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annehart

How to write and design pop-up books

Books by Anne Hart.

 

Pop-up books for school children on which are the good foods to eat also can be made for grown-ups, using color copies produced on heavy paper of photographs or other art work. They make great low-cost gifts for children and teach them about familiar foods that taste good and are healthy. An example is a pop-up vegetable and fruit combination made into a happy face, animal shape, flower, or puppet figure.

One idea for a pop-up nutrition book for children: Think of the tempest created in Swift's Gulliver's Travels. For example, the war between the two countries that began over which end of a soft-boiled egg was or should be cut open first.

 

You might catch the attention of a child by asking a question such as the following one. Which end of a soft-boiled egg should be opened first? Why? Then you can follow an explanation with the pop-up surprises that make children curious, have an element of surprise, or make readers laugh while learning.

 

Pop-ups for children also can be made, including greeting card pop-ups to promote the book or rotating disks or leaves and pop-ups set in the center of the book. Three-dimensional folded paper glued into a book present the element of surprise.

 

Ideas for pop-ups include baby and wedding photos or miniature awards and diplomas. Learn what questions to ask and how to interview people for the significant moments in their life stories, and then write, publish, and bind by hand exquisitely-crafted personal gift books.

 

When you craft a book entirely by hand and bind it in fine materials also by hand, being careful to use acid-free paper, you might also wish to illustrate the book yourself. Let’s propose you’re writing a children’s pop-up book about a child who is a relative. You’re going to bind the book yourself, taking lessons from the many courses in hand book-binding already on the Internet. Here’s how to illustrate the book.

 

If you write a children's book about your child or grandchild, try illustrating your children's book yourself on silk, coarse linen, or percale. You can even use a linen handkerchief or scarf. Frequently your artwork is wrapped around a drum, that is always curved, and illustration board won't wrap around a drum without bending and cracking.

 

If you decide to publish a non-fiction children's book, which will have less chance of losing in competition for entertainment against the best-selling fiction books, focus on a how-to book giving children of middle grades or their parents in picture books, information to read to children or instruction for children in how to build or do something they can't find quickly online or in a library, such as how to build or make something that children cherish.

 

To illustrate on fabric, mount the fabric on illustration board when you put your final drawing on fabric. Silk is preferred for a final draft. The artwork gets scanned into a computer, but has to roll around on a curved surface, a drum in order to be scanned to make a children's book. That's how most publishers work. If you’re having the book privately printed, find out the size of the drum so you can adjust or reduce the fabric before it gets scanned and the size adjusted once more.

 

The top layer of the art to be scanned sometimes is set up to be peeled off. Take a sheet of illustration board and mount silk on it, or coarse linen. Sometimes illustration board is too stiff when you cover it with fabric, and it won't peel right. So use this method. Get a sheet of Mylar or matte plastic.

 

This is a type of film. Mount very fine white silk with water mixed with acrylic matte medium. I learned this method from the writings of the late Barbara Cooney, author and illustrator of more than 100 children's books and winner of the Caldecott medals and the American Book Award.

 

Cooney loved to mount the fine white silk with water and acrylic matte medium and then let it dry. The next step is to take a roller and put on a layer of diluted acrylic gesso. Then let that dry.

Sand the surface using very fine garnet paper. Cooney liked to repeat the second and third step until two to four layers of gesso were built up. What you want to get is a flexible fabric full of your illustration. Cooney described the result as an "egg-shell texture." She used titanium white in her acrylic paintings. Your color will be titanium white also.

 

Not many children's book writers know this technique of painted on mounted silk when they illustrate children's books, and publishers will be impressed with the professional technique, but in case no publisher can be found, you have an illustration for your children's book that will wrap around that drum, curving without cracking. Keep on writing and illustrating.

 

If color is too expensive for your budget, stick to black and white, and let the children color your book as they read or are read to from the text. Keep the text about one paragraph per page for a preschool book that will be read to children, and increase text for older children or illustrated gift books. When you make only one or two copies of a book that is entirely hand-made, you can do everything yourself or bring your materials to a printer.

