Category Archives: What is Transmedia Storytelling?

Transmedia Journalism in 499 Words

Transmedia journalism is designing a project to unfold across multiple media in an expansive rather than repetitive way. In the movie and music industries much of a transmedia story may be told in a film or on an album. But a series of interconnected stories or pieces of context may be told through games, comics, novels, Web media, fan fiction and even amusement parks. Those other pieces expand rather than repeat the story.

A Story World

A transmedia project explores a space that contains multiple characters who can each tell multiple stories. It’s a space that you can draw a border around, like Batman’s Gotham City or that galaxy far far away. In journalism this could be a physical space like a neighborhood, a social space like a community, or an issue space like immigration or climate change. It could also be an ongoing beat topic, like state government.

Media Forms

The interconnected stories from that world take advantage of the different forms media can take. These include text, audio, video, game and interactive forms, graphic nonfiction, physical artifacts, lectures and many others. These ‘languages’ tell stories in unique ways. Stories from our world should use the media form that best fits the way an individual story in our world should be told. Nearly any media form can tell a good journalistic story if we use our usual forethought and ethical rigor.

Media Channels

Those forms can all be distributed in multiple ways. Text, for example, can be published by newspapers, magazines, the Web, or even sidewalk chalk and sky writing. These are media channels, or connection points with an audience. As we take advantage of the media forms above, we want to take advantage of the many ways we can reach varying audiences. For example, regular newspaper readers differ from gamers in where and how they can be found. Here we decide who it is important to reach, and place media to find those audiences. Journalism options include various print media, television, radio, museums, lectures, game consoles, public projections, billboards or any other means for the stories to be seen. Nearly any media channel could be used to tell a journalistic story. The Web and mobile are powerful channels as they can display many of the forms listed above. But they are each only single media channels with particular audiences. They alone don’t answer all our needs.

Partnerships

Few organizations exist that have the skills to produce many media forms and have access to many media channels. This requires teamwork between skilled producers of different media forms as well as cooperation between the owners of various media channels. Each partner would gain from the work or distribution of the others.

What it Creates

By telling interconnected stories we can embrace the nuance and complexity that exists in any story world. Through multiple forms we can engage the different parts of our story-loving brains. By distributing them across varying channels we can target the audiences that really matter.


Transmedia Journalism as a Post-Digital Narrative

My new technical report, issued by the University of Colorado Boulder’s ATLAS Institute, is now available. The paper extensively discusses the differences between media form and media channel in building a transmedia journalism story world.

ATLAS TR 2012-11-02

Abstract

This paper examines the emergent entertainment and advertising technique of transmedia storytelling as a method for journalists to target their work to an increasingly dispersed public across an unlimited array of both digital and analog media. In doing so, I argue, journalists can better reach a relevant and decisive public with more engaging, complex and nuanced stories. I will examine the elements of transmedia storytelling, and discuss how different parts of its method have been used in two journalistic cases. I will conclude with a hypothetical example of how it might be used to fullest effect.

To obtain the full document, send an e-mail to vickie.stubbs@colorado.edu.


Transmedia Journalism at the NPPA Business Blitz Road Show

Just a quick FYI:

I’ll be presenting on Transmedia Journalism at the Business Blitz Road Show held by the National Press Photographers’ Association in Boston on July 14, in Austin on September 29, and possibly in two more cities to be announced. My co-presenters include my former student Matt Slaby of transmedia-savvy Luceo Images, Allen Murabayashi of industry-leading Photoshelter, and Intellectual Property attorney and photojournalist Alicia Calzada.

Registration info is here. Join us for interactive presentations on the future of photojournalism, the media business, your freelance career and the future of storytelling.


Lost in a Matrix of Avatars: Principles of Transmedia

In late 2009, media scholar, transmedia describer and master builder of lists Henry Jenkins outlined his “Seven Principles of Transmedia Storytelling.” The pair of blog posts went a long way to shape the entertainment industry’s understanding of what transmedia storytelling does out there, once it is let loose. Their title, “Revenge of the Origami Unicorn,” refers to a clue to deeper stories that makes a brief appearance in Blade Runner, and is an invitation for the viewer’s imagination or sleuthing instincts to launch.

