Needless to say, today’s workshops at DIYDays LA were filled to the brim with great speakers and innovative perspectives. For those that couldn’t attend today’s workshops, here’s a re-cap of the most important bits: Common Points There were a few common themes mentioned in almost every talk I attended, and they were all based on experiences (good and bad) from existing projects: 1. Your audience consists of three main groups: Casual consumers (around 70% of your audience), active consumers (25-30%) and enthusiasts (5-10%). Your transmedia strategy must try to lead your audience members from casual to active consumers, and ideally
How do you construct a transmedia narrative? Does it differ from stories told in film, books, TV shows, computer games, etc. until today? Yes and no, in my opinion. As a media consumers myself, and having observed and researched several successful and lasting story worlds such as Star Wars, Lord of the Rings, Harry Potter, Star Trek, Buffy, various mangas/animes, and, of course, classics such as The Illiad and The Odysee, I noticed several important elements that allowed these respective universes to live on for decades (or millenia, in the case of the latter two) and to inspire not only
As the concept of transmedia storytelling becomes increasingly mainstream it is important that we do not lose ourselves in continuous debates on what transmedia storytelling is and what it is not. It is relatively easy to theorize and predict with no end; what is considerably harder, however, is to turn all this transmedia theory into practical advice. Granted, we are still experimenting a lot with what works and what doesn’t, but I do believe that it is important to begin to compile transmedia successes, basic economic mechanisms, and common-sense into manuals, guide-books, and/or best-practice sets. What follows is my attempt
At last night’s Transmedia LA meetup, Kent Nichols, Partner Outreach at blip.tv, shared a few very important ground rules for producers trying to self-distribute online. Kent is a videomaker and producer himself, and some of his projects include the award-winning series Ask A Ninja as well as the all-new The Guilty Crafter. blip.tv specializes in serialized online content, and as Partner Outreach Kent helps producers (for free!) to identify the right set of practices to find an audience online, an more particularly, to find their critical mass.
Tonight it was time for another ad-hoc Transmedia LA Meetup. This time the guest was Prof. Henry Jenkins, one of the earliest thought-leaders on transmedia and convergence culture. I am basing the following paragraphs solely on the notes I took during Henry’s talk, so they are no word-for-word transcription. As a matter of fact, I will be paraphrasing most of the time. If you see phrases or sentences in quotation marks, they denote a word-for-word citation, but everything else is just summing up Henry’s words.
Today I came across an article on The Next Great Generation that asked whether ‘social films’ are the next big thing. Social films are short webisodes distributed via social media platforms such as Facebook, Twitter, and Google+, and which require the viewer to take action in order to influence how the story will develop. The example discussed in the article is a collaborative project by Toshiba and Intel called Inside.
This is the second part in my ‘Why Transmedia’ series. Please click to go to Part 1, Part 3, and Part 4. Transmedia Offers Great Possibilities for Fans to Get Involved “It’s the time that you spent on your rose that makes your rose so important.” – The wolf in Saint-Exupéry’s The Little Prince I know that fan engagement is still a double-edged sword for many authors and entertainment executives. On the one hand, you want loyal fans who are deeply invested in your storyworld, and you probably also like the fact that they carry your story on to different media and