Current Feed Content from 4 Sep 08 23:08
"Celebs Stuck in an Elevator" Story Prompt
Thu, 04 Sep 2008 18:01:22 +0000
Collective Storytelling is a blog that serves as a repository class assignments for an unnamed class at NYU (maybe the class is titled, Collective Storytelling?).
The blog tantalizes with brief descriptions of the assignments, and the assignments themselves — but without very detailed explanations of the assignments. One posted idea for a final project sounds like fun:
I think it would be fun to harness the characters everyone in the world knows about — celebrities, as themselves. What I’d love to do (although I don’t have the programming chops) would be to call it “Five Celebs Stuck in an Elevator.” You pick 5 celebs from a list, and then you write a story about what happens when they get stuck in an enclosed space, and how they eventually get out (or perhaps don’t). In my imagination, their lines come out of their lil celebrity heads like speech bubbles [as shown above].
Q&A with a Story Guru: Jessica Lipnack, Part 2
Thu, 04 Sep 2008 07:00:00 +0000
See Jessica’s bio, photo, and Part 1 of this Q&A.
Q&A with Jessica Lipnack (continued):
Q: The culture is abuzz about Web 2.0 and social media. To what extent do you participate in social media (such as through LinkedIn, MySpace, Facebook, Twitter, YouTube, Second Life, blogs, etc.)? To what extent and in what ways do you feel these venues are storytelling media?
A: I’m in. I keep Endless Knots, an active blog, am on LinkedIn (though I’m trying an experiment there where I only accept inbound links but don’t actively link to others), Facebook, and, yes, I have my avatar on Second Life, plus a bunch of others. You’re telling your story everywhere you appear online — when you write your profile, list your favorite music, post your pictures or videos. All of it together becomes your story.
Of these, the blog is the most powerful storytelling device for me — and, I think, for some of my friends in professional positions. (Much as I’d like to make films, I’m not a filmmaker — yet ☺.) The power of storytelling for executives cannot be overemphasized. One colleague is using his blog to help transform his hospital’s culture — and clinical outcomes — simply by telling the ongoing story of what’s happening in his academic medical center.
Q: What future aspirations do you personally have for your own story work? What would you like to do in the story world that you haven’t yet done?
A: I’ve published short stories but I’ve yet to publish a novel (one is complete, another on the way). Much of what I practice professionally, as a management consultant, I express in my fiction. Fiction makes it easy to say difficult things—and to create worlds that are positive and optimistic.
Q&A with a Story Guru: Jessica Lipnack, Part 1
Wed, 03 Sep 2008 08:00:10 +0000I could not be more pleased to present the second in my series of Q&A interviews with story practitioners. This interview is with Jessica Lipnack, whom I first encountered early in this decade through her expertise in virtual teams, another one of my interests. I read her book (co-authored with Jeffrey Stamps), Virtual Teams, and drew on it heavily in teaching my students about virtual teams and guiding them through a virtual-teams project. I was delighted to find that Jessica was a member of Worldwide Story Network and thrilled that we share interests in both virtual teams and storytelling. Learn more about Jessica below. I am presenting the Q&A with Jessica over the next four days.
Bio: Jessica Lipnack is the CEO and co-founder of NetAge, a consultancy that provides advice, education, and ideas on virtual teams, collaboration, and organization structures. She is the co-author (with Jeffrey Stamps) of six non-fiction books on this subject, including Virtual Teams, The Age of the Network, and Networking. She has written articles and op-ed pieces for The New York Times, The Boston Globe, Seattle-Post Intelligencer, The Industry Standard, New Age Journal, Mother Earth News, and more. As a fiction writer, Jessica’s work has appeared in Ars Medica, the Global City Review, Mothering, and The Futurist. Jessica lives in Massachusetts. For more information, visit her website and blog.
Q&A with Jessica Lipnack:
Q: How did you initially become involved with story/storytelling/narrative? What attracted you to this field? What do you love about it?
A: I’m a writer. Writers tell stories regardless of genre — fiction, nonfiction, poets, business writers. I’ve been writing stories professionally since I took a job as a reporter for my hometown newspaper when I was sixteen. I worked at The Pottstown (PA) Mercury for four summers, eight-hour shifts, five or six days a week, and wrote a lot of stories. When Jeff Stamps and I started writing books for organizations (e.g., Networking, The Age of the Network, Virtual Teams), we included stories in all of them. But not just stories. After exposure to the work of Ned Hermann, we understood that people have differing cognitive preferences, different ways that they learn. Some respond most strongly to vision, some to theory, some to method, some to stories. Hermann’s approach became a design principle for our books — all four cognitive styles had to be included with every chapter. That said, we’ve begun nearly every chapter in every book with a story so as to engage people emotionally.
