Showing posts sorted by relevance for query covers. Sort by date Show all posts
Showing posts sorted by relevance for query covers. Sort by date Show all posts

Tuesday, March 10, 2015

New Covers

The other day, in an effort to spark my creativity and to help me buckle down and get to writing, I started looking up pre-made and custom made covers from professional cover designers. Anyone who has read this blog knows that I fashioned (or tried to) my covers off of one of my favorite authors, Dick Francis (see here).

http://www.amazon.com/Edge-Dick-Hannah-ebook/dp/B00CJZM7A0/ref=asap_bc?ie=UTF8

Based on the face that I've sold two or three books with the new covers without any promotion (which is two or three more than I sold of the old cover design) I feel we can chalk up my old cover design philosophy into the ole loss column.

http://www.amazon.com/Toe-Line-Dick-Hannah/dp/1475079257


I'm quite happy with my new cover designs, and was pleased when the artist, having read the reviews of my books, recommended a new promotional campaign as she said "Based on the reviews, it sounds like you have a decent book." Sadly, I don't think my reviews, nor her covers, inspired her to actually buy a copy for herself. I comfort myself with the thought that perhaps thriller cum mysteries aren't her milieu.

Nevertheless, the new covers are quite spectacular, and the price of the novels is still quite unbeatable (see here and here).




Thursday, December 31, 2020

Covers, Covers and More Covers

So there was one thing that came out of that last review that I felt compelled to address. Romantic wrote:

To the author, please consider getting a professional cover done. The current one really doesn't do justice to the level of writing in this book.

Although this is a wonderful compliment about my writing, it's not the best compliment about my skills in terms of cover design. When I first started this journey, I tried making my own covers. That came to a screeching end very quickly (see here, here and here). 

In my defense, as a huge fan of Dick Francis, I was trying to mimick his style. They do look rudimentary and cheap though, so I'm glad I decided against using them long term.

It took me a while, but I found an online but when I found the ones I thought were professional, sophisticated and worthwhile, I invested in them, bought them, worked with the designer and rolled them out (see here).

These were far better, but they still lacked something. They looked too blank I realize now. Truthfully, even though Vapor Trail looks homemade, it was actually the most expensive one I bought. I never liked it though. It never truly represented the story. Romantic was correct.


Thanks to this comment by "Romantic" I went back and found a better cover for Vapor Trail (it's not easy by the way) and updated both the other two. I uploaded tag lines, provided some more flare. Now I'm far happier with them. I can live with these. Let's hope "Romantic," thinks the update is worthwhile.



Monday, August 2, 2021

Pulp Covers

 I've always been a huge fan of pulp art novel covers. I don't know why, but they've always appealed to me. I think the first I remember seeing was for Foundation by Asimov. I think I've mentioned here before (see here) that when I was growing up I would spend summers with my grandfather in the country. He was an avid novel reader and I became one as well. We would go to the paperback bookstore in the town nearby and trade in all of paperback books and get new ones for a discount. I think that might be where I first became aware of my liking pulp covers. 

Sunday, October 8, 2023

A Purple Place for Dying Covers

A while back I was comparing pulp covers for some of the books I've read. It's a fun thing to do isn't it? To see the evolution of book covers over time? I even have my own evolution. I've seen my covers change over time a bit. I think they're there now. I doubt I'll see many more versions of my cover. 


In terms of A Purple Place for Dying, there are myriad. 

Thursday, December 30, 2021

Stunned by the Rat Race

A couple of days ago I wrote about the rat race . . . and how at the end you're just the lead rat (see HERE). So, because I have about another week or so to go before my next class picks up and I have to put down reading for fun and pick up reading for texts once again, I thought I'd slip in a few more faves, and I guess rat racing was on my mind. 


I've never read this one, which again, surprises (and delights) me. 

Friday, March 1, 2013

E-Cover

Normally I have trouble finding articles to write about for this blog. Then, today, BOOM! there's three right away. I plan to write about and link to all of them, but I've decided to start with this one as it seems the most apropos to what I've been writing about lately.

This article in the WSJ by Javier Espinoza entitled Designing for Digital is all about book covers for the e-reader world. It's a good little article with some nuggets of info I already knew or could have guess at. Among them:

an e-book cover must be bolder, simpler and more legible than its print counterpart, graphic designers say.

and

For Andy Fielding, an Edinburgh-based graphic designer who works with writers self-publishing their e-books, simplicity is the key to a beautiful design that will stand out. "A print book only really has to work in your hands as an object. But when people are looking at e-book covers they are looking at them on places like Amazon, where they are very small initially—the size of a thumbnail."

I've always thought that Dick Francis' book covers were simple, colorful and yet powerful. These are the ones that I tried to channel when I came up with my own.




Yes, yes, his look better, but I feel that mine meet the requirements that are laid out by the article.




Anyway, I thought it was a great article, and was full of information for anyone planning to e-publish. I've seen several other self-published folks who have not used the advice listed in the article and I believe their sales probably are hurting because of it. Then again, my sales aint no rocket ship.

Saturday, January 15, 2022

Enquiry Might Be the Last For a While

I may have OD'd on my favorite authors, especially Dick Francis. I wrote a couple weeks back (see HERE) about my reading lately, between classes. 

This last one was Enquiry, and it was really good. It's simple, quick, fun, and fast. Love it. I've been writing alot about covers lately (see HERE), so I wanted to get you an update on Enquiry's covers.


Like the last Dick Francis, this one too has a TON of covers associated with it over the years. My favorite is the top one here. Love the sunset (or maybe a sunrise). I'm also still a fan of the puzzle blocks style that is the second down. Then that third one down is pretty fun too, it captures the whole story and all the sub-plots in one cover.

Friday, July 6, 2012

Covers . . .There's More to Covers Than You Think

Anyone who has seen my novel (here) will see that I went minimalist in my cover design. I tried to let the designs in so many Triathlon symbols inspire me (here). I think for the most part I achieved that, but still I think it lacks a certain je ne sais quoi that more professional covers have. That being said I've seen quite a few designs from my contemporaries (here) and seeing them makes me happy that I went the minimalist route. Some of the designs seem a bit too much, too busy, too loopy and chock full of stuff.