 

To make more copies, scan into your personal computer each step of your book. Scan photos and art work at least at 300 dpi and large enough, at least 6 by 9 inches. Save text documents, for example as a Microsoft Word document. (Or use the equivalent in any other software word processing application.) Text size usually is letter size, which is 8 ½ by 11 inches. That way you can save your book to a CD or DVD with one file for photos and another for text.

 

Additionally, you can save a copy of your entire book in another file, organized with the text and photos interspersed the way you want to lay out the entire manuscript. The CD or DVD can be brought to most printers for additional copies of the book. Finally, you can bind the book in exquisite materials by hand using paper and covers that resist acid and oxidation when the book is handed to the next generation. Personal gift books also can be pop-up books for children or grown-ups using themes of significant events and experiences that are meant to me remembered and discussed.

 

Concrete Pop-Up Books

 

There are two kinds of pop-up books, concrete paper and glue that you can fold with your hands and abstract pop-up shapes saved in a computer file or on a disc. Let’s begin with making a simple concrete pop-up that is glued into a book. When the book is opened to a particular page, the folded paper opens suddenly as if it is on springs. A pop-up inserted in a memoirs gift book can be made from a paper-cut illustration or drawing.

 

Supplies Needed for Simple Paper Pop-Ups

 

You’ll need a template for scoring and cutting. You can make a template by scoring art work. Or have a printer make the template for you. If your printer isn’t able to make a template, ask your local university to recommend an engineering or art student who has studied three dimensional art, origami, or making pop-ups. A template may be made from a photograph that is reduced to the size you want and copied on a color copier. The following are the items to be assembled before beginning.

 

Template

Water colors or colorful inks

White glue that dries transparent

Paper clips

Straight edge or ruler

 

After you’ve made your illustration or had a photo color-copied to heavy paper, use the round edge of a paper clip to score little broken dots or lines so that the paper will fold along those lines you have scored. Don’t cut the scored lines. Only cut the solid lines.

 

Templates are labeled with letters of the alphabet such as A, B, C, and D. Usually templates follow a pattern such as beginning with A, which is scored and folded back. Then you fold along the dotted scored lines but not the solid lines. You’d follow through folding scored sides C and D forward. Then you’d glue the back side of the first panel to the back side of the second panel.

 

The panels would be numbered in linear order such as panel 1 and panel 2. You’d follow step-by-step in the order of the numbers or letters. Then you’d repeat for panels 3 and 4. So you’d begin logically with number 1 and end with number 4. You’d start with scored side A and end with scored side D. The folds would add up to a four-sided square. If you had a picture that folded into a pop-up with more or less sides, such as a triangle or an odd shape, you’d follow the numbers on your template.

 

Before you start to make a pop-up, the first step would be to create a template that you could score. The folds would be made on the scored lines and not on the solid lines. Your last step would be to glue your shape to the V fold so that your pop-up takes the shape you want before you glue it into your memoirs book as a centerfold pop-up or in some other spot. Before you begin, look at some instructional books on making pop-ups. They’re on the Web.

 

A pop-up photo of a couple dressed as bride and groom works well. The photo would be brought to a color copier and printed out on the type of paper that makes the best pop-ups. A history and virtual tour of pop-up books is at the University of North Texas Web site. Some pop-up books in the past contained revolving discs called ‘volvelles.’ You don’t have to use photos. You can use art work or memorabilia to pop up, if the type of paper is suitable.

 

Use “turn up” or “lift the flap” mechanisms as pop ups in your gift book. The same pop-up copied can also be put in greeting cards to promote your book. Separate leaves of paper cut to different sizes. Each leaf would contain different information. The leaves can be hinged together and attached to a page. This works great with memorabilia.

 

The reader would be able to unfold multiple depths of a picture, such as a photo cut-out wearing different costumes or clothing styles. Examples would be the bridal gown, dressed for travel, at the beach, or in ethnic traditional clothing.

 

Until the early 19th century, movable books were created for adults, and not for children. One example would be learning anatomy at school from different leaves showing bones or muscles. For further information, see the following books:

 

Haining, Peter. Movable Books: An Illustrated History. London: New English Library, 1979.

