Dynamic Publishing, Transmedia & The Construct of Good_gs.pptx

Keynote for InnoTech | Portland, OR

Presented
by
Gunther
Sonnenfeld

05.06.2010

-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐

Companies no longer own brands. People do.

People have become media.

Brands have become publishers.

Agencies have become curators.

Media companies are the facilitators.

©
Gunther
Sonnenfeld
&
Adam
Goldberg
2009

The >>>PULL market is
creating new service layer

BUNDLING in which
publishers, networks and
content portals are being forced
into T-R-A-N-S-I-T-I-O-N as
consolidated yet unacquainted
entities, who retain different
or conﬂicting agendas and most
often operate against the tide of
INVENTORY and

DEMAND.

“It’s not
information
overload (we
suffer from),
it’s ﬁlter
failure.”

- Clay Shirky

Let’s be perfectly clear about one thing:

Media isn’t fragmented. Content is.

Source:
Columbia
University,
School
of
Media
Studies

Source:
Columbia
University,
School
of
Media
Studies

“An
interes*ng

problem
(we
face)

—
some
marketers

aren’t
interested
in

storytelling.
Most

storytellers
aren’t

interested
in

marke*ng.”

-‐
Ivan
Askwith,

Director
of
Strategy,

Big
Spaceship

Yet storytelling is
the very ﬁber of
why we exist.
And further, why
we make purchases.

Stories give us
something to
believe in, before
and after a
purchase is made.

Or, when we simply
can’t.

Our relationship to technology.

PEOPLE are loyal to INFORMATION,
not places or_ destinations.

ADAPTATION:

The ongoing effort to move with
markets & behaviors.

Adaptive technologies not only have the
ability to harvest users, but empower
their consumptive & shareable
behaviors, as well as bridge the gaps
between the two.

Adaptive platforms look beyond
designations such as “2.0” and “3.0”,
and focus on cultural value, as well as
earned media.

DISRUPTION:

The often successful attempt to grab
A-T-T-E-N-T-I-O-N.

Disruptive technologies have the
ability to harvest users, but many
times lack the ability to keep them
engaged.

Part of that is a human issue. The
other part is the need to bundle paid
media and follow inventory demand
[or the lack thereof].

The Great Technology Paradigm…

©
Gunther
Sonnenfeld
2009

Our relationship to each other.

This all tells us that, clearly,

we need to change behavior,
not just drive it.

But ﬁrst, we must get real
about what our data tells us.

So, (for example),
we know that
online video ad
spends are on the
rise…

We also know that
video is a better
way to activate
purchase intent…

However, most of
this content is
created by labels,
studios and
publishers.

And guess what? Search has become a social practice. It’s
literally converging. Which means that all this “Hi-Fi” content on

offer has less and less value.

$
.00

The average CPM on
YouTube. Two years
ago, it was as high as
$15 to $20 per.

What does this tell us?

PEOPLE are more valuable than INVENTORY.

Just as the tagline suggests.

How ironic.

The

...

… is older than you think, AND…
… doesn’t care where content comes from.
… doesn’t want to be told where to consume it.
… doesn’t need to know why it matters.

The larger takeaway is that
media can no longer determine
PAID
its own value. But we can.

[GAP]

EARNED
VALUE
CREATION

[GAP]

OWNED

(It’s all about bridging the gaps…)

The importance of storytelling.

Mindshift:
great content is
borne out of
platforms and
experiences,
not just
campaigns or
ad-like objects.

IDEAS
and
messages,
like

content,
can
come
from

ANYWHERE.
The
key

to
their

ADOPTION
is
in

WHAT
THEY
actually
DO,

or,
what
they
SUGGEST

they
can
do,
rather
than

just
what
they
SAY.

By productizing stories. (as
opposed to just creating stories
out of, or for, products).

Mindshare: captures the imagination of
consumers as people and members of
culture; media then adapts or assimilates
to their behaviors, passions and desires.

‘STORYMAKING’ VERSUS
‘STORYTELLING’

STORYMAKING STORYTELLING INVOLVES
INVOLVES THE THE INTERPRETATION OF
ACTIVATION OF LEGACY, THAT LEGACY WITHIN THE
AND THE BIRTH OF AN CONTEXT OF EXPERIENCE.
IDEA.

WHAT

TRANSMEDIA
IS AND CAN BE…!