And, I’ve done some acting. There you learn how to connect your words, your expressions, and your gestures emotionally. Learning to act, at least in the limited way that I have, has helped with presentation skills, critical to good storytelling.
And and I’m a public speaker. By the time you’ve given a hundred speeches, you figure out what connects with audiences and what doesn’t, how to pace yourself, when to be funny, and when to be dead serious.
Q: What people or entities have been most influential to you in your story work and why?
A: Four things here:
- The best writers — or at least the ones I love, big names like Doris Lessing and Geraldine Brooks, both of whom write both fiction and nonfiction, and best-kept secrets, like Roland Merullo, who writes superb novels and superb nonfiction — have had the greatest effect on my storytelling. I’ve learned technique by reading them. The list of all who’ve influenced me could be very long but Annie Lamott’s Bird by Bird is a popular and recent book that’s been helpful; EM Forster’s Aspects of the Novel, a lecture series from long ago, is worthy of study; and Ursula Le Guin’s advice is in a category of its own for its usefulness for anyone truly committed to storytelling.
- I’ve been influenced by business people who tell good stories: an oil company executive who put his company’s one-hundred-year history on huge wall boards that he walked his colleagues around, explaining the challenges facing them; an Army general who has the authority to require senior officers to blog, which he has. These people understand the power of story — and how to reach people deep inside, where truly meaningful change transpires.
- I’ve benefited immensely from being a member of Francis Ford Coppola’s writers’ site, Zoetrope.com. Although the site is for fiction writers — including screenwriters, poets, short story writers, and, inevitably, novelists, its structure encourages writers to critique one another’s work constructively.
- My literary agents and my editors have been terrific and indispensable teachers about language and shaping big stories.
Dog's Gonna Die (Mad Men Spoiler Alert)
Wed, 03 Sep 2008 07:00:00 +0000There’s a storytelling convention in TV and movie scriptwriting that I really don’t like.
If a dog — or a cat or horse, but most often a dog — is introduced into the plot, there is a better than 50-50 chance that the animal will die as part of the story.
Occasionally this story convention works, but much of the time, it is quite gratuitous.
Because I feel particularly strong empathy with suffering pets, I immediately steel myself for the possibility that the animal will be killed off by saying (aloud): “Dog’s gonna die” as soon as I see the canine on the screen.
The most recent offense was on my beloved Mad Men. The dog isn’t actually killed, but if you let an Irish setter go outside of a Manhattan office building — even in 1962 — what are the odds? Poor Chauncey.
More on Stories and Health
Wed, 03 Sep 2008 06:00:00 +0000Here are two sites that offer slightly different takes on storytelling and health:
Healing Story Alliance is a special interest group of the National Storytelling Network that "explore[s] and promote[s] the use of storytelling in healing. Our goal for this special interest group is to share our experience and our skills, to increase our knowledge of stories and our knowledge of the best ways to use stories to inform, inspire, nurture and heal. We also wish to reach beyond our storytelling community to share with those in other service professions; therapists, clergy, health care practitioners of all kinds, anyone who can see the benefit of story as a tool for healing."
Medicine Chest is an online collection of traditional remedies and folk wisdom to do with health and healing. It aims to gather and record traditional know-how before it gets lost so it can be passed on for the benefit of future generations.
On this site you can upload your health-related tips, stories and information that come from traditional sources such as your own family. You can watch topics unfold as people discuss their own experiences alongside related scientific evidence and other relevant perspectives. Find stories here.
Q&A with a Story Guru: Molly Catron
Tue, 02 Sep 2008 07:00:00 +0000I’m delighted to initiate this series of interviews with some of the gurus of both performance and applied storytelling. First up is Molly Catron, whom I had the pleasure of hearing speak at the 2005 Golden Fleece Conference. Read more about her below.
Bio: Molly Catron left her day job in the corporate world in 2001 to become a storyteller. Like most storytellers, she felt a “calling” to tell stories aimed at uniting the heart, mind, body, and spirit. Her stories come from characters and personal experiences of childhood and as an adult. She has learned to observe life through the lens of a storyteller and can see value in the simplest encounter.
