Writing for Multimedia 101

Communication World, March, 1998 by Michael Butzgy

So, you want to write for multimedia. At least, you think you do, after getting hammered with that and a dozen other buzzwords every time you read a magazine or switch on a cable TV show about emerging technologies. Everything else is changing on a daily basis; isn't the way we write next?

Let me tell you a little secret: Multimedia has been with us for a very long time. Film maker D.W. Griffith probably invented the entire industry in 1915. "Birth of a Nation" had it all, incorporating visuals, text and sound (in the form of a piano player in your local theater). German filmmakers of the 1920s added art to the mix, employing expressionist artists as set designers. But the true master of multimedia was Orson Welles. Just imagine Citizen Kane as Microsoft Hearst and the comparison is not hard tO draw. Welles used newsreel footage, graphics, even musical numbers to tell the story of Charles Foster Kane. Yet for all its visual panache, Kane's innovations were rooted in a superior script. Need proof? The film was nominated for nine Academy Awards, but captured just one: Best Original Screenplay.

As professional communicators, we know that words count; it's our job to make sure they do. But multimedia writing also demands adaptability. Just as different topics require varied approaches in style, computer-based multimedia necessitates that a writer become knowledgeable about audio, video, text, graphics and animation. In other words, you must write for the medium you're using. Simple enough, until you consider that multimedia itself varies: Education, training, promotion, reference, entertainment and games are only the six most basic forms. Presentation media also comes in a variety of flavors. Multimedia can be distributed on CD-ROM or floppy disks, accessed through the World Wide Web, or even run from a video disk platform such as CDI or DVI.

Luckily, while we can experiment with new media and nontraditional methods, the rules of the English language remain much the same. It is instead our task to responsibly adapt our native tongue to the demands and opportunities presented by computer technology. Here are some general guidelines:

* When writing a multimedia script, think conciseness. William Strunk Jr. put it best, "Vigorous writing is concise." When trying to explain a procedure or process, the simpler the explanation, the easier the concept is to understand.

* Keep scripts in the active voice. Active voice is more direct, and usually shorter than a passive construction.

* Try to present information in digestible chunks.

* When writing an audio script, make sure all text can be easily understood. The best way to test conversational writing is to read your scripts out loud.

* Video and other visuals require you to write for the ear, but remember to let your pictures and other media help tell the story, in concert with the script. Conversely, don't use a piece of media just because it looks cool.

Now, let's throw in another buzzword: interactivity. For someone to truly learn how to use a program or a product, it's essential that they actually use it. Interactivity allows each user to actively participate in the viewing process, instead of passively watching the material presented. The nature of your material determines the amount of interactivity you should use. Some programs lead the user by the nose through little more than a slide show (which is perfectly fine if they're learning to assemble hand grenades). Games such as Myst or programs like Microsoft Bookshelf give users complete control over where they go and what they view.

Here's an example of giving the user control: Let's say you're writing a tutorial on how to drive a car. For a new user, it's probably not a good idea to skip the lesson on braking. On the other hand, not everyone is a novice. Some users may only need to view the lesson on using manual transmissions. That's why it's a good idea to present the user with a recommended course of action, but the option to view material in any order. Interactivity should reinforce the information provided. You need to find a balance, providing enough interactivity to engage the user, but not at the expense of information or clarity. Interactivity is a means to an end, not an end in itself.

You've probably heard the terms linear and nonlinear bandied about lately. Linear refers to a progression in a straight line, like reading the chapters in a book (or an article about multimedia writing). Nonlinear refers to items that can be selected out of order, much like the "shuffle" feature on a compact disc player. Nonlinear writing is nothing new. William Faulkner (who wrote the screenplays for "To Have and Have Not" and "The Big Sleep"), wrote "The Sound and the Fury" in 1929, when color and sound were still movie novelties. Kurt Vonnegut's "Slaughterhouse Five" is so nonlinear, it's now available as a CD-ROM. As a multimedia writer, you'll need to get "out of the box" and think in a nonlinear fashion, since you are often writing sections out of order. Ironically, nonlinear writing requires diligent organization (usually in the form of flow charts or, in my case, indecipherable notes).