3. Contents Introduction: Defining and Creating an Interactive Narrative…………..4 Andrew Lewellen – Content Strategist, Razorfish “The Three Little Pigs”: Authoring an iPadApp…………………………10 Josh Koppel – Founder, ScrollMotion The Role of Social Media in Interactive Storytelling……………………28 Esther Lim - Founder, The Estuary, LLC Participation: Why, What & How…….……………………………………38 Robert Pratten – CEO, TransmediaStoryteller.com Summary…….………………………………………………………………56
4. Introduction: Defining and Creating an Interactive Narrative Andrew Lewellen Content Strategist, Razorfish
5. What Is An Interactive Narrative? Page 5Developedby: Andrew Lewellen, Razorfish
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7. This could be a mobile app, a print book, a web site. Or nothing more than a sheet of paper with a Central Dramatic Question, story arc, plot, and character sketches.Page 6Developedby: Andrew Lewellen, Razorfish
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9. This could be a mobile app, a print book, a web site. Or nothing more than a sheet of paper with a Central Dramatic Question, story arc, plot, and character sketches.
11. The lives of the characters expand into a shared social space where the audience can learn more about them and become more engaged with the story.Page 7Developedby: Andrew Lewellen, Razorfish
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13. This could be a mobile app, a print book, a web site. Or nothing more than a sheet of paper with a Central Dramatic Question, story arc, plot, and character sketches.
17. The plot moves outside of the core story and utilizes a social dialogue to engage readers with the story and its outcome. Page 8Developedby: Andrew Lewellen, Razorfish
18. What Is An Interactive Narrative? A dynamic story that allows for personalized engagement and narrows the gap between writer and reader. Page 9Developedby: Andrew Lewellen, Razorfish
19. “The Three Little Pigs” Authoring an iPad App Josh Koppel Founder, ScrollMotion
42. Record Your Own AudioPage 27Developedby: Josh Koppel, ScrollMotion
43. The Role of Social Media in Interactive Storytelling Esther Lim Founder, The Estuary, LLC
44. The Role of Social Media in Interactive Storytelling Esther Lim Founder, The Estuary, LLC
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46. Extend the primary story through exploration of additional standalone yet related story universes
47. Engage audiences by bringing the fictional world into the real world through social interaction, shared experiences and co-authorshipPage 30Developed by: The Estuary, LLC
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53. Use social mobile media to drive readers to specific locations for more content discoveryPage 35Developed by: The Estuary, LLC
56. Engagement/Co-Authorship: Opportunity for readers to share ideas about the story that can later be integrated into future story developmentPage 36Developed by: The Estuary, LLC
59. Improves search engine discoverability: More mentions, hyperlinks, tags and discussions drives better search engine visibility
60. Audience acquisition: Multiple storytelling platforms create more entry points for entering and engaging with the story and its community of readersPage 37Developed by: The Estuary, LLC
63. Die Hard FanAllow enough ramp up time (4-6 weeks) for character integration into a community. Relationships are not built overnight. Page 38Developed by: The Estuary, LLC
64. Esther LimFounder, The Estuary, LLC esther@theestuarysf.com www.theestuarysf.com @geekgrl or @theestuarysf Page 39Developed by: The Estuary, LLC
66. Summary Leave a door open Good stories work with or without interactivity Build on what you know Structure for enthusiasm Page 41Developedby: Robert Pratten, TransmediaStoryteller.com
67. Why bother with participation? The business case lower costs marketing is integrated into the product (as it should be) increased sales social recommendation & spread empowerment of advocates engagement is measurable The creative case audience interaction is thrilling and addictive Page 42Developedby: Robert Pratten, TransmediaStoryteller.com
68. How do I do it? Objective: Make it easy Make it worthwhile, meaningful, fun Steps Sketch the experience you want to create (consider artistic and commercial scenarios) Layer your story for different levels of enthusiasm such that it works for the lazy and rewards the fan Page 43Developedby: Robert Pratten, TransmediaStoryteller.com
69. Make it easy Page 44Developedby: Robert Pratten, TransmediaStoryteller.com
74. Layers united by story Page 49Developedby: Robert Pratten, TransmediaStoryteller.com
75. Examples Lowlifes.tv solo participation QR codes offer additional subplot email-based (alternative reality) game Horror Unlimited short story play with friends two-player twitter game 3 Interactive Pigs play in teams multiplayer interactive storytelling Page 50Developedby: Robert Pratten, TransmediaStoryteller.com
76. 3 Interactive Pigs Strong authorship (story is on rails) but… Audience decides outcome at plot points House of Straw, House of Sticks, House of Bricks Pigs vs Wolf – you decide! Do the pigs live or die? Why bother? Fun to create and fun to play Facilitate social play which strengthens relationships raise awareness of other (paid) media Reward fans Page 51Developedby: Robert Pratten, TransmediaStoryteller.com
77. 3 Interactive Pigs in Layers Page 52Developedby: Robert Pratten, TransmediaStoryteller.com
78. Call To Action Page 53Developedby: Robert Pratten, TransmediaStoryteller.com
80. Poking friends Matchword used to trigger Conducttr - tells @BigBadWolf_2011 to send a tweet to these friends Page 55Developedby: Robert Pratten, TransmediaStoryteller.com
81. Summary Leave a door open Good stories work with or without interactivity Build on what you know Structure for enthusiasm Lower costs Increased sales Page 56Developedby: Robert Pratten, TransmediaStoryteller.com
82. Start writing for audience engagement: www.tstoryteller.com Robert PrattenCEO TransmediaStoryteller.com @zenfilms or @tstoryteller
87. Is a dynamic story that allows for personalized engagement and narrows the gap between writer and reader. Page 59Developedby: Andrew Lewellen, Razorfish