Project Models: Narrative Design for Social Change

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Project Models: Narrative Design for Social Change

  1. 1. Project Models Narrative Design for Social Change Transmedia ActivismSeptember 2012
  2. 2. Transmedia Activism Framework for strategy to - Create social impact - Influence perception - Build community through fragmented storytelling by authors, stakeholders, and communities who share assets + create entry points into issues and solutions across multiple forms of medialinasrivastava.com | transmedia activism | project models
  3. 3. Roots of the Framework Design Storytelling Social Innovation Community- Social Change Novel solution to a Centeredness Leadership social problem that is User-Centered Design Local Voice more effective, efficient, Design Thinking Humanizing Social sustainable, or just than User Experience Issues existing solutions Systemic/Systems Interactivity Change Social Movements Activist Medialinasrivastava.com | transmedia activism | project models
  4. 4. Using Transmedia to Create Social Impact Audiences Communities Issue Awareness  Engagement  Action  Change Actionable Content Story Universelinasrivastava.com | transmedia activism | project models
  5. 5. Using Transmedia to Create Social Impact Story World <--> Ecosystem + How to Tell a Story Together + How to Tell a Story of Complexity Social Action: Essential Story Elementlinasrivastava.com | transmedia activism | project models
  6. 6. Building Communitieslinasrivastava.com | transmedia activism | project models
  7. 7. Every movement + community needs + cohesive narrative + shared goals + common identity + stewardshiplinasrivastava.com | transmedia activism | project models
  8. 8. Essential Elements for Sustaining Communities Story Collaborative Action Voice Leadershiplinasrivastava.com | transmedia activism | project models
  9. 9. Business Modelslinasrivastava.com | transmedia activism | project models
  10. 10. What Is a Business Model? “A business model is the story of how value is created, delivered, and captured.” -- Saul Kaplan, The Business Model Innovation Factorylinasrivastava.com | transmedia activism | project models
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  12. 12. Narrative Platforms: Types of Business Models + For-profit Companies + Nonprofit Organizations + Storyworlds + Campaigns + Media Projectslinasrivastava.com | transmedia activism | project models
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  15. 15. Narrative Platforms: Financing Models + Corporate Sponsorship + Audience Funding | Crowdsourced Funding + Crowdsourced Production + Philanthropic Funding ++ Film Philanthropies ++ Foundations Supporting Underlying Issues ++ Impact investment funds + Income Revenue models + Venture Capital | Private Equitylinasrivastava.com | transmedia activism | project models
  16. 16. Project Modelslinasrivastava.com | transmedia activism | project models
  17. 17. MSF | Starved for Attentionlinasrivastava.com | transmedia activism | project models
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  22. 22. Case Studieslinasrivastava.com | transmedia activism | project models
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  24. 24. Lakou Mizik Content Production Distribution Remixlinasrivastava.com | transmedia activism | project models
  25. 25. Lakou Mizik Social Action + Culture Regeneration + Economic Development + Community Vibrancy + Positive awareness + empathy + Picture of systemic change + Highlight Haitian organizationslinasrivastava.com | transmedia activism | project models
  26. 26. Lakou Mizik Audiences | Fans + Haitians in-country + Haitian Diaspora + Fans of World music + Fans of Caribbean music + Arts/activism + Post-earthquake donorslinasrivastava.com | transmedia activism | project models
  27. 27. Lakou Miziklinasrivastava.com | transmedia activism | project models
  28. 28. Lakou Mizik Financing: + Corporate Sponsorship + Audience Funding / Crowdsourced Funding + Philanthropic Funding + Income Revenue modellinasrivastava.com | transmedia activism | project models
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  30. 30. Successes: + Content: ++ The platform is up, active, alive ++ People know about it: It’s fulfilling a need ++ Filled with 1000 stories ++ Starting to get interest from established partners + Technology: ++ Forward movement is to become a service provider on group storytelling + Lesson Learned: ++ Can become commercially viable off the back endlinasrivastava.com | transmedia activism | project models