Koskelin, Susan. "The Evolution of Movable Books from the Late Thirteenth Century to the Late Twentieth." Graduate school paper, U of North Texas, 1996.

Lindberg, Sten G. "Mobiles in Books: Volvelles, Inserts, Pyramids, Divinations, and Children's Games." Trans. Willian S. Mitchell. The Private Library 3rd series 2.2 (1979) : 49-82.

Montanaro, Ann R. Pop-up and Movable Books: A Bibliography. Metuchen, N.J.: Scarecrow Press, 1993.

 

What’s the Best Way to Learn How to Make Pop-Up Books and Greeting Cards?

 

Buy several pop-up books and make a list of how these books are placed together. Then take them apart. Use your camcorder to record yourself taking the book apart. It will be easier to put them back together when you have a visual recording of what the book looked like before and during each step of the way as the book is taken apart. Making simple pop-ups for books and greeting cards is easy to learn and helps develop the use of the right hemisphere of your brain through practice.

 

Make a template or buy templates to make pop-up books from craft, hobby, and book-binding supplies do-it-yourself stores. Several good book binding supplies stores are online. Search your Internet engine, for example  Search with the key words “book binding supplies.”

 

A professor of bookbinding at the Escola d'Arts i Oficis in Barcelona wrote an excellent how-to book titled, The Complete Book of Bookbinding by Josep Cambras. The book provides precise, systematic techniques with plenty of excellent illustrations. Other books include the following:

 

· Hand Bookbinding: A Manual of Instruction by Aldren A. Watson

· The Craft of Bookbinding by Manly Banister

· More Making Books by Hand: Exploring Miniature Books, Alternative Structures, and Found Objects by Peter Thomas

· The British Library Guide to Bookbinding: History and Techniques (British Library Guides) by P. J. M. Marks

· Book Arts: Beautiful Bindings for Handmade Books by Mary Kaye Seckler

 

What’s complicated about crafting pop-up books is making gift books with moving parts. To learn how to do that, you need to talk to a paper engineer or paper folding specialist. Or take a course in making pop-up books with moving parts.

 

One excellent specialist in this field is paper engineer, Robert Sabuda. See his Web site at: http://www.robertsabuda.com/. See: How to Make Pop-Ups at: http://www.robertsabuda.com/popupbib.html.

 

Pop-Up Tutorials Online and Books on Making Pop-Ups

 

Web-based step-by-step instruction, workshop information, and a bibliography on making pop-up books are at the pop-up books author, Joan Irving’s site at: http://www.dreamscape.com/pdverhey/. Also other excellent bibliographies on making pop-up books include the following: Johnson, Paul. Pop-up Paper Engineering. Cross-curricular Activities in Design Technology, English and Art. The Falmer Press, 1992.

Beginners may enjoy the following books: Aotsu, Yoku. How to Make Pop-up Pictures! Dai-Nippon, 1993; Campbell, Jeanette R. Pop-up Animals and More! Evan-Moor, 1989; Valenta, Barbara. Pop-O-Mania. Dial Books. 1997.

 

Abstract Pop-Up Books

 

Play with Digital Pop-Up Cubes before You Fold Paper Pop-Ups

For digital pop-ups, try a pop-up cube that will appear on your computer as you create stories that give the reader a choice to move in several directions. This interactive choice is called writing in branching narratives.

 

Picture a cube or a pop-up book that snaps into three dimensions by extending the lines along the corner. Three-dimensional writing is in circular time with branching narratives ending in leaf nodes like the curving tree of life. Think of your story as a stack of cards—a metaphor used by many authoring tools.

 

1. Take a deck of blank cards and divide it into thirds—one for each part of your story. On each card, write a different beginning, middle, or ending for each part of the story.

2. Shuffle the each pile of cards so the reader can choose multiple pathways to interact within the story. Instead of linear time, you now have a three-dimensional parallel structure that goes back and forth like a time-travel novel.

