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Activestorysystemv1 0-130115125928-phpapp02


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Activestorysystemv1 0-130115125928-phpapp02

  1. 1. Active Story System™for Transmedia StorytellingThis licence allows you to remix, tweak, and build upon this work non-commercially,as long as you credit attribution to Robert Pratten (@robpratten) and license yournew creations under identical terms. © Transmedia Storyteller Ltd 2012
  2. 2. Update: Interactive PDF WorksheetsThe worksheets in this presentation are now available fordownload as an interactive PDF. This allows you to add yourown project information, print and share.Download via e-junkie here:
  3. 3. Active Story System™ - Goals Active Story System™ has been developed to service the needs of the creative &advertising industries in an era of attention scarcity, content abundance andmulti-platform consumption a design process for creating participatory multi-platform story-experiences a framework for commercial success that: is goal-oriented integrates storytelling, engagement, social media & content strategy a series of documentation templates & worksheets
  4. 4. Active Story System™ - Benefits Distinguishes storyworld design decisions from individual story design decisions Combines/integrates entertainment and marketing decisions Provides visibility of story structure and logic to navigate it Provides visibility of character development and player advancement Provides documentation templates and a series of worksheets to encouragestructured thinking and fewer design decision mistakes Offers a practical organizational framework for the delivery of persistentstoryworlds
  5. 5. The Active Story System™ focuses on the telling ofparticipatory transmedia stories
  6. 6. Definition• Requirements• Goals• Success Criteria•KPIs, measurement• Scope•Countries, Territories,Languages, Number ofAudience•Interworking with othercompanies & technologies•Timing & duration•Budget• CustomerDevelopment• ActSS Define the World•Story, Experience, Premise,Goals, Audience, Platforms,Execution• One Sheet• Title, log line, call toaction, short synopsis• Creative direction• look & feel, tone, mood,age rating, violence,language• Team• Risks• Principal resources• names and availability• Principal creative• Principal technicaldevelopment• Inbound: Licensing &copyrights• Outbound: Franchising,merchandising andlicensing• Community• management, editorial,legal• Business CaseDesign• ActSS Define the story•Premise, Themes, Characters,Locations, Periods, Objects, Factions,Hierarchies• ActSS Define the Experience•Gaming, Role-playing, Exploring,Observing• ActSS Define the Execution•Timing, Events, Platforms, Pacing• ActSS Write Synopsis• ActSS DevelopSynopsis into Scenes• ActSS Design the Engagement• ActSS Design Interaction• Platform-specific documentation• Marketing Communications• Series synopsis & arcs• Future stories• Media assets•Video, audio, image, text, mobile, web• Events & locations• Merchandise• Touchpoints•Owned, Paid, Earned• Languages, countries, geo-restrictions• Capacity planning• ControlsDelivery•ActSS Design Operations•Editorial & Legal processes,Social media guidelines,Community management,Escalation•Production•Implementation & testing• Audience building &community outreach•Marketing communications• Advertising, SEO, paid Search,Seeding, PR, Social media•Launch•Operations•MetricsTM Project Linear Workflow Active Story System™
  7. 7. TM Project: Actual Iterative Workflow The Active Story System™takes a deep dive into everydesign aspect of theexperience. The author*then loops back to adddetail and addresspracticalities and projectdelivery issues*Author = anyone creating thetransmedia project(storteller/narrativedesigner/producer etc.)