That being said there are things I missed cover-wise for this release. I had a cover ready for the website I was designing (here) but hadn't gone beyond that. I didn't have one ready (formatted for an actual book) for CreatesSpace, I didn't have one ready (shrunk for tiny viewing) for Amazon and Smashwords, just like the web-marketing I didn't have enough ready.

I should have gone onto Smashwords and checked out their template and made sure mine fit the bill. I could have made the second stick figure, the one with the gun, wrap around the spine so that it looks like he's running from the back cover to the front. I could have had a back picture ready as well as a blurb or two (more on that later).

Suffice it to say there were alot of things that I hadn't considered with the cover that with a small amount of research would have cleared up. Again, its on the AAR list now, so I shant miss it next time.

Wednesday, December 8, 2021

Nightmare in Pink Cover

I'm sure many of you will find it odd, but there's very little these days makes me happier than going back and finding the pulp (and other) covers that are associated with he books I read. Naturally, when I say that there is "nothing that makes me happier" I'm being hyperbolic, if only because my best friend Sadie is around. 



Having just finished John D. MacDonald's Nightmare in Pink (see HERE) I was very eager to get out there and see the evolution of the covers!

Friday, April 17, 2015

Guest Post: Your Book Cover Design by Michelle Rene Goodhew

Today’s guest blogger is Michelle Rene a freelance cover designer and illustrator from Northwest Washington. Michelle is published in six genres and allows her creative diversity shows in my various works. Some of her illustrations were previously published in Creative Review magazine, as well as a few of her cover designs. 

Your Book Cover Design


As a designer, my best advice is that you do not create your own book cover. Homemade book covers tend to look homemade. The result would most likely be an amateur cover with what the public will perceive as an amateur book. But if you are still interested in designing your own cover, I have included a list of the most helpful video tutorials at the end of this article.

When it comes to book covers, they are the first sales point of your book. You do not want to display a b-rated or homemade cover because it will suggest the value of your book. It is highly recommended that you find a professional designer. There are hundreds of cover designers out there, what you are looking for is a great portfolio full of unique designs.


The Basics



You can expect to pay a median range of $500 for your cover design, as high as $750 or as low as $200. Hiring an illustrator could cost you considerably more and then a designer will still need to arrange the layout and font design. A contract should be agreed upon and typically a down payment of 50% of the total design costs will need to be paid up-front.

• The Concept


Before you approach your designer you should create a brief that the designer can work from, and most professional designers will want to read your book in order to create your specific design. If they don’t, you may want to look somewhere else for your needs.

Before you get started on creating a brief for a cover design you need to decide on the message you want to send.

Ask yourself: What is the book’s single-minded value proposition?
What is the target audience of readers looking for – Inspiration and Aspiration, Success and Achievement, Knowledge and Power, Romance and Passion, Murder and Revenge?
Boiling it down to the motivation, incentive and emotion will help you generate tons of ideas or visual metaphors that determine the imagery, choice of color palette, typography, and layout that help your designer capture what the book is all about.

This is your chance to brainstorm and maybe make a collage of things that appeal to you.

• The Brief


You will need to provide a cover design brief. Take a look at what the designer needs to know.

Points to include:

1. The Concept

2. The style

There are, broadly, 3 types of cover to choose from:



3. You need to consider:

• The theme or key image from the book that you want to use on the cover.
• Is there a particular character or scene from your novel you would like to show on the cover?
• Should there be a dominant color?
• Are there any visual clues such as badges or colors that will identify the content?
• Is the book designed to be part of a series? Does it need to match existing books?

Please provide as full a brief as you can.

• The Design


Your designer should offer you two or three concepts to choose from.

The cover design should generate excitement. Grab attention. The main goal of every book cover is to generate excitement. The cover is one of the best tools in your marketing arsenal. That’s why you should create something that will stop people in their tracks and evoke interest. The book cover is the hook that will help you to promote your book.



       
So many books today have a repetitive design style, they are copies of other books in their genre and therefore have a hard time standing out in the crowd. A professional designer will invest time in their work for you and should provide you with something unique.

The book cover should show what genre the book is. A really good book cover “talks” to its readers through choice of typography, imagery and metaphor.

     

A great cover design engages the viewer by drawing them in with a design style that speaks for the story. Branding the author is imperative, the designer is responsible for presenting the books image as a first impression to the public, special thought and time should go into font, color scheme and layout.

Book Cover Design Tutorials


Create a Realistic Book Cover in Photoshop
How To Create a Retro Style Superman Book Cover - Visit this Photoshop tutorial to get some basic skills in book cover design.
How to Design a Book Cover in Photoshop - YouTube is full of different Photoshop tutorials. This one of the simplest but still useful.
Designing Book Covers Tutorial (Advanced) - This is advanced level video tutorial, but why not have a try?
Create Character Driven Book Cover Art Using Illustrator and Photoshop – Part 1 - Learn how to create the “Let’s Go To Monster School!” book cover.
Dirty Design: Create a Grungy Thriller Book Cover



About Michelle

My name is Michelle Rene and I am a freelance cover designer and illustrator from Northwest Washington. I also contract through several publishers as a cover designer and illustrator. I am published in six genres and my creative diversity shows in my various works. Some of my illustrations were previously published in Creative Review magazine, as well as a few of my cover designs. I am an artist and have a true passion for my work.

As a designer I feel that hearing the heart of the story from you, the author, the passion you express for your creation fuels my creativity and design process. I want my authors to feel that my illustration and design is the vision they hoped for in representing their work to the public. I want to pull potential readers in with the cover design. My design has to stand out from the rest as a unique work of art. As an illustrator and designer, I combine my services to create a unique look that only your book will have.

What are you currently working on and how can I be of service to you?

