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Writing Across Media

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This is a workshop on cross-media writing I gave at www.PowertothePixel.com, London Film Festival. The slides won't make much sense without the video, which is available at: …

This is a workshop on cross-media writing I gave at www.PowertothePixel.com, London Film Festival. The slides won't make much sense without the video, which is available at: http://blip.tv/file/1409685.

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  • 1. Writing Across Media Christy Dena UniverseCreation101.com Power to the Pixel 23rd October 2008
  • 2. Writing
    • Screenwriting
    • Playwright
    • Novelist
    • Game writer
    • eLit writer
  • 3.
    • screenwriting + novel writing + web writing
    • =
    • ?
  • 4. Four Approaches to Cross-Media Creation Version 1, Christy Dena, 2008
    • All mediums are equal, all art is one
    * Film is King, other mediums are Queen
    • Film is King, other mediums can be Knights
    • Film is King, all other mediums are Pawns
    Medium Status * Have to experience more than one * Experience more than one * Experience one or the other * Experience one on top of the other, no relation Audiences
    • Writer-Producer-Director
    • Self & like-minded teams
    • Writer-Producer-Director
    • Creatively controlled practitioners with some integration knowledge
    • Creatively controlled practitioners
    • Outsiders, no creative control
    Execution
    • Combined platform/artform skills
    • Multi platform/artform skills
    • Single platform/artform skills
    • Single platform/artform skills
    Skills Artistic Economic & Artistic Economic (& Artistic) Economic Motivation Strategies & Techniques
    • Cross-media interaction design
    • Experience Design
    • Simultaneous media usage
    • Designed from beginning
    • Parallel production
    • Asset Sharing
    • After initial content
    • Central Management (‘Transmedia Tzar’)
    • Coherence Management (‘World Bible’)
    • Asset Sharing
    • Leverage existing IP for marketing & franchise exploitation
    • No role in the meaning-making process
    Native Integrated Complimentary Isolated
  • 5. Four Approaches to Cross-Media Creation
    • All mediums are equal, all art is one
    * Film is King, other mediums are Queen
    • Film is King, other mediums can be Knights
    • Film is King, all other mediums are Pawns
    Medium Status * Have to experience more than one * Experience more than one * Experience one or the other * Experience one on top of the other, no relation Audiences
    • Writer-Producer-Director
    • Self & like-minded teams
    • Writer-Producer-Director
    • Creatively controlled practitioners with some integration knowledge
    • Creatively controlled practitioners
    • Outsiders, no creative control
    Execution
    • Combined platform/artform skills
    • Multi platform/artform skills
    • Single platform/artform skills
    • Single platform/artform skills
    Skills Artistic Economic & Artistic Economic (& Artistic) Economic Motivation Strategies & Techniques
    • Cross-media interaction design
    • Experience Design
    • Simultaneous media usage
    • Designed from beginning
    • Parallel production
    • Asset Sharing
    • After initial content
    • Central Management (‘Transmedia Tzar’)
    • Coherence Management (‘World Bible’)
    • Asset Sharing
    • Leverage existing IP for marketing & franchise exploitation
    • No role in the meaning-making process
    Native Integrated Complimentary Isolated
  • 6.  
  • 7. Managing Coherence
  • 8. Scan of ‘The Complete Graph’ (p.247) in Marie-Laure Ryan (2001) 'Can Coherence be Saved?' Narrative as Virtual Reality: Immersion and Interactivity in Literature and Electronic Media . M.-L. Ryan (Ed.). Baltimore, Johns Hopkins University Press : 242-270.
  • 9. Ivan Reitman’s My Super Ex-Girlfriend
  • 10.  
  • 11.  
  • 12.  
  • 13. How to Manage Coherence Across Media Platforms?
  • 14.
    • recapitulations (recaps)
    • elaborating on a story event rather than continuing it
    • exploring a subplot or sub-character
    • diff POV
    • restricting or controlling access to the content
    • creating artefacts that have no role in the plot (e.g. a website for a fictional corporation)
  • 15. Recaps http://wayback.perplexcitystories.com/?url=story.perplexcity.com/ http://stophanso.rachelblake.com/recap.html
  • 16. Fictional corporations, products & characters with plot-agnostic content
  • 17. Richard Kelly’s Donnie Darko Restricting/Obstructing Access
  • 18. http://www.donniedarkofilm.com/
  • 19. POV: Brad Bird’s The Incredibles & Jack-Jack Attacks Feature Film DVD Extra
  • 20. Artistic Rendition (new POV from alternate takes etc): Paul Thomas Anderson’s Punch Drunk Love and Blossoms & Blood DVD extra
  • 21.  
  • 22.  
  • 23. The Matrix , Wachowski Brothers Time Medium
  • 24.
    • www.whatismatrix.com
    • password:steak
  • 25. Call-to-Action Cycle
    • Primer
    • Referral
    • Reward
  • 26.
    • 1. Primer : prepare and motivate the audience to act
  • 27.
    • 2. Referral : provide the means and instructions on how and when to act
  • 28.
    • 3. Reward : acknowledge and recompense their action
  • 29. Marc Forster’s Finding Neverland
  • 30.
    • 1. Primer : prepare and motivate the audience to act
    ReGenesis II Extended Reality Game by Xenophile Media
  • 31.
    • 2. Referral : provide the means and instructions on how and when to act
  • 32.
    • 3. Reward : acknowledge and  recompense action
    gameplay and gameworld responses
  • 33. Referrals
  • 34.  
  • 35. Heroes 360 Experience
  • 36.  
  • 37. Prison Break
  • 38. http://www.iad-ordnonstop.net/ Criminal Minds
  • 39. Modeling Nick Hamm’s Godsend
  • 40.  
  • 41.  
  • 42. Traversal Design
  • 43.  
  • 44. Customer Experience Management Guide Book
  • 45. Japan Market Intelligence
  • 46. The Beast
  • 47. Joseph Campbell, 1949
  • 48. Christopher Vogler, 1992
  • 49. Six to Start http://wetellstories.co.uk/
  • 50. My bio site: http://www.ChristyDena.com/ Blog & podcast: http://www.UniverseCreation101.com Email: [email_address]