This document provides an overview of a course on brand storytelling in a digital age. It includes an agenda for the course sessions which will cover topics like business and marketing, treatment and design. Students will work on a final project to develop a brand storytelling campaign for a museum to attract more students. Deadlines are provided for submitting elements of the campaign for feedback. Brand storytelling is discussed, including the importance of having a clear message, central theme, and using conflict to drive the story forward.

1. BRAND STORYTELLING IN A DIGITAL AGE

3. Hille
van
der
Kaa
h.vanderkaa@fontys.nl
@Hillevanderkaa

4. today’s
topics
• Part
1:
course
introduc<on
• Part
2:
brand
storytelling
• Part
3:
start
project

6. Thursday
13.00
–
17.00
September
5
-­‐
course
introduc<on
September
12
-­‐
visit
to
The
Pont
September
26
-­‐
lecture
Business
&
Marke<ng
October
3
-­‐
lecture
Treatment
&
Design
October
10
-­‐
guest
lecture
October
24
-­‐
end
lecture
–
final
presenta<ons

7. final
project
develop
a
brand
storytelling
campaign
(concept)
“aUract
more
students
to
the
museum”

9. www.depont.nl
Visit
to
De
Pont
next
week
(September
12)
What
<me?
13.00
o’clock
Where?
At
the
museum

10. final
project
develop
a
brand
storytelling
campaign
(concept)
“AUract
more
students
to
the
museum”

12. www.<nyurl.com/brandstorytelling
hUp://<nyurl.com/brandstorytelling

16. storytelling
project
report
• Business
and
marke<ng
(7
to
14
pages)
• Treatment
(6
to
10
pages)
• Func<onal
specifica<on
(10
to
15
pages)
In
total:
23
to
40
pages
End
presenta1on:
October
24
Deadline
report:
paper
day
Oct
28

17. group
work

18. feedback
deadlines
Business
–
Oct.
1
• Goals
• Succes
indicators
• User
need
• Target
audience
and
marke<ng
Treatment
–
Oct.
8
• Tagline
• Back
story
and
content
• Synopsis
• Plot
points
• Characteriza<on
and
aftude
• User
centric
scenario
Design
–
Oct.
15
• Mul<
plagorm
form
• Rules
of
engagement
• Plagorms
and
channels
• Service
build
overview
• User
journey
• Key
events
• Timelines
• Interface
and
branding
please
send
the
work
by
mail
on
(or
before)
deadline
day
no
deadline
=
no
feedback

19. Thursday
13.00
–
17.00
September
5
-­‐
course
introduc<on
September
12
-­‐
visit
to
The
Pont
September
26
-­‐
lecture
Business
&
Marke<ng
October
3
-­‐
lecture
Treatment
&
Design
October
10
-­‐
guest
lecture
-­‐
minor
October
24
-­‐
end
lecture
–
final
presenta<ons

20. brand storytelling in a digital age

21. what
is
brand
storytelling?

22. corporate

23. corporate

25. • Storytelling:
Branding
in
Prac1ce
–
Klaus
Fog

27. message
without
a
dearly
defined
message
there
is
no
reason
to
tell
stories
-­‐
at
least
not
with
a
strategic
purpose

28. central
theme
among
storytellers
the
central
message,
or
premise
of
the
story,
is
an
ideological
or
moral
statement
that
works
as
a
central
theme
throughout
the
story.

29. premise
the
story
itself
becomes
proof
of
the
premise
-­‐
the
central
message
-­‐
and
through
it,
the
audience
can
beUer
understand
the
message.

32. At
its
core,
the
story
is
about
its
protagonist
Mayank.
We’re
compelled
by
his
difficult
situa<on
and
the
resolve
with
which
he
meets
his
challenge.
Facebook
is
simply
a
suppor<ng
character
—
a
tool
reminding
him
that
the
strength
to
move
on
was
inside
him
all
along.

33. Facebook
illustrates
its
message
“connec1ng
people”
from
both
high-­‐level
and
granular
perspec<ves.
From
a
high
level,
we
get
pieces
of
content
focused
on
demographics.

