Assignment Prompt & Instructions
[>Anatomy homework help](https://www.sweetstudy.com/fields/biology-anatomy)
– 2 years ago
**files (4)**
– ## 190.docx
– ## Comm190_wk3.pdf
– ## Comm190_wk41.pdf
– Comm190_Week5.pdf
**## 190.docx**
Outline
The final can be on any topic related to the course. You can choose any course-related methodology to explore it. You will
**conduct research** on a subject pertaining to life stories and personal narratives –
**collect data** (primary and/or secondary sources) and
**analyze that data** using one or multiple chosen theoretical framework (i.e., discourse analysis, structural analysis, feminist analysis, etc.). You can work individually or with a partner.
The final can take the form of either a:
1. 10-12 page paper (+ bibliography) OR
2. Edited media project (e.g., video narrative, podcast, short graphic personal story, etc.)
**+** a 3-page paper analyzing and explaining your work.
1.I'm working alone
2.option1
3.My topic will be related to something like memoirs & autobiographies to a person in my life
4.I'm definitely gonna interview that person also viewing his/her online platform
5. Examining how an autobiography reconstructs the past, how trauma is narrated, and cultural memory's role in personal stories.
6.It's interesting because they offer unique insights into how people construct their identities, remember the past.
What do u need to do
Create a detailed outline of your final project that describes the elements of your paper/media. This outline should help you organize your thoughts and create the structure for your paper/project, in addition to helping you plan next steps to complete the final.
For Option A: Paper, you must include at least 2 citations from course texts (i.e., on syllabus, used in class) and at least 3 topic-specific sources not from syllabus.
I will attached the textbook for this course
**## Comm190_wk3.pdf**
C O M M 1 9 0
Week 3
F I N A L P R O J E C T P R O P O S A L :
N O W D U E T O W E E K 5
L I F E S T O R I E S
v We think and speak in story form & bring meaning to our lives through stories.
v Traditionally, stories carries on traditions, customs, rituals.
v Narrative structures help us remember how things took place.
v Life stories give us direction, validates experiences, restores values to living, & strengths community
bonds.
v Functions of Life Stories:
o Guide psychological development of one’s life course
o Affirm, validate relationships; enforce norms & moral order
o Have affective & reflexive quality
o Create a worldview
L I F E S T O R Y I N T E R V I E W
A qualitative research method for gathering info on subjective essence of a
person’s entire life that is transferable across disciplines (i.e., many ways to
analyze).
Interviewee is storyteller and narrator of his/her own life.
Goal is to give interviewee opportunity to tell their story their way.
L I F E S T O R Y
( I N T E R V I E W )
C A S E S T U D Y :
S T O R Y C O R P S
[https://www.youtube.com/watch?v=K30r974ol74](https://www.youtube.com/watch?v=K30r974ol74)
L I F E S T O R Y I N T E R V I E W
C A S E S T U D Y : S T O R Y C O R P S
How might hearing a collection of personal stories from different people influence the way we
view community, identity, or belonging?
“StoryCorps is the leading organization dedicated to preserving and sharing the stories of the
American experience.” How does StoryCorps represent the “American experience”?
• “Traditional” Interview
Example
• Interview Excerpt
Example
Example Animated
• Conversational Interview
Example
• Collective Storytelling
Example
[https://archive.storycorps.org/interviews/juliet-henderson/](https://archive.storycorps.org/interviews/juliet-henderson/)
[https://storycorps.org/stories/juliet-jegasothy-and-sheena-jacob/](https://storycorps.org/stories/juliet-jegasothy-and-sheena-jacob/)
[https://www.youtube.com/watch?v=v_oNDAoX4bo](https://www.youtube.com/watch?v=v_oNDAoX4bo)
[https://storycorps.org/animation/wane-and-alton/](https://storycorps.org/animation/wane-and-alton/)
[https://storycorps.org/stories/he-knew-shed-be-the-love-of-his-life-but-he-needed-an-opening-line/](https://storycorps.org/stories/he-knew-shed-be-the-love-of-his-life-but-he-needed-an-opening-line/)
H O W T O H A V E A G R E A T C O N V E R S A T I O N :
S T O R Y C O R P S I N T E R V I E W T I P S
I N – C L A S S A C T I V I T Y
• Option 1
Archival Research: Explore the StoryCorp.org website, watch/listen to stories. Answer questions and write
reflection.
• Option 2
Life Story Interview: Record a StoryCorp-style Interview with a partner. Upload audio, answer questions and
write reflection.
**## Comm190_wk41.pdf**
Comm190
Elements of Storytelling
Week 4
Final Project Proposal
The final can be on any topic related to the course. You can choose any course-related
methodology to explore it. You will conduct research on a subject pertaining to life stories and
personal narratives – collect data (primary and/or secondary sources) and analyze that data
using one or multiple chosen theoretical lens (i.e., structural, feminist, experience-centered,
etc.). You can work individually or with a partner.
The final can take the form of either a:
a) 10-12 page paper (+ bibliography) OR
b) Edited media project (e.g., video narrative, podcast, short graphic personal story, etc.) + a 3-
page paper analyzing and explaining your work.
Proposal Requirements
1. Are you working alone or with a partner? If with a partner, who?
2. Which option are you doing? If option B, what type of media will you produce?
3. What is your topic? Describe what you plan to explore.
4. What is your method? (how are you collecting data? – primary sources? e.g.,
interviews, ethnography, etc.); secondary sources? (archives, online platform, etc.);
mixed?
5. How are you planning to analyze the data?
6. Why are you interested in this topic and project?
Elements of a Story
1. Characters
•Protagonist: The main character or hero of the story, typically the one who
undergoes change or development.
•Antagonist: The character or force that opposes the protagonist, creating conflict.
