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: http://blip.tv/file/1409685.

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Writing Across Media

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

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