First of all, not every story/property needs to be or deserves to be or should be made a transmedia property. Many—many!—stories are perfectly fine as traditional, mono-media properties, and are in fact better. While John Green’s The Fault in Our Stars has spawned tons of fan art and creations, I would never want it to be a transmedia property—I think it would ultimately take away from the experience of the main part, the novel....
What you’re asking is actually a couple different questions: You want to explain to someone the value of transmedia, and you want to know if a traditional writer actually needs to do anything different when writing for transmedia.
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Storyuniverses build on digital storytelling, spreading transmedia. Fiction supersedes reality
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Dorothea Martin
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Dorothea Martin's insight:
On Tuesday we will start a new Youtube Livestream/Hangout format with the crowdsourced university at ununi.tv. Every two weeks we will invite a guest and talk with him or her about their actual transmedia storytelling project. It's a 15minutes show starting 12.15pm on June 11 over at http://www.ununi.tv/node/119 (in German though) Delete the scoop?
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A new reality show, called Summer Break, will play out only on social-media sites, such as Twitter, Instagram and YouTube. The program, produced by Chernin Group, will be posted in 60-second daily episodes. Delete the scoop?
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It's no wonder that studios, videogame companies, and large brand-holders are beginning to realize that an investment in an intellectual property must have a return from multiple media platforms. Via Simon Staffans 
Digital Cinema in Transition's curator insight,
June 6, 11:09 AM
Also see our digital cinema study at http://www.digitalcinema.ca and fill out a survey! Delete the scoop?
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Dorothea Martin's insight:
We have a new category on TMSB: once a week, we talk about books that inspire us. There is not so much good literature on transmedia storytelling so far but Andrea Phillips "A Creator's Guide To Transmedia Storytelling" is definitely a must read... Delete the scoop?
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Brian Anthony Hernandez: "Social networks often put up their defenses against opposing social platforms. The social media wars are detailed in this Game of Thrones-themed infographic." Via The Digital Rocking Chair
Digital Cinema in Transition's curator insight,
June 3, 10:31 AM
We'd be happy to read your input re. digital cinema. Visit http://www.digitalcinema.ca for one of our surveys! 
Sandrine Delage (Borgé)'s curator insight,
June 3, 3:24 PM
Très drôle et instructif pour ceux qui aiment "Game of Thrones" Delete the scoop?
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Armed with only a revolver, a change of undergarments and a bicycle, Annie Londonderry embarks on an epic around-the-world adventure in 1894, with New York City as her first taste of freedom. Via siobhan-o-flynn 
siobhan-o-flynn's curator insight,
May 22, 7:18 AM
very cool - building out a film project with text & audio - very interesting... Delete the scoop?
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TV App Market is a leading online publication on media convergence in the Living Room - Social TV, Connected TV, Second Screen, Transmedia, Machinima, metadata and more Via Gary Hayes 
Gary Hayes's curator insight,
May 26, 7:14 PM
Quote " I'm not a fan of the word "transmedia" but Extension 756 is not only a transmedia project, it has the potential to be transmedia at it's absolute finest. Soderbergh's focus on integrating storytelling into an e-commerce expereince starts with the name of the site itself. "Extension 756" is taken from a line that's spoken by Harrison Ford's character every time he answers the phone in Coppola's still under appreciated masterpiece, The Conversation. ...But what interests me most about Extension 756 is that Soderbergh has created a personal sandbox that's impossible to create in any other medium. He's given himself a place to experiment with multiple "businesses" at the same time, and have a ton of fun while doing it. When you make a film or write a book you have to write a beginning and an end. But with Extension 756, Soderbergh can extend his narrative and update the site not only whenever he wants, but also as much or as little as he desires. Because of this, he has given himself a freedom and a control that doesn't exist in most industries, especially studio filmmaking. 
Mechanical Walking Space Man's curator insight,
May 31, 3:02 PM
The only way to predict the future is invent it - apps continue to dominate... Delete the scoop?