  8. 8. Define theWorld• Story• Experience• Audience• Platforms• Goal1• ExecutionDefine theStory• Premise• Themes• Characters• Locations• Periods• Objects• Factions• HierarchiesDefine theExperiences• Goals• Gaming2• Role-playing2• Exploring2• Observing2Define theExecution• Timing• Events• Platforms• PacingWhat can we usefrom the storyworldto informparticipation?What types ofactivity will meetour goals?1 What’s the goal: Revenue, Reach, Preference, Action?2 Game player styles checked against each participation opportunity (e.g. killer, achiever, socializer, explorer)How are theaudience activitiesrealized?Who is this for andwhat are our goals?Designing the Participatory StoryworldFour creative processes that blend marketing with entertainment
  9. 9. Designing the Participatory Story5. Writesynopsis•Premise•Themes•Characters•Conflict6. DevelopSynopsis into Scenes•Information revealed•Character development•Audience quests7. Design theEngagement•Personalization•Actions•Teams•Pacing•Motivations•Immersion7. Design theEngagement•Personalization•Actions•Teams•Pacing•Motivations•Immersion6. DevelopEngagement into Scenes•Information revealed•Audience quests•Character development5. Writesynopsis•Premise•Themes•Characters•Conflict8. Design theInteraction•Platforms•Media•Out-of-World•In-World•Block diagrams•User Journey• platforms•phases9. Design theOperations•Editorial process•Legal process•Social mediaguidelines•Communitymanagement•Escalation•MetricsStory-first approachExperience-first approach
  10. 10. Storyworld Worksheets and Templates World Definition Worksheet Story Worksheet Experience Worksheet Execution Chart Additional Storyworld Documentation Story bible Participation bible
  11. 11. Project: Date / / VersionySTORYEXPERIENCEDescribe the story in a few sentencesDescribe the audience experience in a few sentencesAUDIENCE PLATFORMSGOAL EXECUTIONWho is the audience for this storyworld? What are the primary platforms?What’s the objective of the project? Reach, Preference, Action?What’s the revenue model – does there need to be one?What’s the roll-out plan?PREMISEWhat is the message the writer wants to convey? What does she/he believe to be true?Active Story System™ World Definition Worksheet
  12. 12. Project: Date / / VersionSTORY EXPERIENCEPREMISE THEMESCHARACTERS LOCATIONSPERIODS OBJECTSFACTIONS HIERARCHIESCopy and paste Story from the previous slide Copy and paste Experience from the previous slideWhat is the message the writer wants toconvey? What does she/he believe to be true?What themes are explored?Who are the main characters? What are the main locations?Thinking of the storyworld timeline, what are the significantperiods? Significant plot points/turning points/reversals?What are the significant or iconic objects in this storyworld? (e.g.rings, goblets, sonic screwdrivers, Martini cocktails?)What are the main rivalries or tribes or sects?NB: this can help the audience identify and choose a group tobelong toWhat levels and ranks are there within the factions?NB: this can be useful for community forums and games wherepeople can “level up” depending on activity or success.Active Story System™ Story Worksheet
  13. 13. Project: Date / / VersionPREMISE THEMESCopy and paste Premise from the previous slide Copy and paste Themes from the previous slideGAMING ROLE-PLAYINGOBSERVING EXPLORINGIn this participation type, what (moral) choices might theaudience be given to make them feel the premise?In this participation type, what information or questions mightthe audience be given to make them think about and reflect onthe premise?In this participation type, what additional information (in worldand out of world) can the audience explore?In this participation type, the audience creates their ownentertainment from the tools, apps, media, props (physical anddigital) etc and advice you’ve given them. How will you enablethe audience to role-play and create their own entertainment?GOALSWhat are the creative and commercial goals of the audienceparticipation?MOTIVATIONSUse separate Intrinsic Motivations worksheet as frequently asnecessary: for the world and/or for each story-experienceActive Story System™ Experience Worksheet
  14. 14. Execution chartOnlineStory-Experience BStory-Experience CStory-Experience AStory-Experience EReal WorldStory-Experience FStory-Experience GStory-Experience HStory-Experience DRelative timingPrimaryPlatformStoryGamingCo-creationReal-worldImmersion RadarPrimary platform
  15. 15. Execution Chart (example: Mask of the Red Death)OnlinePsychophol experienceWastelander experienceWeb seriesTarot CardsReal WorldEvent: Festival ScreeningMobile appDVD releaseFeature filmStoryGamingCo-creationReal-worldImmersion Radar
  16. 16. Two bibles: the story and the experienceStoryworldBibleParticipationBibleInformation needed to take partInformation revealed throughparticipationHow is audienceparticipation created& managed?What defines thisstoryworld?
