Brand storytelling introduction @iemes fontys


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Brand storytelling introduction @iemes fontys

  2. 2. Hille  van  der  Kaa     @Hillevanderkaa    
  3. 3. today’s  topics   •  Part  1:  course  introduc<on   •  Part  2:  brand  storytelling   •  Part  3:  start  project  
  4. 4. Thursday  13.00  –  17.00   September  5  -­‐  course  introduc<on   September  12    -­‐  visit  to  The  Pont   September  26  -­‐  lecture  Business  &  Marke<ng   October  3  -­‐  lecture  Treatment  &  Design   October  10  -­‐  guest  lecture     October  24  -­‐  end  lecture  –  final  presenta<ons  
  5. 5. final  project   develop  a  brand  storytelling  campaign  (concept)            “aUract  more  students  to  the  museum”  
  6. 6.     Visit  to  De  Pont  next  week  (September  12)     What  <me?    13.00  o’clock   Where?    At  the  museum  
  7. 7. final  project   develop  a  brand  storytelling  campaign  (concept)            “AUract  more  students  to  the  museum”    
  8. 8.  www.<   hUp://<  
  9. 9. storytelling  project  report   •  Business  and  marke<ng    (7  to  14  pages)   •  Treatment        (6  to  10  pages)   •  Func<onal  specifica<on    (10  to  15  pages)     In  total:          23  to  40  pages     End  presenta1on:    October  24     Deadline  report:      paper  day  Oct  28      
  10. 10. group  work  
  11. 11. feedback  deadlines   Business  –  Oct.  1   • Goals   • Succes  indicators   • User  need   • Target  audience  and   marke<ng   Treatment  –  Oct.  8   • Tagline   • Back  story  and   content   • Synopsis   • Plot  points   • Characteriza<on  and   aftude   • User  centric  scenario     Design  –  Oct.  15   • Mul<  plagorm  form   • Rules  of  engagement   • Plagorms  and   channels   • Service  build   overview   • User  journey   • Key  events   • Timelines   • Interface  and   branding     please  send  the  work  by  mail  on  (or  before)  deadline  day     no  deadline  =  no  feedback  
  12. 12. Thursday  13.00  –  17.00   September  5  -­‐  course  introduc<on   September  12    -­‐  visit  to  The  Pont   September  26  -­‐  lecture  Business  &  Marke<ng   October  3  -­‐  lecture  Treatment  &  Design   October  10  -­‐  guest  lecture  -­‐  minor   October  24  -­‐  end  lecture  –  final  presenta<ons  
  13. 13. brand storytelling in a digital age
  14. 14. what  is  brand  storytelling?  
  15. 15. corporate  
  16. 16. corporate  
  17. 17. •  Storytelling:  Branding  in   Prac1ce  –  Klaus  Fog  
  18. 18. message   without  a  dearly  defined  message  there  is  no   reason  to  tell  stories  -­‐  at  least  not  with  a   strategic  purpose  
  19. 19. central  theme   among  storytellers  the  central  message,  or   premise  of  the  story,  is  an  ideological  or  moral   statement  that  works  as  a  central  theme   throughout  the  story.    
  20. 20. premise   the  story  itself  becomes  proof  of  the  premise  -­‐   the  central  message  -­‐  and  through  it,  the   audience  can  beUer  understand  the  message.    
  21. 21. At  its  core,  the  story  is  about  its  protagonist   Mayank.  We’re  compelled  by  his  difficult   situa<on  and  the  resolve  with  which  he  meets   his  challenge.       Facebook  is  simply  a  suppor<ng  character  —  a   tool  reminding  him  that  the  strength  to  move  on   was  inside  him  all  along.  
  22. 22. Facebook  illustrates  its   message  “connec1ng  people”   from  both  high-­‐level  and   granular  perspec<ves.     From  a  high  level,  we  get   pieces  of  content  focused  on   demographics.      