34. Through
Stories,
each
vigneUe
contributes
to
the
narra<ve
of
the
Facebook
brand.
In
essence,
Mayank’s
tale
is
a
story
within
a
story.

35. one
theme
Try
to
s<ck
to
one
message
per
story.
A
story
with
more
than
one
central
message
runs
the
risk
of
becoming
messy
and
unclear.

36. Heroism
–
real
and
perceived
Hierarchy
in
nature
Iden<ty
crisis
Illusion
of
power
Immortality
Individual
versus
society
Inner
versus
outer
strength
Injus<ce
Isola<on
Isola<onism
-­‐
hazards
Knowledge
versus
ignorance
Loneliness
as
destruc<ve
force
Losing
hope
Loss
of
innocence
Lost
honor
Lost
love
Love
and
sacrifice
Man
against
nature
Manipula<on
Materialism
as
downfall
Motherhood
Names
–
power
and
significance
Na<onalism
–
complica<ons
Nature
as
beauty
Necessity
of
work

39. conflict
Conflict
is
the
driving
force
of
a
good
story.
No
conflict,
no
story.
But
why
is
this
the
case?

40. conflict
As
humans
we
ins<nc<vely
look
for
balance
and
harmony
in
our
lives.
When
faced
with
a
problem
-­‐
a
conflict
-­‐
we
ins<nc<vely
seek
to
find
a
solu<on.

41. conflict
conflict
forces
us
to
act

43. In
the
classical
fairy-­‐tale
the
conflict
is
oten
permanently
resolved.
The
hero
and
heroine
live
happily
ever
ater.

44. By
contrast,
many
present
day
stories
have
a
less
defini<ve
ending.
Oten
the
conflict
is
only
partly
resolved,
or
a
new
conflict
appears
promp<ng
further
reflec<on
by
the
audience.

46.
By
contrast,
many
present
day
stories
have
a
less
defini<ve
ending.
Oten
the
conflict
is
only
partly
resolved,
or
a
new
conflict
appears
promp<ng
further
reflec<on
by
the
audience.

47. The
greater
the
conflict
the
more
drama<c
the
story
will
be.

48. However,
the
conflict
should
not
get
so
over-­‐
the-­‐top
that
it
becomes
confusing.
When
a
story
becomes
chao<c,
it
is
difficult
to
keep
an
audience
cap<vated.

49. guidelines
for
crea<ng
a
good
conflict
1) Try
formula1ng
the
conflict
explicitly
and
to
the
point.
Is
it
a
conflict
at
all?
2) Consider
how
the
conflict
can
be
resolved.
Good
conflict
is
created
through
a
problem
or
challenge
where
there
is
no
immediate
solu<on
3) Are
there
many
smaller
conflicts
besides
the
central
conflict?
Too
many
sub-­‐conflicts
can
easily
focus
aUen<on
away
from
the
main
conflict
making
the
story
less
clear
4) Can
you
iden1fy
the
hero
and
his/her
opposing
forces
with
in
the
story?
How
are
their
rela<ve
strengths
matched?
5) Are
you
having
problems
iden1fying
the
conflict
in
the
story?
If
so:
take
another
look
at
the
basic
message:
Is
it
clearly
defined?

50. In
order
to
judge
if
a
conflict
will
work
or
not,
you
can
try
"measuring"
your
story
on
the
Conflict
Barometer.

54. characters
The
classical
fairy-­‐tale
is
built
on
a
fixed
structure
where
each
character
has
a
specific
role
to
play
in
the
story,
and
each
person
supplements
each
other
and
forms
an
ac<ve
part
of
the
story.

58. In
order
to
get
personally
involved
with
a
story,
we,
as
readers
or
listeners
must
be
able
to
iden<fy
with
the
characters.
This
happens
especially
when
we
recognize
a
liUle
bit
of
ourselves
in
the
characters
in
the
story.

