Scriveners' Trappings
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Scriveners' Trappings
Aids and resources for creators and teachers of writing, interactive fiction, digital stories, and transmedia
Curated by Jim Lerman
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Rescooped by Jim Lerman from Transmedia: Storytelling for the Digital Age
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Strand and deliver: Amie Mills on the rise of transmedia storytelling

Strand and deliver: Amie Mills on the rise of transmedia storytelling | Scriveners' Trappings | Scoop.it

"People have always loved participating in stories. Charles Dickens was one of the first to serialise his novels and take input from readers before the next chapter was released. But, increasingly, the audience wants to be part of the story and, for the rabid fans, to be given a more detailed back story, not just consume it passively. Accenture recently showed that 87 percent of individuals watch TV with their devices within arm's reach. And Mills says Australian murder mystery Secrets and Lies tapped into this very cleverly by offering those who downloaded a mobile app additional insight into the show, like letting them listen to a phone conversation that couldn't be heard on the live broadcast. Those who didn't have the app didn't miss out on anything, but those who did had their experience enhanced. And she says it's one of the best examples of dual-screen meshing she's ever seen. "


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The Digital Rocking Chair's curator insight, May 17, 2015 2:18 AM


Amie Mills:  "When we’re talking about transmedia, we’re starting to use terms like story world, where you have many stories told using multiple media forms, across many different channels and platforms … and how that content lives and breathes is uniquely tailored to the platform you’re viewing it on."  via Ben Fahy of StopPress

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The Future Of Storytelling (Free MOOC) ~ iversity

The Future Of Storytelling (Free MOOC) ~ iversity | Scriveners' Trappings | Scoop.it

"Together with a whole network of media researchers, creators and students we will:
- learn storytelling basics such as antagonist/protagonist relationships, narrative/narrated time, ...
- have a look at exciting current media projects
- analyze how they are designed and executed based on aforementioned basics
- and discuss how (and if) new online tools and formats change the way stories are told and perceived.

The 8-chapter course starts on October 25th, 2013 and ends on December 20th, 2013.

It will offer weekly video material, lessons, interviews and tasks on the following topics (not necessarily in this order):
- storytelling basics
- serial formats (on the TV, web and beyond)
- storytelling in role-playing games
- interactive storytelling in video games
- transmedia storytelling
- alternate-reality gaming
- augmented reality and location-based storytelling
- the role of tools, interfaces and information architectures in current storytelling.

Our first Storytelling-MOOC will focus on fictional formats.


"Our goal is to inspire and help understand. To broaden our horizon of what is and might be possible and what has already been attempted, and what has succeeded or even failed - and why.
In several little tasks you'll analyze and practice storytelling on your own and in teams."

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Jim Lerman's curator insight, September 15, 2013 8:17 PM

This MOOC will be led by a team based at the University of Potsdam, Germany

Rescooped by Jim Lerman from Tracking Transmedia
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Transmedia Programming Converges for 2013 New York Film Festival

Transmedia Programming Converges for 2013 New York Film Festival | Scriveners' Trappings | Scoop.it

'The word premieres of two interactive doc projects and the New York debuts of a handful of multiplatform titles — including “Charlie Victor Romeo,” the hit Off Broadway docu-play recently turned into a 3D film — are among the offerings on tap for Convergence, the New York Film Festival’s second annual slate of transmedia programming.

 

Driven by tech innovation and the proliferation of digital possibilities, transmedia storytelling has become an increasingly prominent component of film festivals as a growing number of filmmakers begin to explore multiplatform projects. Earlier this year the Tribeca Film Festival officially incorporated transmedia offerings into its festival lineup, while Film Society of Lincoln Center, which presents NYFF, launched its year-round Convergence initiative last year, a festival component of which kicked off as part of the 2012' 


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siobhan-o-flynn's curator insight, August 31, 2013 9:21 AM

very exciting..

'“Highrise” is listed as one of Convergence’s “Keystone Presentations,” as are “The Cloud Chamber Mystery” (pictured, above), Christian Fonnesbech and Frederik Ovlisen’s “online mystery community,” and “Captain Ahab’s Motorcycle Club,” Cory McAbee’s collaborative, crowdsourced look at the experience of transporting and preserving Abraham Lincoln’s dead body on its Civil War-era journey from Washington, D.C. to Springfield, Ill. ...'