3. Let the reader choose a different path, or return to the beginning to start a different story.

 

The most important rule to remember when designing an interactive story is that there are no rules. Start with a diagram and define the widest categories. Then, refine the story diagram, getting more specific as you go deeper into each story level.

Interactive writing uses metaphorical thinking to stimulate creative response. The interactive writer becomes a master of flexibility and a weaver of ideas, pictures, and sounds.

 

Practice Making Pop-Ups on Your Computer

Have a charming photo of a person in the book actually pop out in the middle of the book or at a spot where that person’s most important experience is mentioned. Before you design and cut out any folding pop-up art on paper, first make a verbal rather than a visual mock pop-up in your computer. A verbal pop-up is abstract. It’s all about writing one page in three dimensions. You have to think in three dimensions.

Your topic is “Writers wear many hats.” Write in of branching narratives. People who do this for a living are called non-linear editors.

 

A single script may incorporate several frameworks, including streaming audio narration, animation with voice-over, and montage. Other often-used frameworks—including comedy and drama—can be applied to new media presentations, as well.

The frameworks may vary from one category of facts or segment of the story to the next. In a documentary-style biography, you might include simple animation, negatives lighted from the back, artwork, photos, or a narration to bridge the transitions.

 

The completed project should flow like one piece of cloth with no seams or hanging threads—like liquid, visual music. Using a varied selection of frameworks will help keep the attention of the audience and give the writer more options to set up a mighty conclusion. Be sure the frameworks don't overpower the information with too vivid an impact.

 

You want the readers to remember the life story highlights derived from listener.

Interactive gift books on computer discs (CDs or DVDs) can be true life stories (or fiction). They use a parallel story structure. This means readers can make several choices to change the events leading to different outcomes at different times. You can adapt an event to an interactive experience. This lets the audience enter feedback or gives a choice of how the story moves or ends.

 

Writing in Caricature

Writing in caricature is the essence of great dialogue writing. No one did it better than William Shakespeare, who was a master of writing dialogue in caricature. As your audience experiences the script during its performance, your writing will leap from two-dimensional text to the three-dimensional world of your audience's imagination.

 

As you write this way, fit your dialogue into imaginary dialogue bubbles above the heads of your characters. They begin to vibrate with charisma. The goal is to give each character the ability to influence, charm, inspire, motivate, and help the audience feel important.

 

Using Humor

The more important you make the audience feel, the better chance humor has of conveying a message of value. You may use carefully chosen humor with serious topics to hold the attention of the audience and to prevent the material from become too dry, abstract, or technical. Humor works well when it reveals pitfalls to be avoided. Your ability to make an audience laugh will increase the marketability of your work.

 

Using Drama

Drama is one of the best frameworks to use. To incorporate drama into a non-fiction memoirs gift book, include an experience with subplots framed like those in one of the fiction genres such as romantic comedy, adventure, mystery, or suspense.

Ask how the inner mechanisms work. Are facts readily available?

 

Or does the book allow the leading character or narrator to share only one experience as an interlude of inserted drama? Show contrasts in a memoirs book between the frameworks of dramatization, re-enactments, and demonstration. Contrasts are what makes a personal gift book of memoirs ‘alive’ rather than ‘flat’ in tone, texture, and mood.

Writing Strategy Project Guide 

How Writers Use Pop-Up Cubes

The pop-up cube will appear as you create branching narratives. Picture a cube or a pop-up book that snaps into three dimensions by extending the lines along the corner. Three-dimensional writing is in circular time with branching narratives ending in leaf nodes like the curving tree of life. Think of your story as a stack of cards-a metaphor used by many authoring tools. 

1.         Take a deck of blank cards and divide it into thirds-one for each part of your story. On each card, write a

different beginnings, middle, or ending for each part of the story. 

2.         Shuffle the each pile of cards so the reader can choose multiple pathways to interact within the story.

Instead of linear time, you now have a three-dimensional parallel structure that goes back and forth like a time-travel novel. 

3.         Let the reader choose a different path, or return to the beginning to start a different story.  

 

The most important rule to remember when designing an interactive story is that there are no rules. Start with a diagram and define the widest categories. Then, refine the story diagram, getting more specific as you go deeper into each story level.

