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? There are many ways to construct this kind of resource for a production team but I broke it into five clear sections – Story/Treatment, Function, Design, Technical and Business, all, like transmedia itself, with connecting tissue and blended narrative arcs The writing guide is free to download from the Screen Australia site, link below the introduction. And Just for fun: Get your Transmedia brains working. Instructions for above:
Bett 2011 | Comment | Educators need to utilise digital writing | Classroom innovation @ Bett 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. In fact, a teacher in the US had been using the stories with her "hard to reach" class of teenagers who had created their own batch of multimedia episodes and uploaded them to the internet. For me it was a really big moment: to have these students taking a piece of writing by someone else and engaging with it in an entirely new way is a very exciting form of interactivity. I think that stories are a really useful teaching tool, regardless of the subject matter.
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 Basic Vanilla Tried-And-True Outline The basic and essential outline. The Reverse Outline Start at the end, instead. Tentpole Moments A story in your head may require certain keystone events to be part of the plot. Beginning, Middle, End A Series Of Sequences Chapter-By-Chapter For novel writers, you can chart your story by its chapters. Beat Sheet Mind-Maps Happy blocks and bubbles connected to winding bendy spokes connected to a central topical hub. Zero Draft AKA, “The Vomit Draft.” Index Cards
Developing a transmedia game at a history museum k.b.skobac.com 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? Alongside traditional needs analysis and user centric design I have been writing & teaching recently about matching any creative project to a user or audience base – going beyond crude demographics or even psychographics and thinking about raw, primal need. Please note this is a first draft and will probably be embellished!
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. So, then the question becomes How to build an effective story world, how to conceive and articulate that world and it’s natural dramatics? In a previous post I broke down the important distinction between Settings, Contexts and Background: Setting is the here and now of the story world, it’s present. Defining the setting here and now of a storyworld becomes a more effective and sustainable dramatic vehicle if you can clearly articulate how the Here and Now came about, what events and circumstances transpired to bring the current situation Setting to bare? [click image to go through to the interactive version of the timeline]
2011: Are You a Writer or Creator? | @glecharles “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. [NOTE: This article was written in June/July 2010, originally published in the September 2010 issue of Writer's Digest, and was made a lot better thanks to the editing skills of Managing Editor, Zac Petit. Writers sell stories; creators build storyworlds. Neither path is necessarily “better”—there will always be a need for transactional writers—but there’s evidence that creators will have more control over their futures as the industry evolves. Guy LeCharles Gonzalez As in guillotine.
The Storytelling Mandala: Purpose-Inspired Transmedia Storytelling | Gauravonomics 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: These six trends play an important role in the narrative arc we will draw next: from Hero’s Journey to Heroes to Everyday Heroes. From Hero’s Journey to Heroes to Everyday Heroes Heroʼs Journey: Storytelling The Heroʼs Journey is a good example of a monomyth, or a universal story, that cuts across all types of stories, including myths, movies, novels, and ads. According to Joseph Campbell, all stories follow the same three-part narrative structure of the Hero’s Journey. Heroes: Transmedia Storytelling
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. As Rick Richter, from RUCKUS MEDIA GROUP famously said, “There are 30,000 Kids APPS in the APP store and 27,000 are bad.” This is why context (StoryWorld) counts. O’Leary asks, “how will what we publish be discovered?” That’s right, I said serve, that’s what digital natives expect. They get it. Transmedia and film has much to teach those of us coming from traditional publishing.
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. Likewise, when describing nonlinear narratives, I’m not referring to their timelines but to interruptions of the story experience, as if you went to the movies to watch “Memento” and were interrupted in the middle by a documentary about the film itself. Interrupting stories Take a minute to think about a great lecture you’ve attended sometime in the past. Let’s look a little deeper. Now imagine yourself in a lecture hall.
What makes the perfect Transmedia Producer?… …and the truth about ARGs. Now that transmedia is everywhere and the Producers Guild of America have turned the ‘transmedia producer’ into a bona fide (or at least recognised) professional role one thing that rears it’s cross-media head is, who and where are the best transmedia producers going to come from? I have spent a good part of the last 15 years mentoring & training traditional & non-traditional media types in multiple platform content and now question where the best producers of this multifaceted ‘new’ content will come from – academia, film, book authors, social media consultants, game designers, TV, web developers, radio, advertisers, young, old, not yet born? and this is an opinion piece I cannot put in my book or lecture about! Firstly what is it and does it actually mean anything at all? Here are some of the problems: Everyone is a transmedia producer - yes you’ve made a website that is attached to a TV show, your a TP. TRANSMEDIA – CONTENT (THE TRUTH ABOUT ARGs?)