•Supporting Characters: Other characters who play key roles in advancing the plot,
influencing the protagonist, or providing additional context.
Elements of a Story
2. Setting
•Time: When the story takes place (e.g., past, present, future; specific time periods or
historical moments).
•Place: The location where the story unfolds (e.g., a city, a house, a fictional world).
•Atmosphere: The mood or emotional tone that the setting helps create (e.g., eerie,
romantic, adventurous).
Elements of a Story
3. Plot
The sequence of events that make up the story, typically structured into several key phases:
•Exposition: The introduction of characters, setting, and basic context. It sets up the world of the story.
•Inciting Incident: The event that sets the story in motion, often disrupting the status quo and introducing
conflict.
•Rising Action: A series of events that build tension and develop the conflict. The protagonist may face
challenges or obstacles.
•Climax: The turning point or most intense moment in the story, where the conflict reaches its peak.
•Falling Action: The events that follow the climax and lead toward resolution.
•Resolution (Denouement): The conclusion of the story, where conflicts are resolved, and loose ends are
tied up.
Elements of a Story
4. Conflict
The central problem or challenge that drives the narrative. It can exist on multiple
levels:
•Internal Conflict: The struggle within the protagonist’s mind or emotions (e.g., fear,
guilt, moral dilemmas).
•External Conflict: A struggle between the protagonist and an outside force, such as
another character, society, nature, or fate.
Elements of a Story
5. Theme
The underlying message, moral, or idea that the story conveys. Themes often reflect
the story's deeper meaning and can explore universal issues such as love, justice,
freedom, or identity.
•Examples: "The struggle for power," "The search for identity," "The consequences of
greed."
Elements of a Story
6. Point of View
The perspective from which the story is told. This influences how the audience
experiences the events and characters:
•First-person: The narrator is a character in the story, using "I" or "we."
•Third-person limited: The narrator is outside the story but knows the thoughts and
feelings of one character.
•Third-person omniscient: The narrator is all-knowing and can access the thoughts and
feelings of all characters.
•Second-person: The narrator addresses the audience directly as "you" (less common in
traditional storytelling).
Elements of a Story
7. Narrative Structure
How the story is organized and presented to the audience:
•Linear Structure: Events are presented in chronological order.
•Nonlinear Structure: The narrative may jump between different times or
perspectives (e.g., flashbacks, parallel stories).
•Frame Story: A story within a story, where one narrative is used to frame another.
Narrative structure: 7 basic plots
Christopher Booker, Seven basic plots: Why we tell stories
1.Overcoming the Monster. The protagonist must defeat an antagonist (usually an individual,
force, or entity) that threatens them and the wider world.
2.Rags to Riches. The protagonist achieves something they lack, loses what they’ve gained, and
then gets it back again.
3.The Quest. The protagonist must set out in pursuit of a treasure, place, or other goal,
overcoming challenges along the way.
4.Voyage and Return. The protagonist travels to a strange new place, experiences hardships and
makes discoveries, and then returns home with the lessons they have learned.
5.Comedy. The protagonist experiences a series of lighthearted or confusing events, before the
story resolves into a happy ending.
6.Tragedy. The protagonist has a central trait or flaw or makes a mistake, which results in
catastrophe.
7.Rebirth. The protagonist undergoes a transformation, and often ends up a better person as a
result.
Elements of a Story
8. Tone
The attitude of the narrator or author toward the story’s subject matter. It can be formal, informal,
serious, humorous, sarcastic, etc. Tone is conveyed through word choice, sentence structure, and the
portrayal of events.
9. Style
The distinctive way in which a story is told, shaped by an author’s unique voice. Style includes:
•Diction: The choice of words (e.g., simple, complex, formal, colloquial).
•Sentence Structure: How sentences are constructed (e.g., short and punchy, long and descriptive).
•Figurative Language: The use of metaphors, similes, symbolism, and other literary devices to
create vivid images or convey deeper meaning.
Elements of a Story
10. Symbolism
Objects, characters, or events in a story that represent something beyond their literal
meaning. Symbols can add depth and layers of meaning to the story.
•Example: A storm could symbolize emotional turmoil or a turning point in a
character’s life.
We came to America in 1969. We were just newly married, and we came to
Brooklyn, New York. And I was so terrified to even open the door, because I
had heard all these horror stories about crooks and gangsters and guns in
New York.
So, there was this one evening that Brian was working in the night, and I was
alone with the baby. And the doorbell started ringing. And then I go and look
through the peephole, and it was like a really scary person standing outside,
so I didn’t open the door. I told my baby to be quiet and then again the
doorbell rings and again I look through the peephole and I’m like really
scared!
And the third time it rang, there were more than one person and they were
all looking really scary and screaming at me through the door. So, I called
Brian on the phone and I said “There is something happening there are some
crooks or somebody trying to frighten me at the door.”
He said, ”Don’t open the door, don’t do anything, don’t make any noise, be
quiet.”
So I stayed in the bedroom and this went on and on for almost an hour.
You know, all the years I was growing up, I was the most, I think, wimpy
person. I used to cry for everything. So, by now, I’m like sweating and ready
to die almost. And then Brian calls around nine o’clock and he says, ”I think,
there is something called Halloween going on today and that what has been
happening and people are supposed to come and ring the doorbell.”
So that was an experience I’ll never forget. And it turns out that my daughter
loves Halloween.
