A hypothetical transmedia version of the Three Little Pigs demonstrating that transmedia storytelling is not the repurposing of story across different platforms. It is the creation of a holistic narrative that unfolds in different and unique manners across different media creating a rich storyworld and allows for a dialogue between creator and participants.
There are a lot of cinematic crimes committed in the name of ending movies on a feel-good note. The twists range from technologically advanced spacecraft having one major weakness, to bad guys being swayed to the side of good after a brief pep-talk from a hero. These cheap ploys frustrate audiences, but they are in service of a sound principle: Almost no fictional story should have an unhappy ending.
I can't deny it. I've got one foot in storytelling and another in science. I've always been interested in how people think and why people do stuff, and my training as a scientist places me perfectly to explore this, both through measuring and through understanding. This is because science itself is not the rigid, contained structure that it sometimes appears.
Science has a lot in common with philosophy and storytelling.
I’d like to share a story about a man who has inspired me although he had died twenty years before I discoverd him. It is compiled from the stories of people who had known him and my own experience while collecting the stories about him along the way.
Writing style needs to change to take advantage of the hyperlink. That’s the message I want to inject into the discussion about whether deep, long-form writing can survive online — especially long-form journalism. Many people assert that articles need to be shorter online than they are in print, and David Carr even famously argues that the internet is making us stupid by destroying our attention span.
But I don’t think the web is shallow at all. I think it’s the deepest medium ever invented, with incredible potential for telling complex, irreducible stories — or at least it can be, if you don’t treat it like print.
Many years ago, when I first encountered Garrison Keillor and his droll tales of the good people of the sad town of Lake Wobegon, I took the stories to be true. Young and unaware of National Public Radio, I was unfamiliar with the author and the weekly radio program on which Keillor weaves amusing and sweet tales of the fictional Minnesota town. When I finally discovered my folly I felt only a tinge of embarrassment at having been swindled. Mostly I was thrilled because what I had taken to be real was revealed to be imaginative. The rug of perception had been yanked out from under me; my mind and emotions had been taken for a ride, and I loved the feeling.
Jim Banister, CEO of SpectrumDNA in Park City, Utah -participated in a workshop for the BBC Worldwide executive leadership recently in London, for which he developed a short screencast to set the stage for a discussion on the nature of the differences between the business of linear media like film and print, and the business of games and social media.
Nieman’s account, quoting Story Lab editor Marc Fisher, said the results go much further (or better) than a story that might have gone “…down the typical route of quotes and anecdotes. It was the type of story that demanded scene-setting and characters…”
See what you think. Do tweets set scenes and sketch characters? Or do some people just wish it so?
Data visualization and prose can be friends. And they should be friends.
That was surprising for me to hear from two acclaimed data visualization experts, Martin Wattenberg of Google and The New York Times’ Amanda Cox. They spoke Thursday morning at the “NewsCamp: Storytelling without prose — Narratives and visualization” session.
In my experience, it all comes down to the story. I know that sounds basic, but it's so true, and if anything is even more of the case when you’re building a story world and creating multiple entry points. When I design a world I'm looking to construct a rich environment. I want each element to have a strength in the sense that each piece (mobile, online, real world, film, print) has a beginning, middle and end. The key for me is to create an emotional connection in some way for the audience. Many times people will design an experience that requires a series of steps and if you don't complete them you can't advance.
When I decided to study women’s leadership, I needed to interview women leaders. To do this, I had to design a way to determine what gives a woman her unique leadership ability. When I contacted women leaders and asked them about their leadership skills, many couldn’t find a way to identify exactly what it was that gave her the ability to be a leader. So I decided to take a different approach. I decided to ask the women to tell me their stories. Having the chance to talk about leadership stories was the key to finding the lessons from women leaders. The lessons were in the story.
When the first Harry Potter books were published I didn’t bother to read them. I saw the films, but they didn’t strike me as especially significant. Yes, they were full of magic and wonder. But I failed to perceive anything of lasting substance. I dismissed Harry Potter as a fad.
Watch video of the Feb. 24 talk by Adam Hochschild, author and journalist, titled “‘Meanwhile, Back at the Ranch . . .’: What Scholars Can Learn from Novelists–and Journalists–about Storytelling.” Hochschild is an award-winning author of six books...
This afternoon, a package from HBO arrived at my doorstep. Curious, I grabbed my vidcam and documented what quickly became not only an awesome “unboxing” video, but an amazing — and remarkably unconventional — narrative journey.
THERE I am reading through the newspapers of the world, The New York Times, The Guardian, flicking through the big stories, Egyptian uprising, massive snowfalls in US, oral sex linked to cancer, when one headline stops me in my tracks: Brian Jacques is dead.
Then there are those stories that are so powerful that they leave you wondering how your writing could possibly do them justice. Almost as if the reward you got from reading the story was more than the value you could provide in the words you put to paper (or keyboard, in this case). For me, this was one of those stories.
“Before the internet, people had to play marbles for entertainment.” That was one of the more amusing but perhaps less useful insights from a day spent watching groups of children discuss their media lives. These focus groups form the core of our Kids and Digital Media report, launched this week at a special nma Live event, and proved a fascinating insight into kids’ views on brands, information, entertainment and socialising in the digital age.
A Tale to Tell is an illustrated, collaborative storytelling project where each week a new illustrator/artist will be invited to submit the next part of the story, with a text entry and an illustration to accompany it.