Using examples of compelling visual & interactive techniques in print & online, Sara Quinn offers tips on concept, craft and collaboration.

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Storytelling lessons from Budweiser puppy commercial

Budweiser strikes again.

Once again, with the help of a puppy, the beer maker created another viral commercial. Earlier this year, it aired a Super Bowl commercial titled “Puppy Love” that I deconstructed for Poynter.org readers.

The new ad, “Friends are Waiting” comes with this cutline:

Next time you go out, be sure to make a plan to get home safely. Your friends are counting on you. Enjoy Budweiser responsibly. #FriendsAreWaiting

Watch the ad then let’s pull it apart to see what video storytelling lessons we can adapt to news writing:

The story uses a story frame I call:
Once Upon a Time — Suddenly — Fortunately — As it turns out

The playful pup falls in love with the man and the man adores the dog.
There are some interesting tensions along the way. The dog runs away with the leash, he chews on a shoe and at nine seconds in, even when the man is sick, the dog is there on the sofa comforting him. In just nine seconds, the story builds the relationship.

At 10 seconds we get the first hint this is a beer commercial. A beer bottle is sitting on the table next to a generic peanut butter jar. The bottle foreshadows something in the story.

At 15 seconds we get a second foreshadowing when the man walks down a pier and there is a towel on a chair, a towel with a Budweiser logo on it. Then again at 19 seconds everybody is gathered around the campfire drinking beer — all Budweisers.

At 20 seconds you see the people walking out of the house with a six-pack. Notice the panting sound of the dog. It is the first time you hear the dog in the whole spot. It is a sound of anxiety. It is a tension.
Then the commercial adds an action-reaction sequence. The people walk about, the dog is depressed.

He watches, then he waits, watches, waits.

The spot makes artistic use of lighting as the dog sniffs an old toy lying in a patch of light. The light of a passing car alerts him, but it is a false alarm, it is another tension builder.

At 33 seconds the night is gone, it is daylight outside the windows. At 35 seconds, once again, the dog makes a sound, a whimper.

The video goes to a white font over black background. The lyrics are replaced by soft guitar. It appears the story is over.

At 44 seconds the lyrics come back, the keys unlock the door, the dog comes back to full alert and at 47 seconds the dog makes his third sound as the master explains what happened and apologizes.

Notice that once the explosion of action occurs, the story ends quickly. That’s the best way to tell emotional stories. Don’t drag it out.

Think of this story frame as:

  • Tension
  • Context
  • Explosion of Action

The context of the story is that when you leave home to party, somebody is counting on you to be responsible and come home safety. The dog is a great choice for this ad because we all want the dog to be happy. A cat wouldn’t care.

We can learn some much about news writing from watching, listening to and reading great stories of all kinds. Short stories like commercials are especially useful models to study because they are short, like most news stories. This spot never wastes my time, builds emotions and connections quickly, makes a clear solid point and leads to a resolution. We don’t know the dog’s name or the man’s name because we didn’t need to. The production is subtle and never competes with the message. The natural sound punctuates the story. Seemingly small things like lighting are not small.

The commercial also drills down on what I call story motivators. I think there are eight key motivators for storytellers to attach to their stories:

  1. Money
  2. Family
  3. Health
  4. Safety
  5. Community
  6. Moral Outrage
  7. Curiosity
  8. Social Trending

I bet that some will see a moral outrage in this commercial that goes something like, “How could he be out drinking while his poor dog has to wait to go outside and relieve himself?” But the more sure-fire motivators for this story are family and safety. REMEMBER: The more motivators you can use, the wider your audience will be. Read more

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Wednesday, Aug. 13, 2014

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Reporting under fire: CNN’s Ivan Watson stays calm

Photo courtesy CNN

Photo courtesy CNN

In the months ahead, as I show journalists examples of excellent reporting, I will use a story that CNN’s senior international correspondent Ivan Watson filed this week.

Watson and his CNN crew flew in a helicopter with the Iraqi air force and fighters with the Kurdish peshmerga to drop supplies and rescue 20 or so Iraqis from Mount Sinjar, where they had fled attacks from the Sunni extremists of the Islamic State in Iraq and Syria.

“We landed on several short occasions, and that’s where — amid this explosion of dust and chaos — these desperate civilians came racing towards the helicopter, throwing their children on board the aircraft. The crew was just trying to pull up as many people as possible,” Watson said.

