Experiences in my life always lead me to some better understanding about myself or the world around me. Being a judge in the online category of the National Press Photographers Association Best of Photojournalism competition was no different.
It was interesting to see the work being done out there, and I learned something new about online storytelling from each entry. There were good things and not so good things, but each had important lessons for anyone, including me, who produces multimedia packages.
The presentations we saw included some or all of these mediums -– still photography, audio (music or atmosphere), and narrative audio, video, and animation.
(All the winners of the Best of Photojournalism competition are now posted on Poynter Online.)
From my experiences, I offer you some tips for online storytelling. Since this is a time of exploration and experimentation, I hope you will share your experiences, good and bad, in our forum.
Plan
Whatever your title may be — producer, designer, content editor, photographer, multimedia editor, or online editor — you’re in charge of making a project great. In an ideal world, you would be involved in the planning process from day one, working hand-in-hand with the print side to devise a plan that will work in both mediums. This is what you want to strive for.
In the meantime, it’s likely that you will see something that was produced for the paper that would be a good online piece, or an editor will stop by and say something like, “Hey, why don’t you see what you can do with this for the website.”
So, where do you start? With a plan and a vision for telling the story online.
Storytelling on the Web has a different set of needs than storytelling in print. It’s not enough to simply pour print content in to your website. Having a well-thought-out plan or blueprint for how the story will work online as a cohesive unit is key.
Ask yourself:
· What is my timeframe?
· What do I need to do differently to adapt it to a reader-friendly Web format?
· Do I want the experience to be interactive or passive?
· Would the addition of audio or video add an element of understanding that print can’t?
· This 120-inch story won’t work in this format, so how can I get it into a form that will?
· The photos are amazing. How can I use these with more impact and go beyond the simple slideshow approach? Or, how can they be edited down and still tell a complete story?
· Who are the best people to produce it (it may only be you), and what technology will be necessary?
I’m sure you could add more to this list, but once you’ve answered some basic questions you can begin to map out the project and set deadlines for production.
Execute
Your plan is in place. If you are creating something entirely new you’ll need to work on the look and feel of your template(s), and on how the user will navigate. Your template design should be based on structure and functionality; don’t get too bogged down in technology. Keep it simple. You have already mapped out the project and know what your needs are.
Plan for the future by creating a template design that can be a base for most of your projects. This keeps you from reinventing the wheel over and over, and you won’t have to worry about technology issues because you already know it works. Your navigational structure and branding will be consistent, and users won’t have to figure out how to navigate a project every time they visit. The New York Times’ multimedia projects are an excellent example of how to use templates. The navigation is consistent, and the look and feel project the Times’ brand.
Think of your design in layers. You have a background layer. The next layer might be branding (your logo) and navigation. These are elements that are stationary, and should never change.
Navigation should be obvious and consistent throughout. Make it easy to use. Give users some idea where they are and where they have been. Always, always have a way to turn off audio or skip intro items. Leave off unnecessary doo-dads or junk jewelry that only get in the way. Keep the focus on the story.
Keep the typography simple by sticking to classic typefaces or stick to your paper’s standards for type in print. Use display type in black or white unless color will add something to the story.
Choose a color palette that complements your content. Color is a tool that moves the eye and frames the content. It should not be loud and overbearing.
Don’t do things just because you can. Type doesn’t need to fly in, spin, or make noises. Make certain that whatever you add helps tell the story and isn’t just decoration. If you say, “Ooh, that’s so cool,” to yourself, that might be a clue that whatever you just did may not have anything to do with the content.
Evaluate
The project is finished and online. But it’s not complete until you do a post-mortem. Gather a quick meeting of the minds and discuss what worked well, and what you could improve next time. This should be done in the spirit of learning and positive motivation. Most of all, thank people for a job well done and give yourself a pat on the back.
If you have an experience that will help others, I invite you to write a column for The Design Desk.
Resources:
• The Elements of Digital Storytelling
• Small Initiatives
• The Musarium