Example of How These Elements Work Together:
In A Knock At The Door, by JULIET JEGASOTHY & SHEENA JACOB
•Characters:
•Juliet (protagonist), “scary” characters (antagonists), Juliet’s husband,
Brian (supporting character)
•Setting:
•Apartment in Brooklyn, NY
•Plot:
•Juliet moved to NY with her family, gets series of door bell rings from
scary figures when home alone with her baby, learns form husband that it’s
trick or treaters for Halloween, feels relieved
•Conflict:
•Mysterious characters at her door
•Theme:
•Cultural shock, sense of self
•Point of View:
•1st person
•Narrative Structure:
•Linear with flashbacks (“You know, all the years I was growing up”); comedy
•Tone:
• Humorous
•Style:
•Simple, everyday language; vivid descriptions
•Symbolism:
•Trick or treater symbolize threat and fear of unknown
[https://storycorps.org/animation/a-knock-at-the-door/](https://storycorps.org/animation/a-knock-at-the-door/)
In-Class Assignment:
StoryCorp Interviews
Interviewing
View the interview not as “gathering information” but as an “interaction”. Be curious and
listen!
Remember:
• You, the interviewer, are an active participant in the interview process
• Attend more to the narrator than your own agenda
• Anticipate what he/she going to say without assuming you already know the answer(s)
Try to understand the interviewee’s point-of-view:
• Listen to their moral language
• Listen to meta-statements
• Listen to the logic of the narrative
Judgment
Do not pass judgment on your interviewee. If he/she says something that you dislike or do not
believe, recognize this is a window opening onto something you do not understand. Ask why they
feel that way.
Be aware of any feelings or emotions they may have. Above all, respect your interviewee. If they
do not want to discuss something, change the subject.
Remember, this is your interviewee’s story. Let them tell it.
During the Interview
Be sure your recording devices work, and you know how to work them. Checking them
during the interview might interfere with the interaction.
While you should have potential questions with you, the key is to listen and “go with the flow”
of the discussion.
Don’t be nervous about silences. Sometimes an interviewee will be waiting for the next
question, but sometimes he/she will be deciding to discuss something or not. Be aware of
their body language and facial expressions.
Listen to your interviewee, and listen to yourself.
Questions
Types of Questions
• Avoid yes/no questions;
• Ask open-ended questions that encourage interviewee to describe, explain, or reflect
• Use closed-ended questions for specific information or clarifications
Questions can be:
• DESCRIPTIVE (ask to describe in own words; describe the overall picture; describe how it was
then)
• STRUCTURAL (ask for explanations; ask for interviewee’s knowledge of that time or place or
events)
• CONTRASTIVE (compare-and-contrast ideas, events, objects, people)
Treat your interviewee as a teacher teaching you
Listen, and show that you are listening. Use the same words as your interviewee
(especially rephrasing last words) to show you are listening and understanding them
Don’t challenge their memory or version of events
Questions
Be prepared to rephrase
Clarify any misunderstandings
Probe (asking for more details) for more when needed
Ending the interview
• Maintain rapport
• Be sure your main questions/themes have been covered
• End with a sense of continuation not finality
Ask if you can follow-up on questions; participate in activities; show them a draft of your project
• Express gratitude and satisfaction
• Don’t overstay your welcome
How to have a great conversation:
StoryCorps interview tips
In-Class Activity
Record a StoryCorp-style Interview with a partner. Choose questions from StoryCorp Connect List and/or
create your own. Record ~10 minutes of interview, each. Alternate interviewer and interviewee roles. After
recording both interviews, answer the questions below.
1. What was it like to listen deeply to someone else’s story?
2. How did it feel to share your own story with someone else?
3. What did you learn about the person you interviewed – personhood?
4. What did you learn from the person you interviewed – culture? social world?
5. Were there any shared emotions, experiences, or perspectives across your experiences?
6. How do you think oral history, like the stories we just shared, can help us understand different
perspectives and preserve history and culture?
[https://storycorpsorg-staging.s3.amazonaws.com/uploads/StoryCorps-Connect-Great-Questions-Final.pdf](https://storycorpsorg-staging.s3.amazonaws.com/uploads/StoryCorps-Connect-Great-Questions-Final.pdf)
**Comm190_Week5.pdf**
This file is too large to display. [View in new window](https://www.sweetstudy.com/files/comm190-week5-pdf)
**Comm190_Week5.pdf**
This file is too large to display. [View in new window](https://www.sweetstudy.com/files/comm190-week5-pdf)
**## 190.docx**
Outline
The final can be on any topic related to the course. You can choose any course-related methodology to explore it. You will
**conduct research** on a subject pertaining to life stories and personal narratives –
**collect data** (primary and/or secondary sources) and
**analyze that data** using one or multiple chosen theoretical framework (i.e., discourse analysis, structural analysis, feminist analysis, etc.). You can work individually or with a partner.
The final can take the form of either a:
1. 10-12 page paper (+ bibliography) OR
2. Edited media project (e.g., video narrative, podcast, short graphic personal story, etc.)
**+** a 3-page paper analyzing and explaining your work.
1.I'm working alone
2.option1
3.My topic will be related to something like memoirs & autobiographies to a person in my life
4.I'm definitely gonna interview that person also viewing his/her online platform
5. Examining how an autobiography reconstructs the past, how trauma is narrated, and cultural memory's role in personal stories.
6.It's interesting because they offer unique insights into how people construct their identities, remember the past.
What do u need to do
Create a detailed outline of your final project that describes the elements of your paper/media. This outline should help you organize your thoughts and create the structure for your paper/project, in addition to helping you plan next steps to complete the final.
For Option A: Paper, you must include at least 2 citations from course texts (i.e., on syllabus, used in class) and at least 3 topic-specific sources not from syllabus.