Come take a look at my artwork and designs, check out my variety of services offered on my pricing page, you will find my rates to be competitive. I also design social and website banners, posters for book tours, bookmarks, book teasers, and business cards, all for your book marketing efforts. Review my testimonials and discover some of the people I work with. http://michellerenegoodhew.com

I look forward to hearing from you :-)

Sincerely,
Michelle Rene Goodhew
Book Cover Designer & Illustrator
Website: http://michellerenegoodhew.com
goodhewmichelle@gmail.com
USA 360-854-8610

Facebook: http://www.facebook.com/ArtistandIllustratorMichelleReneGoodhew
Twitter: https://twitter.com/MichelleRene00
Google+: https://www.google.com/+MichelleGoodhew

Sunday, December 12, 2021

High Stakes Cover

Yesterday and last week I wrote about what i'm reading right now (see HERE). The week before that I wrote about the first line from that book, as I often like to do (see HERE for all my first lines and why I catalog them). As anyone who follows this blog knows, I am currently in a phase of liking to see all the different varieties of covers that go along with the books I read (see HERE). 


This first one is what I like best about Dick Francis books. This style. this is what I was trying to mimic with my first series of covers for my own books. I failed. I do still like this style though. 

Thursday, February 28, 2013

Among the Bullets

Among all the bullet points that are listed in this article about the Kindle Touch, I must say the one I'm most looking forward to experiencing is the fourth one:


  • A new user interface
  • Whispersync for Voice
  • Enhanced Parental Controls
  • Book Covers
  • Time-to-Read
  • Recommended Content
  • Enhanced book samples
  • Navigate graphic novels, and comics



As I have written in this blog many times, I don't like the screen saver and book cover capability of the Kindle. If I was more confident of my abilities I would have "jail breaked" it a long time ago and uploaded my own screen saver images. Again, why not tailor the screen saver to show the book jackets of the books I am reading? Why not have images of my favorite authors. Nothing against Emily Post, but why must she show up on my Kindle?

I'm sure something else, maybe something that isn't even listed will pique my interest once the new Touch arrives, but for now, I choose book covers.

Second reason why I'm excited? This site, Top Ten Reviews, suggested that the Touch was a solid 9.73 out of 10 in terms of e-readers on the market.



If you enjoy reading and are always looking for your next good read, we recommend purchasing the Kindle Touch 3G. The portable eBook reader is second to none in the features and tools that count: readability, size, ease of use, free internet, battery life, library selection, speakers and fast page turns. Hands down, the Kindle Touch 3G is our clear winner and choice for the best eBook reader.

As I said a year or so ago, I like my Kindle if only because it forces me to read. It focuses my mind on reading and helps me filter out everything else. Based on this review, it sounds like the Touch will provide that same level of focus.

Monday, February 17, 2014

Pulp Covers for a Holiday Post

The other day I wrote about Big Red's Daughter (here and here) and how much the book didn't agree with me. One thing that did agree with me was the cover art I found. Despite what some may think of my covers, which are meant to evoke a Dick Francis cover (here), I really dig cover art. I remember years ago tooling through the aisle at Bookstop ranking my selections for purchase purely on the cover. I read some doozies based on this one criterion.

I ran across a series of cover's (here) that stoked my interest by following a link at Stuff You Should Know (here). My favorites are listed below.

This first one I like purely for the fact that I want to read it to find out what the hell is happening. Is he trying to stage a murder or saving her from herself.


This second one I enjoy if only for the title. The cover is good, but just how have the characters determined the sexual proclivities of Satan? That's what I'd like to know.


Finally, this one I love just because it could be the title slide for this blog.


There are more out there on the site (here) and they're quite fun to see. These were just my favorites.

Wednesday, August 30, 2023

Next New Book

As a blossoming, somewhat seasoned writer and self-publisher, I get asked often for advice from other writers. Sometimes I'm asked to take a look at a book and give it a review. Such is the case. 


You know what . . . despite what might jump to mind when you first look at the title and the cover, it's a darn good book. In fact, I'm a bit jealous. Why?

Thursday, August 5, 2021

Another Old Friend

 As I have a month or so to walk down memory lane before my next class takes over my free time, and as I've already read a Dick Francis, and Lawrence Sanders novels, and as Louis L'amour was also an old fave of mine from when I was growing up, I might as well give him a quick go too. 

I've selected one that I'm fairly certain I have not read. I have read a tone of Louis L'Amour books, but he had what seems like thousands, so there's a good chance I have not read this one. Also, since the other day I discussed pulp art covers (see here), I went ahead and found the most pulpy I could and posted it first.

Wednesday, April 1, 2015

Consider Me Intrigued . . . On Two Counts

I ran into this (see here) promotion for a class for book marketing by Karen Tyrrell and am intrigued . . . actually doubly intrigued.


First, I want to know more about marketing my novels. I have two novels out there (see here and here) and I've just updated their covers (see here) and I have some actually not bad reviews for them. In fact the artist who designed my new covers even said I should consider a "re-launch" as my reviews seemed so good. So, I'm always for learning more about marketing my novels.

I haven't done much marketing. Count me in the crowd that believes that the writing has to be good for people to buy it. I love what Hugh Howey did with Wool (see here). He produced a good work and let the writing speak for itself. People came, people recommended it, people discussed and reviewed it cause the writing and the idea was so good. That's the dream.

But I get it that's not the normal way of the world. Also, I'm guessing that that was how it was done. How do I know that Hugh Howey wasn't out there peddling his work to every Tom, Dick and Harry he walked by.

Secondly, I'm the Director of Training here for my company. We have over 50 offices across the United States. I've had a project in the past few months to outfit all of those locations with large format 52" video displays, PC's and speakers with microphones and other equipment to support online interactive streaming. My trainers can now train anyone in any of our U.S. locations from any of our other U.S. locations. The trainers can see and interact with the students and vice versa, real time.

Miss Tyrrell is considering providing her workshop via webinar (which is the only way I would be able to take part actually) and I'm incredibly curious about how she will do it. I know how I've done it when training people to work in refineries, but how will Miss Tyrrell pull it off.

