From Stories to Storyworlds
@simon_staffans The previously very narrow channel of distribution has changed giving place to digital linear narratives. Next roadblock, says Weisman, is software engineering.
@GeoffMcKenzie Congrats software engineers, you’re the new gatekeepers of modern storytelling. Condolences publishers. You aren’t.
@RhysMT Cost of creating content is going down but the cost of distributing content is going up Jordan Wiseman
@floerianthebard Audience now has expectation that story covers multiple platforms. But not a requirement.
@mikemonello Do people really expect stories to exist on multiple platforms? People keep saying it, but what is backing that up?
@ivanovitch Storyworld is less story, more detailed stage that supports telling a wide range of stories sharing location, characters, spine.
@aprilarrg Brian Seth Hurst: The great technologies actual come from the imagination of storytellers.
@HoppingFun @ZKadison Trick to #transmedia storytelling is legal issue, content partners in variety of media. IP ownership. Yep. #in
@simon_staffans talking about the challenges of doling out IP to ppl who fund, at the end can’t do nothing as it’s all spread out.
@ivanovitch For established franchise, yes… But what makes consumers prefer a story they’ve never heard on mult platforms? Hard to get attention on 1.
@nlassam What is the storyteller’s responsibility?
@HoppingFun @ZKadison Trick to #transmedia storytelling is legal issue, content partners in variety of media. IP ownership. Yep.
@TTTKaren Young audiences today expect ancillary materials – franchise extensions, platform agnostic
@aprilarrg: Responsibility of storyteller: Protect vision & cause multiple platforms there is shared value because so many collaborations
@RhysMT Make sure you pick the right people to collaborate with – Daniel Tochterman
@aprilarrg @powertothepixel: Responsibility of storyteller: Listen to your audience, they are part of the storyworld now
@shericandler 4 levels of convo w an audience, Broadcast, Listening, Invitation to enter story, Take it, its yours.
@floerianthebard RT @vitorfreire: We all talk about engaged audience. But, hey, the storyteller need to be engaged too.
@simon_staffans Liz talking abt brands trying to control – all about honesty in context, IMHO.
@aprilarrg Transmedia Lab on Responsibility of storyteller: Manage screen, technology & content.
@shericandler crowdsource only works for a story IF the world is clearly defined. If it is loose, there is chaos
@aprilarrg Brian Seth Hurst: Crowd sourcing only works if the Storyworld is well defined otherwise you have chaos and brand crashing
@Storytelling conundrum: must reward audiences for loyalty but not all storytellers want their story croudsourced
@RhysMT So agree! – Not all creators want their story crowd sourced! David Tochterman
@geekgrl Fans and communities are our greatest assets as content creators. Let them play or they will go somewhere where they can #swc11 #transmedia
@ivanovitch Just because #transmedia makes participation possible doesn’t mean it’s an inherent trait of transmedia worlds. #swc11
@Sparksheet First responsibility of storyteller = the audience –@powertothepixel
@ianginn a lot of talk about transmedia franchising, no attention for transmedia formats #swc11
@ivanovitch But fans have ALWAYS co-opted favorite stories & worlds, this isn’t new. What’s new is that it sometimes gets validated.
@ivanovitch The model @BrianSethHurst is describing already happened as experiment called FanLib. It made fans furious at perceived exploitation.
@geekgrl @ivanovitch Or enable diehard fans to systm to curate on behalf of the vision. They self manage more rigorously than creators.
@TTTKaren But you can create opportunities that open arena to audience, limned by story world canon & values
@ivanovitch More details on the failed attempt to monetize fan fiction: http://fanlore.org/wiki/Fanlib
@scott_walker Wow – just got name-checked by @BrianSethHurst during a panel at #swc11. Thank you, Brian (and the password’s “value co-creation”)! : )
@simon_staffans Quite so – fan fiction is not “ripping off” IP, they’re building on the IP…
@cynthiajabar Audience as collaborators? Millennial generation all about sharing and results. #storytellers are becoming rockstars
@ivanovitch Srsly: not every storyteller wants (or needs) to build a whole world. But storytellers don’t get to limit what fans do – never did.
@gmskarka Will crowdsourced content be coming “down the road”? It’s my *current* business model. See my presentation on FAR WEST later today.
@ianginn fan fiction bizmodel: the IP-owner recognizes talent in fan-creators and works with them – D’uh!
@simon_staffans Liz is banging on the Iron Sky drum (@leonblank, listen in 🙂 as example for engaging audience
@geekgrl @ivanovitch If a solid framework for the storyworld & canon exists, then it’s evolution. Curation stndards are set by the creator
@HoppingFun After #DIYdays, will indie approach rule future of #transmedia storytelling? Write the check, own the IP, create, repeat.
@scott_walker Watch: @angryrobotbooks‘ “Worldbuilder” as one way to co-create (monetizable) value with audiences. http://angryrobotbooks.com/2011/08/introducing-worldbuilder/ #swc11
@aprilarrg @zkadison just on audience engagement: manage content as best as possible and have a plan for audience to engage with the property.
@ivanovitch Just saying: I have yet to see audiences reject a good story b/c it’s only in a single medium.
@geekgrl RT @morganbouchet: RT @Porter_Anderson: Storyworlds: “Engagement becomes the key. Stories need to engage a consumer…a game can be an…
@ivanovitch Authoring in transmedia is a different skill, just like video editing isn’t copyediting. Involves experience design and user flow. @HoppingFun YES
#SWC11-extracts from the first panel
From Stories to Storyworlds