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Abrams has a great quote in the below video that I think is spot-on, "...mystery is the catalyst for imagination." Via Gregg Morris Delete the scoop?
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Newsweek talks to the creators of today’s most addictive shows about what they’re doing to make sure we just can’t stop. Via The Digital Rocking Chair
Dorothea Martin's insight:
Absolute Leseempfehlung! Das Phänomen des "Binge-watching"s (Komakucken?!) und "Hyperserien"
Während Serien wie Sopranos, The Wire oder Deadwood zuerst ihre Charaktere entwickelten und die Handlung erst an zweiter Stelle kam, entwerfen heutige "Hyperserien" Tableaus, die von einer zentralen Frage vorwärts getrieben werden - und noch größeres Suchtpotenzial haben: "And that’s ultimately the biggest difference between the Hyperserials and the legendary shows that spawned them: a purer, more intense focus on one linear, series-long plotline. Hyperserials tend to do away with recaps, teasers, and exposition of any kind. They make even less sense when viewed out of order" 
The Digital Rocking Chair's curator insight,
May 20, 2:57 AM
Wow! I couldn't stop reading this article ... the science of storytelling and why it's currently the "Age of the Hyperserial." 
Rogério Rocha's curator insight,
May 20, 7:23 AM
IN A certain sense, all television is addictive. This should be pretty obvious, given that Americans watch more than five hours a day, on average. At that rate, a person who lives to the age of 80 will spend 21 percent of his or her adult life—the equivalent of 4,175 days, or nearly 13 years—in front of the tube. 
Asil's curator insight,
May 20, 3:45 PM
Machinimatographers can take some tips from this thought-piece on how we consume television serials. Delete the scoop?
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We left off establishing the new reality of the entertainment industry. There is no longer a traditional network model. Digital has completely disintermediated traditional narrative structures forever. Via siobhan-o-flynn 
Binary Racoon's curator insight,
May 14, 2:44 PM
this is the quote of the month: "And for those who put off the word transmedia, I sort of question whether or not you have an imagination. Because if you had an imagination this transmedia “thing” would literally be getting you off right now due to the endless possibilities of extending your content." Delete the scoop?
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Kobo is offers readers an experiential contest based on three original ebooks tied-in to the release of Dan Brown's soon-to-be-published Inferno.
Dorothea Martin's insight:
Yesterday was the big release date - more interesting to me: how the game that Kobo Books started for Dan Browns "Inferno" is developing (unfortunately only accessible for citizens of America, Canada or Britain...) Delete the scoop?
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This article talks about 5 concepts of telling multi-screen stories and how we can use them to create exciting, digital experiences. Via Gary Hayes
Dorothea Martin's insight:
Wertvolle Tipps, wie man Geschichten über mehrere Medien hinweg erzählt und die Leser/Experiencer in die Geschichte hineinzieht. via @garyphayes
Gary Hayes's curator insight,
May 14, 5:22 PM
Quote " Immerse People In The Narrative The Walking Dead, the famous comic and now TV show, used a polling Web app (AMC’s Story Sync, if you like marketing-speak) to ask viewers questions and show related content as an episode was being broadcast on TV. While the app was simply timed to each scene, it was an experiment in multi-screen storytelling that invited audience participation, not just audience attention. Polling has a gimmicky feel to it, but that probably came about as a result of Hollywood pressure and doesn’t reflect the value of the concept in general. Delete the scoop?
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ARTE France and its associated producers continue to explore web documentary, participatory fiction, online magazine and many other transmedia creative formats. Among these, Type:Rider is an outstanding example – both in its subject matter and its auteurist vision of video game design.
Three gaming experiences are presented to explore the world of typography. First, there is a video game (accessible via web browser, smartphone or tablet) which spans the history of typography, with each level to a different typographical style, from “Gothic” to “Pixel.”
The game is quite easy to play and operate. The player must guide the colon through a given level from start to finish by collecting the asterisks that block the documents posted concerning typography and its history. These documents include accounts of inventors like Gutenberg and famous type designers like Claude Garamond or Étiennne Didot.... Via siobhan-o-flynn Delete the scoop?
