Scribd
Upload
195 views11 pages

SE3R What and Why - Part 1

This document introduces SE3R, a method for analyzing narratives communicated in any form. It explains that narratives are a fundamental form of communication involving a sender sharing a story with a receiver. Narratives present challenges because the sender and receiver can edit details intentionally or unintentionally. Investigations generate many narratives from witnesses, suspects, and documentation. Problems arise because narratives weave complex details and are subject to editing. SE3R was designed to help professionals master narrative complexity, identify sender editing, and overcome further editing by listeners to improve investigation and interviewing.

Uploaded by

Paul Mazziotta
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PPTX, PDF, TXT or read online on Scribd
195 views11 pages

SE3R What and Why - Part 1

This document introduces SE3R, a method for analyzing narratives communicated in any form. It explains that narratives are a fundamental form of communication involving a sender sharing a story with a receiver. Narratives present challenges because the sender and receiver can edit details intentionally or unintentionally. Investigations generate many narratives from witnesses, suspects, and documentation. Problems arise because narratives weave complex details and are subject to editing. SE3R was designed to help professionals master narrative complexity, identify sender editing, and overcome further editing by listeners to improve investigation and interviewing.

Uploaded by

Paul Mazziotta
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PPTX, PDF, TXT or read online on Scribd
You are on page 1/ 11

SE3R: WHAT AND WHY - 1

Eric Shepherd
Welcome to SE3R
• SE3R (pronounced as written – S, E, three, R) is a method designed
for any professional required to dominate the fine-grain detail (FGD)
of narratives – stories - communicated in any form (spoken;
documentary; digital/electronic).
• The design of SE3R reflects key facts of life about:
• Narrative is the fundamental form of communication.
• Narratives are the core source of information in investigations.
• The behaviours of the narrator (the teller) and the listener/reader.
Narrative
• Narrative is a fundamental form of communication involving:
• A sender - the teller with a story to tell that stretches across a period of time.
• A message - the story progressively disclosed by the sender.
• A receiver - the listener or reader following and making sense of the story.
• Every narrative involves a text (from Latin: textere – to weave) - a rolled out “carpet”
of communication (spoken or written):
• into which the teller weaves – both intentionally and unconsciously - many
forms of information
• the listener/reader to register (mentally capture), remember (hold in
memory) and respond to (do something with) the content and how its
delivered.
• A narrative is like a “magic carpet” – the story – transports both
parties to a potentially shared destination! (https://en.wikipedia.org/wiki/Magic_carpet )
The narrative core of investigations
• Investigations generate a wide range of multiple narratives.
• Accounts - given by witnesses/suspects in interview: disclosed in
real time; digitally/electronically recorded; recorded as a document
(contemporaneous notes; transcript of the recording).
• Written witness statements: each a reduced representation of the
witness’s account created by the interviewer/monitoring colleague:
• at the time of the interview (on the basis of the creator’s memory and notes
taken) -
• (less common) after the interview (on the basis of the creator’s memory,
notes taken, and – very rarely – digital/electronic recording of the interview).
• Written personal (witness) statements: created by the individual,
based on the individual’s remembrance of ”what happened”.
• Written statements from suspects: created by the individual’s legal
adviser during consultation and disclosed in interview.
• Oral briefings: delivered in real time.
• Briefing documents: e.g. notes made at the scene, handover notes,
MG5, written briefings.
Problems with narrative
• Narrative presents tellers, listeners and readers with challenges.
• The complexity of narrative: the multiple kinds of information woven –
deliberately and unconsciously - into the “carpet”.
• The pervasive problem of editing.
• Tellers edit – both deliberately and unconsciously - what they disclose.
• Listeners and readers - deliberately and unconsciously - further edit the teller’s
disclosure.
• These problems represent significant barriers to effective
investigation and interviewing.
• These problems were the rationale for designing SE3R.
• Any investigator/investigative interviewer needs a method:
• to master the complexity of detail
• to identify and deal with editing by the narrator
• to overcome the practice of further editing when listening to/reading the
narrative.
• By looking at the problems in a little detail you will understand why
SE3R incorporates particular procedures and techniques that:
• will enhance your performance in listening/observing, reading, capturing,
analysing, and responding to the FGD in any narrative
• are new skills - like your existing skills learned through practice.
The complexity of narrative
• As the narrative unfolds the teller creates a complex interweaving of
different kinds of material within the “carpet” of information.
• Knowledge detail
• The teller cumulatively ‘drip feeds’ detail on key topics, e.g. people
(“characters”), physical locations, objects and things (“props”), routines,
plans, intentions.
• This background knowledge – distributed across the narrative – is essential to
understanding the storyline of ’what happened’.
• Event detail
• The teller progressively discloses the storyline - comprising different kinds of
event describing ‘what happened’, ‘what was going on’, ‘where’, ‘when’ and
‘for how long’.
• Actual events (instances of something happening), e.g. actions, reactions,
conversations.
• Episodes - instances of continuing or extended activity, e.g. driving between
locations; arguing.
• Continuous states (of affairs) - circumstances lasting for a period, e.g. an
upturned vehicle against a tree with the driver hanging inside.
• Time and place detail – the setting – in which an event occurs.
• Duration
• Commentary
• The teller may weave in a comment, e.g. a remark, opinion, explanation,
justification.
• Irrelevant detail
• The teller may include detail that has – or appears to have - no bearing upon
the unfolding story.
Time to read!
• Please read pages 1 to 6.
• Stop at the heading Communicating narrative: the sender’s
perspective on page 6.
• Then open Power Point SE3R: What and why - 2.

You might also like

pFad - Phonifier reborn

Pfad - The Proxy pFad of © 2024 Garber Painting. All rights reserved.

Note: This service is not intended for secure transactions such as banking, social media, email, or purchasing. Use at your own risk. We assume no liability whatsoever for broken pages.


Alternative Proxies:

Alternative Proxy

pFad Proxy

pFad v3 Proxy

pFad v4 Proxy