I will attached the textbook for this course
**## Comm190_wk3.pdf**
C O M M 1 9 0
Week 3
F I N A L P R O J E C T P R O P O S A L :
N O W D U E T O W E E K 5
L I F E S T O R I E S
v We think and speak in story form & bring meaning to our lives through stories.
v Traditionally, stories carries on traditions, customs, rituals.
v Narrative structures help us remember how things took place.
v Life stories give us direction, validates experiences, restores values to living, & strengths community
bonds.
v Functions of Life Stories:
o Guide psychological development of one’s life course
o Affirm, validate relationships; enforce norms & moral order
o Have affective & reflexive quality
o Create a worldview
L I F E S T O R Y I N T E R V I E W
A qualitative research method for gathering info on subjective essence of a
person’s entire life that is transferable across disciplines (i.e., many ways to
analyze).
Interviewee is storyteller and narrator of his/her own life.
Goal is to give interviewee opportunity to tell their story their way.
L I F E S T O R Y
( I N T E R V I E W )
C A S E S T U D Y :
S T O R Y C O R P S
[https://www.youtube.com/watch?v=K30r974ol74](https://www.youtube.com/watch?v=K30r974ol74)
L I F E S T O R Y I N T E R V I E W
C A S E S T U D Y : S T O R Y C O R P S
How might hearing a collection of personal stories from different people influence the way we
view community, identity, or belonging?
“StoryCorps is the leading organization dedicated to preserving and sharing the stories of the
American experience.” How does StoryCorps represent the “American experience”?
• “Traditional” Interview
Example
• Interview Excerpt
Example
Example Animated
• Conversational Interview
Example
• Collective Storytelling
Example
[https://archive.storycorps.org/interviews/juliet-henderson/](https://archive.storycorps.org/interviews/juliet-henderson/)
[https://storycorps.org/stories/juliet-jegasothy-and-sheena-jacob/](https://storycorps.org/stories/juliet-jegasothy-and-sheena-jacob/)
[https://www.youtube.com/watch?v=v_oNDAoX4bo](https://www.youtube.com/watch?v=v_oNDAoX4bo)
[https://storycorps.org/animation/wane-and-alton/](https://storycorps.org/animation/wane-and-alton/)
[https://storycorps.org/stories/he-knew-shed-be-the-love-of-his-life-but-he-needed-an-opening-line/](https://storycorps.org/stories/he-knew-shed-be-the-love-of-his-life-but-he-needed-an-opening-line/)
H O W T O H A V E A G R E A T C O N V E R S A T I O N :
S T O R Y C O R P S I N T E R V I E W T I P S
I N – C L A S S A C T I V I T Y
• Option 1
Archival Research: Explore the StoryCorp.org website, watch/listen to stories. Answer questions and write
reflection.
• Option 2
Life Story Interview: Record a StoryCorp-style Interview with a partner. Upload audio, answer questions and
write reflection.
**## Comm190_wk41.pdf**
Comm190
Elements of Storytelling
Week 4
Final Project Proposal
The final can be on any topic related to the course. You can choose any course-related
methodology to explore it. You will conduct research on a subject pertaining to life stories and
personal narratives – collect data (primary and/or secondary sources) and analyze that data
using one or multiple chosen theoretical lens (i.e., structural, feminist, experience-centered,
etc.). You can work individually or with a partner.
The final can take the form of either a:
a) 10-12 page paper (+ bibliography) OR
b) Edited media project (e.g., video narrative, podcast, short graphic personal story, etc.) + a 3-
page paper analyzing and explaining your work.
Proposal Requirements
1. Are you working alone or with a partner? If with a partner, who?
2. Which option are you doing? If option B, what type of media will you produce?
3. What is your topic? Describe what you plan to explore.
4. What is your method? (how are you collecting data? – primary sources? e.g.,
interviews, ethnography, etc.); secondary sources? (archives, online platform, etc.);
mixed?
5. How are you planning to analyze the data?
6. Why are you interested in this topic and project?
Elements of a Story
1. Characters
•Protagonist: The main character or hero of the story, typically the one who
undergoes change or development.
•Antagonist: The character or force that opposes the protagonist, creating conflict.
•Supporting Characters: Other characters who play key roles in advancing the plot,
influencing the protagonist, or providing additional context.
Elements of a Story
2. Setting
•Time: When the story takes place (e.g., past, present, future; specific time periods or
historical moments).
•Place: The location where the story unfolds (e.g., a city, a house, a fictional world).
•Atmosphere: The mood or emotional tone that the setting helps create (e.g., eerie,
romantic, adventurous).
Elements of a Story
3. Plot
The sequence of events that make up the story, typically structured into several key phases:
•Exposition: The introduction of characters, setting, and basic context. It sets up the world of the story.
•Inciting Incident: The event that sets the story in motion, often disrupting the status quo and introducing
conflict.
•Rising Action: A series of events that build tension and develop the conflict. The protagonist may face
challenges or obstacles.
•Climax: The turning point or most intense moment in the story, where the conflict reaches its peak.
•Falling Action: The events that follow the climax and lead toward resolution.
•Resolution (Denouement): The conclusion of the story, where conflicts are resolved, and loose ends are
tied up.
Elements of a Story
4. Conflict
The central problem or challenge that drives the narrative. It can exist on multiple
levels:
•Internal Conflict: The struggle within the protagonist’s mind or emotions (e.g., fear,
guilt, moral dilemmas).
•External Conflict: A struggle between the protagonist and an outside force, such as
another character, society, nature, or fate.
Elements of a Story
5. Theme
The underlying message, moral, or idea that the story conveys. Themes often reflect
the story's deeper meaning and can explore universal issues such as love, justice,
freedom, or identity.
•Examples: "The struggle for power," "The search for identity," "The consequences of
greed."
Elements of a Story
6. Point of View
The perspective from which the story is told. This influences how the audience
experiences the events and characters:
•First-person: The narrator is a character in the story, using "I" or "we."
•Third-person limited: The narrator is outside the story but knows the thoughts and
feelings of one character.
