Using Storyboards

After you've got a therne and discriminators you're ready to create storyboards. These are similar to those used in the film industry.They provide direction for the writers, artists, and layout people. They can be prepared from an outfine or from a checklist denved from the guidelines.

Storyboard Components
Storyboards contain the proposal theme, document reference information, at least one discriminator in the lead paragraph, additional paragraphs with evidence to supporting the discriminator(s), and sketches or descriptions of art work.

A well-prepared storyboard makes the writer's job easy by providing clear guidance for the development of that writer's section. Writing from storyboards becomes a simpler matter of plugging in the appropriate information.

Each storyboard contains:

You might want to print some of the sample storyboards and fill one out as you proceed through the rest of this lecture.

Reference Information
The reference information identfies where the storyboard fits in the overall proposaL You can reference the Volume, Section, Subsection, Page Number, and Proposal Number, or, if you're working, from an outline rather than a checklist, you can reference the sections and subsections of your outline.

If you're working along with me, enter the following information in your storyboard. (Remember to use the checklist organization as a reference.)

Additional reference information might include the name of the writer, the date the storyboard is due and the date it was assigned, and the page limit. (Some guidelines specify a page limit for all or parts of the proposal.)

      Writer: _____________________
      Date Due: _________________
      Date Assigned: ________
      Page Limit: ___

The Discriminator(s)
We learned about developing discriminators in an earlier lecture. One or more should appear on every good storyboard as a reminder of what you're really writing about.

Select the most approporiate discriminator for your proposal and enter it on your storyboard.

The Theme
As explained earlier, the theme your choose for your proposal must be a simple, provable statement, derived from your understanding of the grantor and your capabilities and based on the proposal discriminators. It must be:

  • Unique to you
  • Of benefit to the grator and/or their goals.
  • Non-trivial.
  • Specific
  • Provable. <./font>

    Enter your theme on your storyboard.

The Benefit Statement
The benefit statement relates directly to the theme. It should answer YES to at least one of the major questions for a valid theme. The work you plan to perform must be of some direct value to the grantor or their goals. A benefit directly helps the client, while a feature is something which we have. Because they must see the value of it, you must be careful not to confuse a benefit with a feature. The grantor wants to see a benefit. The feature may be what delivers the benefit, but the important focus shold be on the benefit.

The benefit statement echoes the theme and states the benefit to the grantor. Whereas many writers simply state the feature

Using your theme and the discriminator you chose earlier,
enter a benefit statement on your storyboard.

The Lead Paragraph
In addition to providing benefit statements, every part of the proposal should echo the theme. There should be wording in every section and on every page that remind the reader of your theme and of your committment to it. Remember that when an evaluator is finished reading your proposal, you want your theme to stick with him or her the same way a catchy tune might. It should leave the client with the impression that you are the only logical choice for the work.

The first paragraph of your section should follow that benefit statement with supporting explanations and reasons. And that's when it's time to bring in your features. Rather than abstractions without meaning, they now become proof of the benefit statement and support for your theme.

Use your benefit statement to write a supporting paragraph
and enter it on your storyboard.

Supporting Paragraphs
You can stop with just one paragraph or, if your particular section is critical and you know of more details which would make it stronger, you can add supporting paragraphs. If you don't have the additional information you need to complete the section, you can put notes in the fields in place of the supporting paragraphs.

Sketches or Descriptions of Art Work
There's just one more area of the storyboard we need to complete. The large open section provides a space where you can sketch out any ideas you might have for a graphic or write a note describing the kind of graphic you want.

If you have any graphic ideas for your section,
enter them on your storyboard.
When you're finished, fold your arms
and put your head down on your desk.
(Just joking.)

Once all of the storyboards are finished, a White Team review is in order. In lieu of the usual people from the upper echelons of the organization, I'd like you to trade your storyboard with another member of the class. You'll aslo need to trade the guidelines, discriminators, and theme information to find out what's required and/or what the grantor really wants. Read each others entries and discuss them. If you have any questions or you're confused about what you did, raise them with the instructor.

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