Watson said in his story he worried that some of the boxes the crew had tossed out may have hit some of the rushing crowd.

Tuesday, a day after Watson’s flight, New York Times journalist Alissa Rubin, Read more

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Monday, June 16, 2014

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Advice on publishing graphic photos from Iraq

It’s just a matter of time.

That’s what I told a Kalish Visual Editing workshop on the campus of Ball State University just last week. I told the group that it was a matter of time before they were forced to make a decision on a graphic photograph and they needed to be prepared to defend their decision. Read more

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Thursday, Oct. 31, 2013

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Tips for Storytellers: How to make photos better

As a designer and editor, my projects have been made infinitely better because I’ve worked with stellar photojournalists. They’ve patiently schooled me on the importance of capturing the moment, finding the best light and thinking about composition. Here are a few tips. Part of a series of graphics with tips for storytellers, think of this as bite-sized inspiration. Next Friday: How to create your online portfolio and personal brand.

Quinn-fo-graphics: How to make photos better

For a PDF: Quinn-fo-graphics: How to make photos better

Related: How to make the most of your tweets | How to get your video right |
How to polish your writing Read more

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Thursday, Oct. 24, 2013

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Tips for Storytellers: How to polish your writing

Lucky me. My office is two doors down from one of the world’s best writing coaches. I go to Roy Peter Clark often when writer’s block hits me. Here, you’ll find a few particularly helpful tips. Part of a series of graphics with tips for storytellers, think of this as bite-sized inspiration. Next Friday: How to make your photos better.

Poynter Quinn-fo-graphic: Polish your writing
Poynter Quinn-fo-graphic: Polish your writing

For a PDF: Poynter Quinn-fo-graphic: How to polish your writing

Related: How to make the most of your tweets | How to shoot great video Read more

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Thursday, Oct. 17, 2013

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Tips for Storytellers: Get your video right

If you never trained for video, here are a few basic tips from Regina McCombs, senior editor for visual news at Minnesota Public Radio and Poynter adjunct faculty.

Part of a series of graphics with tips for storytellers, this infographic can be thought of as bite-sized inspiration.

Last Monday: How to make the most of your tweets Next Friday: Tips for polishing your writing, with Roy Peter Clark and others
Poynter Quinn-fo-graphics: Get your video right

For a PDF: Poynter Quinn-fo-graphics: Get your video right

Related training: Effective News Videos with Videolicious: A Digital Tools Tutorial, Oct. 30 | Key Elements to Compelling Video Storytelling, on-demand Webinar replay Read more

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Saturday, Oct. 12, 2013

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Tips for Storytellers: How to make the most of your tweets

My Grandma Helfrey was a master storyteller, using voices and just the right sense of humor. Over the years at Poynter, I’ve met a host of great storytellers and I’ve loved seeing them perfect the tools of their trade—for writing, audio, video, photography, graphics, social media and more.

To summarize a few of the ideas that have stuck with me, I’ve created a series of graphics with tips for storytellers. Think of it as bite-sized inspiration. Here’s the first one: How to make the most of your tweets. On Friday: Tips for great video, with Regina McCombs and others.

Poynter Tips for Storyteller: How to Make the Most of Your Tweets by Sara Quinn
Poynter Tips for Storyteller: How to Make the Most of Your Tweets by Sara Quinn

For a PDF: Tips for Storytellers: How to make the most of your tweets Read more

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Thursday, Aug. 15, 2013

Group of young people in training course

8 tips for training, hiring young newsroom designers

Tracy Collins hired 40 of the 63 designers on his staff in one fell swoop last summer, getting many of his new employees directly out of college.

They joined him at Gannett’s Phoenix Design Studio, where an average of 14,000 pages are produced each week for nine daily newspapers.

Tracy Collins

That’s a heck of a lot of pages, and a pretty young staff.

The Phoenix studio is one of five U.S. design centers that produce Gannett papers — the others are Nashville, Tenn.; Des Moines, Iowa; Asbury Park, N.J.; and Louisville, Ky. This hub system for design is becoming more common as news organizations downsize, consolidate and seek more bang for their buck—Cox Media, McClatchy, and Media General have all pursued similar strategies.

The conversion hasn’t been pain-free for Gannett, Collins said in an in-person interview. But design directors like him continue to fine-tune the process, seeking coaching strategies that will develop their designers’ skills quickly by offering them regular feedback in highly visible ways. In Collins’ case, that means giving the designers a forum to talk about what they’re doing and constantly raising the bar for what he expects.