You may be awaiting that origami yourself, hoping soon the unicorn drops and leads to what transmedia journalism will be. I promise that is up soon, in pages rich with examples. But first I want to set the stage for some principles of transmedia journalism by looking at Jenkins’ principles in entertainment. These will hopefully be an invitation to imagine transmedia journalism on your own. They are:

  • Spreadability — Stories are compelling enough to be spread through fan interaction. What stories do you want to share?
  • Drillability — Stories inspire deeper investigation, engaging the fans to explore the story’s context, and solve intricacies or mysteries. Keep the gaps of The Matrix or the layers of Lost in mind with this one.
  • Continuity — Here multiple stories exist within the same defined world, and maintain coherence and plausibility. Think of how tightly the many stories of the Star Wars galaxy fit together.
  • Multiplicity — Though continuity is highly prized, a multiplicity of story possibilities may make a tale more fun or a richer experience for fans. Look at how the 2009 reimagining of the very continuous Star Trek story upended the characters’ lives, or drill around for alternate tellings of familiar tales, like Pride and Prejudice and Zombies or Spider-Man India.
  • Immersion — A good tale, a good character or a rich story world pulls us in and lets us forget ourselves and feel present at the scene. When was the last time you forgot you were in a theater or paging through a novel? Did the impressive 3-D of Avatar pull you into the silver screen?
  • Extractability — What can a fan take away from the story and bring into their own life? From Captain Kirk lunch boxes to the action figures of Star Wars and even the theme parks of modern entertainment franchises, more and more things and places that contribute to the grand story are available to us.
  • Worldbuilding — Each story in a transmedia franchise contributes to the complexities of the world in which they take place. Remember how C.S. Lewis built Narnia in the imaginations of readers?
  • Seriality — Serial stories are not new. From Dickens’s serialized novels to Harry Potter, the unfolding of a tale has held onto us like a Dallas cliffhanger. A serial keeps us in a story world longer.
  • Subjectivity — No, this isn’t that thing we work to avoid in journalism. Here Jenkins means a transmedia story embraces the varying points of view of multiple characters. Ever read Bram Stoker’s Dracula? The whole frightening novel is constructed from personal and subjective letters, allowing us to see the same story through multiple eyes.
  • Performance — A transmedia story may inspire a fan to act. What stories inspired us to play when we were young (or when we’re old and nobody is looking)? A good story — a really good one — can grab us so thoroughly that we want to act it out ourselves or write a new installment of the tale. As geeky as that sounds, it is a real mark of deep engagement.

These principles are fleshed out in greater detail and with many examples on the Transmedia Principles page linked near the top of the right column or under Contexts at the very top of the page. Read on. Drill deeper.


World Building

© Kevin Moloney

In his book, Convergence Culture: Where Old and New Media Collide, media studies scholar Henry Jenkins identified the core idea of transmedia storytelling: “More and more, storytelling has become the art of world building, as artists create compelling environments that cannot be fully explored or exhausted within a single work or even a single medium.” An experienced screenwriter told him:

When I first started, you would pitch a story because without a good story, you really didn’t have a film. Later, once sequels started to take off, you pitched a character because a good character could support multiple stories. And now, you pitch a world because a world can support multiple characters and multiple stories across multiple media.

But what could world building have do with journalism? It’s easy to imagine a Hollywood screenwriter creating an entire fictional world (or galaxy). But in journalism we refudiate invented things. The beauty of journalism, however, is that we don’t need to create stories, characters or worlds. The real world is our transmedia world and it is already filled with cultures, characters and stories to be written and produced, connected to each other and delivered through multiple media channels.

© Kevin Moloney

Transmedia storytelling in entertainment, though years old, is still new enough that definitions are troublesome. Academics examine past works to distill principles and definitions, and practitioners define it more in terms of what they would like it to do and where they think it ought to go. In the past year some debates erupted over how the technique should be defined.

I am going to stick largely to the definitions made by Henry Jenkins, who popularized the term and continues to describe it at length. In answer to the debates, Jenkins recently posted some further reflections on transmedia storytelling on his blog. These reflections not only examine the terms of the debate, but help to put further flesh on the idea. It’s a valuable read.

Today I’ve added a new context page “What is Transmedia Storytelling,” where you can find a more detailed and example-filled look into where transmedia comes from and what social and economic changes have fueled it. Find it linked here, at the top of the blog and on the right column of the page. Watch for much more there in the coming weeks.

In the meantime, here’s a nicely done little “Transmedia 101″ video by One 3 Productions:


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