We made the calculation to have two streams at once. One that shows the trainer in front of the class. The other that shows the power point. Audio and video stability is paramount which is tough to ensure in every case. And with all that bandwidth being chewed up it can get spotty at times, but we wanted both the power point and the trainer in front of the class to make it worthwhile.

Sarah Hill (see here), who is a part of my circles on Google Plus and describes herself with: "12 time Emmy award winning storyteller for the broadcast channel for Veterans United Foundation" and "the first journalist to use a Google+ Hangout on TV" also chews on these technological nuts. She has started to integrate Google Glass into her work which is something I'm thinking about trying as well.

Regardless, I hope Miss Tyrrell is able to get something together. I need the help in one arena and need to compare webinars for my job.


Tuesday, October 23, 2018

Walking Away Girl Covers . . . How Prevalent Are They?

Truth is that the first few lines of Dead End Girl (see here) did not grab me, and based on my reading speed so far, it hasn't helped me get into the book. I have had a change in the way I see first lines and catalog them (see here).

Based on the cover, and it's similarities to the cover of my own book, On the Edge, I wonder if I should do a series on covers where the reader only sees the back of the girl (see here).



Corduroy pants swished between Teresa’s thighs as she crossed the parking lot. She had a headache. That drive-thru headset gave her a headache every damn time. The band squeezed her skull like an old man trying to find a ripe cantaloupe in the produce department. Pressing and pressing until her temples throbbed. When the headaches were really bad, she got the aura. And it was gonna be a bad one tonight. She could already tell. By the time she got home, she’d be nauseous from the skull throb along with the stink of fryer grease clinging to her clothes and hair and skin. Sometimes she swore she could feel it permeating her pores. 

She placed a hand under the lid of the dumpster and lifted. The overhead lights in the parking lot glinted on the surface below. It looked like water, but it wasn’t. It was oil. Every night they emptied the fryers, dumping the used oil into this dumpster. It was a disgusting task. Worse than taking out the trash on a 90-degree summer day, when the flies got real thick, and the meat went rancid almost as soon as they put it in the bin. It was dead out. No traffic. No noise at all but her fiddling with the dumpster and the bucket.

Vargus, L.T - Dead End Girl

I'm hoping it comes along, but I just noticed this: the title is "Dead End Girl: A Gripping Serial Killer Thriller." If the author has to put into the title that it's "gripping" it doesn't bode well for the rest of the book.

BUT! It was free and it's not all THAT bad yet. It's very much in the vein of Silence of the Lambs. We shall see where it goes.

Wednesday, January 26, 2022

An Investigation into Emotionally Compelling Videos as a Memory Aid for Industrial Field Workers

The Health and Safety Council (HASC) is a non-profit association that trains industrial contractors in safety and skills courses needed for working in petrochemical and oil refining facilities. Due to the large number of contractors who work at industrial sites in the Houston area, the most cost-effective and efficient method of providing safety and skills training quickly, easily, and effectively has been through the use of computer-based training (CBT) delivery systems. 


Finding more effective, engaging ways to utilize CBT training falls within HASC's mission (Health and Safety Council, 2006), so HASC is researching the use of virtual reality (VR) exercises with emotionally resonant video clips as tools to augment their traditional CBTs and make HASC's safety and skills training CBTs more engaging and effective. 

In 2020, HASC developed a CBT that included VR exercises and studied the efficacy of VR exercises by comparing a control group and an experimental group. The control group was provided a standard CBT with knowledge checks and tests. The experimental group had the same CBT content as the control group but was asked to take VR exercises to reinforce the learning objectives. The analysis of this 2020 study showed that CBT courses augmented with VR exercises provided more resilient long-term memory formation than those without VR exercises (Health and Safety Council, 2020). This research showed a statistically significant difference wherein the test scores a week following the training for the experimental group were 10% greater on average than the control group's test scores.  

As a follow-up to this 2020 study, HASC has released a 2021 CBT course with VR exercises. This 2021 course includes job-relevant videos with an emotionally compelling storyline. These videos are shown to learners in a fully immersive VR headset along with the VR exercises. The intent of this new CBT is to determine what effects VR exercises with emotionally compelling videos might have on learners' understanding of the training concepts and the gravity of the procedures the training covers. By including both VR exercises and emotionally compelling videos that go along with the VR exercises, HASC hopes to show an increase in the learners testing average after a week hiatus compared to the average found in the 2020 study. 

Rationale 

Studies such as Tyng et al. (2017) and Diemer et al. (2015) have found links between emotion and long-term memory formation. Using studies like these, HASC has developed techniques to provide greater learner long-term memory formation using emotion as well as VR. This same association between VR, video, and emotion has been demonstrated in other studies where emotions are elicited via video and VR exercises such as those performed by Marín-Morales et al. (2018) and Jensen and Konradsen (2018). These studies show how emotion can not only be inspired via training techniques such as VR and video but also how these emotions affect learning. HASC hopes that videos showing interviews with affected family members and friends will create a sympathetic, emotionally resonant episode for learners that will increase the chances of the learners' retaining and recalling information later. When considering memories of our past, Holland and Kensinger (2010) write that "the past we recall often consists primarily of moments imbued with emotions" (p. 7). By imbuing emotion into the training course, HASC hopes that learners will carry with them the learning objectives that they are drilled on in the CBT course. 


Additionally, Holland and Kensinger (2010) note that experiences that are more relevant and personal will likely be remembered more than those that have less relevance. Because of this, the videos HASC has developed show interviews with friends and family members of workers who were injured doing the types of work that HASC learners engage in regularly. If learners are more likely to remember more relevant information, then showing them videos with emotions that are relevant to their jobs should help the learners develop long-term memories that include the learning objectives in the course. 