60. Here,
it
is
important
to
keep
your
target
audience
in
mind.

62. Based
on
our
need
to
have
balance
in
our
lives
we
will
usually
empathize
with
a
person
faced
with
a
conflict.
But
we
also
have
to
understand
the
mo<va<on
behind
the
person's
ac<ons.
Why
do
they
do
what
they
do?
Ul<mately,
a
story's
progress
must
seem
likely
and
credible.

64. character
roles

65. character
roles
• Protagonist:
The
protagonist
is
the
main
character
role
in
a
story
and
drives
the
ac<on.
The
protagonist
will
have
a
goal
and
undergoes
a
change
–
the
“hero’s
journey”
–
in
the
process
of
seeking
to
achieve
that
goal.
• Antagonist:
The
character
in
the
role
of
antagonist
is
in
direct
opposi<on
to
the
protagonist.
The
antagonist
may
seek
the
same
goal
(e.g.
find
the
significant
object
of
the
story)
as
the
protagonist
or
may
simply
want
to
prevent
the
protagonist
from
achieving
that
goal.
• Sidekick:
The
sidekick
character
role
may
be
linked
to
the
protagonist
or
antagonist.
Each
of
those
character
roles
may
have
their
own
sidekick.
The
sidekick
character
provides
loyalty
and
support
throughout
the
story
and
has
unfailing
faith
in
the
rightness
of
the
goals
and
ac<ons
of
the
protagonist
or
antagonist
to
which
he/she
is
linked.
• Guardian:
The
guardian
character
role
is
that
of
mentor
or
teacher
to
the
protagonist.
The
guardian
provides
knowledge,
guidance,
support,
and
protec<on
but
also
drives
the
protagonist
to
achieving
the
protagonist’s
goal.

66. character
roles
• Skep<c:
The
skep<c
character
role
is
linked
to
the
protagonist,
but
this
character’s
role
is
to
ques<on
and
doubt
everything
–
the
protagonist’s
thoughts,
emo<ons
and
ac<ons,
the
trustworthiness
of
other
characters,
anything
and
everything.
• Emo<on:
The
emo<on
character
role
is
linked
to
the
protagonist
and
responds
to
story
events
emo<onally
without
thinking
and
without
concern
for
the
prac<cal
implica<ons
of
an
emo<onal
response.
• Reason:
The
reason
character
role
is
linked
to
the
protagonist
and
responds
to
events
in
the
narra<ve
logically,
while
not
lefng
emo<on
interfere
with
the
ra<onal.
• Tempta<on:
The
tempta<on
character
role
is
not
necessarily
directly
opposed
to
the
protagonist,
but
rather
tries
to
hinder,
divert,
and
delude
the
protagonist
from
achieving
his/her
goal,
oten
by
temp<ng
and
playing
on
the
weaknesses
of
the
protagonist.

67. plot
Once
your
message,
conflict
and
cast
of
characters
are
all
in
place,
it
is
<me
to
think
about
how
your
story
should
progress.

68. Generally
speaking
a
tradi<onal
story
can
be
segmented
into
three
parts;
beginning
middle
and
end.

69. First,
the
scene
it
set.
Next,
the
progression
of
change
creates
conflict
and
sets
the
parameters
for
the
rest
of
the
story.
The
conflict
escalates
but
is
finally
resolved,
marking
the
end
of
the
story.

73. storytelling

74. what
is
media
convergence?
its
the
idea
that
because
of
the
progress
of
technology
various
different
types
of
media
are
combining
into
a
single
media.
hUp://uk.answers.yahoo.com

75. media
convergence
Henry
Jenkins
in
Convergence
Culture
(2004):
‘Convergence
refers
to
a
process,
but
not
an
endpoint.
There
will
be
no
single
black
box
that
controls
the
flow
of
media
into
our
homes.
Thanks
to
the
prolifera<on
of
channels
and
the
portability
of
new
compu<ng
and
telecommunica<ons
technologies,
we
are
entering
an
era
where
media
will
be
everywhere....’