•Third-person omniscient: The narrator is all-knowing and can access the thoughts and
feelings of all characters.
•Second-person: The narrator addresses the audience directly as "you" (less common in
traditional storytelling).
Elements of a Story
7. Narrative Structure
How the story is organized and presented to the audience:
•Linear Structure: Events are presented in chronological order.
•Nonlinear Structure: The narrative may jump between different times or
perspectives (e.g., flashbacks, parallel stories).
•Frame Story: A story within a story, where one narrative is used to frame another.
Narrative structure: 7 basic plots
Christopher Booker, Seven basic plots: Why we tell stories
1.Overcoming the Monster. The protagonist must defeat an antagonist (usually an individual,
force, or entity) that threatens them and the wider world.
2.Rags to Riches. The protagonist achieves something they lack, loses what they’ve gained, and
then gets it back again.
3.The Quest. The protagonist must set out in pursuit of a treasure, place, or other goal,
overcoming challenges along the way.
4.Voyage and Return. The protagonist travels to a strange new place, experiences hardships and
makes discoveries, and then returns home with the lessons they have learned.
5.Comedy. The protagonist experiences a series of lighthearted or confusing events, before the
story resolves into a happy ending.
6.Tragedy. The protagonist has a central trait or flaw or makes a mistake, which results in
catastrophe.
7.Rebirth. The protagonist undergoes a transformation, and often ends up a better person as a
result.
Elements of a Story
8. Tone
The attitude of the narrator or author toward the story’s subject matter. It can be formal, informal,
serious, humorous, sarcastic, etc. Tone is conveyed through word choice, sentence structure, and the
portrayal of events.
9. Style
The distinctive way in which a story is told, shaped by an author’s unique voice. Style includes:
•Diction: The choice of words (e.g., simple, complex, formal, colloquial).
•Sentence Structure: How sentences are constructed (e.g., short and punchy, long and descriptive).
•Figurative Language: The use of metaphors, similes, symbolism, and other literary devices to
create vivid images or convey deeper meaning.
Elements of a Story
10. Symbolism
Objects, characters, or events in a story that represent something beyond their literal
meaning. Symbols can add depth and layers of meaning to the story.
•Example: A storm could symbolize emotional turmoil or a turning point in a
character’s life.
We came to America in 1969. We were just newly married, and we came to
Brooklyn, New York. And I was so terrified to even open the door, because I
had heard all these horror stories about crooks and gangsters and guns in
New York.
So, there was this one evening that Brian was working in the night, and I was
alone with the baby. And the doorbell started ringing. And then I go and look
through the peephole, and it was like a really scary person standing outside,
so I didn’t open the door. I told my baby to be quiet and then again the
doorbell rings and again I look through the peephole and I’m like really
scared!
And the third time it rang, there were more than one person and they were
all looking really scary and screaming at me through the door. So, I called
Brian on the phone and I said “There is something happening there are some
crooks or somebody trying to frighten me at the door.”
He said, ”Don’t open the door, don’t do anything, don’t make any noise, be
quiet.”
So I stayed in the bedroom and this went on and on for almost an hour.
You know, all the years I was growing up, I was the most, I think, wimpy
person. I used to cry for everything. So, by now, I’m like sweating and ready
to die almost. And then Brian calls around nine o’clock and he says, ”I think,
there is something called Halloween going on today and that what has been
happening and people are supposed to come and ring the doorbell.”
So that was an experience I’ll never forget. And it turns out that my daughter
loves Halloween.
Example of How These Elements Work Together:
In A Knock At The Door, by JULIET JEGASOTHY & SHEENA JACOB
•Characters:
•Juliet (protagonist), “scary” characters (antagonists), Juliet’s husband,
Brian (supporting character)
•Setting:
•Apartment in Brooklyn, NY
•Plot:
•Juliet moved to NY with her family, gets series of door bell rings from
scary figures when home alone with her baby, learns form husband that it’s
trick or treaters for Halloween, feels relieved
•Conflict:
•Mysterious characters at her door
•Theme:
•Cultural shock, sense of self
•Point of View:
•1st person
•Narrative Structure:
•Linear with flashbacks (“You know, all the years I was growing up”); comedy
•Tone:
• Humorous
•Style:
•Simple, everyday language; vivid descriptions
•Symbolism:
•Trick or treater symbolize threat and fear of unknown
[https://storycorps.org/animation/a-knock-at-the-door/](https://storycorps.org/animation/a-knock-at-the-door/)
In-Class Assignment:
StoryCorp Interviews
Interviewing
View the interview not as “gathering information” but as an “interaction”. Be curious and
listen!
Remember:
• You, the interviewer, are an active participant in the interview process
• Attend more to the narrator than your own agenda
• Anticipate what he/she going to say without assuming you already know the answer(s)
Try to understand the interviewee’s point-of-view:
• Listen to their moral language
• Listen to meta-statements
• Listen to the logic of the narrative
Judgment
Do not pass judgment on your interviewee. If he/she says something that you dislike or do not
believe, recognize this is a window opening onto something you do not understand. Ask why they
feel that way.
Be aware of any feelings or emotions they may have. Above all, respect your interviewee. If they
do not want to discuss something, change the subject.
Remember, this is your interviewee’s story. Let them tell it.
During the Interview
Be sure your recording devices work, and you know how to work them. Checking them
during the interview might interfere with the interaction.
While you should have potential questions with you, the key is to listen and “go with the flow”
of the discussion.
Don’t be nervous about silences. Sometimes an interviewee will be waiting for the next
question, but sometimes he/she will be deciding to discuss something or not. Be aware of
their body language and facial expressions.
Listen to your interviewee, and listen to yourself.