There are a multitude of studies that link memory encoding with emotion type and emotional valence, such as; Anderson and Shimamura (2005), Steffes and Deverger (2012), Holland and Kensinger (2010), Knörzer et al. (2016), Kuriyama et al. (2010). This study aims to leverage the conclusions found within these studies to inspire emotions within the participants to both expand the understanding of the relevance of the training to the participants work-life and safety, but also provide a long-term memory encoding mechanism such as those described specifically by Holland and Kensinger (2010) and Brown and Kulik (1977). 

When developing these videos, HASC deliberately excluded any analytical video analysis or emotions that might be perceived as negative. Knörzer et al. (2016) write that more positive emotions in learning are a facilitator of knowledge and help learners enhance memory. In their investigation of Cognitive-Affective Theory of Learning with Media (CATLM), they researched whether positive emotions before learning increased memory. They found that although a "learner's emotional state had a crucial impact on learning outcomes: Learners with a negative emotional state before learning outperformed learners with a positive emotional state" (Knörzer et al., 2016, p. 627). Therefore, rather than focusing on negative emotional states per se, HASC's study will focus on feelings such as empathy, compassion, sympathy, and pity. 

Another rationale for providing memories that are sympathetic rather than negative comes from a study on emotional memory and event memory by Kuriyama et al. (2010). The authors found through their study that in terms of episodic memory, "the more fearsome the event, the more likely it is to be inaccurately recognized" (p. 133) despite findings in other studies that seem to show event memory being strong when strong emotions are present, especially fear. Every effort has been utilized to ensure that the emotions inspired in the videos are not perceived as negative. HASC wants to inspire emotions to make the learning objectives memorable for the learner but does not want to inhibit learning by instilling negative emotional states for the learner. 

Unlike Knörzer et al. (2016), Zlomuzica et al. (2016) found that through their experiments on providing emotional resonance through short videos and their effect on episodic memory, the impact of positive and anxious emotional states had no change on episodic memory retention. Zlomuzica et al. (2016) found "an inverse correlation between the level of negative arousal and performance scores in memory for spatial context" (p. 185). Additionally, several studies cited in Bréchet et al. (2019) show the viability of using VR for encoding spatial memory. Both Zlomuzica et al. (2016) and Knörzer et al. (2016) found evidence that the timing of the emotional arousal inspired in the learner pre-determined the effect that the emotion would have on learning. Zlomuzica et al. (2016) found that emotional experiences for participants before learning moments had a more negligible effect on episodic memory. For this reason, HASC intends to stimulate emotional arousal after the learning objectives are presented in the training rather than prior. By utilizing all of these methods to enhance memory encoding; VR, emotions, and video, HASC hopes to more fully develop the long-term memory encoding of the learner taking the 2021 CBT.


The research done by Knörzer et al. (2015) included experiments regarding prior knowledge and how prior knowledge might affect cognitive load and memory on participants. Learner's "with high working memory capacity perceive complex learning materials as less difficult and can compensate additionally imposed (extraneous) cognitive load" (Knörzer et al., 2015, p. 620), and a "higher working memory capacity has also been found to be a significant predictor for learning success in multimedia learning" (Knörzer et al., 2015, p. 620). What does this mean for HASC's work? Much of the information provided during the course is information that learners have received in various forms through other courses. This implies that many of the learners will have a high degree of prior knowledge. Based on the findings of Knörzer et al. (2015), having this degree of prior knowledge should leave the learners open to learning via emotionally resonant videos since there will be less risk of the learner's working memory inhibiting processing and encoding memories of the learning objectives. 

Many of the studies cited in this work have been conducted using participants who are not a part of the industrial field workforce that HASC supports. HASC works with field workers, leaders, and contractors who work around industrial hazards on a daily basis. These hazards can cause serious injury to themselves, their colleagues or create environmental hazards for the communities (Oil and gas extraction - hazards, n.d.). Although there are several studies on industrial workers and VR training efficacy (Gavish et al., 2015 and Vasilevski & Birt, 2020 and Colombo et al., 2014), there is a gap in the research on how VR and training that elicits emotion can encourage workers like those that HASC supports, perform their work more safely. 

Studies regarding video as a powerful tool in creating change, such as those by Briant et al. (2016), Spiegel et al. (2020), and Moore et al. (2016), prove that using video can act as a significant change agent for participants and for communities. Since the participants of this study are primarily field-level workers in the petrochemical and oil refining industry, helping them find new meaning for their safety through video as well as helping to explain, demonstrate, and safe-guard other workers through their better understanding of the concepts should be a worthwhile outcome for both the worker and the community within which they work. Part of this study is geared toward imbuing participants with a more complete understanding of the dangers associated with confined space work so that the participants will be more apt to stop dangerous activities they see at the work-site and help other workers stay safe.


There are a number of reasons for this research on VR exercises with emotionally resonant videos and memory in general, such as what Tyng et al. (2017) and Diemer et al. (2015) found. There is also research supporting this 2021 CBT regarding positive emotion and memory development as Zlomuzica et al. (2016) and Knörzer et al. (2016) produced, as well as emotional valence inspiring different types of memories as Anderson and Shimamura (2005), Steffes and Deverger (2012), Holland and Kensinger (2010) found. Additionally, there is work on VR that HASC has performed that found results similar to those produced by Gavish et al. (2015), Bréchet et al. (2019), Vasilevski & Birt (2020), and Colombo et al. (2014). Finally, there is the work that Briant et al. (2016), Spiegel et al. (2020), and Moore et al. (2016) have done in using video to create change. As HASC's goal is to find more effective training techniques to help the industrial workers, they support work more safely and keep their teams and communities safe, finding ways to use emotion in video to do this is valid and needed for the industry HASC supports.  

Research Purpose

The purpose of this research is to explore in what ways HASC learners are affected by the emotionally compelling videos provided in the CBT training and how participants believe this experience might influence their future work habits. This purpose provides ample room to investigate possibilities that are not expected nor understood by the researcher or similar studies done with these technologies. This purpose also fills the gap in providing resilient, effective training, which is at the heart of HASC's mission and vision; to "deliver exceptional training solutions" (Health and Safety Council, 2006). One aspect of training that this research hopes to achieve is establishing more resilient long-term memory for the participants of the training that can then be taken and used later when the participant is at work. 