  17. 17. Participation bible Goals (commercial & creative objectives) Policy (for treating fans consistent with company core values) In world (Storytelling) Gaming/Role-playing/Observing/Exploring Platforms Events Timing Out of World (Policy) Social media policy (communication style, crisis management) Community policy (rewards, highlighting, banning, legal action) Editorial policy for fan-generated content (encouraged, allowed, ignored, removed) Legal policy Escalation procedures
  18. 18. Story Worksheets and Templates Immersion Worksheet Motivations Worksheet Participation Worksheet Interaction Worksheet Scene Chart Character Steps User Journey System/block diagram Content/Data map Operations Worksheet
  19. 19. Project: Date / / VersionIMPORTANCE OF STORY &EMOTIONAL PRESENCEIMPORTANCE OF REAL WORLD &PHYSICAL PRESENCEIMPORTANCE OFCO-CREATIONIMPORTANCE OFGAMING & PLAYImportance of narrative, depth of world & degree of authorialcontrol. Addresses emotional presence: player feels as theymight in real life experiencing real world events. Refer to otherworksheets that discuss story.Extent to which story-experience pervades real locations &times, real people & events. Addresses physical presence:player feels physically transported to storyworld environment.Describe physical locations & entities or how thisexperience pervades real life.Ability of audience to change orcontribute to the story or experience.Addresses narrative presence: playerfeels able to affect the story. Describemeans by which audience directs, influencesor improves upon the story.Audience has goal, use of puzzles,use of game mechanics (trophies,levels, leader boards etc.); activitypurely for enjoyment & fun. Describethe game mechanics if appropriate.Active Story System™ Immersion Worksheet
  20. 20. Project: Date / / VersionAUTONOMY: CHOICES & CONTROL GROWTH: MASTERY, COMPETENCE,LEARNING & UNDERSTANDINGCURIOSITY: COMFORT, VARIETY & SURPRISERELATEDNESS: CONNECTION & CONTRIBUTION SIGNIFICANCE: IMPORTANCE & UNIQUENESSHow will the audience be surprised? How does the experience offer variety and comfort?How much freedom does the audience have to explore, todetermine timing & outcomes, to personalize theirpersona/experience?How will the audience perceive a feeling of accomplishment?Will they gain a new insight or understanding? Will they havegained a new skill or improved existing skills?How does the audience build relationships with others and/orwith the characters?How does the audience gain bragging rights, self-importance orself-affirmation? How is the audience made to feel unique &valued?Are there leaderboards, badges, membership levels?Active Story System™ Motivations Worksheet
  21. 21. Project: Date / / VersionPREMISE AUDIENCE GOALFINAL ACTION FIRST ACTIONCHARACTERS PERSONALIZATIONSOLO ACTIONS COMMUNITY ACTIONSCOMPETITIVE ACTIONS COLLABORATIVE ACTIONSPACINGCopy and paste Premise from the previous slides What must the audience achieve? What’s the call to action?Is this action: meaningful, thought-provoking, confirms thepremise, allows personalization, generates conversation,hits as many intrinsic motivations as possible?Is this action: meaningful, thought-provoking, relevant to thepremise, allows personalization, generates conversation,hits as many intrinsic motivations as possible?What characters are needed? Roles: Hero - the character who plays thegame; Mentor -the character that offers advice and useful itemsAssistant - a character who offers occasional tips; Tutor - a characterwho explains how to play the game; Final Boss - the villain the playermust defeat in the last battle; Hostage - a character to rescue.What audience actions are taken alone and in private What audience actions are taken in public and shared with ordiscussed with the communityWhat audience actions are taken in competition with others orwith a characterWhat audience actions are take in collaboration with others orwith a characterIs the personalization relevant to the storyworld? Allow audienceto join a Faction or vary according to Hierarchy? Generate wordof mouth? Generate repeat play?Does the pacing of the experience match the pacing of the narrative?Active Story System™ Participation Worksheet
  22. 22. Project: Date / / VersionPLATFORMS MEDIASETUP/REGISTRATION/ ACTIVATION/PLAY/DECOMMISSIONINGOUT-OF-WORLD ENTRY POINTS IN-WORLD ENTRY POINTSHow do new audience members enter the system? What’s the process for them to indentify themselves to the characters? How & whenare they called to action (activated)? Create a chart for the “user journey”?What platforms are being used for this story? What media do we need? Rich media and text based.Where does the audience cross the threshold from reality tofiction?What are the calls to action?What are the out-of-world websites, social media, objects,locations, events?What are the fictional entry points for this story?What are the calls to action?What are the in-world websites, social media, objects, locations,events?Active Story System™ Interaction Worksheet