Questions
Types of Questions
• Avoid yes/no questions;
• Ask open-ended questions that encourage interviewee to describe, explain, or reflect
• Use closed-ended questions for specific information or clarifications
Questions can be:
• DESCRIPTIVE (ask to describe in own words; describe the overall picture; describe how it was
then)
• STRUCTURAL (ask for explanations; ask for interviewee’s knowledge of that time or place or
events)
• CONTRASTIVE (compare-and-contrast ideas, events, objects, people)
Treat your interviewee as a teacher teaching you
Listen, and show that you are listening. Use the same words as your interviewee
(especially rephrasing last words) to show you are listening and understanding them
Don’t challenge their memory or version of events
Questions
Be prepared to rephrase
Clarify any misunderstandings
Probe (asking for more details) for more when needed
Ending the interview
• Maintain rapport
• Be sure your main questions/themes have been covered
• End with a sense of continuation not finality
Ask if you can follow-up on questions; participate in activities; show them a draft of your project
• Express gratitude and satisfaction
• Don’t overstay your welcome
How to have a great conversation:
StoryCorps interview tips
In-Class Activity
Record a StoryCorp-style Interview with a partner. Choose questions from StoryCorp Connect List and/or
create your own. Record ~10 minutes of interview, each. Alternate interviewer and interviewee roles. After
recording both interviews, answer the questions below.
1. What was it like to listen deeply to someone else’s story?
2. How did it feel to share your own story with someone else?
3. What did you learn about the person you interviewed – personhood?
4. What did you learn from the person you interviewed – culture? social world?
5. Were there any shared emotions, experiences, or perspectives across your experiences?
6. How do you think oral history, like the stories we just shared, can help us understand different
perspectives and preserve history and culture?
[https://storycorpsorg-staging.s3.amazonaws.com/uploads/StoryCorps-Connect-Great-Questions-Final.pdf](https://storycorpsorg-staging.s3.amazonaws.com/uploads/StoryCorps-Connect-Great-Questions-Final.pdf)
**Comm190_Week5.pdf**
This file is too large to display. [View in new window](https://www.sweetstudy.com/files/comm190-week5-pdf)
**## 190.docx**
Outline
The final can be on any topic related to the course. You can choose any course-related methodology to explore it. You will
**conduct research** on a subject pertaining to life stories and personal narratives –
**collect data** (primary and/or secondary sources) and
**analyze that data** using one or multiple chosen theoretical framework (i.e., discourse analysis, structural analysis, feminist analysis, etc.). You can work individually or with a partner.
The final can take the form of either a:
1. 10-12 page paper (+ bibliography) OR
2. Edited media project (e.g., video narrative, podcast, short graphic personal story, etc.)
**+** a 3-page paper analyzing and explaining your work.
1.I'm working alone
2.option1
3.My topic will be related to something like memoirs & autobiographies to a person in my life
4.I'm definitely gonna interview that person also viewing his/her online platform
5. Examining how an autobiography reconstructs the past, how trauma is narrated, and cultural memory's role in personal stories.
6.It's interesting because they offer unique insights into how people construct their identities, remember the past.
What do u need to do
Create a detailed outline of your final project that describes the elements of your paper/media. This outline should help you organize your thoughts and create the structure for your paper/project, in addition to helping you plan next steps to complete the final.
For Option A: Paper, you must include at least 2 citations from course texts (i.e., on syllabus, used in class) and at least 3 topic-specific sources not from syllabus.
I will attached the textbook for this course
**## Comm190_wk3.pdf**
C O M M 1 9 0
Week 3
F I N A L P R O J E C T P R O P O S A L :
N O W D U E T O W E E K 5
L I F E S T O R I E S
v We think and speak in story form & bring meaning to our lives through stories.
v Traditionally, stories carries on traditions, customs, rituals.
v Narrative structures help us remember how things took place.
v Life stories give us direction, validates experiences, restores values to living, & strengths community
bonds.
v Functions of Life Stories:
o Guide psychological development of one’s life course
o Affirm, validate relationships; enforce norms & moral order
o Have affective & reflexive quality
o Create a worldview
L I F E S T O R Y I N T E R V I E W
A qualitative research method for gathering info on subjective essence of a
person’s entire life that is transferable across disciplines (i.e., many ways to
analyze).
Interviewee is storyteller and narrator of his/her own life.
Goal is to give interviewee opportunity to tell their story their way.
L I F E S T O R Y
( I N T E R V I E W )
C A S E S T U D Y :
S T O R Y C O R P S
[https://www.youtube.com/watch?v=K30r974ol74](https://www.youtube.com/watch?v=K30r974ol74)
L I F E S T O R Y I N T E R V I E W
C A S E S T U D Y : S T O R Y C O R P S
How might hearing a collection of personal stories from different people influence the way we
view community, identity, or belonging?
“StoryCorps is the leading organization dedicated to preserving and sharing the stories of the
American experience.” How does StoryCorps represent the “American experience”?
• “Traditional” Interview
Example
• Interview Excerpt
Example
Example Animated
• Conversational Interview
Example
• Collective Storytelling
Example
[https://archive.storycorps.org/interviews/juliet-henderson/](https://archive.storycorps.org/interviews/juliet-henderson/)
[https://storycorps.org/stories/juliet-jegasothy-and-sheena-jacob/](https://storycorps.org/stories/juliet-jegasothy-and-sheena-jacob/)
[https://www.youtube.com/watch?v=v_oNDAoX4bo](https://www.youtube.com/watch?v=v_oNDAoX4bo)
[https://storycorps.org/animation/wane-and-alton/](https://storycorps.org/animation/wane-and-alton/)
[https://storycorps.org/stories/he-knew-shed-be-the-love-of-his-life-but-he-needed-an-opening-line/](https://storycorps.org/stories/he-knew-shed-be-the-love-of-his-life-but-he-needed-an-opening-line/)
H O W T O H A V E A G R E A T C O N V E R S A T I O N :
S T O R Y C O R P S I N T E R V I E W T I P S
I N – C L A S S A C T I V I T Y
• Option 1
Archival Research: Explore the StoryCorp.org website, watch/listen to stories. Answer questions and write
reflection.