In her work as a change agent in the corporate world, Molly often uses stories to “hold up the mirror” for others to observe their behaviors and assess their values. She has a master of arts in storytelling from East Tennessee State University and is currently on the Board of Directors for the Tennessee Storytelling Association and a performing member of the Jonesborough Storytellers Guild. She lives on a farm in East Tennessee with her husband, Wayne, and is Nana to four grandchildren. See her current projects here: Current Work for Molly Catron.doc
Q&A with Molly Catron
Q: How did you initially become involved with story/storytelling/narrative?
A: I came from a family of people who told stories. I didn’t realize it at the time, but when I was faced with teaching the principles associated with some of the organizational change efforts, I found myself telling stories. The stories put the facts in an emotional context working in the 18 inches between the heart and the head where true change occurs.
Q: What attracted you to the field?
A: I had worked for years in a manufacturing environment first as a chemist and later as an organizational change agent. I had always felt out of step with my peers (chemist and engineers). Because of a large donation to the International Storytelling Center, my company was asked to partner with the center to study the use of story in business. I was known for my stories so was the natural one to be selected to lead the effort for the company. When I became engaged in the storytelling community, I found my home. I belonged with them. In one of my stories I describe them as a group of people who laugh and cried with east, who applaud difference, thought deeply and used delicious language ….and they DO NOT wear golf shirts or use sports analogies.
Q: What do you love about it?
A: I always amazed at how a powerful, yet often simple, story can reach deep within the heart of a total stranger and bring them so very, very close. You see it in their eyes and feel a resonate energy. It is that magical moment of connection that delights me and feeds my spirit.
Q: The storytelling movement seems to be growing explosively. Why now?
A: When getting my master’s in storytelling from ETSU, I remember sitting in a class and hearing Dr. Joseph Sobol say, “Anthropologists say storytellers arise when the society has lost its way.” Wow, that resonated in every part of my body. I think too often storytellers do not understand the power they hold in the spoken word…power to influence…to inform…to inspire…to change. We are needed more than ever in this society which, in my opinion, has somehow forfeited their soul in the name of progress.
Q: What is it about this moment in human history and culture that makes storytelling so resonant with so many people right now?
A: Everything was mechanized in the Industrial Age. We became “human doings.” We severed our connections. We learned to praise logic and ridicule emotions. We became like our machines…different parts operating separately at breakneck speed disregarding any interdependency. I think we long for the lost connection. We were not machines. Our emotions reflect are humanity. Without them we are cold and deep down within us, we feel the void and fill it with a lot of bad things. We want to love and be loved (warts and all). We want to share our experience with life. We need it to have meaning. Somehow, in that magical space between the teller and the listener, we feel that connection and once felt, it isn’t easily forgotten.
Q: If you could share just one piece of advice or wisdom about story/storytelling/narrative with readers, what would it be?
A: I think it is very important to find your own unique voice. Some say that stories seek out the teller to be told and I know I have experienced that feeling. If I come from an authentic place and take the journey of the artist, I will be a good vessel for the story. When I first met David Novak, he reminded me that you don’t construct a story, you grow it. It is an organic process. Some stories take form in a matter of minutes and others take years. If you rush the process, the story is not all it could have been. This was hard for me because I had been trained to produce a “product’ and usually with a deadline. I had to learn to love the process and wait patiently for the story to form first in my heart, mind, body and spirit before I could carry it out to the world with my words.
Q: You write about a model of love and grace: The body carries us. The mind teaches us. The heart warms us. The spirit inspires us.
How does story fit into that model?
A: The rest of that thought is important: When they unite we are passionate, joyful and committed. I have often added the fact that stories can take us there. I think a powerful story manages in the most magical way to work on our heart, mind, body and spirit in a beautifully choreographed dance. I have studied some brain topology and understand some of the mechanics of how story functions in our neural networks but I prefer to think of story as a wonderful return to a very basic way of balancing our human experience. Stories have always been with us but we forgot them. We stopped gathering around the fire, the quilt, the dinner table. We left to sit silently in front of some form of media. We let ourselves wither in the desert of our beloved technology.
Q: One of the workshop topics you list on your Web site is Personal Mastery, and you talk about writing personal “life scripts.” Do you believe it’s possible to change one’s life by changing its story or script?