  23. 23. Through  Stories,  each   vigneUe  contributes  to   the  narra<ve  of  the   Facebook  brand.  In   essence,  Mayank’s  tale  is   a  story  within  a  story.  
  24. 24. one  theme   Try  to  s<ck  to  one  message  per  story.  A  story   with  more  than  one  central  message  runs  the   risk  of  becoming  messy  and  unclear.    
  25. 25. Heroism  –  real  and  perceived   Hierarchy  in  nature   Iden<ty  crisis   Illusion  of  power   Immortality   Individual  versus  society   Inner  versus  outer  strength   Injus<ce   Isola<on   Isola<onism  -­‐  hazards   Knowledge  versus  ignorance   Loneliness  as  destruc<ve  force   Losing  hope   Loss  of  innocence   Lost  honor   Lost  love   Love  and  sacrifice   Man  against  nature   Manipula<on   Materialism  as  downfall   Motherhood   Names  –  power  and  significance   Na<onalism  –  complica<ons   Nature  as  beauty   Necessity  of  work  
  26. 26. conflict   Conflict  is  the  driving  force  of  a  good  story.       No  conflict,  no  story.       But  why  is  this  the  case?  
  27. 27. conflict   As  humans  we  ins<nc<vely  look  for  balance  and   harmony  in  our  lives.       When  faced  with  a  problem  -­‐  a  conflict  -­‐  we   ins<nc<vely  seek  to  find  a  solu<on.    
  28. 28. conflict   conflict  forces  us  to  act    
  29. 29. In  the  classical  fairy-­‐tale  the  conflict  is  oten   permanently  resolved.       The  hero  and  heroine  live  happily  ever  ater.    
  30. 30. By  contrast,  many  present  day  stories  have  a   less  defini<ve  ending.  Oten  the  conflict  is  only   partly  resolved,  or  a  new  conflict  appears   promp<ng  further  reflec<on  by  the  audience.    
  31. 31.   By  contrast,  many  present   day  stories  have  a  less   defini<ve  ending.  Oten   the  conflict  is  only  partly   resolved,  or  a  new  conflict   appears  promp<ng   further  reflec<on  by  the   audience.      
  32. 32. The  greater  the  conflict  the  more  drama<c  the   story  will  be.  
  33. 33. However,  the  conflict  should  not  get  so  over-­‐ the-­‐top  that  it  becomes  confusing.  When  a  story   becomes  chao<c,  it  is  difficult  to  keep  an   audience  cap<vated.    
  34. 34. guidelines  for  crea<ng  a  good  conflict     1)  Try  formula1ng  the  conflict  explicitly  and  to  the  point.  Is  it  a   conflict  at  all?     2)  Consider  how  the  conflict  can  be  resolved.  Good  conflict  is   created  through  a  problem  or  challenge  where  there  is  no   immediate  solu<on   3)  Are  there  many  smaller  conflicts  besides  the  central  conflict?  Too   many  sub-­‐conflicts  can  easily  focus  aUen<on  away  from  the  main   conflict  making  the  story  less  clear   4)  Can  you  iden1fy  the  hero  and  his/her  opposing  forces  with  in  the   story?  How  are  their  rela<ve  strengths  matched?     5)  Are  you  having  problems  iden1fying  the  conflict  in  the  story?  If   so:  take  another  look  at  the  basic  message:  Is  it  clearly  defined?    
  35. 35. In  order  to  judge  if  a  conflict  will  work  or  not,   you  can  try  "measuring"  your  story  on  the   Conflict  Barometer.      
  36. 36. characters   The  classical  fairy-­‐tale  is  built  on  a  fixed   structure  where  each  character  has  a  specific   role  to  play  in  the  story,  and  each  person   supplements  each  other  and  forms  an  ac<ve   part  of  the  story.    
  37. 37. In  order  to  get  personally  involved  with  a  story,   we,  as  readers  or  listeners  must  be  able  to   iden<fy  with  the  characters.  This  happens   especially  when  we  recognize  a  liUle  bit  of   ourselves  in  the  characters  in  the  story.    