76. ‘We
are
living
in
an
age
when
changes
in
communica<ons,
storytelling
and
informa<on
technologies
are
reshaping
almost
every
aspect
of
contemporary
life
-­‐
including
how
we
create,
consume,
learn,
and
interact
with
each
other.'

77. ‘We
will
develop
new
skills
for
managing
informa<on,
new
structures
for
transmifng
informa<on
across
channels,
and
new
crea<ve
genres
that
exploit
the
poten<als
of
those
emerging
informa<on
structures.’

78. ‘Part
of
the
confusion
about
media
convergence
stems
from
the
fact
that
when
people
talk
about
it,
they’re
actually
describing
at
least
five
processes.’

79. technological
convergence
‘When
words,
images
and
sounds
are
transformed
into
digital
informa<on,
we
expand
the
poten<al
rela<onships
between
them
and
enable
them
to
flow
across
plagorms.’

81. economic
convergence
‘The
horizontal
integra<on
of
the
entertainment
industry.
A
company
like
AOL
Time
Warner
now
controls
interests
in
film,
television,
books,
games,
the
Web,
music,
real
estate
and
countless
other
sectors.
The
result
has
been
the
restructuring
of
cultural
produc<on
around
“synergies,”
and
thus
the
transmedia
exploita<on
of
branded
proper<es—
Pokemon,
Harry
PoUer,
Tomb
Raider,
Star
Wars.’

83. social
or
organic
convergence
‘Consumers’
mul<tasking
strategies
for
naviga<ng
the
new
informa<on
environment.’

85. cultural
convergence
‘The
explosion
of
new
forms
of
crea<vity
at
the
intersec<ons
of
various
media
technologies,
industries
and
consumers.
Media
convergence
fosters
a
new
par<cipatory
folk
culture
by
giving
average
people
the
tools
to
archive,
annotate,
appropriate
and
recirculate
content.
Shrewd
companies
tap
this
culture
to
foster
consumer
loyalty
and
generate
low-­‐cost
content.’

87. global
convergence
‘The
cultural
hybridity
that
results
from
the
interna<onal
circula<on
of
media
content.
In
music,
the
world-­‐music
movement
produces
some
of
the
most
interes<ng
contemporary
sounds,
and
in
cinema,
the
global
circula<on
of
Asian
popular
cinema
profoundly
shapes
Hollywood
entertainment.
These
new
forms
reflect
the
experience
of
being
a
ci<zen
of
the
global
village.’

89. ‘New
media
technologies
have
lowered
produc<on
and
distribu<on
costs,
expanded
the
range
of
available
delivery
channels
and
enabled
consumers
to
archive,
annotate,
appropriate
and
recirculate
media
content
in
powerful
new
ways.’

90. ‘On
the
other
hand,
there
has
been
an
alarming
concentra<on
of
the
ownership
of
mainstream
commercial
media,
with
a
small
handful
of
mul<na<onal
media
conglomerates
domina<ng
all
sectors
of
the
entertainment
industry.’

92. transmedia
storytelling
• a
transmedia
project
develops
storytelling
across
mul<ple
forms
of
media
in
order
to
have
different
‘entry
points’
in
the
story

93. • At
the
most
basic
level,
transmedia
stories
are
stories
told
across
mul<ple
media

94. • In
the
ideal
form
of
TS,
each
medium
does
what
it
does
best
—
so
that
a
story
might
be
introduced
in
a
film,
expanded
through
television
and
its
world
might
be
explored
and
experienced
through
game
play.

95. • Each
franchise
entry
needs
to
be
self-­‐
contained
enough
to
enable
autonomous
consump<on

99. spreadability
versus
drillability
• Jenkins:
the
ability
and
degree
to
which
content
is
shareable
and
the
mo<va<ng
factors
for
a
person
to
share
that
content
versus
the
ability
for
a
person
to
explore,
in-­‐
depth,
a
deep
well
of
narra<ve
extensions
when
they
stumble
upon
a
fic<on
that
truly
captures
their
aUen<on.

