Jul 272011

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.

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Aug 262010

“We live in extraordinary times and the last five years particularly, a renaissance of storytelling. We are, as we were pre-printing press days when we equally shared, enhanced and distributed the fragments of our engaging stories. Today’s technology has delivered a new spirit of connectivity, a democratisation of story given back to the ‘many’. Storytelling not at walking speed but the speed of light. You equipped to deal with this?”

OK enough opening fluff and straight to the point. I was having a chat yesterday with a colleague at Screen Australia trying to answer a simple question. Cue music…

If you have a story project, that’s a little bit ‘strange’, who ya gonna call?

Magic Point Maroubra LX3 dBW 26

Not Fearing to Tread - Photo cc GHayes

(Strange = new format, transmedia, innovative, social, game-like, fragmented.) If you have a film and TV project and you need assistance to develop the script, help with the production, work through the characterisations, get advice on Red or 3D etc: there are a zillion consultants, vocational educational courses and many willing wannabe advisors to draw on. Film, Radio & TV particularly have 100+ years of maturity so it is also pretty easy to incrementally innovate, floating in watertight boats on tried and tested waters. Sadly the options for story rich projects that fall outside the straight and narrow linear path, have a more difficult time.

To be professionally guided or get the skills to create new storytelling formats you can

  1. Get in touch with professional agencies already doing this stuff. But they are often rather busy making ends meet and engrossed in ‘transmedia’ marketing big budget or existing story brands to really give you the time and advice you need.
  2. Find a traditional academic ‘digital story – type’ course (marketed as a world first) in your local area. Spend 6 months or longer working with ‘we need to do this stuff’ academics and theorists or at best, passionate aggregators of the best ‘new story’ project trailers masquerading as educational case studies. Also these course tend to be trials and under resourced – erm not the views of me with lecturer hat on, local employers 😉
  3. Find a local specialist individual who ‘seems’ to know about this new space – very few good experienced, passionate folk about and also a bit hit and miss.
  4. Seek out a handful of seminars, short workshops or networking events around the world. There are actually very few and they are often of the evangelising vs really getting down to nitty gritty ‘storytelling’ processes.

So here we are, a great dawning of transmedia storytelling, innovative new services and products yet still no true, deep development initiatives? Academia and industry either too money-busy, unable to take risk or focused on the past to really fill in this void?

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Aug 052010

…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? What techniques do makers of user created transmedia (you and I wearing our normal, connected people hats) employ that make it more interesting to their target audience and what can the ‘artificial storytellers’ learn?

Montecity July 4th Celebs

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.

Networked Media StorytellingFirstly excuse the use of the term ‘audience’ in the title, it is still a convenient catch-all for the ‘great unwashed’, old BBC term 🙂 or rather, non-professional creators. Of course we are equals and participant users when using well designed professional transmedia services, but what do ‘users’ do when telling their own stories, that pro “experience creators” don’t do and may possibly never achieve?

Before we proceed this is not comparing apples and oranges as on one side we have ‘user created transmedia’ (UCT?) ‘life stories’ aimed at a specific ‘user group’ and on the other professionally created transmedia ‘fiction’ aimed at fans or niche ‘players’. Both have a target audience and both have stories to tell.


To help frame this even more a ‘simple’ example. A typical well networked person wants to share an experience, tell a single (or part of a longer arc) story to ‘their’ audience, lets say (deliberately mundane!) a personally amazing chance encounter with a strange overseas friend who share stories during a mini afternoon catch-up adventure & challenges at various city locations. Challenges being obnoxious shop assistants or overcharging taxi driver etc: 🙂 Remember this is their, Hero’s Journey, we all have one every moment of our lives, some bigger than others. In this example the main user has a pre-existing networked media story environment (amongst other networked elements) consisting of:

  1. 500 facebook friends
  2. run a well read blog
  3. 1200 twitter followers
  4. regular FourSquare user
  5. a heavily subscribed YouTube channel
  6. a busy personal flickr account
  7. use sms and skype a lot
  8. meet up with their physical social circle regularly

User Created Transmedia

Full size link – As the image illustrates I hope, and this is probably old hat to many reading this post, we can see how the rippling of moments (Laurel Papworth covers the social aspects of this in great detail in her post Ripple: Social Network Influencers) across the users ‘story world’ is constantly punctuated as the story develops. Also notice how the story world is setup – the Foursquare updates for example ‘this is where I am – if something happens you will already know…” reinforcing environment and back story. It is important also to take on-board that the user in this case feels the ‘need’ to share, part of their being is now about being constantly active in ‘their story’ network, that need will be reflected by by the network (aka a captive audience) – often it will be quick bursts of activity in real time, pushing messages outwards and occasionally responding to ‘influential’ friends as they know those contacts will proliferate the story even more. Notice also in the diagram that auto updates (twitter pushing into Facebook or flickr) are an acceptable part of more social storytelling as the need to know means a level of ‘spam’ acceptance. I could go on but this is to partly demonstrate how

Today’s socially networked users are evolving into the most talented and natural transmedia storytellers, able to fluently manipulate, create and respond across multiple ‘personally nurtured’ channels transforming in the process something very complex into something beautifully simple

OK the best pro-transmedia relies on the social media connections above to disperse their narratives but as with any form of 3rd party story, we see it is a temporary viral layer (movies, TV shows, games etc) on top of their deeper, personal life story…

The most successful element in user created transmedia are the natural bridges between channels and platforms whereas professional transmedia storytellers often force feed its audience explicit or contrived ‘in your face’ links

As usual my preamble has turned into a tome so without further ado here are ten sections that came from lectures I did on transmedia design at various presentations and higher ed establishments in 2008/9 which I will put up on my slideshare account along with some transmedia bible templates – highlighting some of the fundamental and underlying principles of an authentic networked story environment. I have compared responses to each from an UCT and professional creators perspective, across the specific kinds of interactions within the transmedia, social environment. These are all appropriate to drama, documentary and brand/ad transmedia design, production and storytelling.


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