Tag Archives: transmedia journalism

Breaking News as Native Transmedia Journalism

As many as twenty bullet holes riddle the entryway of the New Life church in Colorado Springs, Monday, Dec. 10, 2007, where a day earlier a gunman entered the building. Two are dead in addition to the gunman and another two are injured in the second shooting to hit a Colorado religious organization in a day. The gunman in the Colorado Springs shooting was killed by a church security guard. Two are dead in a possibly related shootings at a dormitory for missionaries in Arvada, Colo., a suburb of Denver.

As many as twenty bullet holes riddle the entryway of the New Life church in Colorado Springs, Monday, Dec. 10, 2007, where a day earlier a gunman entered the building. Two are dead in addition to the gunman and another two are injured in the second shooting to hit a Colorado religious organization in a day. The gunman in the Colorado Springs shooting was killed by a church security guard. Two are dead in a possibly related shootings at a dormitory for missionaries in Arvada, Colo., a suburb of Denver. (Kevin Moloney for the New York Times)

Anyone who follows any news in the 21st-century mediascape has experienced this native and uncoordinated form of transmedia journalism first hand.

Here in Colorado last month we suffered massive and destructive flooding. The story is still unfolding and the aftermath will endure for months more. When the news struck that local mountain streams would surpass 100-year flood levels, I, my friends and colleagues dove headlong into a diverse array of media forms and channels to digest the news. I turned on the local TV broadcasts, I listened actively to local public radio, I watched Twitter hashtags, Facebook posts, Instagram feeds, awaited SMS texts from the university and picked up the phone to talk to friends and relatives.

I didn’t get the story from one place — multiple devices and technologies of all ages were used. I didn’t get it in any one media form — the story came as text, video, audio, conversation and even in the clouds outside my window. I absorbed complete stories from multiple sources and sewed them into a larger and more complex picture of what was happening than I could of had I depended on only one of them.

This applies to other breaking stories, from the Navy Yard shootings to the Boston Marathon bombings to Sandy Hook Elementary. Once engaged with a story that demands fast attention, we immerse ourselves in multiple spaces in the mediascape — online and off — to gather the complete and current picture.

This is not a planned and curated form of transmedia journalism. It is an emergent form created by each individual as he or she engages with the story. It illustrates the idea that we can engage with multiple characters across multiple stories in multiple places to achieve what game designer Neil Young calls “additive comprehension.”

We are deeply engaged when rapidly moving events raise cultural, civil or environmental concerns, or has an immediate impact on our lives. A drive to know more, see more and stay up-to-date leads us naturally to transmedial consumption of news. But what about the stories that don’t scream for immediate attention to any and every media form and channel available? Here, as we do for traditional news stories, we depend on style, human connection and compelling narratives to draw a public. We can carry those techniques to predesigned transmedia narratives so that, once engaged, the public has somewhere to find more. Through transmedia implementation we we also open many more access points for the public to find our story.


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.


Within Limits and Free of Constraints

Paul F. Moloney photographs from the sidelines of a football game in 1957, for the Greeley Tribune. My father worked through the apex of one-to-many mass media in the U.S. (Photo by Bob Waters)

There are times when a constraint is fuel for the creative process. As a veteran photojournalist I know deeply how the need to tell an entire story within a small frame, by slicing a millisecond from the unstoppable flow of time can heighten my awareness, accelerate my storytelling skills and open the adrenalin valve. In journalism as a whole, constraints can lead to cleaner and more efficient stories.

But those constraints are largely a product of the mediascape of prior centuries. Classic journalism forms like the inverted pyramid structure, the ten-column-inch story or the 30-second broadcast news segment all came into being because space and time in legacy media was scarce and expensive. And those constraints have been in front of us for so long that they ceased to be just involuntary constraints and have become journalistic standards. Even as the cheap and plentiful Web has broken those restrictions, I have heard many veteran journalists argue that those classic forms are the only real journalism out there.

But what is journalism? I argue that it is simply telling a factual story reported by someone who was rigorous in his or her effort to eliminate assumptions and verify facts, and produced carefully for a concerned public. It isn’t defined by style, structure or medium. We now have virtually unlimited ways to tell a factual story and, in online media at least, an extremely low publishing cost. Stories that justify expansion are far less limited by the economics of the media.

The best journalism will always be efficient in its use of space and time. Daily coverage of boilerplate stories generally do not need expansive transmedia coverage to do their job well. They should stay concise and limited in the time they demand from the engaged public. But when major stories emerge that have complexity, nuance and deep connections to many other stories in our world, then transmedia storytelling is a valuable method.

Transmedia entertainment continues to grow. The transmedia-native SLiDE, an Australian Fox8 teen drama, unfolds on screen and expands through social media designed to give its teen fans a sense of ownership in the story. I was recently impressed by the transmedia worldbuilding efforts of the Ninjago toy series from Lego, in which a backstory of epic style was built for those funny little Lego characters. Academy-Award-nominated Chico & Rita has planted its story in front of new audiences through a comic and music. And dozens of documentary film projects in production declare themselves transmedia projects.

In journalism new tools continue to emerge. Deep Dive from the New York Times adds new degrees of drillablility to their massive archive, and the array of games published by the Times continues to grow. The explosive growth over the past few years of Tribune Media Group’s ChicagoNow and TribLocal confirm that the public is ready for a sense of ownership of their news as well as deeper engagement with it.

LUCEO Images' innovative Greater than the Sum exhibition

This is not simply a big-media game, however. I continue to watch with pride as my former students find new ways to bring their work to the public through both traditional media and its alternatives. They not only fuel their work but reach new audiences through crowd funding. They offer lectures on their stories, line gallery walls with their storytelling images and collect artifacts that connect to their stories. They reach out to the public by any logical means, and they do it alone or in small collectives.

Transmedia journalism does require more advance planning than other kinds of coverage. Decisions need to be made on questions like what the keystone medium will be, how will the story expand (not repeat) through other media, and what subset stories lend themselves to a particular medium. Our constraints of space and possibility are gone.

But what about limits? Fortunately for us we can call our limits self imposed. We can produce journalism within logical limits based only on the value of a story, the attention of our publics and the budget at hand. We can now work within limits even as we are free of old constraints.

The latest major piece of Contexts information is now up, and it looks at ways a transmedia journalism story can be told. Read on for more transmedia thinking. Drill deeper.