 
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Transmedia LearningWorlds | GETideas.org

Transmedia LearningWorlds | GETideas.org | Scriveners' Trappings | Scoop.it

by Laura Fleming

 

"Like so many of the most useful digital technologies finding their way into education, transmedia originated in the broad field of entertainment. Multi-platform storytelling fed the desire of audiences for complex and participative narratives. Today we have transmedia pioneers, such as Jeff Gomez, Lance Weiler, and others, creating intricate narratives that are told through books, comics, video games, Web shorts, feature films, virtual worlds, and many other media. Effectively implemented, such transmedia events are pervasive and have led to a resurgence of narrative in the conjoined worlds of entertainment, marketing, and commercial media.

 

"From Entertainment to Education

However, as is so often the case with technologies that take that journey from other contexts into education, the translation is not a simplistic one. In the case of transmedia, it is critical that we modify and redefine the concept in certain ways so that it can contribute as effectively as possible to students’ learning. We know that children and young people perceive media in an integrated way, as a seamless experience, and it has been shown that learning can be enhanced by multi-platform experiences. But in order to exploit the full potential of the technology for learning, in order that we can fully engage with that seamless perception of media that children enjoy, we must think very carefully about the pedagogy or pedagogies we apply to our use of transmedia."

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Rescooped by Jim Lerman from Ignite Reading & Writing
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The Fanthropology of Theatrics

The Fanthropology of Theatrics | Scriveners' Trappings | Scoop.it

Nick DeMartino:  "The session was called "Unlock the Power of Fans" at Transmedia Los Angeles’ monthly meetup earlier this week, but I’ll remember it as the Fanthropology of Theatrics, because I learned so much about the way audiences are using the new collaborative storytelling platform that I was there to represent."


Via The Digital Rocking Chair, Katie Frank
Jim Lerman's insight:

Quite an intriguiging new platform.

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The Digital Rocking Chair's curator insight, June 8, 2013 1:36 AM

Nick DeMartino takes us through Theatrics, the storytelling tool behind Beckinfield, Welcome To Sanditon, and Psych's The S#cial Sector.

Fred Harden's curator insight, June 9, 2013 10:30 PM

Now to move this up a notch, what about a few slicker videos, wannabe actors etc.?

Rescooped by Jim Lerman from Transmedia: Storytelling for the Digital Age
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Transmedia Writing

Transmedia Writing | Scriveners' Trappings | Scoop.it

Geoff Livingston:  "Stories told across multi-platform media environments — or transmedia stories as they are commonly called on the edge — require more complex writing. A story unfolds across diverse media with readers/viewers opting in to each layer."


Via The Digital Rocking Chair
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Rescooped by Jim Lerman from Transmedia: Storytelling for the Digital Age
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Marvel at Netflix: Intersecting Comics and Transmedia ~ The Nerd Machine

Marvel at Netflix: Intersecting Comics and Transmedia ~ The Nerd Machine | Scriveners' Trappings | Scoop.it

"Not content with ruling the big screen when it comes to comic book movies, Disney/Marvel has inked a rather epic deal with Netflix: four series with 13 episodes each, all leading up to a final team-up miniseries. The subjects of those series: Daredevil, Luke Cage, Iron Fist and Jessica Jones. And if that wasn’t a sweet enough deal for fans, the deal is also part of a broader arrangement between the two that grants Netflix exclusive, first-run subscription rights to Disney and Marvel films. Any number of comic book sound effects would be appropriate in response, but President of Marvel Entertainment


"Alan Fine has a slightly more measured response. “This deal is unparalleled in its scope and size, and reinforces our commitment to deliver Marvel’s brand, content and characters across all platforms of storytelling. Netflix offers an incredible platform for the kind of rich storytelling that is Marvel’s specialty,” said Fine. “This serialized epic expands the narrative possibilities of on-demand television and gives fans the flexibility to immerse themselves how and when they want in what’s sure to be a thrilling and engaging adventure.”


"Once you get over the initial shock of it all, the reality settles in that this is a very, very awesome and groundbreaking deal. That Marvel continues to delve into its wealthy library of characters is great. Fans have long been clamoring for a movie about Luke Cage, but a series will gladly be accepted as well. The fact that both Iron Fist and Jessica Jones are also getting the Netflix treatment is an added bonus, giving fans even more Marvel characters that the everyday fan may not be too aware of. These three characters actually have quite a storied history in the Marvel universe, often playing an integral part in many storylines and team-ups."


- See more at: http://www.thenerdmachine.com/marvel-at-netflix-intersecting-comics-and-transmedia/#sthash.X1FVtP65.dpuf


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malek's curator insight, November 9, 2013 10:53 AM

a great strategic move: 2nd tier heroes who won't make it to big screen deployed for TV shows. Spinning an old asset is always one of the best marketing decisions you can make.

