Scriveners' Trappings

"People have always loved participating in stories. Charles Dickens was one of the first to serialise his novels and take input from readers before the next chapter was released. But, increasingly, the audience wants to be part of the story and, for the rabid fans, to be given a more detailed back story, not just consume it passively. Accenture recently showed that 87 percent of individuals watch TV with their devices within arm's reach. And Mills says Australian murder mystery Secrets and Lies tapped into this very cleverly by offering those who downloaded a mobile app additional insight into the show, like letting them listen to a phone conversation that couldn't be heard on the live broadcast. Those who didn't have the app didn't miss out on anything, but those who did had their experience enhanced. And she says it's one of the best examples of dual-screen meshing she's ever seen. "

Via The Digital Rocking Chair

"Together with a whole network of media researchers, creators and students we will:
- learn storytelling basics such as antagonist/protagonist relationships, narrative/narrated time, ...
- have a look at exciting current media projects
- analyze how they are designed and executed based on aforementioned basics
- and discuss how (and if) new online tools and formats change the way stories are told and perceived.

The 8-chapter course starts on October 25th, 2013 and ends on December 20th, 2013.

It will offer weekly video material, lessons, interviews and tasks on the following topics (not necessarily in this order):
- storytelling basics
- serial formats (on the TV, web and beyond)
- storytelling in role-playing games
- interactive storytelling in video games
- transmedia storytelling
- alternate-reality gaming
- augmented reality and location-based storytelling
- the role of tools, interfaces and information architectures in current storytelling.

Our first Storytelling-MOOC will focus on fictional formats.

"Our goal is to inspire and help understand. To broaden our horizon of what is and might be possible and what has already been attempted, and what has succeeded or even failed - and why.
In several little tasks you'll analyze and practice storytelling on your own and in teams."

'The word premieres of two interactive doc projects and the New York debuts of a handful of multiplatform titles — including “Charlie Victor Romeo,” the hit Off Broadway docu-play recently turned into a 3D film — are among the offerings on tap for Convergence, the New York Film Festival’s second annual slate of transmedia programming.

 

Driven by tech innovation and the proliferation of digital possibilities, transmedia storytelling has become an increasingly prominent component of film festivals as a growing number of filmmakers begin to explore multiplatform projects. Earlier this year the Tribeca Film Festival officially incorporated transmedia offerings into its festival lineup, while Film Society of Lincoln Center, which presents NYFF, launched its year-round Convergence initiative last year, a festival component of which kicked off as part of the 2012' 

Via siobhan-o-flynn

Nick DeMartino:  "The session was called "Unlock the Power of Fans" at Transmedia Los Angeles’ monthly meetup earlier this week, but I’ll remember it as the Fanthropology of Theatrics, because I learned so much about the way audiences are using the new collaborative storytelling platform that I was there to represent."

Via The Digital Rocking Chair, Katie Frank

"Not content with ruling the big screen when it comes to comic book movies, Disney/Marvel has inked a rather epic deal with Netflix: four series with 13 episodes each, all leading up to a final team-up miniseries. The subjects of those series: Daredevil, Luke Cage, Iron Fist and Jessica Jones. And if that wasn’t a sweet enough deal for fans, the deal is also part of a broader arrangement between the two that grants Netflix exclusive, first-run subscription rights to Disney and Marvel films. Any number of comic book sound effects would be appropriate in response, but President of Marvel Entertainment

"Alan Fine has a slightly more measured response. “This deal is unparalleled in its scope and size, and reinforces our commitment to deliver Marvel’s brand, content and characters across all platforms of storytelling. Netflix offers an incredible platform for the kind of rich storytelling that is Marvel’s specialty,” said Fine. “This serialized epic expands the narrative possibilities of on-demand television and gives fans the flexibility to immerse themselves how and when they want in what’s sure to be a thrilling and engaging adventure.”

"Once you get over the initial shock of it all, the reality settles in that this is a very, very awesome and groundbreaking deal. That Marvel continues to delve into its wealthy library of characters is great. Fans have long been clamoring for a movie about Luke Cage, but a series will gladly be accepted as well. The fact that both Iron Fist and Jessica Jones are also getting the Netflix treatment is an added bonus, giving fans even more Marvel characters that the everyday fan may not be too aware of. These three characters actually have quite a storied history in the Marvel universe, often playing an integral part in many storylines and team-ups."

- See more at: http://www.thenerdmachine.com/marvel-at-netflix-intersecting-comics-and-transmedia/#sthash.X1FVtP65.dpuf

Via The Digital Rocking Chair

Via The Digital Rocking Chair

Julian Cheevers:  "There’s increasingly a lot of talk about Transmedia storytelling; the idea of taking pieces of a story and systematically putting them across different media touch points for the purposes of creating a unified and coordinated entertainment experience. But why is Transmedia storytelling important for independent filmmakers in particular?"

Via The Digital Rocking Chair, Alexandre Pierrin

Randy Astle:  "Transmedia by definition requires producers to work in more than one medium; the fun, most of the time, is in devising ways to carry a narrative (or narrative world) across different platforms" ...

Via The Digital Rocking Chair, Deborah Arnold