The document discusses transmedia storytelling as a way for brands to generate interest in their products and services. It defines transmedia storytelling as stories that unfold across multiple media platforms with each platform making a distinctive contribution. The document then provides examples of brands like Lego that have successfully used transmedia storytelling through developing characters and narratives that engage consumers across different media. It also outlines some of the challenges of using transmedia storytelling for brands, such as the perceived costs and complexity of execution, before concluding with recommendations around focusing on developing franchises rather than one-off campaigns and prioritizing the user experience.

1. TRANSMEDIA
STORYTELLING
Gual Barwell - Head of Strategy, REBORN

2. What are we here for?
CONTEXT

3. Change consumer behaviour by
generating salience for our product
and service through
communications?
POSIT

4. WHY TRANSMEDIA
STORYTELLING?
HOW?
CHALLENGES
OUTPUTS

5. AGENDA
TODAY
1. Decision making and storytelling
2. Cultural trends
3. Brands response
4. Transmedia Storytelling
A. Case Studies
5. Ideation a POV
6. Challenges
7. Key Takeouts

6. AND STORYTELLING
1. DECISION MAKING

8. Emotional campaigns = x2 ROI
PLATFORM FOR EMOTIVE CAMPAIGN
% Driving High Profit ROI Correlation with ‘Favourability’
Emotional
Combined
Rational
Emotional
Rational
31%
26%
16%
0.56
0.29

11. A Big Idea is a thought
that keeps giving.
It's a world you can
occupy and keep
drawing on.
Tribal Worldwide Report - Create a World not an Ad , Chris Bayliss ECD, Tribal DDB Amsterdam

12. CREATIVITY PROVIDES GREATEST
LEVERAGE OVER ROI
IPSOS: Global Research Pool
Contribution to sales effect -
based of IPSOS Global Pool
70%
20%
10%
Media
Creative
Other

13. 52%
13%
CREATIVE
CHANNEL
Similarly, ComScore (2010) carried out a meta-
analysis of all hundreds of different campaigns across
different categories and found that 52% of shifts in
brand sales (or market share) are attributable to the
quality of creative, making creative the number one
driver of sales changes.These findings demonstrate
the importance of focusing on the quality of creative
as part of the ad-planning process, and not just
relying on media planning elements, which account
for a combined 13% of the changes in a brand’s
sales.
This%has%been%corroborated%by%ComScore%3%%
crea4ve%is%500%%greater%determinant%of%ROI%
than%channel%op4misa4on%(13)%
This had been corroborated by ComScore -
creative is 500% greater determinant of ROI
than channel optimisation
Creative
Channel

14. DESIGN

17. AND INTERCONNECTIVITY
2. MEDIA CONVERGENCE,
INSTRUMENTALISATION

18. “We are entering an era where media will be everywhere, and we
will use all kinds of media in relation to one another...”
!
Henry Jenkins, Convergence? I Diverge, 2001
MEDIA CONVERGENCE
What is ‘Convergence Culture’?

20. Source:(Google,(2013((
Majority of our daily media interactions are screen based
88%
12%
4.1 HOURS

21. DIGITAL NATIVES SWITCH
MEDIA 27 TIMES PER HOUR

22. TIME SPENT PER MONTH (US)
Traditional
TV
Using internet
on a computer
Watching
Time shifted TV
Watching
Video on internet
Using a
gaming console
Watching video
via mobile
Using
DVD/BLU-RAY
148 HR,
3 MIN
28 HR,
58 MIN
11 HR,
30 MIN
6 HR,
59 MIN
6 HR,
38 MIN
5 HR,
25 MIN
5 HR,
17 MIN
0.9% 1.5% 6.0% 36.0% 3.2% 16.1%25.0%
A65+ A18-26 A35-49 A18-24 T12-17 A18-24 K2-11

23. “81% of people use multiple screens sequentially to
accomplish a task over time, 35% have watched online
video across more than one device”

24. Source:(Google,(2013((
We also multi-screen by using more than
one device simultaneously
We use an average of three different screen combinations every day.
69% 53% 51% 44%

25. TV#got#
Connected#
TRADITIONALSMARTVIA
CONSOLE
OTHER
1.4B
volume
96%
penetration
10.2%
penetration
17.1%
penetration
19.3%
penetration
13MM(AppleTVs)|5MM(Roku
Players)
volume
TV GOT CONNECTED
OTHER VIA SMART TRADITIONAL
17.1% penetration 19.3% penetration 10.2% penetration 96% penetration