Henrik Safegaard - Cloneartist's curator insight, November 9, 2013 5:36 PM

Disney/Marvel has inked a rather epic deal with Netflix: four series with 13 episodes each, all leading up to a final team-up miniseries. The subjects of those series: Daredevil, Luke Cage, Iron Fist and Jessica Jones. And if that wasn’t a sweet enough deal for fans, the deal is also part of a broader arrangement between the two that grants Netflix exclusive, first-run subscription rights to Disney and Marvel films - See more at: http://www.thenerdmachine.com/marvel-at-netflix-intersecting-comics-and-transmedia/#sthash.VrVc0Tpb.dpuf

Asil's curator insight, November 9, 2013 6:13 PM
This is pretty amazing news. Disney has always been a leader in expanding its product into new markets.
Rescooped by Jim Lerman from Transmedia: Storytelling for the Digital Age
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Learning From Orson: Understanding "Audiences" in Transmedia & Web Series

Learning From Orson: Understanding "Audiences" in Transmedia & Web Series | Scriveners' Trappings | Scoop.it

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The Digital Rocking Chair's curator insight, September 12, 2013 3:30 PM


Story Horizon:  "For web series, we can often see the effect of the studio audience in the analytics/statistics on the video itself. Oftentimes, viewers will give a video more of a chance when seeing the high view count or thumbs up, modelling the behaviour of the audience that preceded them and not unlike responding to the canned laughter of the now dead “audience” as Orson so morbidly pointed out in the clip" ....

Andrea Rossi's curator insight, September 14, 2013 3:16 AM

"Audiences, in the real sense of the word, are disappearing" (Orson Welles, 1979)

Rescooped by Jim Lerman from Transmedia: Storytelling for the Digital Age
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Legal Issues in Transmedia Projects – Part 2

Legal Issues in Transmedia Projects – Part 2 | Scriveners' Trappings | Scoop.it

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The Digital Rocking Chair's curator insight, August 13, 2013 2:28 AM


David McLaughlin:  "Following on from last week’s post where we discussed some of the issues around using intellectual property and other associated rights in Transmedia projects, this week we’ll be looking at some of the issues that arise in Transmedia projects when it comes to collaborating with others and licensing talent" ...

Rescooped by Jim Lerman from Transmedia Activism
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Transmedia: A Filmmakers Foe or Ally?

Transmedia: A Filmmakers Foe or Ally? | Scriveners' Trappings | Scoop.it

Julian Cheevers:  "There’s increasingly a lot of talk about Transmedia storytelling; the idea of taking pieces of a story and systematically putting them across different media touch points for the purposes of creating a unified and coordinated entertainment experience. But why is Transmedia storytelling important for independent filmmakers in particular?"


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RainboWillis's curator insight, June 24, 2013 1:06 PM

The best point touched here, IMO: Greater availability of tools demanding more of artists in order to differentiate their work from their peers'. 

Richard Stadler's curator insight, June 25, 2013 7:18 AM

This could be a subtle shift in content creation. It might work, it might not, but I think test it. It might work for your company/market and not others..

Rob Erickson's curator insight, July 2, 2013 3:49 PM

It's definitely an ally if done the correct way.

Rescooped by Jim Lerman from Digital media for teaching and learning
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Digital Publishing for Filmmakers: The Karada and The Silent History [#Transmedia]

Digital Publishing for Filmmakers: The Karada and The Silent History [#Transmedia] | Scriveners' Trappings | Scoop.it

Randy Astle:  "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 world) across different platforms" ...


Via The Digital Rocking Chair, Deborah Arnold
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Henrik Safegaard - Cloneartist's curator insight, March 5, 2013 2:16 AM

Interesting - Click the headline for the full story.

Joakim Baage's curator insight, March 5, 2013 10:55 AM

The book business need this kind of thinking

Debbie Elicksen 's curator insight, March 5, 2013 11:43 AM

The future is now

Rescooped by Jim Lerman from Culture(s) transmedia
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‘Transmedia Engagement: Participatory Culture to Activism’

‘Transmedia Engagement: Participatory Culture to Activism’ | Scriveners' Trappings | Scoop.it

The following is a talk I gave June 1 in Toronto which sprang from my ongoing interest in The Hunger Games as a transmedia campaign. I wrote an earlier blog post, ‘Why The Hunger Games is Not Harry Potter, and Why You Should Care,’ in response to finishing the novels, which were far more disturbing than I had expected. Further mulling on Geoffrey Long’s How to Ride a Lion: A Call for a Higher Transmedia Criticism and Jeff Gomez & Fabian Niciezo’s “6 Reasons Why ‘the Avengers’ is Crushing it at the Box Office” resulted in this case study on ‘Transmedia Engagement: Participatory Culture to Activism.’ Your thoughts are welcome!


Via siobhan-o-flynn, Transmedia Ready, Yannick Vernet
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