  38. 38. Here,  it  is  important  to  keep  your  target   audience  in  mind.    
  39. 39. Based  on  our  need  to  have  balance  in  our  lives   we  will  usually  empathize  with  a  person  faced   with  a  conflict.  But  we  also  have  to  understand   the  mo<va<on  behind  the  person's  ac<ons.  Why   do  they  do  what  they  do?       Ul<mately,  a  story's  progress  must  seem  likely   and  credible.    
  40. 40. character  roles  
  41. 41. character  roles   •  Protagonist:  The  protagonist  is  the  main  character  role  in  a  story  and  drives  the   ac<on.  The  protagonist  will  have  a  goal  and  undergoes  a  change  –  the  “hero’s   journey”  –  in  the  process  of  seeking  to  achieve  that  goal.     •  Antagonist:  The  character  in  the  role  of  antagonist  is  in  direct  opposi<on  to  the   protagonist.  The  antagonist  may  seek  the  same  goal  (e.g.  find  the  significant  object   of  the  story)  as  the  protagonist  or  may  simply  want  to  prevent  the  protagonist   from  achieving  that  goal.   •  Sidekick:  The  sidekick  character  role  may  be  linked  to  the  protagonist  or   antagonist.  Each  of  those  character  roles  may  have  their  own  sidekick.  The  sidekick   character  provides  loyalty  and  support  throughout  the  story  and  has  unfailing  faith   in  the  rightness  of  the  goals  and  ac<ons  of  the  protagonist  or  antagonist  to  which   he/she  is  linked.   •  Guardian:  The  guardian  character  role  is  that  of  mentor  or  teacher  to  the   protagonist.  The  guardian  provides  knowledge,  guidance,  support,  and  protec<on   but  also  drives  the  protagonist  to  achieving  the  protagonist’s  goal.  
  42. 42. character  roles   •  Skep<c:  The  skep<c  character  role  is  linked  to  the  protagonist,  but  this  character’s   role  is  to  ques<on  and  doubt  everything  –  the  protagonist’s  thoughts,  emo<ons   and  ac<ons,  the  trustworthiness  of  other  characters,  anything  and  everything.     •  Emo<on:  The  emo<on  character  role  is  linked  to  the  protagonist  and  responds  to   story  events  emo<onally  without  thinking  and  without  concern  for  the  prac<cal   implica<ons  of  an  emo<onal  response.     •  Reason:  The  reason  character  role  is  linked  to  the  protagonist  and  responds  to   events  in  the  narra<ve  logically,  while  not  lefng  emo<on  interfere  with  the   ra<onal.     •  Tempta<on:  The  tempta<on  character  role  is  not  necessarily  directly  opposed  to   the  protagonist,  but  rather  tries  to  hinder,  divert,  and  delude  the  protagonist  from   achieving  his/her  goal,  oten  by  temp<ng  and  playing  on  the  weaknesses  of  the   protagonist.    
  43. 43. plot   Once  your  message,  conflict  and  cast  of   characters  are  all  in  place,  it  is  <me  to  think   about  how  your  story  should  progress.    
  44. 44. Generally  speaking  a  tradi<onal  story  can  be   segmented  into  three  parts;       beginning   middle     and  end.    
  45. 45. First,  the  scene  it  set.       Next,  the  progression  of  change  creates  conflict   and  sets  the  parameters  for  the  rest  of  the   story.       The  conflict  escalates  but  is  finally  resolved,   marking  the  end  of  the  story.    
  46. 46. storytelling  
  47. 47. what  is  media  convergence?     its  the  idea  that  because  of  the  progress  of   technology  various  different  types  of  media  are   combining  into  a  single  media.     hUp://  
  48. 48. media  convergence   Henry  Jenkins  in  Convergence  Culture  (2004):     ‘Convergence  refers  to  a  process,  but  not  an   endpoint.  There  will  be  no  single  black  box  that   controls  the  flow  of  media  into  our  homes.  Thanks   to  the  prolifera<on  of  channels  and  the  portability   of  new  compu<ng  and  telecommunica<ons   technologies,  we  are  entering  an  era  where  media   will  be  everywhere....’  