A: I taught the Seven Habits of Highly Effective People (Covey) as part of an effort to encourage character building (personal mastery) within the company culture. As part of my certification process, I went through the painful process of writing a personal mission statement. Although, it was painful, it was one of the most beneficial things I have ever done for myself and it ultimately led to an early retirement and a change of career. I had let society write my life script and had never questioned its interpretation of my purpose and value. As part of getting the master’s, I took a postmodern psychology course and was so absolutely excited to learn about the “dominant story” we tell ourselves and how it influences our lives without our conscious knowledge. I studied the woman’s movement and realized how that movement fragmented because groups within the movement could not agree up the new dominant story for women. I think we still haven’t defined it and that contributes to all the stress for women and men. Well, anyway, that’s a whole other area of work I am interested in and that’s bringing women back together in groups to redefine our story. When we were in the red tent or gathered around a quilt, we shaped our story and supported each other in its plot but now we are apart. Women must to gather again.
Two Views on Leadership Stories
Mon, 01 Sep 2008 07:00:00 +0000Susan Scanlon writes about the Leadership Story in The Type Reporter, a newsletter about [Myers-Briggs] personality type “and how it affects you in all stages of life.”
Her husband, John, developed the concept of the Leadership Story, “a narrative that excites people about what you stand for.” John, she said, “began to discover that everyone, armed with a leadership story, can become a leader.”
Using the aspects of Myers-Briggs types, Scanlon talks about:
- Feeling: “We become leaders when we become enthusiastic about something.”
- Sensing: “The ‘defining moment’ … tells about a specific moment, with specific sights and sounds, so it lets people experience what we experienced. We can feel what they felt, and it can be a defining moment for us too.”
- Intuition: “Defining the future we want to see adds the Intuitive part to our leadership story, where we ‘see’ what isn’t there yet. It advances us from saying ‘I want to go somewhere, ’ to “I want to go THERE.’”
- Thinking: “This is the final piece to our leadership story, the Thinking piece, where we design a game plan to lead us to our goal.”
The other view of the Leadership Story comes from Katie K. Snapp, writing on the Neuroscience of Leadership on her Better-Leadership.com site. She writes:
A life story — whether we read it in a bestselling memoir or participate in it each day —contains silent assumptions and emotional scripts. Our assumptions tell us what to look for, and how to perceive and process experiences.
What about your identity as a leader in that story? Who defined it up until now? What events formed it? Were you an agent of the change or were you a victim? Change is not simple …
The good news is that we are not hard-wired for life. With new experiences, new neuronal pathways and new neural networks are formed. New highways to new communities in your brain. And, some remarkable new research shows, consistently repeating new experiences even alters gene expression. When we write a new story—and change our minds — we change our brains.
Snapp goes onto detail four principles of change, one of which is: “A new story can only occur by living in the present moment.” I have trouble with that one. The message has been coming at me from several directions — yoga class, my brush with Eckhart Tolle’s teachings this year — but I still find it a hard concept to embody.
She closes with: “The powerful use of story to examine what your leadership history leads to intention. Take control of the author in you. Rewrite what needs a change.”
I believe my life is slowly leading me in a direction in which I can impart this message to to others: Change the story, change your life.
Snapp teaches a 3-part workshop that seems similar to what I’d eventually like to teach: Reinventing Your Leadership: Using Brain Business and Mind Matters to Author Your Future.
Q&A Series Begins Tomorrow!
Mon, 01 Sep 2008 00:30:03 +0000My five-question interviews with some of the best-known folks in both applied and performance storytelling will commence Tuesday, Sept. 1.
Seventeen practitioners are featured in these Q&As: Molly Catron, Terrence Gargiulo, Jon Hansen, Loren Niemi, Gabrielle Dolan, John Caddell, Shawn Callahan, David Vanadia, Svend-Erk Engh, Sharon Lippincott, Tom Clifford, Ardath Albee, Sharon Benjamin, Carol Mon, Ron Donaldson, Jessica Lipnack, and Stephanie West Allen.
Among others who’ve agreed to participate are Annette Simmons, Christina Baldwin, Tim Sheppard, Michael Margolis, Victoria Ward, Steve Lovelace, Sally Strackbein, Thom Haller, Karen Dietz, Tim Enerata, Eric Wolf, Erin Fogarty, Rick Stone, David Drake, Nicky Fried, Cynthia Kurtz, Natalie Shell, Madelyn Blair, Lori Silverman, John Wren, and Kathleen Golden.
