2. Digital Storytelling (DS) was “invented” in Berkeley in the early 90’s when a group of writers, artists, and computer people were trying to find a way to incorporate new computer technology with storytelling. Then in 1993, Joe Lambert assits Dana Atchley in teaching three digital storytelling workshops for filmmakers. Through continued work on smaller scales, festivals, individual products, small companies requiring workshops digital storytelling became a technology innovation to help writers give “voice” to their work. Different from any medium used before. Executive Director and Co-Founder Joe Lambert

4. Although digital storytelling was a new innovation to the artistic community (media artists, designers and practitioners)it took many years for this idea to reach the open market. The San Francisco Digital Media Center (SFDMC) makes a tremendous move when in 1996 they publish a Digital Story Cookbook that offers hands-on tutorials for all people supported by Apple Computers.Digital Story Cookbook Success for All People

5. The SFDMC undertakes collaborations with numerous organizations in England, Germany, and Denmark and is featured in stories about digital storytelling on CNN and MSNBC, as well as in countless print and online articles The first of eight annual Digital Storytelling Festivals University of California at Berkeley's School of Education, 1998. CDS assists several San Francisco Bay Area community technology centers in setting up ongoing digital storytelling programs, including Urban Voice/Digital Underground Storytelling for Youth (DUSTY) and the Eastmount Computing Center in Oakland, Plugged In in Palo Alto, and the Balboa Academy in San Francisco. 1998, CDS collaborates with Apple Computer and Adobe Systems to develop digital storytelling curricula. In partnership with the Institute for the Future

7. The graph presents the dates of adoption by various organizations over time. The data reveals the adoption of Digital Storytelling does not fit the norm but does slowly increase over time. Some organizations adopted this innovations at the same time. Information gathered from a presentation by J. White

8. Who would you expect to be (or who are) the innovators and early adopters in your field of work for the innovation you are exploring? Media artists, designers, and practioners-these were the initial group of people that organized themselves and created digital media to promote their work in the arts. Dana Atchley and Joe Lambert were among this group. What strategies are the most persuasive in convincing them to adopt the innovation? Strategies used would be communication within their own working “circles” and the acceptance of peers of the innovation. The more popular the better.

9. Who do you think would be (or who are) the laggards in terms of rejecting the innovation? I believe those people that have not embraced the innovation of technology would be the laggards for this innovation. This group is difficult to convince and often need substantial reasoning to adopt any new ideas. Educators fall into this position as they need substantial training and convincing that this innovation will help there current work requirements. What strategies would be best to help move them toward adoption? Strategies to use for this group would be to demonstrate the innovation in a setting where they feel most comfortable and without any effort on their own. Community Center workshops, library programs, and extended school use would be areas to try and stimulate acceptance and encourage participation

11. The attributes I feel that would best for helping this innovation (digital storytelling) meet critical mass would be compatibility and trialability Compatibility-the degree to which an innovation is perceived as being consistent with the existing values, past experiences, and needs of potential adopters Trialability-the degree to which an innovation may be experimented with on a limited basis

12. Do you believe a centralized or decentralized approach would work best for the adoption of the innovation you are proposing to the Board of Directors? I feel that a decentralized approach for the adoption of this innovation would work best. In an education setting the users are highly educated and have a basic technological background that would enable them to learn and use this innovation without needing to be tech-savvy. Finally, educators are a group of individuals that share and learn ideas. This is a fundamental aspect of this particular approach.

13. Who will you recommend as key change agents in your organization, and how can the seven roles of a change agent be used in your organization to effect positive social change? I would recommend that classroom teachers (for the education organization) or trainers (for the business organization) be the key change agents. This sector of personnel would be directly connected to the client’s needs and be able to offer insight into the learning and use of digital storytelling. Having a person that can clearly relate to the client’s needs will help to demonstrate the ease of the innovation. The seven roles of a change agent can be used to effect positive social change because they each take there own step in the process. This allows for the change to be gradual and accepted with minimal adversity. IT also helps the organization to take on the role of change agent and become self-sufficient in the needs of the client and the ability to effectively utilize the innovation.

14. Has the innovation you are proposing to the Board already met critical mass in society? If it has not met critical mass, which of the four strategies for achieving critical mass do you recommend to the Board for your innovation? Critical mass “occurs at the point at which enough individuals in a system have adopted an innovation so that the innovation’s further rate of adoption becomes self-sustaining.” (Rogers, 2003, p. 344) This has been achieved by digital storytelling in the late 1990’s when the demand for the digital storytelling and its trainings and workshops were requested both nationally and internationally.

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