  49. 49. ‘We  are  living  in  an  age   when  changes  in   communica<ons,   storytelling  and   informa<on  technologies   are  reshaping  almost   every  aspect  of   contemporary  life  -­‐   including  how  we  create,   consume,  learn,  and   interact  with  each  other.'    
  50. 50. ‘We  will  develop  new   skills  for  managing   informa<on,  new     structures  for   transmifng  informa<on   across  channels,  and   new  crea<ve  genres  that   exploit  the  poten<als  of   those  emerging   informa<on  structures.’  
  51. 51. ‘Part  of  the  confusion   about  media  convergence   stems  from  the  fact  that   when  people  talk  about  it,   they’re  actually  describing   at  least  five  processes.’    
  52. 52. technological  convergence   ‘When  words,  images  and  sounds  are   transformed  into  digital  informa<on,  we  expand   the  poten<al  rela<onships  between  them  and   enable  them  to  flow  across  plagorms.’    
  53. 53. economic  convergence   ‘The  horizontal  integra<on  of  the  entertainment   industry.  A  company  like  AOL  Time  Warner  now   controls  interests  in  film,  television,  books,   games,  the  Web,  music,  real  estate  and   countless  other  sectors.  The  result  has  been  the   restructuring  of  cultural  produc<on  around   “synergies,”  and  thus  the  transmedia   exploita<on  of  branded  proper<es—  Pokemon,   Harry  PoUer,  Tomb  Raider,  Star  Wars.’    
  54. 54. social  or  organic  convergence   ‘Consumers’  mul<tasking  strategies  for   naviga<ng  the  new  informa<on  environment.’  
  55. 55. cultural  convergence   ‘The  explosion  of  new  forms  of  crea<vity  at  the   intersec<ons  of  various  media  technologies,   industries  and  consumers.  Media  convergence   fosters  a  new  par<cipatory  folk  culture  by  giving   average  people  the  tools  to  archive,  annotate,   appropriate  and  recirculate  content.  Shrewd   companies  tap  this  culture  to  foster  consumer   loyalty  and  generate  low-­‐cost  content.’  
  56. 56. global  convergence   ‘The  cultural  hybridity  that  results  from  the   interna<onal  circula<on  of  media  content.  In   music,  the  world-­‐music  movement  produces   some  of  the  most  interes<ng  contemporary   sounds,  and  in  cinema,  the  global  circula<on  of   Asian  popular  cinema  profoundly  shapes   Hollywood  entertainment.  These  new  forms   reflect  the  experience  of  being  a  ci<zen  of  the   global  village.’    
  57. 57. ‘New  media  technologies   have  lowered  produc<on   and  distribu<on  costs,   expanded  the  range  of   available  delivery   channels  and  enabled   consumers  to  archive,   annotate,  appropriate  and   recirculate  media  content   in  powerful  new  ways.’  
  58. 58. ‘On  the  other  hand,  there   has  been  an  alarming   concentra<on  of  the   ownership  of  mainstream   commercial  media,  with  a   small  handful  of   mul<na<onal  media   conglomerates   domina<ng  all  sectors  of   the  entertainment   industry.’    
  59. 59. transmedia  storytelling   •  a  transmedia  project  develops  storytelling   across  mul<ple  forms  of  media  in  order  to   have  different  ‘entry  points’  in  the  story  
  60. 60. •  At  the  most  basic  level,  transmedia  stories  are   stories  told  across  mul<ple  media  
  61. 61. •  In  the  ideal  form  of  TS,  each  medium  does   what  it  does  best  —  so  that  a  story  might  be   introduced  in  a  film,  expanded  through   television  and  its  world  might  be  explored  and   experienced  through  game  play.    