• Option 2
Life Story Interview: Record a StoryCorp-style Interview with a partner. Upload audio, answer questions and
write reflection.
**## Comm190_wk41.pdf**
Comm190
Elements of Storytelling
Week 4
Final Project Proposal
The final can be on any topic related to the course. You can choose any course-related
methodology to explore it. You will conduct research on a subject pertaining to life stories and
personal narratives – collect data (primary and/or secondary sources) and analyze that data
using one or multiple chosen theoretical lens (i.e., structural, feminist, experience-centered,
etc.). You can work individually or with a partner.
The final can take the form of either a:
a) 10-12 page paper (+ bibliography) OR
b) Edited media project (e.g., video narrative, podcast, short graphic personal story, etc.) + a 3-
page paper analyzing and explaining your work.
Proposal Requirements
1. Are you working alone or with a partner? If with a partner, who?
2. Which option are you doing? If option B, what type of media will you produce?
3. What is your topic? Describe what you plan to explore.
4. What is your method? (how are you collecting data? – primary sources? e.g.,
interviews, ethnography, etc.); secondary sources? (archives, online platform, etc.);
mixed?
5. How are you planning to analyze the data?
6. Why are you interested in this topic and project?
Elements of a Story
1. Characters
•Protagonist: The main character or hero of the story, typically the one who
undergoes change or development.
•Antagonist: The character or force that opposes the protagonist, creating conflict.
•Supporting Characters: Other characters who play key roles in advancing the plot,
influencing the protagonist, or providing additional context.
Elements of a Story
2. Setting
•Time: When the story takes place (e.g., past, present, future; specific time periods or
historical moments).
•Place: The location where the story unfolds (e.g., a city, a house, a fictional world).
•Atmosphere: The mood or emotional tone that the setting helps create (e.g., eerie,
romantic, adventurous).
Elements of a Story
3. Plot
The sequence of events that make up the story, typically structured into several key phases:
•Exposition: The introduction of characters, setting, and basic context. It sets up the world of the story.
•Inciting Incident: The event that sets the story in motion, often disrupting the status quo and introducing
conflict.
•Rising Action: A series of events that build tension and develop the conflict. The protagonist may face
challenges or obstacles.
•Climax: The turning point or most intense moment in the story, where the conflict reaches its peak.
•Falling Action: The events that follow the climax and lead toward resolution.
•Resolution (Denouement): The conclusion of the story, where conflicts are resolved, and loose ends are
tied up.
Elements of a Story
4. Conflict
The central problem or challenge that drives the narrative. It can exist on multiple
levels:
•Internal Conflict: The struggle within the protagonist’s mind or emotions (e.g., fear,
guilt, moral dilemmas).
•External Conflict: A struggle between the protagonist and an outside force, such as
another character, society, nature, or fate.
Elements of a Story
5. Theme
The underlying message, moral, or idea that the story conveys. Themes often reflect
the story's deeper meaning and can explore universal issues such as love, justice,
freedom, or identity.
•Examples: "The struggle for power," "The search for identity," "The consequences of
greed."
Elements of a Story
6. Point of View
The perspective from which the story is told. This influences how the audience
experiences the events and characters:
•First-person: The narrator is a character in the story, using "I" or "we."
•Third-person limited: The narrator is outside the story but knows the thoughts and
feelings of one character.
•Third-person omniscient: The narrator is all-knowing and can access the thoughts and
feelings of all characters.
•Second-person: The narrator addresses the audience directly as "you" (less common in
traditional storytelling).
Elements of a Story
7. Narrative Structure
How the story is organized and presented to the audience:
•Linear Structure: Events are presented in chronological order.
•Nonlinear Structure: The narrative may jump between different times or
perspectives (e.g., flashbacks, parallel stories).
•Frame Story: A story within a story, where one narrative is used to frame another.
Narrative structure: 7 basic plots
Christopher Booker, Seven basic plots: Why we tell stories
1.Overcoming the Monster. The protagonist must defeat an antagonist (usually an individual,
force, or entity) that threatens them and the wider world.
2.Rags to Riches. The protagonist achieves something they lack, loses what they’ve gained, and
then gets it back again.
3.The Quest. The protagonist must set out in pursuit of a treasure, place, or other goal,
overcoming challenges along the way.
4.Voyage and Return. The protagonist travels to a strange new place, experiences hardships and
makes discoveries, and then returns home with the lessons they have learned.
5.Comedy. The protagonist experiences a series of lighthearted or confusing events, before the
story resolves into a happy ending.
6.Tragedy. The protagonist has a central trait or flaw or makes a mistake, which results in
catastrophe.
7.Rebirth. The protagonist undergoes a transformation, and often ends up a better person as a
result.
Elements of a Story
8. Tone
The attitude of the narrator or author toward the story’s subject matter. It can be formal, informal,
serious, humorous, sarcastic, etc. Tone is conveyed through word choice, sentence structure, and the
portrayal of events.
9. Style
The distinctive way in which a story is told, shaped by an author’s unique voice. Style includes:
•Diction: The choice of words (e.g., simple, complex, formal, colloquial).
•Sentence Structure: How sentences are constructed (e.g., short and punchy, long and descriptive).
•Figurative Language: The use of metaphors, similes, symbolism, and other literary devices to
create vivid images or convey deeper meaning.