What is the Purpose of Storytelling?
Sun, 31 Aug 2008 07:00:00 +0000In the blog The Mythology of Humanity, “jessaslade” recently mused about the purpose of storytelling and listed:
- To achieve immortality, of deeds and for the storyteller
- To explain otherwise senseless phenomena
- To entertain/educate
- To moralize/terrify
- To beta test new versions of reality
- To exorcise* the imagination
- To land a movie deal
(*Is that really “exorcise, ” or it it “exercise?”)
It would be easy to add many items to this list, but my tendency is to go the opposite way and reduce the purposes of storytelling to just three:
- Storytelling for change
- Storytelling for identity construction
- Storytelling for sensemaking and learning
I argue that it is possible to fit any kind of storytelling into one of these three categories. Coming soon is an essay in which I defend these as the definitive storytelling categories.
The End of a Story ... and a Beginning
Sat, 30 Aug 2008 21:50:57 +0000In 1991, my mother came to visit my family in Tallahassee. The first words out of her mouth were, “Elly had her baby!” An outside observer might have thought she was talking about a mutual family friend or a relative. But she was talking about Elly Patterson, protagonist and centerpiece of the newspaper comic strip For Better or For Worse. So familiar and so much a part of our lives had the Patterson family become — not only to our family but to families all over the world — that it seemed just as natural to join in celebrating the birth of April Patterson as it did to mourn the death of the Patterson’s family dog, Farley, at a different point in the strip’s history.
Today the daily storyline of the Patterson family comes to end as Canadian cartoonist and creator of For Better of For Worse, Lynn Johnston, begins a new phase. I believe she had planned to retire altogether and the strip would run in repeats much like the late Charles Schulz’s Peanuts Classics. But Johnston instead decided to start from the beginning, re-telling the story of the Patterson family using her original, more simple drawing style (as she explains here, the current style had become too complex and required additional illustrators). She wanted to simplify. Here’s another article that explains what Johnston is doing.
As I sit here writing this, I feel tears welling up. I will truly miss the ongoing story, finding out what happens in the lives of the Pattersons. [Update: Johnston generously filled this need to know “what happens next” in her Sunday strip on Aug. 31, 2008.] On the other hand, I don’t think I started reading the strip until the two older children, Michael and Elizabeth, were preteens, so I’m looking forward to learning more of the backstory.
I also want to thank Lynn Johnston for all the years of pleasure and peak emotional moments this compelling, engrossing, warm, family story has brought me and my family. I grew up on serialized comic strips — Brenda Starr, Winnie Winkle, Gasoline Alley, Rex Morgan, MD, Mary Worth — another early indication that stories are everything to me. Not many of them are still around, or at least they are not widely syndicated, and I miss them.
It is truly amazing how much of a touching, involving story can be conveyed in four panels in a daily newspaper. Thank you, Patterson Family, and thank you, Lynn.
Identifying Your "Only-ness" as a Job-Seeker
Sat, 30 Aug 2008 07:00:00 +0000Rebecca Ruby wrote recently about the importance to nonprofit organizations of differentiating themselves, finding their “only-ness” (I think uniqueness is a better term). As often happens, I couldn’t help adapting Ruby’s formula for job-seekers (sorry it’s a little blurry; it didn’t reduce as well as I would have liked):
Then (in a Venn diagram she credits to Jim Collins of BBMG), Ruby says, think about how these three circles intersect. I’ve again adapted the diagram for the job-seeker:
And One More "About" Story I Really Like
Fri, 29 Aug 2008 07:00:00 +0000
I’ve been writing recently about telling organizational stories in “About Us” pages, but, of course, “About Me” pages, seen most often in blogs, serve a similar purpose and come off best when told in story form (which I realize this blog’s “About Kathy Hansen” really doesn’t. Must fix that).In the meantime, the About Me page of the blog an undone calm made me smile. The author is ACloudman, and I think the A stands for Anne.
Weekly Wordle
Fri, 29 Aug 2008 06:00:00 +0000Here’s this week’s A Storied Career word/tag cloud from Wordle.net:
Scholar Says Black America Needs a New Narrative
Thu, 28 Aug 2008 07:00:00 +0000The cover article of the current issue of American Scholar, published by the Phi Beta Kappa Society, carries the headline “The End of the Black American Narrative, ” with this subhead:
A new century calls for new stories grounded in the present, leaving behind the painful history of slavery and its consequences
(Not surprisingly, Barack Obama is pictured on the cover and on the Web page carrying the article, and it thus seems appropriate to publish this entry on the day Obama accepts the nomination of his party for President of the United States).