  62. 62. •  Each  franchise  entry  needs  to  be  self-­‐ contained  enough  to  enable  autonomous   consump<on    
  63. 63. spreadability  versus  drillability   •  Jenkins:    the  ability  and  degree  to  which   content  is  shareable  and  the  mo<va<ng   factors  for  a  person  to  share  that  content   versus  the  ability  for  a  person  to  explore,  in-­‐ depth,  a  deep  well  of  narra<ve  extensions   when  they  stumble  upon  a  fic<on  that  truly   captures  their  aUen<on.  
  64. 64. contuinity  and  seriality   •  Jenkins:  in  transmedia  storytelling  the   narra<ve  chunks  are  being  dispersed  not   simply  across  mul<ple  serial  segments,  but   across  mul<ple  media  plagorms  as  well.  Some   transmedia  franchises  foster  an  ongoing   coherence  to  a  cannon  in  order  to  ensure   maximum  plausibility  among  all  extensions.    
  65. 65. immersion  versus  extractability     •  Jenkins:  in  immersion,  the  consumer  enters   into  the  world  of  the  story  (e.g.  theme  parks),   while  in  extractability,  the  fan  takes  aspects  of   the  story  away  with  them  as  resources  they   deploy  in  the  spaces  of  their  everyday  life  (e.g.   items  from  the  git  shop).      
  66. 66. worldbuilding  and  subjec<vity   •  Jenkins:  transmedia  extensions,  oten  not   central  to  the  core  narra<ve,  can  give  a  richer   depic<on  of  the  world  in  which  the  narra<ve   plays  out.  Transmedia  extensions  oten   explore  the  central  narra<ve  through  new   eyes;  such  as  secondary  characters  or  third   par<es.  This  diversity  of  perspec<ve  oten   leads  fans  to  more  greatly  consider  who  is   speaking  and  who  they  are  speaking  for  
  67. 67. performance   •  Jenkins:  performance:  the  ability  of   transmedia  extensions  to  lead  to  fan   produced  performances  that  can  become  part   of  the  transmedia  narra<ve  itself.  Some   performances  are  invited  by  the  creator  while   others  are  not;  fans  ac<vely  search  for  sites  of   poten<al  performance  
  68. 68. storytelling  project  report   •  Business  and  marke<ng    (7  to  14  pages)   •  Treatment        (6  to  10  pages)   •  Func<onal  specifica<on    (10  to  15  pages)     In  total:          23  to  40  pages     Deadline:        paper  day      
  69. 69. business  and  marke<ng   •  Goals              (1)   •  Succes  indicators          (1–2)   •  User  need            (1  par)   •  Target  audience  and  marke<ng    (2-­‐4)   •  Projec<ons,  budge<ng  and  <melines  (2-­‐5)   •  Produc<on  team            (1-­‐2)    
  70. 70. Goals  (3  goals  -­‐  1  page)   A.  What  do  you  want  to  achieve  from  the   perspec<ve  of  the  user  through  the  service?     S<mulate  community-­‐based  storytelling   Get  the  audience  to  be  ac<ve  during  a  live  broadcast   Create  deeper  engagement  between  scheduled  events   Get  the  audience  to  become  ac<ve  outside  the  home   S<mulate  massive  community  created  content  contribu<on   Make  the  service  highly  personalized   …..  
  71. 71. B.  What  are  the  goals  from  the  perspec<ve  of   the  crea<ve  team?   Experiment  with  never  before  tried  mul<-­‐plagorm  concepts   Improve  the  skills  of  the  team   Raise  awareness  of  issues,  social  good  or  another  media  property   Design  a  service  that  lasts  two  years  and  longer   Build  a  strong  female  or  male  viewership   Build  a  loyal  local  and/or  interna<onal  community  for  your  property   Increase  the  overall  audience   ….  
