Dummies Guide to Writing a Transmedia Production Bible OK not really a Dummies guide as there are some complex elements in here, but one has to use whatever memes are in vogue A few weeks ago I was commissioned by Screen Australia to write a very basic structure & guide for producers relatively new to multi platform content to structure & document their propositions, after they have developed the ‘audience centric’ concepts. This has just been published on the Screen Australia site as a digital resource for those needing to document projects for transmedia productions. Background? Educators need to utilise digital writing About 18 months ago, I began getting a number of Google Alerts about Inanimate Alice, a digital fiction project which uses multi-media to tell a story through sound, image, text and video. Each episode is a self-contained adventure and the story becomes increasingly game-like as it progresses. The alerts were drawing my attention to the publication online of episode five. And not just one episode five but several versions. Which was interesting. Because I am the author of Inanimate Alice and I'd only produced four episodes.
25 Ways To Plot, Plan and Prep Your Story I’m a panster at heart, plotter by necessity — and I always advocate learning how to plot and plan because inevitably someone on the business side of things is going to poke you with a pointy stick and say, “I want this.” Thus you will demonstrate your talent. Even so, in choosing to plot on your own, you aren’t limited to a single path. And so it is that we take a look at the myriad plotting techniques (“plotniques?”) you might use as Storyteller Extraordinaire to get the motherfucking job done.
The Storytelling Mandala: Purpose-Inspired Transmedia Storytelling Marketers have always used stories to share information, change opinions and influence decisions. Now, as people create, consume and share brand stories in new ways, marketers need to go beyond the 30-sec product ad or the 300-word press release, and tell purpose-inspired transmedia stories that inspire, organize and energize people. Six Trends in Storytelling Let’s start by recapturing the six important trends that are reshaping how people create, consume and share brand stories:
Mapping a Storyworld Timeline World first, then Plot. This is the mantra I think is so important for developing an episodic series. The principle being that a series lives and dies by it’s dramatic sustainability and if you focus on plot before fully considering the rules, contexts and natural pressures of your story-world, you run the risk of writing your series into an unsustainable hole.
The Transmedia Hierarchy of Needs Have about 22 draft posts sitting in my WordPress Post box, so a bit of catch-up in next week or two to clear some out! Outside of the talk of what ‘transmedia’ actually is, the next key topic of controversy is how can you make money from it vs spending marketing money ‘on it’ to promote a traditional product/project. The Holy Grail at the moment is can we make the ‘multi platform, transmedia form’ an entertainment or service necessity – something worth users putting hands in pockets for (or clicking that PayPal button) and something worth spending the time and effort immersing yourself in – when there are so many other ‘linear’ fragments to graze on?
The Transmedia Approach Integration is chaos. With so many agency / channel specialists – clients waste a ton of money paying for redundancies in their big agency fees. Furthermore, when Kellogg wrote the textbook on marketing integration years ago, I know that what they describe in their scenario planning was not what marketers are attempting to pass off as an integrated marketing plan. Today, 'Integrated Marketing' is defined as a multi-channel plan using the same message across all channels. What we know now is that one size does not fit all!
Story, interrupted: why we need new approaches to digital narrative by Pedro Monteiro | September 8, 2011 The way we tell stories in print has been mostly the same for some time now. Space constraints and graphic layout have made the narrative flow a broken one. With the advent of digital devices and rich new ways of shaping content, the pressure is on to rethink how we produce and present our stories. Looking into why the broken-narrative experience happens may help us figure out how to prevent it in digital publishing. For the purposes of this article, I’ll refer to linear narrative as a story with a beginning, middle and end. 2011: Are You a Writer or Creator? “Great storytelling starts with a great idea, not the platform.”–Lisa Hsia, SVP, Bravo Digital Media, NBC Universal New media, social media, transmedia… the landscape for writers has changed dramatically over the past 10 years, and today, there are more options to get published and reach new readers than ever. With more options, though, come more unknowns, some more obvious than others. Here are 10 questions you should be asking yourself as you look ahead to the future of publishing—and where you’ll fit in.
Kids and digital storytelling: Who will teach them? As a former statistics major, I know that no one should read too much into a single example. But watching my 10-year-old son embrace video production is challenging some of my beliefs about the timing and content of journalism education. But it’s not just my son. For many of his elementary school classmates, producing and distributing video has become as ubiquitous as writing and passing paper notes was to students of my generation.
Transmedia – Taxonomy « the dr will c u now …. This is an excerpt from a paper I did way back when in 2009 part of which needed to address the structure of a transmedia narrative, to clarify some of the terminology first though: Text: – will be used to reference a particular narrative story regardless of what medium in which the story is actually told. This can refer to the transmedia story as a whole (the significance of which we shall examine later in this paper), or for an individual story within the whole.
Creating StoryWorlds for Transmedia Kids “I want to create experiences that allow the audience to step into the shoes of the protagonist.”-Lance Weiler When I talk to most people in publishing and tell them I am creating character bibles & StoryWorlds for kids IP, they usually look at me kind of funny and ignore what I say or ask, “what?” I tell them I’m an obsessed student of transmedia, and in order to create a compelling digital storytelling experience on the web (i.e. to get & retain eyeballs), you need to create an amazing place for your digital story to live and be shared. You need to create context. That’s what StoryWorld is.