“Transmedia
stories
are
those

which
‘unfold
across
mul*ple

media
plaRorms
with
each

new
text
making
a
dis*nc*ve

and
valuable
contribu*on
to

the
whole.’”

-‐Henry
Jenkins,
Father
of

Transmedia,
Director
of
the
MIT

ComparaMve
Studies
Program

"There
are
short
stories
and

mul*-‐volume
epics;
transmedia

narra*ve
is
a
way
of
conveying

messages,
themes,
and
stories
-‐-‐

a
tool
or
methodology
if
you
will.

We
try
to
dis*nguish
transmedia

narra*ve
implementa*on
from

standard
terminology
such
as

adver*sing
campaigns,
although

the
two
can
co-‐exist
or
overlap."

-‐
Jeﬀ
Gomez,
Transmedia
Pioneer,

CEO
of
Starlight
Runner

Entertainment

INTEGRATED MEDIA VERSUS TRANSMEDIA

INTEGRATED
(linear)

<
campaign/promoMon
>

channel

TRANSMEDIA
(non-‐linear)

campaign/promoMon

campaign/promoMon

campaign/promoMon

campaign/promoMon

campaign/promoMon

campaign/promoMon

narra*ve

REDEFINING THE PLANNING "
" PROCESS!

©
Gunther
Sonnenfeld
2009

What
if
we

no
longer
had
to

look
at
media

ini*a*ves
as

separate
from

BUSINESS

SOLUTIONS?
Or

be[er
yet,
separate

from
NEW

BUSINESSES?

A new breed of storymaker &
content curator .

The new power of the individual

(via one’s social graph).

In case you didn’t get
the memo, PEOPLE
now have the ability
to create their own
MESSAGES.

(Fathom that…)

Clearly, good
content just isn’t
good enough
anymore.

**This
secMon
co-‐created
with
ScoU
Walker,

Principle
of
Brain
Candy,
LLC**

Copyright is an artiﬁcial boundary
between creator and consumer.

Creators

Creators
/
Consumers

Copyright

Consumers

PRODUSAGE MODEL

(Passive)
Consumption

(Active)
Usage

(Creative)
Produsage

Produsage:
“the
collaboraMve
and
conMnuous
building
and
extending
of

exisMng
content
in
pursuit
of
further
improvement.”

Alex
Bruns

author,
researcher

(Blogs,
Wikipedia,
Second
Life
and
Beyond,
2008)

CO-CREATING VALUE

Value creation comes from personalized
experiences, not products or product-based
transactions.

o  The individual consumer is at the heart of the
experience
o  Companies can no longer control/own all of
the resources necessary to provide
personalized experiences

C.K.
Prahalad
and
M.S.
Krishnan

The
New
Age
of
InnovaMon,
2008

“Customers
play
an
acMve
role
in
co-‐creaMng
value.”

Better
Awesome

C.K.
Prahalad
and
M.S.
Krishnan

The
New
Age
of
InnovaMon,
2008

TRADITIONAL vs. COLLABORATIVE ENTERTAINMENT

Traditional Model
o  Serial
o  Monologue
o  Product-based
Creator
Content
Consumer

o  Passive

Experiences

Collaborative Model
o  Parallel
o  Dialogue
Co-‐Creator
Co-‐Creator

o  Experience-based
o  Active
Co-‐Creator

Co-‐Creator

Collaborative entertainment is more than just
interacting with content.
It’s remixing content, creating new experiences,
and sharing them with others.
Then baking the commerce elements into a
social context.

Engagement
InteracMon
ParMcipaMon
CollaboraMon
ContribuMon

Value
ConsumpMon
Value
Co-‐CreaMon

Source:
Tony
Deifell’s
“ The
Big
Thaw”

Great experiences obviate the intent to purchase.

Purchasing product is a state of mind.

Purchases happen through sharing, NOT selling.

A recent social experiment…
(storymaking development)

EXPERIENCE

story
story

SERVICE
CAUSE
PRODUCT

story
story

CONTENT

1.  Contextualize
2.  Narrate
3.  Productize
4.  Deliver

hp://www.youtube.com/watch?v=Tmf0ugQrDFk

“Content isn’t king,
it’s now a Republic.”
- Faris Yakob, Chief Innovation
Ofﬁcer, MDC Partners

THANK YOU FOR

PARTICIPATING.
(let’s make this happen…)

Dynamic Publishing, Transmedia & The Construct of Good_gs.pptx

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