Here is how author Charles Johnson, the S. Wilson and Grace M. Pollock Professor for Excellence in English at the University of Washington, Seattle, characterizes the current black American narrative:
It is a very old narrative, one we all know quite well, and it is a tool we use, consciously or unconsciously, to interpret or to make sense of everything that has happened to black people in this country since the arrival of the first 20 Africans at the Jamestown colony in 1619. A good story always has a meaning (and sometimes layers of meaning); it also has an epistemological mission: namely, to show us something. It is an effort to make the best sense we can of the human experience, and I believe that we base our lives, actions, and judgments as often on the stories we tell ourselves about ourselves (even when they are less than empirically sound or verifiable) as we do on the severe rigor of reason. This unique black American narrative, which emphasizes the experience of victimization, is quietly in the background of every conversation we have about black people, even when it is not fully articulated or expressed. It is our starting point, our agreed-upon premise, our most important presupposition for dialogues about black America.
Johnson begins his argument by analyzing just what a story is, asking:
- How do we shape one?
- How many different forms can it take?
- What do stories tell us about our world?
- What details are necessary, and which ones are unimportant for telling it well?
- Does the story work, technically?
- And, if so, then, what does it say?
These are the questions he tells his students they must ask of a story, adding that a story must offer “a conflict that is clearly presented, one that we care about, a dilemma or disequilibrium for the protagonist that we, as readers, emotionally identify with.”
Does the black American story meet the criteria? Yes, Johnson says, it “beautifully embodies all these narrative virtues.”
Johnson builds his argument by summarizing the horrors of slavery and subsequent oppression. He calls the Civil Rights Movement “the most important and transformative domestic event in American history” after the Civil War. In sum, “The conflict of this story is first slavery, then segregation and legal disenfranchisement. The meaning of the story is group victimization, and every black person is the story’s protagonist.”
Johnson invokes the words of W.E.B. DuBois and the success of today’s prominent African-Americans (such as Obama and Oprah) to “challenge, culturally and politically, an old group narrative that fails at the beginning of this new century to capture even a fraction of our rich diversity and heterogeneity.” He critiques Louis Farrakhan and discusses a scholarly debacle in which a 19th Century black woman writer turned out to be white, “a cautionary tale for scholars and an example of how our theories, our explanatory models, and the stories we tell ourselves can blind us to the obvious, leading us to see in matters of race only what we want to see based on our desires and political agendas.”
I am vastly oversimplifying here and drastically summarizing when I’m longing to paste the whole article into this space. Bottom line: It’s an important article not only for what it says about Black Americans but for what its says about story and narrative.
And what narrative should replace the existing one? Johnson writes:
In the 21st century, we need new and better stories, new concepts, and new vocabularies and grammar based not on the past but on the dangerous, exciting, and unexplored present, with the understanding that each is, at best, a provisional reading of reality, a single phenomenological profile that one day is likely to be revised, if not completely overturned. These will be narratives that do not claim to be absolute truth, but instead more humbly present themselves as a very tentative thesis that must be tested every day in the depths of our own experience and by all the reliable evidence we have available, as limited as that might be. … These will be narratives of individuals, not groups. And is this not exactly what Martin Luther King Jr. dreamed of when he hoped a day would come when men and women were judged not by the color of their skin, but instead by their individual deeds and actions, and the content of their character?
Certainly Obama’s acceptance tonight of the presidential nomination (on the 45th anniversary of King’s “I Have a Dream” speech) is a triumph of the individual.
How's This for a Narrative Device?
Wed, 27 Aug 2008 07:00:00 +0000
No sooner had blogger “Nien” written these words:
… social media is all about the person and telling the their story. I think it’d be a trip either adapt a novel that’s told through Facebook, Youtube, Twitter, Flicker, blogs and whatever or write an entirely new novel using the same devices…
… than the above appeared on the Chicago Tribune’s headcandy, A Modern Day Romance (using Facebook’s News Feed feature as a narrative device).
Of course, about 5 billion commenters jumped on the headcandy poster to point out that the Facebook News Feed is in reverse chrono order — with the most recent items appearing first, but it was a cool idea.
feedcat.net promotes your content, measures audiences
and saving load of your server resources!
*