  72. 72. C.  What  is  the  economic  goal  or  model?     Commercial:  revenue  genera<on  through  mature  digital  business   models   Marke<ng:  at  cost,  promo<onal/marke<ng/adver<sing  of  another   product  or  property   Social  good:  at  cost,  awareness  and  issue  raising  or  cultural,   educa<onal  and/or  ar<s<c  statements   Experimental:  a  new  type  of  project  designed  to  push  boundaries,   with  the  freedom  to  fail  and  lose  money  but  learn  from  
  73. 73. succes  indicators  (1  –  2  pages)   How  will  the  stated  goals  be  measured,  and   from  those  results  how  will  you  decide  if  the   service  has  been  successful?       The  KPIs  (Key  Performance  Indicators)  and  ROI   (Return  On  Investment)  are  tradi<onal  ways  to   measure  success,  but  from  a  story  perspec<ve   there  may  be  other  engagement  metrics  you  are   building  into  your  services.  
  74. 74. what  are  KPI’s?   Key  Performance  Indicators,  also  known  as  KPI   or  Key  Success  Indicators  (KSI),  help  an   organiza<on  define  and  measure  progress   toward  organiza<onal  goals.  
  75. 75. Key  Performance  Indicators  Reflect  the   organiza<onal  goals  and  must  be  quan1fiable.  
  76. 76. KPI’s   Sales  Revenue   •  How  much  revenue  has  your  campaign   brought  your  company?  Understanding  your   sales  revenue  is  important  to  know  how   effec<ve  campaign  is,  no  company  wants  to   spend  money  on  something  that  isn’t   genera<ng  money.  
  77. 77. KPI’s   Cost  Per  Lead     •  How  much  is  it  cos<ng  you  to  acquire  a   customer  through  your  campaign?    
  78. 78. KPI’s   Traffic  to  Lead  Ra<o   •  Understanding  your  website  traffic,  especially   knowing  where  your  traffic  is  coming  from,   whether  it’s  organic,  direct,  social  media  or   referrals  is  extremely  important.    
  79. 79. online  content  marke<ng  KPI’s   reach   • unique   visitors   • geography   • mobile   readers   engagement   • bounding   rates   • click   paUerns   • unique   pages   sen<ment   • interac<on     • social   sharing  
  80. 80. KPI’s   Social  Media  Reach     •  number  of  lead  conversions  assisted  by  each   social  media  channel   •  number  of  customer  conversions  generated   through  your  social  media  channels   •  percentage  of  traffic  associated  with  social   media  channels  
  81. 81. KPI’s   Mobile  traffic,  leads  and  conversion  rates     •  number  of  lead  conversions  from  mobile  devices   •  bounce  rates  from  mobile  devices   •  conversion  rates  from  mobile  op<mized  landing   pages     You  don’t  only  want  to  see  how  many  visitors  are   conver<ng  through  mobile  but  you  also  want  some   indica<on  of  how  effec<ve  your  mobile  presence  is.  
  82. 82. weekly  dashboard   •  Sales  revenue   •  Cost  per  lead   •  Traffic  to  lead  ra<o   •  Social  media  reach   •  Mobile  traffic  
  83. 83. first  you  need  a  …  goal  
  84. 84. hUp://<  
  85. 85. succes  indicators  (1  –  2  pages)   How  will  the  stated  goals  be  measured,  and   from  those  results  how  will  you  decide  if  the   service  has  been  successful?       The  KPIs  (Key  Performance  Indicators)  and  ROI   (Return  On  Investment)  are  tradi<onal  ways  to   measure  success,  but  from  a  story  perspec<ve   there  may  be  other  engagement  metrics  you  are   building  into  your  services.  
  86. 86. User  need  (1  paragraph)   This  is  a  short  high-­‐level  sec<on  covering  the  key   ques<on  of  why  your  service  will  be  no<ced  and   used.  A  simple  user-­‐needs  analysis  will  highlight   gaps  in  the  market,  weak  compe<<on,  or  just  a   strongly  ‘needed’  u<lity-­‐like  service.  
