» 2012 » September
robert | September 29, 2012 ‐ 3 Comments
The following presentation discusses my top 5 best practices in transmedia storytelling.
robert | September 25, 2012 ‐ 1 Comment
Alex Warren, creator of http://www.textadventures.co.uk/ talks about this technology platform, Quest, and about writing adventure games.
robert | September 24, 2012 ‐ 3 Comments
At the Storyworld Conference this October 17-19th I’ll be hosting a panel titled “Participatory Storytelling – How to Create Raving Fans” and shall be joined by arguably among the best to talk about this: Christy Dena, Evan Jones, and Jan Libby. We’ll each give a 10min presentation and then I’ll chair the discussions and audience questions for the remainder of the hour.
The term “participation” has many connotations ranging from co-creation (e.g. fan contributions to the canon endorsed and utilized by the IP owners) to fans dressing up as characters (cosplay) to the most basic activity such as a “like” on Facebook.
In my talk, I’ll be side-stepping co-creation to focus on active participation that generates advocacy, word of mouth, goodwill and so on. I’ll be answering the questions:
- What’s the financial benefit of a raving fan?
- How might we develop storyworlds such that raving fans can be empowered to evangelize?
I’ll be looking at the sometimes thorny issue of why it’s worth spending money on just a few hardcore fans and, having satisfied oneself that the benefits can be measured, how do I breakdown an existing property to find the opportunities for participation that will generate word-of-mouth and social media activity.
The basic assumption is that the reason for creating raving fans is that they’ll do your marketing for you. After all, we know that recommendations and referrals from a friend are more likely to be trusted than paid advertising and in a era where advertising can be avoided, having your property pop-up in conversation or in a news feed is invaluable. But why should they help you out? Will turning fans into spambots by incentivizing with coupons and give-aways sully your relationship with them? Surely there’s a better more respectful, authentic way to create a win-win.
I also believe that the biggest win is beyond any one person’s social circle: It’s the power of a few committed fans to elevate a property onto a bigger stage such that it gets widespread coverage in mass media and favorable placement in stores. This empowerment could be the best reward for both.
robert | September 19, 2012 ‐ 4 Comments
3 x 3 is transmedia project told across a TV, web video, ARG and computer game. The team from Conviction Production talk about how the project came together and where it’s going next.
France’s “Kickstarter”-type crowdfunding platform
robert | September 12, 2012 ‐ 17 Comments
Released in Conducttr today is our new Quest Workspace. This workspace allows our authors to map their participatory storyworlds (Worlds) in a groundbreaking new way. This blog post shares the methodology we’ve developed so that even if you’re not a Conducttr user it’s still possible to revolutionize the way you plan and document your Worlds.
The strength of Conducttr is that it allows the building of participatory open storyworlds, for example, something like an ARG or a location-based story. By this we mean that the audience is free to roam the world and discover the story for themselves by questioning, unlocking, solving, visiting and generally exploring all the platforms made available by the creators.
Many writers and producers when they first come to transmedia storytelling aren’t sure how to tie together the storytelling part with the experiential part. That is, they may have a great story but don’t know what the user journey looks like; or they have some great ideas for an experience but not sure how to tell their story across that experience. Even when they have both parts it can be tough documenting how the two join in the middle.
Revelations and Quests
My approach is to break the story into blocks of revelations.
Start with a linear synopsis and pull out the major plot points and beats in the story – these are your revelations. Once the audience has this knowledge it will recognize that the story is moving forward. It could be the discovery of an affair or of a long-lost brother or it could be something small like finding an earring but importantly the audience must recognize that this discovery has significance. If the audience sees no significance then it’s not a revelation.
In Conducttr we call these revelations “Quests” because we’re going to ask the audience to participate in discovering these revelations.
The next step is to lay out the revelations along a timeline and consider the pacing of the story. How soon or how late or on what date will the audience be allowed to unlock the revelation?
Now connect the revelations with links and annotate the incoming link with important information that unlocks the secrets of the Quest and on the outgoing link the information found in this Quest to be used in the next.
Presentation and Structure
So far I’ve found that the ideal structure is to start with an “inciting revelation” – usually a call to action – and end with a “concluding revelation” i.e. the payoff. In between there can be any number of revelations.
The image below is the “Quest Chart” for Lowlifes (created in Lucid Charts) – a murder mystery story that can be played via this website: http://ortegapi.posterous.com/ The goal for the audience is to find the murderer. They do this by questioning characters via email, SMS and Twitter.
The next step now is to decide what the audience does – how and where it will participate – and this is where we need to develop an engagement strategy to (re)consider:
In the Quest Workspace in Conducttr we can drop verticals to mark important time periods (the pacing) and horizontals to show a layered experience. In the diagram here I’ve shown locations and videos providing information required to unlock the Quest revelation.
Drilling down inside each Quest we create a more detailed layered experience – this time looking at how characters respond to audience participation. In the next figure, events triggered by the audience are shown in the right column and the actions taken by characters at the intersection of the event and the character column.
I’ll leave you with a short demo video of the Quest Workspace in operation.
robert | September 12, 2012 ‐ 3 Comments
Mez Packer discusses the writing process and project initiation for the transmedia story Reliable Witness which includes a live installation as part of the Birmingham Book Festival Oct 4th – 13th 2012
robert | September 5, 2012 ‐ 2 Comments
Paul Irwin discusses his project TryLife – an interactive video series built for, with and from teen participation, live events and community outreach.