 

            Interactive writing uses metaphorical thinking to stimulate creative response. The interactive writer becomes a master of flexibility and a weaver of ideas, pictures, and sounds. To adapt a two-dimensional story to a nonlinear script, all you need is the flat square-the linear time.

 

            Traditional storytelling (with a beginning, middle and end) will still be a necessary skill, but it will become equally important to develop and convey a plethora of variations of the middle and end. Very linear writers will have a difficult time of it. But writers who enjoy constantly asking themselves "what if. . . " and who don't abhor the rewrite process will find themselves better off with the various new media. Scriptwriting is verbal art, whereas news writing is verbal mechanics. Humor teaches hindsight-the best framework is one's peer group caricatured online. 

 

PROJECT: 

Write in returning cycles to give the audience more choices. Create a short interactive script: 

 

            To write interactively means to write outside of structure and tradition. Write in returning cycles, in rebounding rhythms, like the seasons, the orbits, and the love handles of revolving galaxies. Don't leave unused your vital components.

 

            Interactive writing and reading is about finding unexpected connections, to voyage freely over everything that's new and to broadcast it in different channels. Find new routes and meanings, new uses for old stories, and fresh angles on the news. Work freely with preconscious metaphor, as Lawrence Kubie writes in his work, Neurotic Distortion of the Creative Process. 

 

Writing In Two Dimensions And Adapting One Medium To Another Is Directed Originality.  

 

Project: Lead Your Avatars On "Excursions." 

 

How To Do It: 

Make a list of `excursions' to be followed by comments in their margins. The excursion may be a trip into the preconscious mind of metaphor.

            As a writer, you may find ideas by rotating an object in space, turning it upside down or inside out. Look at the inside out from a new angle, and come up with fresh ideas to make it real. The writer rotates all facets of human experience in time and space to find a fresh angle.

 

            Before you can learn to think and write in three dimensions, you must to learn to write in two dimensions. Picture a square drawn on a flat sheet of paper. That's two-dimensional, linear writing. However, even when writing at the two-dimensional level, you can begin to experiment by giving choices to the reader or audience.  

 

Project: 

Move Into Nonlinear Writing As You Learn To Think In Three Dimensions:   

Nonlinear Writing 

All stories have a beginning, middle, and end that are tied to what came before and what comes after. Writing in flat, linear time-from beginning, to middle, to end-is only the beginning. In nonlinear writing, beginnings, middles, and endings are interchangeable like plug-and-play computer peripherals.

 

Project: 

Write One Page In Three Dimensions 

Use a parallel story structure to adapt a news event from the print media to a non-linear story that's interactive and lets the audience enter feedback for interactivity. Your topic is "The bottom line is that writers wear many hats in the new media. You're no longer strictly a journalist reporting the news-you're a creative scriptwriter, too." Your one page could be a script or a voice-over narration on the subject of what a non-linear editor does in the new media. The term, non-linear editor, is a new job description for writers of branching narratives. 

 

A single script may incorporate several frameworks, including streaming audio narration, animation with voice-over, and montage. Other often-used frameworks-including comedy and drama-can be applied to new media presentations, as well. 

 

The frameworks may vary from one category of facts or segment of the story to the next. In a documentary-style biography, you might include simple animation, backlit negatives, artwork, photos, or a narration to bridge the transitions. The completed project should flow like one piece of cloth with no seams or hanging threads-like liquid,  visual music.

Using a varied selection of frameworks will help keep the attention of the audience and give the writer more options to set up a mighty conclusion. Be sure the frameworks don't overpower the information with too vivid an impact. You want the audience to remember the benefits derived from listener. 

 

Project: 

Write In Caricature When You Move From News Clip To Non-Linear Story Requiring Audience Interactive Participation 

 

Writing in caricature is the essence of great dialogue writing. No one did it better than William Shakespeare, who was a master of writing dialogue in caricature.

            As your audience experiences the script during its performance, your writing will leap from two-dimensional text to the three-dimensional world of your audience's imagination. As you write this way, fit your dialogue into imaginary dialogue bubbles above the heads of your characters. they begin to vibrate with charisma. The goal is to give each character the ability to influence, charm, inspire, motivate, and help the audience feel important. 