Research Questions

The research questions HASC hopes to answer include:

  • How do the participants who take the CBT courses with emotionally resonant videos describe the training course and concepts within them?
  • What impact (if any) do the participants believe the videos will have when they are at work?
  • How do the participants discuss the videos when compared to other training courses they have taken?

Operational Definitions

CBT The acronym for computer-based training, the generic delivery process of providing training through a computer terminal. 

Contractor Workers, primarily field workers, who work on behalf of refinery and petrochemical facility owners. The predominant learning audience at HASC.

Emotionally Resonant Videos A series of videos that have been developed by HASC designed to provide relevance to the learner about the course topics and generate a positive emotional state after the learning. Provided at HASC in the midst of a VR exercise.

Episodic Memory A part of declarative memory that is focused on the specific, unique events around personal experiences (Schöne et al., 2019). 

Google Form An online form developed within the Google suite of applications that allows for customized questions and open-ended fields for answers to be input by a user. 

HASC The common name/acronym for the Health and Safety Council. A non-profit operating in Pasadena, Texas since 1990 that trains contractors primarily within the petrochemical and oil and refinery industry to provide safety and skills training. 

Learner or Trainee Usually a contractor for the petrochemical and refinery industry who has come to HASC for safety, skills, or compliance training to support their work in the field environment. 

Long-Term Memory Learning or recollection of events that are stored over an extended period of time. 

Proctor An HASC employee tasked with helping contractor trainees navigate CBT courses without providing information that could lead the learner to answer questions or finishing courses other than how they would naturally answer or finish them. 

VR The acronym for Virtual Reality; 3D, immersive technology that provides interactive simulations for the learner.

Theoretical Perspectives and Frameworks

This study focuses on a constructivist approach to learning. Using this approach, HASC hopes to inspire a transformative learning moment leading to a decision-making/social appeal to action and inspire participants to keep themselves and other contractors on the work-site safe. A constructivist approach to autobiographical memory development is the best theoretical framework for this study since it utilizes many of the concepts expressed by Holland and Kensinger's (2010) work on emotion and autobiographical memory. In their study, the researchers found that emotional arousal, irrespective of valence, positively impacts memory construction (Holland & Kensinger, 2010). Additionally, in their study, the authors determine that multiple reinforcement episodes of similar events lead to a reconstruction of the learning objective for the learner (Holland & Kensinger, 2010). Thus, the emotionally resonant videos HASC displays as a part of this study should serve as an emotional cue for the participants and as a reinforcement mechanism for the learning objectives.


There are many studies that focus on video as more than just a passive relayer of information and instead center on how video and VR can be utilized as a constructivist educational tool (Lee & Sharma, 2008; Cameron et al., 2008; Beckam & Watkins, 2012). All of these studies focused on innovative video and technological tools for learning that allowed participants the opportunity to develop their understanding of concepts based on their own foundations, a key in constructivist theory. The exercises that the HASC learners and study participants will be using are built on a framework of understanding foundational elements of confined space entry. The exercises allow the participants to build on this foundation and succeed or fail based on their understanding of the situation in the exercises and learn from their mistakes and build confidence for working in the field in real-life situations. As the emotionally resonant videos are a part of the VR exercises, the participants will use the videos as further building blocks to construct their understanding of the concepts in training. 

Additionally, there has been evidence that both a social constructivist framework and a constructivist theoretical framework can work to influence social and environmental aspects and increase awareness. Karahan and Roehrig (2014) found that while working with participants using constructivism and social constructivism frameworks led to a greater degree of understanding and awareness of environmental issues. As HASC's intent is to help learners become more aware of safety concerns in the field and dangers of confined space work, and as all confined space work requires teams of people and social interaction, a constructivist theoretical framework becomes the perfect foundation from which to build. 

Methodology 

The methodological approach for this study is focused around a single instance, open-ended, qualitative interview study of the participants who take part in the course immediately after their interaction with the emotionally resonant videos. According to DeMarrais and Lapan (2003), "qualitative interviews are used when researchers want to gain in-depth knowledge from participants about a particular phenomenon, experiences, or sets of experiences" (p. 52). Additionally, DeMarrais and Lapan (2003) state, "qualitative interviews rely on developing rapport with the participants and discussing, in detail, aspects of the particular phenomenon being studied" (p. 53). Therefore, the interviews that we will use for this study will rely on creating a conversation with the participants and allowing the participants to speak about the videos and the emotional impact the videos may have had on them, rather than focusing on the training as a whole.  


This methodology was selected for multiple reasons. First of which is the limited access that HASC proctors who will act as interviewers have with HASC learners who will make up the participant pool. Although the participants will be onsite taking the course for over 30 minutes and may be onsite at HASC for several additional courses, the opportunity the HASC staff will have to interview each participant is limited. Additionally, there are few feedback mechanisms provided for interaction between the participant and the staff after training is complete, meaning that once an HASC learner leaves the HASC campus, there is little to no interaction with the participant until and unless that learner returns for more training. The opportunity to interview learners immediately after the course is not only one of the few opportunities the staff would potentially have to talk to the learner, but additionally, the emotionally resonant videos will be fresh in the participants' minds since they will have just completed the training. Although a series of interviews over a longer period of time might provide more useful information for this study, the limitations of HASC's course delivery process and access to the participant are limited, so a one-time interview has been selected as the methodology. 

Finally, as DeMarrais and Lapan (2003) state, "power issues, whether or not those involved in the study recognize them, are central to relationships between the researcher and researched" (p. 65). The learners are cognizant that the proctors are staff at HASC and could potentially affect their course completion. As this open-ended interview will be taking place after the confined space course with the VR exercises and emotionally compelling videos, the proctors will be briefed on the importance of letting the learner know that the participants' answers to the interview questions will in no way affect their course completion and is being done as a part of an internal HASC study. Additionally, the learners will not ask for names or contractor company names and will tell the learner that any participant answers will be recorded and analyzed anonymously. These factors should allow the learner to feel more comfortable sharing their feelings regarding the videos and more comfortable continuing the conversation. 


