Coal Miner's Granddaughter is conceived around several investigations: at what point  does documentary slip into traditional fictional narrative; is video art a valid context for fictional narrative; does linear story-telling have a place in experimental media ’Äì wherein lies the experiment? While the story is guided by a sequential narrative and by specific scripted lines, the dialogue is chiefly improvised, as are the characterizations themselves. What results is indeed a vˆ©ritˆ© document. The story and characterizations were created through psychodrama, and even within the low-tech format of pixelvision, the scenes provide an essentially believable portrait of a family. The experiment lies completely in the process.