26. “Some observers are
predicting that by 2020
companies could
manage 85% of their
customer
relationships without
talking to a human
being.”
“We are looking at automating the transacting part of
buying. At the moment we are focusing on television
because that is the bulk of where time is spent.”
An#increasingly#automated#process#(5/6)#
“Some observers are
predicting that by 2020
companies could
manage 85% of their
customer relationships
without talking to a
human being.”
AN INCREASINGLY
AUTOMATED PROCESS

28. AND THEIR RESPONSE
3. BRANDS

29. 71% of marketers stated that they would be
increasing their content budgets in 2014
http://www.curata.com/resources/ebooks/content-marketing-tactics-2014/

30. • TEXT:
• Infinite Monkey Theorem…
INFINITE MONKEY THEORY

32. STORYTELLING
4. TRANSMEDIA

33. TRANSMEDIA STORYTELLING
“A transmedia story unfolds across multiple media platforms, with each text
making a distinctive and valuable contribution to the whole.”
!
Henry Jenkins, Convergence? I Diverge, 2001
WHAT IS TRANSMEDIA

34. WHICH IS SOOOOO 2013
COMMS
IDEA
PR
DM
Staff
Retail
Interactive
Experience
Advertising
INTEGRATED COMMUNICATIONS

35. THE STORY
Observer
Socially Engaged Active Contributors
THE UNIVERSE IS THE CANVAS

38. STUDIES
A. CASE

39. LEGO
ONE PRODUCT,
ONE BRAND,
ONE PROMISE,
AND
MILLIONS OF STORIES

43. LEGO

48. SCREEN SHOT of: http://www.dayonestories.com/#
DAY ONE STORIES

49. A POV
7. IDEATION

50. Think user first
Developing stories that will tap into the
emotional and behavioural drivers of
your consumers.
WHAT

51. Think user again
HOW
What tech are they using. How are they using it.

52. CHARACTER
WHO
Must be likeable
But it is important to know the
anthropomorphisation of your brand into
resonant and relatable characters. This is
subjective and it is incredibly important to be
able to empathise with your consumer.

53. TO OVERCOME
5. CHALLENGES

54. We are obsessed with creating new stuff to address and array of brand and business challenges. Therefore,
the prospect of creating a platform that dictates ALL of your communications is daunting.
We are obsessed with creating new stuff to address an array of brand
and business challenges. Therefore, the prospect of creating a
platform that dictates ALL of your communications is daunting.

55. APPARENT COST
(rather then numerous tactical executions)

56. • c. Collaboration (agencies still don’t really speak)COLLABORATION
(agencies still don’t speak)

57. • Complexity (it is hard to execute)
COMPLEXITY
(it’s hard to execute!)

58. ASSUME
INDIFFERENCE

59. Existing conventions of advertising
(always think in 15, 30 sec slots)

60. • Attempting to achieve reciprocity with your brand opens you up to a personal
critique of your own understanding of the people you are trying to connect with
Attempting to achieve reciprocity with your brand opens
you up to a personal critique of your own understanding
of the people you are trying to connect with.

61. TAKEOUTS
9. KEY

62. DEVELOPING TRANSMEDIA ASSETS
• Focus on less to do more.
• Think about the stories your brand would be comfortable telling and the types of
characters needed to convey the core attributes of your brand and products.
• Develop franchises not campaigns. What is the extended narrative that you can tell
around your brand and products?
• Think user first, what is going to be resonant, don’t underestimate the indifference
people have to what you want to say.
KEY TAKEOUTS

63. DEVELOPING TRANSMEDIA ASSETS
• Think about the instrumentalisation of your target, and how you can disseminate
content and experiences to tap into their naturally occurring behaviour
• Make your consumers a part of the stories that you tell.
• Don’t be disparate, create continuity, coherence and depth.
KEY TAKEOUTS

64. It is hard, but we hope we have given you
the foundations,the rationale and the
courage to tell your story.

65. QUESTIONS
10. THANKS

66. Gual Barwell
HEAD OF STRATEGY
REBORN
First floor, 46 -52 Meagher Street, Chippendale, Sydney NSW 2008
P +61 2 8507 6895 / M +61 410 927 617
E gual@reborn.com.au