Sketches have an amazing ability to foster discussions about ideas. With colleagues and especially clients, I’ve found sketches give everyone involved the permission to consider, talk about, and challenge the ideas they represent.
So to help clarify this, here is how I define writing and storytelling and how they relate to screenwriting. Because this is my own theory, I'm not saying these are universal definitions, only definitions to help explain the points I'm ...
Via Valeria Amendola
I’ve been using Prezi since mid-2010 as a tool for doing presentations, including for an information design, a sociology course, and a storytelling/social media course. In each case, Prezi replaced PowerPoint. The advantage of Prezi is that it is much easier to integrate text, still images, audio, and video into a presentation.
The premise behind Prezi is that you lay out the various elements of your content on a workspace and then connect them using a “path” that you or your audience can follow simply by pressing the forward and back keys on a computer. There are also some neat tricks that allow you to zoom in and out of any element, making it possible to hide, for example, one image inside another and then reveal it as the user moves along the path.
As an experiment, I spent a couple of hours translating the Autumn at 59 photo essay I did in Facebook and Pinterest into Prezi. The results in Prezi are more dynamic because of the zooming and rotating capabilities that Facebook and Pinterest don’t have. Although I didn’t use them in this experiment, audio or video clips to the Prezi could easily be added....
Power to the Pixel was held in London for the 6th year in a row, showing the world of media production that transmedia is more than a trend: it is a logic of production and an marketing strategy that fits the needs of our global media world....
...Fictional narrative lends itself very well to the idea of cross-media development: first do the viral campaign, then build your community online, release the film and then elongate the life of your film with a game… so it can appear more flexible to this multiple packaging strategy- and maybe fictional producers are more used to think in terms of profits and life-cycles… And yet, Power to the Pixel is here to prove us that things are not so clear, and that a possible transmedia strategy is to mix fiction and factual under a unique umbrella, craftfully using different languages for different purposes . Four out of ten presentations this year were linked to factual content. Although a documentary film might not have always been the core proposition of such projects, some factual elements always seemed to be part of the mix.
This is for example the case of the soon to be launched iPad version of the War Horse book (a Touch Press & Illuminations & Egmont Press collaboration out on the 11th of November) where the core proposition is a book, but the interactive enhancement includes a timeline that allows the reader to link the story of the book with the day to day events that happened in the real world. Matching fiction (the story of the horse) with factual (what happened in the real world during the time of the story) becomes a clever educational hook to be used by teachers at school. Not incidentally, this new proposition has high chances to increase both the sells of the book and of the iPad version, making War Horse a must have for innovative teachers that do not see the book as a stand alone anymore. The film, the play and the iPad are more than mere translations of the original story: they potentially are ways to learn history, compassion, courage through a storyworld. And the iPad here is what makes the linking between factual and fiction fluid and fun: interactive tools are relational at their core and transmedia might just be about creating bridges in archipelagos .
The second thing that I have noticed this year is that films might not be the cash makers anymore. The viral campaign that preceded The Blair Witch Project in 1999 (often cited as a pioneer of transmedia) was meant to create a curiosity phenomenon so that the film would be a success. More than ten years after, the film element is not always crucial to the transmedia proposition....
With the ability to blend together games, comics, literature, film, and mobile services into new hybrid experiences, we are just beginning to see the vast opportunities this device has created for storytellers and audiences alike...
Producer Adrian Askarieh and Andre Ovredal, the Norwegian director of Trollhunter, are teaming up to tackle a transmedia adaptation of Enormous, a monster apocalyptic comic published by Image.
Via Valeria Amendola
Several months ago, an indie film director approached me. He was searching for funding for his film, and he wanted me to "make a transmedia plan" for him, because he thought that would make the project an easier sell to investors. His business logic was sound; he wanted a way to create fans ahead of time, because it's naturally easier to get funding and distribution for a film that has a robust fan base already waiting to buy tickets. We have Blair Witch Project and dozens of comic book movies to prove that point.
The generation of media consumers coming of age today are not content to read or watch or listen to stories; they want to be a part of those stories. They want to change the course of a plot; they want to care more deeply about its characters; they want a sensory intimacy with the settings of a story, and with the characters themselves. These desires fundamentally alter the act of writing in the transmedia age. The writer must honor that participatory impulse, says transmedia creator Andrea Phillips, and must satisfy that craving for more layered contexts while also anticipating a whole new range of emotional responses. "You can paint with a different palette of emotions than if you were just working in flat media," says Phillips. When the reader or watcher becomes the participant in an alternate-reality game or transmedia narrative, new feelings, like guilt and pride, arise alongside conventional passive-media sentiments like empathy and catharsis. This film reveals Phillips's own journey of discovery in becoming a transmedia creator, and offers a key to unlocking the vast narrative potential of telling stories across multiple kinds of media. Category:
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