 

Using Humor 

The more important you make the audience feel, the better chance humor has of conveying a message of value. You may use carefully chosen humor with serious topics to hold the attention of the audience and to prevent the

material from become too dry, abstract, or technical. Humor works well when it reveals pitfalls to be avoided. Your ability to make an audience laugh will increase the marketability of your script. 

Using Drama 

 

Drama is one of the best frameworks to use for non-fiction and instructional scripts-however difficult to do well. To incorporate drama into a non-fiction script, include a story with subplots framed like those in one of the fiction genres such as romantic comedy, adventure, mystery, or suspense. Ask how the inner mechanisms work. Are facts readily available?

 

            Does the script allow the leading character or narrator to share only one experience as an interlude of inserted drama in a training video? Educational scripts, sales demonstrations, documentaries, and children's programming can all benefit from contrasts shown between the frameworks of dramatization, re-enactments, and demonstration. 

 

Project: 

Develop A Corporate Case History Into An Outline For A Script 

Choosing A Marketable Topic 

If you're looking for a marketable topic, try writing a collection of case histories with a point that leads to a universal application that all businesses in that industry find valuable. Case histories sell to trade magazines. The trade magazine video and new media script is dramatically increasing, as videoconferencing grows more popular.

 

Networking, really working a room of corporate case histories is excellent material to write and sell a first script in the case where nobody hires you as a beginner, to write a script before they see what you can do first.

 

            Of all the topics that could waste your time, the least likely to remain on your shelf are timely case histories applied to lessons of foresight, insight, hindsight, forecasting, and advice of pitfalls to avoid and strategies or tips to show

how a group of entrepreneurs share "lessons learned" with those about to open their first business in a niche industry. 

 

Project: Empower Your Interactive Audience With Choices 

To Write A Premise, First Make A List Of Two Columns--One For Concrete Details And The Other To Show How To Arrive At The Universal Application. 

 

A good script will take the concrete detail and show how to arrive at the universal application. You may use this concept to write a premise in less than ten words. Write a springboard of two pages to outline your point with more detail-and finally, a formal outline that tells the beginning, middle, and end of your story.

 

            Whether the story is based on truth or imagination doesn't change its purpose of empowering the audience to make better decisions from timely information. How can I give my story commercial appeal? Write for the ear. 

 

Project: Back To Linear Writing For Internet Radio Broadcast Scripts: 

 

Linear writing is required for both radio and streaming Internet audio because the ear hears from beginning to end in a straight line. If you write your script out of order, it still must be organized to be read in linear chunks. Audio writing is conversational writing. Make sure the average ten-year-old can understand it. Read everything out loud

before you write your final draft. If it's not written solely for the ear, with sound effects instead of visual shots, it won't be clear. 

2.         Say it, don't read it.  

Write the way conversation is said, not the way a script is read. Use large type and spell out phrases like "three-feet-by-two-inches." Never write 3'x2". Never make the script reader guess what you mean. Say what you mean and mean what you say. 

3.         Write out numbers. 

Spell out numbers one through nine, but use numerals for 10 through 999. Spell out words such as `hundred' or `million'. Use numbers above 10 combined with billion-dollar worlds such as 25 billion or 60 thousand. Write out ten thousand seashells instead of 10,000 seashells. 

4.         Don't use symbols. 

Spell out names for symbols-otherwise, they may be mispronounced. Write `dollars' instead of `$' when you want to say one hundred dollars or 100 dollars. Write the full name first if you're talking about an acronym or an abbreviation, as in World Wide Web (WWW). 

5.         Write in segments. 

Audio scripts are written in segments rather than pages. The audio can be played in sixty-second segments until action takes over. Don't write audio by the page because the segment hears it. 

6.         Write the action. 

Write about the action in your story. Back the speech by text and voice, music and visuals. We learn better that which we see and hear at the same time. When text and audio are played together, it becomes a closed-captioned sequence that may be read by those without audio capability. 

