mario garcia

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WhispersThe storytelling process we design on the page or screen should,

as much as possible, imitate how we communicate the same stories

orally. This is an effective way to introduce contrast and surprises.

In normal conversation, there is seldom only one aspect of the story

taking place; instead, stories run parallel to each other. We start

talking to a friend about a movie we have seen but soon take detours

(sometimes better than the original story.)

Likewise, in design, we must present visual detours. Traditionally

called “sidebars”, they are more than just that. If we use the conver-

sation metaphor, these detours are “whispers”. Say you are at a busy

cocktail part and a speech is being presented. You “whisper” your

sidebar to the person standing next to you. You add to the story.

You bring in background information. You remind whomever you

are talking to of an event in the past that ties in to the speech of the

moment. When placed on the page, whispers are second readings,

normally short (no more than five to six paragraphs), and carry their

own headline, since many times they are read first.

Reporters and writers who understand the importance of storytelling

should suggest whispers in their stories from the start; in cases when

this does not happen, it is up to the designer to seek them out, to dis-

cuss possibilities with the writers and editors, and to present them.

As runners have known all along, sometimes the detour one takes

from the usual route can provide the ultimate surprise.

pure design

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Secondary, but relevant: Use “side-bar” items to offer a glimpse into an interesting aspect of a story, toenhance biographical or other encyclopedic information, or to pullaway from the narrative with a single element of the story thatnobody should miss. This prototypepage for the new design of Liberation(Paris) shows an interestingapproach to a secondary read thatstands out, aided by ample whitespace on the left.