  31. 31. Challenges: + Content: ++ Funding: $120,000 ($100K from TFI, 20K from Kickstarter) + Technology: ++ Even harder raising funds from VCs if you’re “successful” on other sources-- they want to be the first ones in + Lesson learned: ++ “Who are you?” +++ Combined a technology company/documentary company, but didn’t distinguish the two enough +++ Combined management +++ Combined philanthropic funding with VC askslinasrivastava.com | transmedia activism | project models
  32. 32. “Kickstarter is not for everyone.” -- Sara Nodjoumi.linasrivastava.com | transmedia activism | project models
  33. 33. The Iran Job Successes: + Funding: Doubled their Kickstarter ask 4 days before the deadline + Audience: Had a built-in, existing audiencelinasrivastava.com | transmedia activism | project models
  34. 34. The Iran Job Mixed blessings: + The film will most likely be self-distributed + Have pursued traditional avenues for distribution, but it’s too slow. + Audiences respond well, so they’re not going to wait. + Need USD $100,000 to put it into 10 cities. + They are going back to their grantors: ++ None of the “traditional” funders ++ Personal contacts, Iranian-American orgslinasrivastava.com | transmedia activism | project models
  35. 35. The Iran Job Challenges: + Management: ++ 2-3 people working full time for 3-4 weeks before launching the Kickstarter campaign ++ Spent a lot of time on the rewards ++ Every detail was studied, but delivery deadlines were pushed back + Catch 22: ++ The money gets spent. ++ And people think you’ve already got the money + How to keep momentum after the Kickstarter campaignlinasrivastava.com | transmedia activism | project models
  36. 36. The Iran Job Lesson learned: + Your rewards are your donor engagement, your marketing tools (even in pre-production).linasrivastava.com | transmedia activism | project models
  37. 37. AMERICA 2049linasrivastava.com | transmedia activism | project models
  38. 38. AMERICA 2049 Impact: + Over 20,000 throughout the world played through the 12 week run + 110,200 unique Facebook interactions. 5,200 twitter followers + 86% of players indicated at least some willingness to become active on an issue they encountered in the game + 56% reported they had spent time reconsidering their views on the issues raised in real life + Generated mainstream press coverage from 120 outletslinasrivastava.com | transmedia activism | project models
  39. 39. AMERICA 2049 Lessons Learned: + Balancing Engagement with Message to Increase Impact + Moving Players from Clicktavism to Activism + Transitioning from Expected to Novel Application of Platform + Exploring New Distribution Models & Unlikely Partnerships + Accounting for volunteer hours + ROI: Project management to Scale to Impactlinasrivastava.com | transmedia activism | project models
  40. 40. Who Is Dayani Cristal?linasrivastava.com | transmedia activism | project models
  41. 41. Who Is Dayani Cristal? Successes: + Funding: Film has strong funding and investment + High aesthetic quality and innovative narrative form + “Flipped the Model”: Strategic Planning: ++ Social action and cross-platform strategy developed alongside film development and production ++ Audience engagement planning developed alongside film development and productionlinasrivastava.com | transmedia activism | project models
  42. 42. Who Is Dayani Cristal? Challenges: + Need to flip the model of funding: ++ Social action, cross-platform, audience engagement need funding earlier in the processlinasrivastava.com | transmedia activism | project models
  43. 43. Who Is Dayani Cristal? Lessons learned: + Strategic planning needs to be done earlier in the process + Impact planning and measurement are a specialized skill + Build strong, cross-sector teamslinasrivastava.com | transmedia activism | project models
  44. 44. Assessment Modelslinasrivastava.com | transmedia activism | project models
  45. 45. Essential Elements for Transmedia Activism Models + Community-centered participation It has at its core the use of local voice, in direct partnership with the platform creators + Move beyond awareness It uses its platform to connect audiences to commit to a particular worldview, advocacy or action, by using local stories + Platforms that are culturally appropriate to cross borders to foster transformation.linasrivastava.com | transmedia activism | project models
  46. 46. Assessing Your Social Change Model + Respect + Relevance + Resonance Full model available at http://www.slideshare.net/lksriv/the-3-rs-colinasrivastava.com | transmedia activism | project models
  47. 47. Assessing Your Social Change Model Intentionality + Creating rigor and around and recognizing the intentionality behind "citizen" media + Parsing out the fine lines between story to engagement to propaganda + Bridging the engagement/action gap.linasrivastava.com | transmedia activism | project models
  48. 48. Lina Srivastavahttp://linasrivastava.cominfo@linasrivastava.com@lksriv

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