“The young designers might have worked on their school paper, doing three pages each issue,” said Collins. “Now, they come in at night and have 20 or more pages to design and watch over. That’s a big load.”

It’s also an accelerated learning curve.

“We used to hire some entry-level people and say, ‘Guess what? For the next 18 months, you’re doing inside pages until we slowly groom you to be a cover designer,’ ” Collins said. “Now, some of these folks are on the job six weeks and they’re doing Page A1.”

The huge influx of hires was needed to meet Gannett’s schedule of moving the design of nine papers to Phoenix over eight months last year. The company offered jobs to designers at the individual newspapers, but only a few chose to make the move to Phoenix. So Collins went on recruiting missions to universities.

“I called in every favor from university professors that I had helped in the past, saying, ‘Who could you send me?’ ” he recalled.

Collins said that “we were really short of folks for a long time – until school let out for the summer. Most of our new staffers joined us in June and July.”

The arrival of the new designers came as a reprieve for the existing Phoenix staffers, many of whom had been working seven days a week.

“I often joke with the young staffers here, saying that they won the lottery,” said Collins. “They had people fawning over their skills – even if their skills maybe weren’t as advanced as what we would have considered five years ago. But they are coming right along.”

Here are principles from Collins for training, feedback and team-building:

1. Showcase good work.

Collins started a weekly newsletter for the studio to help the designers understand what was expected and see good work. For the newsletter, he selected a few pages that really stood out and wrote about why they worked. (See examples below.) “I wanted to show a standard so that people could understand what they could aspire to,” he said. “I would hear people all excited, saying ‘Oh, I made the newsletter with my page.’ ”

The studio newsletter comes out once a week.

2. Set clear standards.

Collins worked with other Gannett design directors to create standards for each group to follow, while making sure that papers in different cities kept their own design identities.

“A paper in St. George, Utah, did not want to look like a paper in Jersey City,” Collins said.

Working together, the design directors created a stylebook that standardized the smaller typographic elements (14 points of type and below), while allowing individual papers choices about larger type elements. Those larger elements give papers a chance to be “a bold, black sans-serif newspaper or a laid-back, serif-type newspaper,” Collins said. Next, he added, design tweaks are made “once papers come into the design studio to strengthen them and to try to best reflect the local community.”

The front-end system used by the design studios has also been retooled to meet production needs. “If I am working in Salem, there is a tag on the story that will set it up in Salem’s design,” said Collins. “If the story is to be shared with the Palm Springs paper, a different tag will convert it to their style.”

3. Raise the bar.

As his designers’ skills improved, “the critique part of the newsletter was almost becoming too unwieldy, because I could pick 45 or 50 pages that had met the bar where we had initially set it,” Collins said.

The answer: raise the bar. When Collins did that, the number of pages dropped to 15 or so per issue. This was good.

Raising the bar meant clearly defining what designers had to do to meet Collins’ new expectations — a design had to be not just a really good idea, but also a capable execution of details.

“It’s not just that you built a good package with a nice piece of art and clean typography, for example, but how the alignments in the package have been fine-tuned,” Collins said.

He began to feature pages that were relatively close to the bar and might have been singled out for praise in the newsletter six months ago. This time, Collins pointed out little details that would have made those pages better.

“I really dissect these pages and I probably go on ad nauseum,” said Collins. “I think all of [the designers] must think that I’m immensely anal-retentive. But I am also starting to see people pay really close attention to detail and to alignment and to organizing their page designs.”

4. Push planning and conversation.

“We sometimes have to force the conversation a bit,” Collins said. “I’ve had to ask some newspapers to institute Sunday enterprise meetings, for example, where they could then invite the designers or the creative directors to talk about how we might be able to put together a more successful package.”

There are drawbacks to the long-distance relationships among the newspapers. Collins sometimes misses the chance for face-to-face collaboration, especially when he recalls  photo discussions where everyone was able to gather around a table covered with pictures.

“It can be difficult to teach young designers about how a photo can and should be treated—especially when they can’t be in conversations with photo editors,” said Collins. “In many cases, the time for conversation is limited. The photo directors at the newspapers are also out shooting photos.”