Although there could be a better methodology for collecting data, one that allows for more reflection by the learners or that provides for one interviewer rather than potentially dozens of proctors acting as interviewers, the limitations of the HASC CBT delivery process do not allow for that type of methodology. HASC's course delivery process allows for a large number of potential participants because HASC hosts hundreds of potential candidates for participation every day. However, as stated, HASC can not easily keep them or interact with the participants after the course is complete and hope to get valid answers. Other studies have proven that HASC learners' willingness to engage in research after leaving the campus is about 12% (Health and Safety Council, 2020). This methodology of having a conversation with the participant immediately after the course was selected for all of these reasons. 

Methods

The specific method of data collection for this study is centered around an open-ended, semi-structured interview of the participants who take part in the course. Participants of this study will take the course with the emotionally resonant video in a computer lab at HASC in a quiet environment, watched by a trained proctor. The proctor provides instructions when necessary and helps with interviews after the course is completed. The interview questions that will be the framework for the proctors' field notes are designed to assess the participants' reactions to the emotionally resonant videos, not determine if the learning objectives were understood. The research questions focus on the potential impact the videos had on the participants and how the participant might think the videos will affect their work in the field. For this reason, the interview is focused on the participants' experience and expectations following the watching the videos, not the information transfer via the course. 

The interview questions include:

1. What did you think of the video at the end of the exercise? How did it make you feel to watch it?

2. Do you feel that the video will help you remember the training? Why or why not?

3. What impact other than remembering the training do you think the video might have?

4. What did the video make you think about when you watched it? 

5. What does it make you think about now when you think about the videos?

6. In what way, if any, do you think the video will change or not how you work in the field at your job?

7. Did You like the video? Would you like to see others like this as a part of your training? Why or why not?

These interview questions are designed to help answer the research questions and purpose. The proctors will be encouraged to allow the participants to discuss the participants own thoughts on the video and how the videos make them feel. Proctors will be encouraged to ask the participants to expand on their answers and allow them narrative freedom to discuss the impact at length in their own words. Interviews will last between 10 and 15 minutes and will be recorded on a Google Form that has been developed to facilitate the proctors' interviews and capture field notes from the participants. Each proctor will have access to the questions through this Google Form and open-ended fields within which to write notes on the participants' answers. The Google Form also has a field for proctors to record their own thoughts and feelings about the participant, about the participants' answers, and to capture the proctors' impressions about the interview. 

Additionally, although the proctors will be able to capture written responses to the questions via the Google Form, the proctors will also ask for permission from the learner to audio record the entire interview. The recording device is an embedded application within the tablet used by the proctor that also hosts the Google Form application. The purpose of the audio recording will be to allow the primary researcher the opportunity to hear the participants' responses without them having been filtered through the proctor's interviewers via the Google Form submission. This will allow for a more critical analysis of the answers provided by the participants. Participants who do not agree to the audio recording will have their answers recorded on the Google Form as described above. 

Analysis of the results will begin immediately in order to ensure that proctors are capturing data correctly. The targeted number of participants for data collection is 10 participants. Based on the frequency that HASC delivers this type of training course, collecting data from 10 participants should take two weeks. Data will be analyzed by first listening to the recorded interviews and comparing them with notes to find relevant or experiences that adequately discuss the feelings of the participants in terms of their reactions to the videos.

Limits and Possibilities of the Study

Some of the limits of this study include factors that could influence data collection by way of the proctors and the participants and the frame of mind and expectations of the participants. There are several ways in which the data collection from the proctors could provide poor data or data that is less rich in its exposition. Additionally, due to the rarity of HASC conducting experiments of this type, HASC learners are not typically used to being participants in studies. This unfamiliarity could affect the deepness and richness of the participants' responses as well. 


HASC proctors are not experienced interviewers. In most cases, the proctors at HASC are younger than twenty years old and have little to no experience collecting data from HASC learners. Although the proctors will be briefed on the importance of allowing study participants the chance to discuss their impressions of the videos in their own terms, there is a chance that proctors may not have the patience or skill to elicit information of this type from the participants. Additionally, if participants do not consent to be recorded, the data collection tool in Google Forms, as the Google Form is limited to text and does not allow for capturing emotions and feelings. In this methodology, the Google Form acts as a vehicle for capturing the field notes from the observer, the proctor. These are good because they help to capture the event as it happens but have disadvantages in that there is data loss when capturing field notes (Tessier, 2012). Although audio recordings are a better tool for creating a transcript, there is also a level of richness and color that can be found in digital audio or video recordings as well (Tessier, 2012). It would be ideal for this study to have just one interviewer, in this case, the primary researcher, collect all interview data from the participants' live and transcribe the participants' experiences and impressions without the go-between of a proctor. However, this is not possible considering the limitations of the HASC delivery mechanism. Having field notes via Google Forms, a possibility of digital audio recordings allows for the best possible data collection methodology considering the limitations of the HASC training environment and the acceptability of the participants. 

Another area of potential limitations in terms of being able to capture the participants' reactions and experiences at HASC. HASC learners are not typically asked to take part in surveys or interviews following the completion of courses. Being confronted with questions is outside the normal course of training that HASC learners have come to expect. This detour from the normal delivery process could influence the participants to mask their emotions and experiences from the proctors. Additionally, the participants might tell the proctors what they think the proctors want to hear rather than focusing on their actual lived experiences with the videos. This would skew and could potentially obscure the effectiveness of the videos from the researchers. 

