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The Storytelling Mandala: Purpose-Inspired Transmedia Storytelling

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: 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 Related:  Transmedia documentation examplesStorytelling

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. A good series should become self perpetuating by the natural dramatic momentum generated by it’s story world. 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. Seminal film scholar David Bordwell defines narrative cinema (as we know it) as a series of events in a cause and effect chain within time and space. [click image to go through to the interactive version of the timeline]

Center for Future Storytelling | Research The overall mission of the Center is to explore the convergence between art and technology—particularly as related to creative expression through story forms—in ways that elevate the human experience. To achieve this overall goal, storytelling-related activities of the CFS will address a set of macro themes: The Participatory Documentary CookBook: community documentary using social media “A participatory documentary tells a story about a community using the community’s own words. That story is disseminated back to that community via social media.” (Weight, 4:2011) Now available free, it is a textbook for creating participatory documentaries using social media. Introduction and context: “My students and I have been making participatory documentaries for some years in my course Transient Spaces (part of the Master of Communication Degree at RMIT University, and an elective in other programs). Lecture about structure, social media and tools for making a participatory documentary, mostly derived from the Participatory Documentary Cookbook Useful resources: Jenny Weight Personal Blog: Downloadable document: Slideshare: community, cookbook, documentary, geniwate, Jenny Weight, participatory, RMIT University, social media

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. Sub-text: – we shall use this term to define any component text that comprises part of a transmedia story. Adaptation: Where a sub-text has been directly adapted from the original medium, for example (love it or hate it, its marmite entertainment) Dan Brown’s 2004 novel The Da Vinci Code and its film equivalent in 2006 directed by Ron Howard. Henry Jenkins in his online blog “Transmedia Storytelling 101” (2007) [1] deconstructs the concept of a transmedia experience into its component characteristics. Warner Bros. Like this:

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. 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. The lights go out; the audience is quiet except for a cough here or there. She begins by introducing her subject. Now imagine that this talk, the one you and the rest of the room were really looking forward to, continues to be interrupted again and again. Storytelling and Business last updated 5/14/2004 We all have been told stories in our lifetimes since we were quite young. There is a common notion that the role of storytelling is primarily constrained to bedtime or play time for children. The true role of story and storytelling is much greater, older, and elemental than Hollywood. Story and storytelling are tools like any other - a pencil, a computer. The links below represent a sampling of professionals, writers, researchers, and organizations that are furthering the investigation and application of story in business and other organizational contexts. -Kevin Brooks, General Links Steve Denning Author of The Springboard Story Advance chapters of his new book, "Squirrel Inc.: A Fable Of Leadership & Storytelling", to be published by Jossey-Bass in June Doug Lipman Storyteller, professional story coach and workshop leader. Vandania Story Studio

TRANXMEDIA | Summit 25 Things You Should Know About Transmedia Storytelling Let’s get this out of the way, now — this, like many/most of my other lists, could easily be called “25 Things I Think About Transmedia.” It does not attempt to purport concrete truths but rather, the things I believe about the subject at hand. I am something of an acolyte and practitioner in the transmedia cult, and sometimes give talks on the subject (as I will be doing next week in Los Angeles). So, here I am, putting my transmedia ducks in a row. Please to enjoy. 1. The current and straightest-forwardest (not a word) definition of transmedia is when you take a single story or storyworld and break it apart like hard toffee so that each of its pieces can live across multiple formats. 2. Transmedia is, admittedly, kind of a buzz-word. 3. The rise of any new or altered media form sees an awkward transitional period where everyone wants to define it. 4. Good storytelling is still good storytelling. 5. Transmedia these days is strongly marketing-centric. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15.

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. Let us begin. 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 Write A Script Collage

DMSdiana Tips for Connected Documentarians » The Connected Documentary This is an emerging field. But for filmmakers hacking on web-based stories, it basically boils down to this: You have to commit to the fact the “thing” you are making is not a linear, unchanging video with a discrete runtime (even if your users will experience it as such). And you wouldn’t go about making a web app the same way that you make a traditional film. You can’t tack on “connectedness” after you’ve produced something completely disconnected. #1: Always stay in service of story. Your number one job is to tell a story. Technology can serve as inspiration, but never substitute for story. Technical possibilities can certainly serve as inspiration. Your creative process should start with a strong, compelling story, with characters who have real motivations (or motivating circumstances). Start from the story, think about how you’d want your user to experience that story. #2: To thrive on the web, adopt “systems thinking.” This will be a different process for each story. or like this:

Transmedia Storytelling “Transmedia storytelling” is telling a story across multiple media and preferably, although it doesn’t always happen, with a degree of audience participation, interaction or collaboration. In transmedia storytelling, engagement with each successive media heightens the audience’ understanding, enjoyment and affection for the story. To do this successfully, the embodiment of the story in each media needs to be satisfying in its own right while enjoyment from all the media should be greater than the sum of the parts. Before expanding on how to create transmedia experiences, let’s ask ourselves two questions: Why would you want to tell stories? Why Tell Stories? We tell stories to entertain, to persuade and to explain. Our minds do not like random facts or objects and so they create their own stories to make sense of otherwise discrete, isolated events and items. Great stories win hearts and minds. Why Multiple Media? Join the Community & Sign-up for the Beta Trial! Next >>

Journal - - Or, how to write an immersive, magic-realist, historical thriller experience for a museum about cold-war era navy warships… (note: the post below does Not represent the opinions of the Australian National Maritime Museum (ANMM), or its staff. It is intended only to reflect my own perspective in delivering a process for the ANMM as an external consultant.) What place has a writers-room in the development of a museum exhibition? The past few months have seen me overseeing the development of a multi-platform storyworld bible for the Australian National Maritime Museum who are embarking on an ambitious exhibition project. As a writer my work is more diverse than most, working across traditional books, TV and film as well as interactive, digital and multiplatform projects. At a simple level, it seemed to me there there were two fundamental flaws in the way a great many museum projects were conceived and constructed. As I said in the interview with Seb…. Alan Chen drawing ideas on-the-fly

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