To bridge such distances, Collins said that “we occasionally use Skype. Not all of the newsrooms are set up for it yet — it’s part of our learning curve. But there is a real value in being able to hold up a picture and talk about it within the context of a design.”

Advance planning has become a priority for Collins this year.

“We try to send out examples,” he said. “Saying, ‘This is how we worked as a result of the conversation and this is what we got as a result. We would like to do that more often with you.’ ”

For example, Collins noted that Josh Awtry, editor of The Coloradoan in Ft. Collins, Colo., comes from a really strong visual background, and his planning reflects that background, leading to better results that Phoenix is now trying to replicate.

“I have had other editors in our group call and say, ‘I want what they are getting,’ ” Collins said. “So, we start to reverse-engineer the process, to show people how it happens.”

5. Encourage honest, collaborative feedback.

Collins’ tips in the newsletter are pragmatic and conversational, going into detail, giving real examples and encouraging people to be honest with each other. Here’s some practical advice from a March newsletters about what doesn’t work:

Working with people too busy or too polite or too chummy to tell you when something sucks. We are a collegial bunch. And I like that a lot. But you owe it to your friends/co-workers to tell them if something sucks, or even just doesn’t work clearly. It’s for their benefit. For the good of the studio as a whole. Wrong answer: “Cool. Let’s go get coffee.” Right answer: Honesty. Even if it works, tell them why. That part helps you both.

He also calls on designers to share their processes and secrets of successful pages that make it into the newsletter.

6. Share advice and reward excellence.

Collins was determined to find interesting ways to pass along the best advice he received when he was just getting started, and that helped shape his career.

He instituted a monthly contest for designers, naming the awards after three people from whom he had learned a great deal: The Mario award is named for Mario Garcia; the Rodrigo is for Rodrigo Sanchez, creative director of El Mundo’s magazines; and the Zeffer is named after Joe Zeff.

Collins recalled a critique that Garcia gave him in 1994 at the American Press Institute: “Mario said, ‘There’s nothing here that’s going to knock your socks off in the design. But the design works perfectly with the story that had to be told, because it paces the reader through the story.’ And I thought, Yes! We actually thought about that when we were doing it.”

Garcia used the example as a lesson that design needs to be such an integral part of the storytelling that it’s seamless to the reader, Collins said.

“That meant so much,” he said, adding that “I have cited this so many times to my staff. It was one of the most influential moments in my career and it gave me a true north compass in trying to develop as a designer.”

At Collins’ request, Garcia composed a letter of congratulations to the winner of the first award,. Photos of the three influential designers are posted prominently in the Phoenix studio, and winners also get gift cards and a trophy.

7. Be specific.

Collins’ monthly awards go beyond mere recognition, telling the winners — and those reading — why their work was singled out.

Here’s an example from the March newsletter:

NEWS/SPORTS: Amy King had a run of terrific Page A1s for The Republic, ranging from daily A1s with breaking news (immigration plan from Capitol Hill), Sunday enterprise (the forgiving father; butterfly disease) and even secondary enterprise (the ideas that led to legislation for Arizona). Inventive typography, fun illustration, visual drama, well executed.

Runner-up: Také Uda did some strong work for Sunday and weekend editions for Reno, Visalia and Great Falls, using bold, smart presentation to sell strong enterprise work that didn’t always lend itself to great art. The key was connecting to the content (sometimes asking for key information to be broken out so he could add visual pop to the covers) and then connecting readers to that content.

BEHIND THE SCENES/INNOVATION: Given the difficulty of finding consistency in the wire workflow in 2012 as we were bringing in papers of all sizes (and the company’s wire initiative was shifting in definition), by December things were admittedly a mess. We began redefining the workflow and in February, Jodie Lau did a lot of the hard work in putting the new workflows into place — from breaking bad news to newsrooms to training them to the changes. All while juggling the loss of a key member of her team. But the hard work has been rewarded in the new workflows.

8. Hire carefully

In hiring, Collins said he looks for two things that might be the hardest elements to teach young designers: “anal-retentiveness when it comes to detail, and great typography. Those are the things that people can’t fake very well.”

“I see a lot of portfolios where I think ‘Wow, I actually know the design that you copied that from,’ ” Collins said. For student work that’s OK to a certain degree, he said, noting that inspiration comes from many sources.

“But if I don’t see typographical skills throughout their portfolio, that’s a very telling thing,” he said. “If you don’t have the propensity to do it on your own, you probably won’t be easy to teach. And if type is an afterthought in your design, then that worries me.”

