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Creating Transmedia Narratives: The Structure & Design of Stories T...

Creating Transmedia Narratives: The Structure & Design of Stories T...

Related:  TransmediaRessources en anglais

Transmedia Case Study: The Three Little Pigs If the Three Little Pigs were told as a transmedia story it might be designed like this: The basic story would be told in an anchoring medium, such as a novel, TV show, or film. In this case, it’s a short story.There are four primary characters to expand and explore: three pigs and a wolf. There are also deeper themes of hard work, planning, collaboration, family and persistence underlying the main story arc.The first round of expansion: Pig 1 has a blog which details the family history and complicated family dynamics that led to the pigs decision to live apart rather than together. The hypothetical transmedia version of the Three Little Pigs is not the repurposing of story across different platforms. It is the creation of a holistic narrative that unfolds in different and unique manners across different media.

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? Read on, a ‘hypothetical’ interview follows 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?

Networked Insights: The World’s 50 Most Innovative Companies in 2012 Historically, an actuary would be the last person Hollywood would turn to for advice. But data junkies are the new A-listers, and the Ryan Gosling of the algorithmic set is Networked Insights. "Instead of just measuring what we did, we can pre-inform a gut feeling with empirical data," says founder Dan Neely, who is, yes, an actuary by training. By any measure, 2011 was a big year for the Chicago-based analytics firm. Highlights: It now plans $5 billion of media spending for advertisers--sometimes on shows with poor Nielsen ratings, but where Neely's data finds other value.

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?”)

World Bibles and World Wikis This is the third in a series of posts regarding shared story world design "globe detail" by Patrick Q (CC BY-NC 2.0) The concept of a world bible is a tried and true practice in many creative areas, especially for serial storytelling like television or large entertainment franchises. A world bible is an internal document or system for cataloging characters, places, items, etc. for future reference. World bibles help keep some of the minor details in place (e.g., ages and birthplaces of characters) while helping eliminate continuity issues (“Wait, John was living in Washington on his 21st birthday as established in the novel, “First Place.” s Ultimate Guide to Transmedia Filmmakers and artists have been exploring transmedia, or new ways to tell stories in innovative and immersive ways using different platforms and new technology. As filmmakers experiment with transmedia storytelling, they continue to look to Indiewire for resources on the best practices and tips for creating transmedia projects. Even though transmedia is still in its early stages, Indiewire has already gathered quite a bit on the topic, and we've got a list of our essential reading below. Feel free to bookmark this page; we'll keep it updated when we publish new articles that are essential reads for those wanting to know more about the space. Before Jumping on the Transmedia Bandwagon: The Four Ways to Approach Transmedia Storytelling In this excerpt from "A Creator's Guide to Transmedia Storytelling," author Andrea Phillips charts the transmedia landscape, explaining what areas have already been carved out.

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.

Reading and Writing Transmedia We have told stories to each other since the dawn of human history. We instinctively organize our thoughts as stories. Well-crafted stories engage us, inform us, inspire us and – long after first hearing them – resonate with us. Stories have always carried messages and meaning for us long before writing, radio, film, television, or the internet helped us tell them.

Ten Advice for Transmedia Storytellers Disclosure – the following post is based on a brilliant list about creative photography that Chase Jarvis put up in October, which in turn was inspired by a post by Guy Kawasaki entitled ”What I learned from Steve Jobs”. What I’ve done is port the ten points Chase made to the field of transmedia, as I think they are all pretty crucial points for any creative industry – not least transmedia. Experts aren’t the answer Well, at least not all of the time. No one will hold you by the hand and guide you to stardom, infusing you with sublime knowledge and making you a shed-hot transmedia creator.

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? This post therefore looks briefly at a core aspect of transmedia or experience design that is oft left out of the equation, the user need and how we can map out and create transmedia to meet those needs. Simple concept time. Please note this is a first draft and will probably be embellished!

Producing Transmedia Stories – 10 Reasons why Audiences do it Better… …than Agencies and Filmmakers. Why do transmedia professionals have a difficult time achieving authentic and fluid transmedia stories and why do ‘existing’ branded entertainment & digital agencies tend towards lowest common denominator, tried and tested formulaic cross media, more about PR, advertising and marketing than real ‘story’ focused engagement. Against this and rather paradoxically we have the ‘so-called’ audience/users actually telling their ‘life’ stories across platforms in a much more natural and engaging way. Having produced and studied cross media since 1997 (“What do Audiences Want” BBC pres) one very large and persistent problem has always been creating authentic transmedia stories – natural story arcs and bridges that lead you onward through a long format, multi platform experience. So why is this? note: this is a personal/user POV condensed version of a longer chapter intro section in my wip book Networked Media Storytelling: Transmedia Design and Production.

Why the Book and the Internet Will Merge (Hugh McGuire) Hugh McGuire builds tools and communities where book publishing and the web intersect. He is the founder of PressBooks (on which this book has been built), and, a community of volunteers that has created the world’s largest free library of public domain audiobooks. You can find him on Twitter at @hughmcguire. Sometime last year, I had a moment that felt like a profound revelation, and as with all such revelations of mine, I got me to Twitter and posted there: 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.