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With titles like Quantum Break and the upcoming Halo series, the convergence of gaming and narrative storytelling has become an intense focal point — but the men behind Indiana Jones and Star...
Dorothea Martin's insight:
"But by its very nature there cannot be a plot in a game. You can’t plot out a football game. You can’t plot out feeding Christians to lions. It’s not a plot." und "Telling a story, it’s a very complicated process," he said. "You’re leading the audience along. You are showing them things. Giving them insights. It’s a very complicated construct and very carefully put together. If you just let everybody go in and do whatever they want then it’s not a story anymore. It’s simply a game" Delete the scoop?
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When considering mobile as platform for transmedia storytelling, it's useful to imagine it as a window into the imagination. The mobile device provides an opportunity to reinterpret the real world and make the mundane part of a storyworld and vic... Via Simon Staffans 
Juliana Loh's curator insight,
June 5, 1:35 PM
Rob Pratten visits the world of mobile offering thoughts on conceptual models and providing pointed analysis. 
@FernandoCarrion's curator insight,
June 16, 4:53 AM
5Rs of Mobile in Transmedia Storytelling | By Robert Pratten Delete the scoop?
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The session was called "Unlock the Power of Fans" at Transmedia Los Angeles’ m... Via Simon Staffans 
Simon Staffans's curator insight,
June 6, 3:01 AM
The Power of Fans, by Nick. Good insights, building on the Theatrics-platform.
Digital Cinema in Transition's curator insight,
June 6, 11:13 AM
Also see our digital cinema study at http://www.digitalcinema.ca and fill out a survey! Delete the scoop?
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Am Donnerstag fand die Kreativ Lounge, eine Veranstaltungsreihe des MIZ-Babelsberg, zum zweiten Mal statt. Delete the scoop?
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Seth Rosenblatt: "Comics fans are getting a double-dose of digital innovation this summer, as DC Comics lets you choose your own Batman adventure and revel in new tales of the campy '60s Batman." Via The Digital Rocking Chair
Dorothea Martin's insight:
Very interesting. Looking forward to how comics adapt
Digital Cinema in Transition's curator insight,
June 5, 10:03 PM
Also see our digital cinema study at http://www.digitalcinema.ca and fill out a survey! 
Claudio Gentile's curator insight,
June 6, 6:14 AM
Importanti novità da @DCComics le storie #vintage si fanno #transmediali Delete the scoop?
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If you enjoyed "House of Cards" and the implications of Netflix's data-driven strategy, just wait until you get a sense of what Google could do in TV if it chose. Via Gary Hayes
Dorothea Martin's insight:
"Whatever TV looks like in the future, it will be built atop three crucial components: content, intelligence and user experience. A fourth element, known as actually making money, hinges heavily on the "intelligence" part — which is to say, data.
Similarly, we may one day see Google Now for TV"
Gary Hayes's curator insight,
May 26, 7:07 PM
Quote " Whatever TV looks like in the future, it will be built atop three crucial components: content, intelligence and user experience. A fourth element, known as actually making money, hinges heavily on the "intelligence" part — which is to say, data. Similarly, we may one day see Google Now for TV. That is, anticipatory content recommendations fueled by your viewing history, social connections and insights inferred from a complex tapestry of data points from across services and devices. Recommendations are important (indeed, cracking this code certainly helped put Netflix in a position to win with House of Cards), but they're only the beginning of what's possible when television is fueled by very, very big data. As its video efforts ramp up, Google — like Netflix before it — will be able to factor in mountains of user data to determine not just what to recommend, but what content to buy the exclusive rights to, or even produce outright. Unlike other Internet TV shows, these new premium productions will sit within the world's biggest repository of online video. Sure, much of it is garbage, but the sheer scale of the material it has on hand increases Google's ability to smartly serve up relevant, worthwhile videos to people who come to check out its new shows. Not to mention how easy it would be to rope YouTube's casual, cat video-watching users into clicking the play button on their next big TV-style program. House of Cats, anyone?" 