He also looks for what he calls the “design-studio personality” — someone who is collaborative and will work well with both colleagues in Phoenix and with newspaper staffers over long distances.

As the teaching process continues at Gannett, the demands have been raised for designers to understand the story that’s being told and to be able to pull out and design the pertinent information, said Collins.

“We definitely have folks who understand how to interpret data and layer information,” he said. “We’re working on strong visual journalism. We lean on that kind of storytelling being integrated in the design.”

* * *

Here’s a look at three pages Collins has discussed in recent newsletters, with an eye toward what worked, what didn’t and what he’s trying to teach:

A tip from Collins, as passed along in the newsletter: “ISSUE: A bad break in an art head is still a bad break. A bad break, for those of you who haven’t done much headline writing, is when you split words across two lines that need to stay together. As you read this headline with words that need to be together, it’s ‘Tyson pulls’ and ‘no punches.’ You need to design your art heads in a way that they don’t create bad breaks.
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Wednesday, July 24, 2013

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How the National Post’s Gary Clement turns tweets into illustrated stories

Illustrator Gary Clement has a social media fling going this summer with readers of Canada’s National Post.

Each week, he tweets out a question using the hashtag #npsummer, then draws full-page cartoons to immortalize the readers’ replies. From summer romance and backyard barbecues to mishaps on camping trips and in summer school, he’s getting the skinny on his audience — 140 characters at a time.

Gary Clement

“I did one cartoon about summer jobs — that’s probably been the funniest one so far. I sort of ended up with drawings that gave people job tips,” he said by phone. “Job tips from a cartoonist — that’s funny. What do I know about working?”

“My theory was that people tweet sort of indiscriminately. I thought, why don’t I ask people for little bits of stories, and I will stitch them into some rich tapestry? Turns out, it’s a lot harder than I thought.”

But he appreciates their contributions, just the same. Connecting with readers on social media is a primary goal, Clement said. The National Post helps spread the word by retweeting his tweets.

 

Clement, who recently started tweeting, says he tweets out his queries once or twice a day and gets about 20 replies to each question.

Interestingly, he has noticed a bigger flurry of Twitter activity about the questions after his cartoons have been published in the paper.

“People seem to be excited about the fact that their tweet has made it into a printed paper. … That’s like the real validation,” he said. “One young woman tweeted that her grandmother called to say, ‘Did you know that you’ve made it into print?’”

The idea for Clement’s summer Twitter feature came up over what he calls his annual ‘What are you going to do for the summer?” lunch discussion with his editor, Steve Meurice, who came up with the summer project idea.

Clement works from home, most often working on newsier projects for the Post, with illustrated features like the Week in Review. His topics might include the search for Edward Snowden, elections in Iran or the threat of nuclear missiles in the Middle East.

But his summer projects are different. His pursuits for humor have taken him to London and Beijing for the Olympic games and criss-crossing the back roads of Canada. Other projects have been illustrating summer “staycations” to chronicle things like a house painting project, a summer book club and the random trip to the barber.

“I just basically report on my adventures, and make clever or cynical and sarcastic remarks about what happened,” he said.

“My strength happens to be narrative and storytelling,” Clement said. “I use the same skill set if I am doing a cartoon, or one of those longer, more narrative, newsier pieces. I am thinking and trying to communicate an idea. … I can switch from news topics to this Twitter project, which is more lifestyle. It’s all using the same part of the brain, I think.”

Ken Whyte, the first editor-in-chief of the National Post when the paper launched in 1998, hired Clement.

“As an illustrator, I had been freelancing a fair bit for The New York Times doing drawings for the Op-eEd page and for The Wall Street Journal,” said Clement, who has also illustrated children’s books. “I think (Whyte) figured I had the skill set of being able to interpret news and other people’s editorials. The difference with my position at the National Post being that I now offer my own opinion as opposed to trying to reflect somebody else’s opinion in an illustration.”

Clement explained his process for creating cartoons, saying, “I sit on the couch and I think. I sit with my sketchbook and I think some more. The largest portion of the afternoon is spent in the concept stage. To me, that’s the most important part of what I do.”

Clement says it’s less about drawing and more about coming up with exactly the right idea, with the right combination of humor and cynicism. The trick of the job is to “find the thing that relates the issue in the briefest and most concise way,” he said.