  23. 23. Scene Chart (example: Lowlifes) Show how the story moves forward scene-by-scene. What information or statechange causes audience experience of the story to progress? What new informationdoes the audience gain? Note: specific platforms may or may not be mentioned
  24. 24. Scene Chart (example: New Tokyo)Parallel (therefore potentially optional) scenes
  25. 25. Character Steps (example: boy meets girl) Show how the characters (perhaps player-character) changes as experienceprogressesSteps and PathsCharacters&Player(s)Color-coding denotes same scene
  26. 26. Character steps for open world/branching story(example: New Tokyo)Steps and PathsCharacters&Player(s)Scene branchesPlayer-character attributes/groups affecting scene
  27. 27. Character Map (example: lowlifes) Show character relationships and key character data
  28. 28. User JourneyTime and/or Stages and/or ActsPlatforms Show possible path(s) taken by audience to access story/experience Show relationship between platforms over time
  29. 29. User Journey: Limitations Transmedia stories (ought to) tend towards a mesh or network of information points ratherthan simple linear path  an “open story” Open stories best described by states rather than paths and hence user journey diagram isless helpfuldecision point alternative endingsABCplot pointcharacter detailExpositionLinear StoryBranching Story Open Story
  30. 30. User Journey (example: Roswell)eBookOnline QuestsLocation-based QuestsFinal event+eBook holds many answers/clues to the puzzlesDetail expanded later in additional documentsRoswell quests: visitor gets points AND uncovers cluesClues on social media, blogs, wikipedia etc User Journey diagrams can easily become confusing. Especially with branching or open stories Simplicity is always best Defer complex interactions to lower-layer diagrams
  31. 31. User Journey (example: Roswell Experience)Find the location of the alien landing(e.g. go into store to get grid ref and answerquestions)Collect points and get to top of the leaderboard(e.g. upload photos, check-in, tweet, email)Location = storycontent & uniqueNEC codeInteractive story and choicesfrom characters in Cult and HunterseBook (web URLs)websitesLocationstorylets
  32. 32. User Journey (example: Transbay) Shows scenes (possible states) available in relation to linear story (scheduled content)
  33. 33. System/block diagram (example: Transbay) Shows how important experience data will be displayed – without the detail of a wireframe diagram
  34. 34. Asset/data map (example: Roswell Experience) Shows important experience-related assets & data
  35. 35. Consider journey phasesThe user journey can be divided into six phases: Setup - this is action to create the starting conditions before the audience experience starts Registration - the Author decides how (or if) the Audience makes itself know to the experience Activation - a call-to-action (which maybe at the same time as Registration or later in time) Play - this is the main body of the experience Wrap - if the World is to be ended then this stage ensures everything is wrapped up.Setup Registration• Attraction/Spectacle• Call to action• Data capture• Initial statusActivation• (Re)Call to Action• ExplanationPlay• Structure• MechanicWrap• Resolution
  36. 36. Project: Date / / VersionEDITORIAL PROCESS LEGAL PROCESS & FRAMEWORKCOMMUNITY MANAGEMENT & GUIDELINES OPERATIONAL PROCESSESCALATION PROCESS METRICSWho must approve the content?How will the content be approved?What timescales are required?Are there legal issues regarding the publication of content? Whomust sign-off from legal?Who is in charge of the community?What authority do they have?What is the escalation procedure?How are they to deal with problems?What are the procedures for:a. Purchasing merch and/or subscribing to storyb. Raising a question or faultc. Who handles questions and faults?Who is in charge and when do they get notified? How is success measured?What measures are to be reports? How frequently?Active Story System™ Operations Worksheet
  37. 37. CONTACTRobert Pratten,CEO & Founder, Transmedia Storyteller +1 415 287 4150Europe: +44 207 193 4567Pervasive Entertainment PlatformThe Active Story System™ is available on…the world’s most powerful transmedia storytelling software from…