Nov 272013

I was invited to present a keynote, of sorts, at the Merging Media 2013 conference – a short and sweet two day conference featuring many great topics and good international speakers with a focus on the business/production side of multi platform but also the more usual esoteric aspects of transmedia and inherent community thinking. My talk was originally going to be a show and tell of all the new opportunities afforded to us by mobile, social & always-on networks, eye-candy with a chunk of futurist ‘my how the world is changing’ – but I decided to turn it more into a ‘what makes a compelling experience’ combined with ‘state of the industry (covered in my previous post)’ combined with a ‘process approach to creating service’,  talk instead – with a little of the navigating the new landscape for good measure. So waaay too much in the time allotted, but at least this article has room to breathe 🙂

I hope I give a flavour of the talk below. I believe Merging Media will be making videos available too – which I won’t be able to watch as I rushed the latter part :(. The first part was actually partly scripted so that made it easier to copy some of that below the slides but there is much much more afterwards with lots of embedded media, I think there is a flow in the post. Obviously the slides only tell a quarter of the story and embedded after the break, but first…

Hello and thanks for inviting me to keynote here in wonderful Vancouver. Being one quarter French Canadian I do feel a little affinity with some of you, and have enjoyed a little time exploring & capturing the environment in the two days prior to this conference. But moving on let me apologise. I have struggled hard to find an innovative new theme, any new jewels of wisdom for you to ponder and apply to your own projects. So much in the transmedia arena has been talked about, theorised and postulated as the journey has only just begun. Perhaps the journey through the presentation itself may throw up some nuggets?. The media and storytelling environment in still in major transition and I and nobody else really knows where we are going, all I can do is prepare myself and others for this change. But first:

An Organic Multiplatform Transmedia Experience?

This is where I live at the moment and where, I believe, I had a compelling multiplatform experience. It was about two weeks ago. It involved personal life and death decisions, it involved loved ones, friends who lost everything, physical exertion, quests and games, feeling part of and working with a community, rich information, lots of information, the authorities, the law, anxiety, stress, stories of loss and heroism and making profound choices.
Oct 232011

What do we really value online and can traditional publishing companies adapt quickly enough to save themselves?

Earlier this week I and a group of social media ‘influencers’ were invited to a briefing by News Ltd of their, two years in the making plans to move to Australia’s first big Freemium news content model. Basic freemium model – a range of teaser online news excerpts leading to fuller, more in-depth news stories behind a pay wall at subscription prices starting at $2.95 a week to $7.95 including the daily printed paper.

Ross Dawson, Richard Freudenstein, Tim 'Mumbrella' Burrowes - photo garyphayes

The basic details of the plan were dutifully and immediately blogged in traditional journalistic style by Ross Dawson and Tim ‘Mumbrella’ Burrowes (both featured above with Richard Freudenstein CEO of the Australian). But alternate opinions are surfacing from other online ‘influencers’ who were there – including Laurel Papworth (who just published a thoughtful Paywall for and Online Community Social Media), Gavin Heaton (his tweet compilation) Tiphereth Gloria, Katie Chatfield, Craig Wilson, Bronwen Clune and Karalee Evans. Some were feeling privileged to be at this briefing (in advance of traditional media – who of course are competitors so why not invite the ‘independent voice’) but others were confused regarding the actual value proposition being put forward.

Firstly hats off to the large News Ltd operation for taking this ‘if we don’t were damned’ and ‘if we do were also damned’, step. Also for setting up a no-mans land, bridging site, looking at the Future of Journalism. It is really the only thing they can really do at this juncture – so it all comes down to ‘how’ they do it. I and others pointed out during the session that regardless of the mammoth ‘back-end’ production, business and editorial systems upgrade, it really boils down to IF users like the taste of this particular flavour of digital content. Is there a demand for your ‘paid for’ product?

Some heritage news orgs are starting to turn the corner of this ‘experiment’ of course while others have just crashed and burned. Yesterday AdAge reported on New York Times just keeping it’s head above the water with it’s 324 000 and climbing, digital subscribers. It announced that, as it’s print ads decline by 10.4% a quarter it’s digital ads (up 6.2%) and increasing subscribers online are balancing the books, just.

Within the company’s news media division, which includes The New York Times itself as well as the Boston Globe and other newspapers, digital-ad revenue increased 6.2% — slower growth than in the second quarter — while print-ad revenue dropped 10.4% — a sharper decline than last quarter.

In a world of scarcity asking people to pay for ‘information’ or stories about themselves and the wider world makes sense. Get that. But in a world where digital, to a growing number, means free access, open re-distribution, self-publishing and outright plagiarism of those same stories, will ‘paid for news’ ever work?

Lets step back from the granularity of price points and production challenges covered by others for the moment and without getting bogged down in journalistic integrity or endless ‘manipulative’ stats, lets get back to basics.

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Mar 182011

There are a handful of artists out there making great progress and learning how to meaningfully connect with their fans, build communities around themselves in new ways –  one of these  news ways is by bringing the fans deeper into the creative process. But there are still many agencies and traditional artists running fly-by-night ‘campaigns’ or superficial ‘create a logo for us / do an ad and win $500’ dis-respectful call-to-actions. Things have changed and the ‘wanna be an extra in our indy film’ does not cut the mustard anymore in a world where the users have already tasted self-publishing – nowadays we are talking about solidifying loyalty by integrating existing fans into the creative process at from the birth of the project through to the final distribution.

This post, which is a follow-on from my Co-Creating Transmedia Communities post in Sept,  looks at the levels (specifically six kinds) of crowd sourcing engagement and takes it one step beyond.


We all have our favourite artists – musicians, directors, sculptures, painters, TV personalities and we all have varying degrees of relationships with them. There is a big difference from appreciation at one end to super (obsessed?) fan at the other. But with the new breed of wonderful, stable online collaboration content networks available, the super fan can now become meaningful collaborator. The nature of ‘fanatic’ has evolved:

  1. DISTANT – Worship from afar and happy to just enjoy pushed, finished, packaged content
  2. COLLECTOR – Collects extra insight content from and about the artists
  3. PHYSICAL – Regularly goes to experiential events and concerts and may possibly have low level interaction with the artists
  4. ACKNOWLEDGED – The artist nurtures the fans into a community, a tribe that builds its own identity. They may change their personal look and brand themselves as being part of the artist’s ‘tribe’
  5. CONVERSATIONAL – A dialogue, direct and often in real time between artist and super fans
  6. CREATIONIST – The artist and tribe make ‘stuff’ together

It is of course the last three of the new types of relationships above that have come to the fore in recent years.


Bondi Sculpture by the Sea 2010 162

As I was formulating the previous 6 levels (yes I like doing levels!) I suddenly thought of one of my favourite films, from my youth. I have always been fascinated by Speilberg’s Close Encounters…and particularly the meaning behind the ‘Third Kind’. As we know it is actually a reference to J. Allen Hynek‘s 1972 scale of interaction with extra-terrestrial life forces. (There are actually seven levels listed on Wikipedia but the sixth one is redundant being a duplicate of number 2)…

  1. A sighting of an extraterrestrial craft
  2. Physical evidence of the extraterrestrial
  3. Seeing live extraterrestrial beings
  4. A human is ‘taken-in’ or acknowledged by the extraterrestrials
  5. On-going, real time, communication between extraterrestrial and humans
  6. Procreation between extraterrestrial and human

So as you do, I decided to merge 2) the escalation of our extraterrestrials with 1) the evolution of the fan and I came up with, drum roll – Gary’s Online Crowd Sourcing Levels of Six Kinds: (lets assume a level 0 which is basically passive consumption of everything that follows)

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