The information gleaned from this study could provide new information on using video training from which HASC can build and support the mass delivery of their training. If HASC can determine through this study that providing emotional resonance through videos greatly enhances training efficacy for HASC learners, then other training of this type could be developed and delivered. HASC has a team of videographers and illustrators that could create more emotionally resonant training tools. Additionally, if HASC can prove that the training we deliver is more impactful and meaningful, can inspire more long-term memory development of the learning objectives for the learner, and promote positive change in the industry and on work-sites then HASC can be seen as a leader in the industrial training community and continue to grow and deliver valuable training. The majority of training in the industry that HASC supports is delivered without emotional resonance, via CBT, without video. If this study proves that video and emotion is a valid delivery technique for more engaging and effective training, then development and delivery of training could benefit across the industry, as well as within HASC.


Finally, constructivist training methodologies are not as widely used and accepted in HASC's training deliverable as other more passive forms of training. If HASC can prove through this study that training methods that are focused on and built on a constructivist theory are more impactful, then other courses can be developed and delivered using these techniques. As Lee and Sharma (2008) state in their study regarding developing constructivist theory in training, "it is possible to create engaging and stimulating activities for students that draw upon their resources as active learners" (p, 3). Finding ways to engage students beyond encouraging them to be passive receivers of information is the goal. The results of this study could help build the case for more training of this type being developed and delivered by HASC. However, there will not be an opportunity to determine if any change has taken place after the training once the participants return to work. One aspect of this research is a social appeal to action to increase awareness of dangers at the job site. The limitations of the interactions that HASC has with the participants while at the job site preclude any ability to discuss how work practices changed because of the training that the participants took, but instead are limited to how participants believe their work practices may change. This is a limitation but one that can not be overcome within this study.

Subjectivity Statement

Bhattacharya (2017) writes that "how well a qualitative researcher can achieve a depth of understanding is contingent on the relationship the researcher makes with the participants, the quality of data collection, and the researcher's analytical skills, informed by his or her positionality" (p. 36). With this in mind, it's imperative that researchers understand their relationship with the participants of the study, as well as the relationship between the study components and the researcher as well. Part of this understanding, according to Peshkin (1988), is knowing that researchers "should systematically identify their subjectivity through the course of their research (p. 17). As the primary researcher and an employee and leader at HASC, I have a vested interest in developing tools that increase the effectiveness of our training courses. This interest has the possibility to skew the data analysis and discussions from this research. Additionally, the primary data collection resource for this research are HASC proctors through the use of an interview and data capture via field notes and digital audio recordings. They too, as employees of HASC, have a vested interest in providing successful training methods and could skew data through that interest. An obvious example of power and privilege is that the proctors will hold the perceived power of passing or failing the participants' courses. Participants will be in the midst of a training day that might include many courses, and participants could perceive that their answering the proctor's questions is a part of or directly linked to their completing and perhaps passing their training courses. This perceived power could have an effect on the dynamic between the proctors and the participants for the study and change the expression of the experience that the participants discuss with the proctors. 


Another limitation of this study design is the qualitative nature of the study. The perspective of the participants will be more operationally focused. In most cases, HASC learners are motivated to quickly get through training courses so they can go back to work. This study intends to focus on the richness and color of the training rather than on graded completion or speed of completion. This disparity between the typical HASC learner experience and the focus and intent behind this study could muddle and confuse the data collection and eventual analysis. As mentioned in the methodology section, the proctors will be briefed on the need to coax deeper discussions on emotions and feelings regarding the videos from the participants, but the participants' habits at taking training at HASC, with a focus on speed of completion and graded completion could yield data that is not worthwhile, or that does not represent the impact of the video effectiveness. 

Finally, there is the perspective that I, as the primary researcher, bring to the study design and data analysis. Having over twenty years of safety and training experience may shift the perspective that I have with learners' data. The emotionally resonant videos focus on a safety aspect of training but not on a procedural or process aspect. Many of HASC's learners have significant work experiences, especially with processes and procedures. HASC's learners, and therefore the participants of this study, have less experience in safety or consequences of poor safety operations, especially in a video format. This lack of familiarity with safety consequences could cause the participants to be less confident in their responses to the proctors conducting the interview, and HASC might retrieve less relevant and less rich responses from the participants because of this disparity. 

Summary/Conclusion

For over twenty years, HASC has worked to find more effective means of training workers in the petrochemical and oil refining industry and to understand learners better. By adding an emotional component to training, showing learners what has happened to others who did not follow procedures correctly, showing how others' injuries affected their loved ones, HASC hopes to make learning more poignant and resilient—making memories sticky so that the learners take what they have learned from HASC's training and use it in the field. Proving this is a valid technique in these instances will make training more effective and yield a safer work-site.  Presently, HASC is one of the 27 safety councils in the Association of Reciprocal Safety Councils (ARSC) network. No other council within this network has published or performed any studies on the effectiveness of providing emotionally resonant videos to augment traditional CBT training. Continuing to research and refine the effects of VR and videos on our learners and our industry makes HASC a stronger, more competitive council and will benefit the contractor community. 

Although this is the second study that our organization has performed, it is the first that is focused on a qualitative analysis of the participants. Some of the challenges that we must be sure to address are those that were discussed in the subjectivity and limitations sections: (a) ensuring that the interview questions do not limit the freedom of discussion the study needs to analyze the depth of emotion and feeling from the participants and (b) providing an atmosphere where the participants feel free to discuss their experience openly and freely. 


HASC has performed a study of VR training and has started work on using a more constructivist approach to learning and showed that CBT training with VR exercises increased long-term memory development for the participants of that study (Health and Safety Council, 2020). Providing emotionally resonant videos with VR training to add to HASC's traditional CBT training should have similar quantitative results. The purpose of this study, however, is not to prove an increase in long-term memory development but rather is to hear from the participants how the emotionally resonant videos impact the participants and how applying emotion to training might lead to more effective learning for HASC's learners. 

This study of the impact of emotion in the video provides a unique opportunity for HASC to help not just the long-term memory development of their learners but also in assisting the industry and community as well. HASC's mission is to find the most effective training tools and techniques to improve worker safety (Health and Safety Council, 2006). The chance to provide more effective training and encourage workers to look out for others while at their work-sites can improve worker training and improve the industry's safety culture. 

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