Elements of a Story
10. Symbolism
Objects, characters, or events in a story that represent something beyond their literal
meaning. Symbols can add depth and layers of meaning to the story.
•Example: A storm could symbolize emotional turmoil or a turning point in a
character’s life.
We came to America in 1969. We were just newly married, and we came to
Brooklyn, New York. And I was so terrified to even open the door, because I
had heard all these horror stories about crooks and gangsters and guns in
New York.
So, there was this one evening that Brian was working in the night, and I was
alone with the baby. And the doorbell started ringing. And then I go and look
through the peephole, and it was like a really scary person standing outside,
so I didn’t open the door. I told my baby to be quiet and then again the
doorbell rings and again I look through the peephole and I’m like really
scared!
And the third time it rang, there were more than one person and they were
all looking really scary and screaming at me through the door. So, I called
Brian on the phone and I said “There is something happening there are some
crooks or somebody trying to frighten me at the door.”
He said, ”Don’t open the door, don’t do anything, don’t make any noise, be
quiet.”
So I stayed in the bedroom and this went on and on for almost an hour.
You know, all the years I was growing up, I was the most, I think, wimpy
person. I used to cry for everything. So, by now, I’m like sweating and ready
to die almost. And then Brian calls around nine o’clock and he says, ”I think,
there is something called Halloween going on today and that what has been
happening and people are supposed to come and ring the doorbell.”
So that was an experience I’ll never forget. And it turns out that my daughter
loves Halloween.
Example of How These Elements Work Together:
In A Knock At The Door, by JULIET JEGASOTHY & SHEENA JACOB
•Characters:
•Juliet (protagonist), “scary” characters (antagonists), Juliet’s husband,
Brian (supporting character)
•Setting:
•Apartment in Brooklyn, NY
•Plot:
•Juliet moved to NY with her family, gets series of door bell rings from
scary figures when home alone with her baby, learns form husband that it’s
trick or treaters for Halloween, feels relieved
•Conflict:
•Mysterious characters at her door
•Theme:
•Cultural shock, sense of self
•Point of View:
•1st person
•Narrative Structure:
•Linear with flashbacks (“You know, all the years I was growing up”); comedy
•Tone:
• Humorous
•Style:
•Simple, everyday language; vivid descriptions
•Symbolism:
•Trick or treater symbolize threat and fear of unknown
[https://storycorps.org/animation/a-knock-at-the-door/](https://storycorps.org/animation/a-knock-at-the-door/)
In-Class Assignment:
StoryCorp Interviews
Interviewing
View the interview not as “gathering information” but as an “interaction”. Be curious and
listen!
Remember:
• You, the interviewer, are an active participant in the interview process
• Attend more to the narrator than your own agenda
• Anticipate what he/she going to say without assuming you already know the answer(s)
Try to understand the interviewee’s point-of-view:
• Listen to their moral language
• Listen to meta-statements
• Listen to the logic of the narrative
Judgment
Do not pass judgment on your interviewee. If he/she says something that you dislike or do not
believe, recognize this is a window opening onto something you do not understand. Ask why they
feel that way.
Be aware of any feelings or emotions they may have. Above all, respect your interviewee. If they
do not want to discuss something, change the subject.
Remember, this is your interviewee’s story. Let them tell it.
During the Interview
Be sure your recording devices work, and you know how to work them. Checking them
during the interview might interfere with the interaction.
While you should have potential questions with you, the key is to listen and “go with the flow”
of the discussion.
Don’t be nervous about silences. Sometimes an interviewee will be waiting for the next
question, but sometimes he/she will be deciding to discuss something or not. Be aware of
their body language and facial expressions.
Listen to your interviewee, and listen to yourself.
Questions
Types of Questions
• Avoid yes/no questions;
• Ask open-ended questions that encourage interviewee to describe, explain, or reflect
• Use closed-ended questions for specific information or clarifications
Questions can be:
• DESCRIPTIVE (ask to describe in own words; describe the overall picture; describe how it was
then)
• STRUCTURAL (ask for explanations; ask for interviewee’s knowledge of that time or place or
events)
• CONTRASTIVE (compare-and-contrast ideas, events, objects, people)
Treat your interviewee as a teacher teaching you
Listen, and show that you are listening. Use the same words as your interviewee
(especially rephrasing last words) to show you are listening and understanding them
Don’t challenge their memory or version of events
Questions
Be prepared to rephrase
Clarify any misunderstandings
Probe (asking for more details) for more when needed
Ending the interview
• Maintain rapport
• Be sure your main questions/themes have been covered
• End with a sense of continuation not finality
Ask if you can follow-up on questions; participate in activities; show them a draft of your project
• Express gratitude and satisfaction
• Don’t overstay your welcome
How to have a great conversation:
StoryCorps interview tips
In-Class Activity
Record a StoryCorp-style Interview with a partner. Choose questions from StoryCorp Connect List and/or
create your own. Record ~10 minutes of interview, each. Alternate interviewer and interviewee roles. After
recording both interviews, answer the questions below.
1. What was it like to listen deeply to someone else’s story?
2. How did it feel to share your own story with someone else?
3. What did you learn about the person you interviewed – personhood?
4. What did you learn from the person you interviewed – culture? social world?
5. Were there any shared emotions, experiences, or perspectives across your experiences?
6. How do you think oral history, like the stories we just shared, can help us understand different
perspectives and preserve history and culture?
[https://storycorpsorg-staging.s3.amazonaws.com/uploads/StoryCorps-Connect-Great-Questions-Final.pdf](https://storycorpsorg-staging.s3.amazonaws.com/uploads/StoryCorps-Connect-Great-Questions-Final.pdf)
**Comm190_Week5.pdf**
This file is too large to display. [View in new window](https://www.sweetstudy.com/files/comm190-week5-pdf)