Eric DeMont's curator insight,
June 3, 3:10 PM
Key elements in the video (TV) marketplace of the future include: - Content - User Experience - Intelligence In application, intelligence leads both content development and user experience in that big data can be mined to understand audience preferences and behaviors and even help predict a video’s (episodic show or movie) success based on an micro analysis of historical content in relation to likes, comments, tweets, plays, replays, etc. This will help content produces to deliver great content and subsequently user experiences by being able to analyze not only the entire video in aggregate but specific scenes, characters and other content details. Certainly some companies are better positioned to deliver upon this success than others and Google, Netflix, Hulu and Microsoft are leading contenders. I think Disney would also be in the mix as well as other progressive studios. One thing is for certain, our viewing experiences will change, and likely for the better. Delete the scoop?
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The concepts of work and play have become farcically reversed: schoolwork is meant to be superfun and play, like homework, is meant to teach. Via Maria Margarida Correia, Jenn Choi, KidSmart, Karen B Wehner Delete the scoop?
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The increasing merger of TV and Internet is expanding the universe of viewers outside the realm of the old cable boxes gathering dust in warehouses Via Gary Hayes 
Mattia Nicoletti's curator insight,
May 20, 2:13 AM
It's all about contents, but in my opinion television set is one of the screens available for contents.
Mattia Nicoletti's comment,
May 20, 2:17 AM
Gary, in your opinion Mary-José Monpetit refers to tv set or television (contents for television)? because tv set in my idea is one of the available screens. In a transmedial point of view tv screen content tells the leading part of the story but even in this case is just a screen.
Julie Eckersley's curator insight,
May 20, 7:26 PM
TV is no longer a device, it is now content around which we can build communiites. I like that thinking @garyhayes Delete the scoop?
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"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...
I’ve recently been working more on my own fiction, so I was intrigued to learn about two literary projects that exploit the possibilities of digital publishing. Their strategies can be extrapolated to film and transmedia projects for producers who aren’t interested in writing the next great American novel.
The Karada comes from an international team of writers and transmedia artists: the core team includes Carrie Cutforth-Young of Queen Spade Creative in Toronto, Tom Liljeholm of Tea4Two Entertainment in Sweden, and Jim Martin, an independent writer for Heroes and other projects, in Los Angeles. The literary property launched last September and is designed as a prequel to and proof of concept for a television series entitled All Your Fates, plus a graphic novel and other media. Part romance, part thriller, and many parts science-fiction, The Karada‘s story follows one David Blunt as he’s rebuffed by the girl of his dreams but then comes across a way to access various parts of the multiverse. Determined to win her heart in at least one universe, he starts traveling to different dimensions to woo her — but traveling through the multiverse, and meeting different versions of the same people (including yourself), brings its share of dangers as well..."
Via siobhan-o-flynn
siobhan-o-flynn's curator insight,
May 15, 7:44 AM
Great to see The Karada held up here as a model for transmedia projects! Shout out to Carrie Cutforth-Young, my co-founder on Transmedia 101 (Toronto meetup) & generator of other fantastic projects Delete the scoop?
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TV App Market is a leading online publication on media convergence in the Living Room - Social TV, Connected TV, Second Screen, Transmedia, Machinima, metadata and more (Second Screen Industry on The Rise http://t.co/NICnhno2NE)... Via Richard Kastelein & Adriana Hamacher Delete the scoop?
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Director Steven Soderbergh may have finally given up filmmaking for good, but he's still keeping busy. Just a day after his speech criticizing the gatekeepers of cinema, the director took to...
Dorothea Martin's insight:
Follow his story @bitchuation Delete the scoop?
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Happy Place's funny videos section has the best funny videos on the Internet. There are Funny video clips, hilarious viral videos, funny youtube videos, sketch comedy videos, and comedy movie clips. Via siobhan-o-flynn Delete the scoop?
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