recent interview: http://www.pixelheadsnetwork.com/2008/09/30/lee-vogel-media-communications-association-international-president-all-about-networking/
For more information about MCA-I or ProTrack 2008, go to www.MCA-I.org. Hope to see you there!
For more information about MCA-I or ProTrack 2008, go to www.MCA-I.org. Hope to see you there!
Saturday, October 11, 2008
Who should tell the story - advice for script writers
A story can be told by just about anyone. But a good story must be told in the right way by the right person. For example, you probably wouldn’t have the Jolly Green Giant as a pitchman for feminine hygiene products any more than you would use an interview with the Pillsbury Doughboy to sell weight lifting equipment.
As producers and/or writers, one of the first things we need to determine is who should tell the story. Should it be an on camera narrator or a voice over? Or, should all the information all be presented through interviews clips?
When deciding who should tell the story, it’s a good idea to consider the project’s objective and the intended audience.
Does you project need to educate, persuade, motivate, sell, or train? Knowing the objective – and the type of information that needs to be included in the program – helps determine whether the project calls for an on camera narrator, voice over, or interview.
For example, an installation video targeted to professional technicians would work nicely with an on camera narrator to demonstrate the procedures. The narrator would probably be scripted to sound like the audience members, using familiar trade language in a conversational manner.
A visitor orientation video might be better served with an off camera narrator rather than a real employee on camera to protect shelf life. If a real employee is used as an on camera narrator and the employee leaves – especially if they go to a competitor – the entire program has to be redone. Using an off camera narrator also keeps the focus on the facility and allows for easier updates if the company is sold in the future.
Of course a program for a teen audience would not normally call for a formal adult on camera narrator. But it might work well to have a teen on camera host. Or, if the subject is a serious social issue like drugs or gangs, interviews with teens and others directly affected by the issue carry a log of weight and lend credibility to a skeptical audience.
Whatever the project and target audience, make sure the project’s voice reflects and speaks to the sensibilities, language, and ideals of the audience.
As producers and/or writers, one of the first things we need to determine is who should tell the story. Should it be an on camera narrator or a voice over? Or, should all the information all be presented through interviews clips?
When deciding who should tell the story, it’s a good idea to consider the project’s objective and the intended audience.
Does you project need to educate, persuade, motivate, sell, or train? Knowing the objective – and the type of information that needs to be included in the program – helps determine whether the project calls for an on camera narrator, voice over, or interview.
For example, an installation video targeted to professional technicians would work nicely with an on camera narrator to demonstrate the procedures. The narrator would probably be scripted to sound like the audience members, using familiar trade language in a conversational manner.
A visitor orientation video might be better served with an off camera narrator rather than a real employee on camera to protect shelf life. If a real employee is used as an on camera narrator and the employee leaves – especially if they go to a competitor – the entire program has to be redone. Using an off camera narrator also keeps the focus on the facility and allows for easier updates if the company is sold in the future.
Of course a program for a teen audience would not normally call for a formal adult on camera narrator. But it might work well to have a teen on camera host. Or, if the subject is a serious social issue like drugs or gangs, interviews with teens and others directly affected by the issue carry a log of weight and lend credibility to a skeptical audience.
Whatever the project and target audience, make sure the project’s voice reflects and speaks to the sensibilities, language, and ideals of the audience.
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