  87. 87. needs  analysis   determining  user  goals,  purposes,  and   objec<ves:     -­‐  what  do  users  want  to  accomplish  using  the  product?   -­‐  what  are  their  overall  goals?   -­‐  what  do  users  need  from  the  product  to  accomplish       these  goals?  
  88. 88. target  audience  and  marke<ng  (2-­‐4  pages)   This  sec<on  will  cover  two  key  areas:  Who  will   use  the  service,  and  how  will    you  aUract  them   to  it?  It  will  include  a  demographic  and   psychographic  breakdown  of  your  user/ audience,  lis<ng  compe<ng  services  or  examples   of    similar  services,  quo<ng  numbers.    
  89. 89. business  models  (1-­‐2  pages)   This  provides  an  overview  of  how  the  budget   will  be  raised  or  revenue    generated.  For  many   mul<-­‐plagorm  services  there  will  be  a  mix  of   business  models,  so  this  sec<on  will  detail   primary  and  secondary  models,  which  may     include  the  following:  
  90. 90. business  models  (1-­‐2  pages)   Sponsorship  (commercial  or  funded  by  agency)   Adver<sing:  text  based  or  rich  media  adver<sing  (surround  or  product  placement)   Subscrip<on  (to  use  the  service):  part  of  the  freemium/premium  model   Transac<on:  direct  sales  of  product,  pay  per  use  or  premium  or  extended  elements     Affiliate  marke<ng:  money  for  connec<ng  with  like  services   Virtual  currency:  taking  a  percentage  of  exchanges  for  virtual  currency  from  real  world  money     Direct  sales  of  the  mul<-­‐plagorm  ‘format  itself’  to  third  par<es   Sales  to  market  intelligence  of  anonymous  user  data     Peer-­‐to-­‐peer:  taking  a  percentage  of  user-­‐to-­‐user  fees  in  your  project’s  ‘market’,  such  as  virtual  goods  exchanges  or  embedded  online  auc<ons   Sales  of  product  placement  spots   Dona<ons  to  parts  of  whole  elements  of  the  service   ……  
  91. 91. projec<ons,  budge<ng  and  <melines  (2-­‐5  pages)   This  sec<on  will  detail  all  the  important  costs   and/or  likely  revenues  and/or  profits  from  the   service.  It  should  include  a  spreadsheet  lis<ng   how  much  the  service  will  cost  to  build,  and  this   may  develop  in  granularity  as  the  service     planning  moves  forward.    
  92. 92. produc<on  team  (1-­‐2  pages)     This  should  be  a  full  breakdown  of  the  mul<-­‐ disciplinary  team  related  to  this  specific  project,   lis<ng  their  individual  mul<-­‐plagorm  and/or   transmedia  roles  and  responsibili<es.      
  93. 93. storytelling  project  report   •  Business  and  marke<ng    (7  to  14  pages)   •  Treatment        (6  to  10  pages)   •  Func<onal  specifica<on    (10  to  15  pages)     In  total:          23  to  40  pages     Deadline:        Paper  day      
  94. 94. next  week   •  See  you  @  De  Pont  –  12.45   •  Download  transmedia  bible  &  read  it   •  Select  the  parts  you  need   •  Read  about  De  Pont  and  start  thinking  about   their  business  case   •  Think  about  a  group  –  choose  a  ‘chairman’   •  ‘Chairman’  sends  me  the  names  of  the  group   •  Read  chapter  1,  2  and  3    
  95. 95. •  The  new  digital  Storytelling   •  Alexander  Bryan  
  96. 96. storytelling  project  report   •  Business  and  marke<ng    (7  to  14  pages)   •  Treatment        (6  to  10  pages)   •  Func<onal  specifica<on    (10  to  15  pages)     In  total:          23  to  40  pages     Deadline:        Paper  day  Oct  28