“I look for a story people will know — that’s not going to require a lot of explanatory preamble,” he said. “I want you to look at it and know exactly what it’s about, what it means and why it’s funny — or not funny, or whatever. … That takes hours of sitting on a couch, thinking and sketching and doodling and scratching out little ideas.”

And, this summer, hoping for an inspirational tweet.

Here are some examples of Clement’s work:

A sample of one of Clement’s cartoons.
Clement says the best tweets he has gotten have included an unfortunate turn of events. “It’s like the old Tolstoy thing—unhappy things make stories more interesting.”
The National Post’s Week in Review cartoon boils current events down to simple, one shot ideas.
The headline on this National Post cartoon: Clement on North Korea’s march to war.
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Friday, July 12, 2013

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How The Verge used visuals to tell the delicate story of a face transplant

The ordeal of a woman who received a total face transplant is hard for an audience to fathom without seeing it. But Verge science editor Katie Drummond had a challenge beyond potentially making some readers squeamish: how to tell the story with the care and respect Carmen Tarleton deserved.

45-year-old Carmen Tarleton worked as a registered nurse in Thetford, Vt., before she was attacked by her husband in 2007. She has two daughters, Hannah and Liza.

Tarleton’s ex-husband attacked her with lye and a baseball bat in 2007, and media coverage afterward upset her because it prefaced stories with disclaimers like “‘warning, this footage is graphic and may disturb some viewers,’” Drummond wrote in an e-mail to Poynter.

That horrified Tarleton, Drummond wrote. “The idea that her own face was being treated as if she was some kind of monster, or that her disfigurement made her somehow less human.”

Drummond and the editors at The Verge wanted to respect Tarleton’s feelings.

“When you’re telling the intimate story of someone who’s been through such inconceivable challenges,” said Drummond. “It becomes even more important to accurately and sensitively capture who they are and what they’ve been through.”

The Verge decided to tell the story through Drummond’s text, sensitively rendered illustrations and a mesmerizing video interview with Tarleton created by Sam Thonis and Stephen Greenwood after her surgery.

Tarleton had agreed to the television interviews back in 2007, said Drummond, but she had lost her vision in the attack, “so had absolutely no idea what her face looked like.”

Her interview with The Verge is juxtaposed with photos of Tarleton as a beautiful young woman and with images of Cheryl Denelli-Righter, a stroke victim who became the donor of her new face.

Seeing and hearing Tarleton tell her own story gives a clear view of her courageousness that would be otherwise tough to comprehend.

After the surgery, she invited Denelli-Righter’s daughter Marinda Righter to touch her mother’s face, now her own. Her mother “is still here, because I have her face,” said Tarleton in the video. “I can’t help but think… I could just go up to Vermont and give my mom’s face a kiss,” Righter told Drummond.

Tarleton’s speech is still difficult to understand because of the surgery and will be on the long recovery ahead, but the former registered nurse is frank and articulate. She’s currently learning to play piano and dating her instructor.

The story’s lead image is a drawing of two faces coming together as one.

Katie Scott created the illustrations for the story, including this conceptual image.

“We wanted to work with someone who had a scientific touch to their drawings but wasn’t necessarily an anatomical illustrator,” said Verge art director James Chae, who commissioned illustrator Katie Scott.

Drawings throughout the presentation help to tie together other concepts visually, like the tricky surgical procedure, potential risks and illnesses, the long-term need for medication and the possible loss of personal identity.

The Verge crew worked closely together to tell the complicated story that had to come together in one package. “I feel we are given a lot of license to be the author and really tell a story,” Chae said in a telephone interview. “The word is thrown around a lot, but here at The Verge, it is a really intimate collaboration. Everyone has input.”

“We all felt as if we were telling a story that was … the unbelievable ability of a face transplant to profoundly change someone’s life,” said Drummond.

It was important that readers be exposed to both the before and the after in images and video, she said, “because we really wanted to convey what this woman endured and what this surgery accomplished.”

A reader expressed shock when he first saw the image in the story of Tarleton before surgery, said Drummond. Then he finished the story and watched the video. “When (he) went back to that image,” she said, “it was much less jarring — [he] just saw a woman. I really appreciated hearing that, and I think it gets at what we were trying to convey … Carmen is ‘just a woman,’ albeit an incredible one who overcame incredible odds—and we hoped readers would see that.” Read more

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