7.         Write for the narrator's personality. 

Keep the narrator's personality in mind when writing an audio script. Let the narrator preview the script and offer suggestions that will make the presentation feel more natural.  

 

Video On The Web 

Project: Create An Avatar Host For Web Channel Video Broadcasting 

For Interactive Writing, Move Back With The Avatars 

            Create A Friendly Avatar Host. 

 

Avatars are the animated characters used in 3-D worlds to represent the participants and visitors to the site. On the Web, an avatar can easily become a news anchor or talk show host.

 

Create an interesting personality and animate the avatar so it is perceived as you, your alter-ego, or any other person, real or imaginary. To make the listeners feel more at ease, your avatar may say `we' rather than `I'. Your avatar will be the listener's host, guide, and guardian angel, walking the listener through the talk and talking him through the walk. 

 

            Coordinate the visual and audio effects. To make your presentation look and feel less like a Web site, combine your message with supporting sound effects, simple animation, and illustrations within your chosen framework. Be consistent. It's better for the eyes and ears to work together. 

 

Project: 

Develop A Creative Concept  

 

Explain it in a sentence of ten words or less as if it were a sales pitch to a busy producer. Brief concepts, like brief premises pitched to producers, are labeled "high concept" or "emotional arc" because the high concept idea can be summarized in a short sentence that explains the premise as the storyline of your script. For example, "Star Trek is Wagon Train in space."

 

            Use your journalism skills to write a concept as if it were a headline written by a copyeditor on a daily newspaper working rapidly to meet the time deadline.

            Practice writing "high concepts" as premises, revealing storylines in short sentences as if they were newspaper headlines. 

 

Project: 

Investigate how the computer industry is overtaking the media and entertainment industries and merging them. 

 

All media is show business. Media and entertainment are merging as investors from the computer industry pour billions into both media and entertainment and then move them closer.           

 

EXERCISE: Write a news article showing how the computer industry is moving into media and entertainment and using the same technology to stir up drama in media as it moves closer to entertainment in writing and production. 

 

Ideas To Work Into Your Exercise: 

What Do Concepts Show The Journalist Making A Transition From News To Docudrama Or Interactive Scripts?  

 

Concepts reveal a range of change or personal growth in the characters. Write dialogue in caricature to be visual. Then, separate the high concept from the broader, whole-story-based creative concept. The creative concept is like an all-encompassing net that catches the important events of the story. Think of your creative concept as a Native American Dream Catcher with feathers and beads woven into the memories and facets of your story. 

 

Projects For Moving Into Scriptwriting: 

 

What Concepts Do You Find In The Computer Trade Journals And The Business Or Computer Inserts Of Daily Newspapers That Reveal A Hidden, Investigative Story For A Script On What's Happening As The Computer Industry Moves Into Media And Entertainment? Who's Leading The Venture Capitalists? What's Happening To Link The Internet To Satellites In Space? 

Use News Facts From The Computer Industry As Larger Investors Move Into Media And Entertainment To Develop Your Exercise.  

 

Projects For Developing Creativity In The New Media: 

 

Bridge the gap between news writing and scriptwriting. Develop interactive creativity and intuition by linking investigative reporting to seeing similar patterns in very different documents. Develop creativity by seeking the hidden technology prototypes passed over by the media because it doesn't have shock value, adrenal up-drift, or startling statistics.

Or seek the hidden creative market in online sports production. Tap avatar worlds and find out how their communities interact interactively. How do they get along? 

 

Project: 

Write A Piece About How Love Or Hate Is Organized Online At Websites Or Channels. How Are Movements Organized Online? 

Project: You're writing the biography of an outgoing online sports producer or a reclusive online designer of avatar worlds and the relationships or emotions developing within their imaginary, virtual communities. What questions would you ask? You're assigned to present a 10-20-minute docudrama for a Web broadcasting network.

Develop a set of questions and locate someone to interview that fits the description of the producer or designer. Interview the person selected and develop a 10-20 minute biography showcasing the work.

 

If you can give your son or daughter only one gift, let it be enthusiasm.” __ Bruce Barton