103. contuinity
and
seriality
• Jenkins:
in
transmedia
storytelling
the
narra<ve
chunks
are
being
dispersed
not
simply
across
mul<ple
serial
segments,
but
across
mul<ple
media
plagorms
as
well.
Some
transmedia
franchises
foster
an
ongoing
coherence
to
a
cannon
in
order
to
ensure
maximum
plausibility
among
all
extensions.

105. immersion
versus
extractability
• Jenkins:
in
immersion,
the
consumer
enters
into
the
world
of
the
story
(e.g.
theme
parks),
while
in
extractability,
the
fan
takes
aspects
of
the
story
away
with
them
as
resources
they
deploy
in
the
spaces
of
their
everyday
life
(e.g.
items
from
the
git
shop).

110. worldbuilding
and
subjec<vity
• Jenkins:
transmedia
extensions,
oten
not
central
to
the
core
narra<ve,
can
give
a
richer
depic<on
of
the
world
in
which
the
narra<ve
plays
out.
Transmedia
extensions
oten
explore
the
central
narra<ve
through
new
eyes;
such
as
secondary
characters
or
third
par<es.
This
diversity
of
perspec<ve
oten
leads
fans
to
more
greatly
consider
who
is
speaking
and
who
they
are
speaking
for

112. performance
• Jenkins:
performance:
the
ability
of
transmedia
extensions
to
lead
to
fan
produced
performances
that
can
become
part
of
the
transmedia
narra<ve
itself.
Some
performances
are
invited
by
the
creator
while
others
are
not;
fans
ac<vely
search
for
sites
of
poten<al
performance

113. storytelling
project
report
• Business
and
marke<ng
(7
to
14
pages)
• Treatment
(6
to
10
pages)
• Func<onal
specifica<on
(10
to
15
pages)
In
total:
23
to
40
pages
Deadline:
paper
day

114. business
and
marke<ng
• Goals
(1)
• Succes
indicators
(1–2)
• User
need
(1
par)
• Target
audience
and
marke<ng
(2-­‐4)
• Projec<ons,
budge<ng
and
<melines
(2-­‐5)
• Produc<on
team
(1-­‐2)

115. Goals
(3
goals
-­‐
1
page)
A. What
do
you
want
to
achieve
from
the
perspec<ve
of
the
user
through
the
service?
S<mulate
community-­‐based
storytelling
Get
the
audience
to
be
ac<ve
during
a
live
broadcast
Create
deeper
engagement
between
scheduled
events
Get
the
audience
to
become
ac<ve
outside
the
home
S<mulate
massive
community
created
content
contribu<on
Make
the
service
highly
personalized
…..

116. B.
What
are
the
goals
from
the
perspec<ve
of
the
crea<ve
team?
Experiment
with
never
before
tried
mul<-­‐plagorm
concepts
Improve
the
skills
of
the
team
Raise
awareness
of
issues,
social
good
or
another
media
property
Design
a
service
that
lasts
two
years
and
longer
Build
a
strong
female
or
male
viewership
Build
a
loyal
local
and/or
interna<onal
community
for
your
property
Increase
the
overall
audience
….

117. C.
What
is
the
economic
goal
or
model?
Commercial:
revenue
genera<on
through
mature
digital
business
models
Marke<ng:
at
cost,
promo<onal/marke<ng/adver<sing
of
another
product
or
property
Social
good:
at
cost,
awareness
and
issue
raising
or
cultural,
educa<onal
and/or
ar<s<c
statements
Experimental:
a
new
type
of
project
designed
to
push
boundaries,
with
the
freedom
to
fail
and
lose
money
but
learn
from

119. succes
indicators
(1
–
2
pages)
How
will
the
stated
goals
be
measured,
and
from
those
results
how
will
you
decide
if
the
service
has
been
successful?
The
KPIs
(Key
Performance
Indicators)
and
ROI
(Return
On
Investment)
are
tradi<onal
ways
to
measure
success,
but
from
a
story
perspec<ve
there
may
be
other
engagement
metrics
you
are
building
into
your
services.

120. what
are
KPI’s?
Key
Performance
Indicators,
also
known
as
KPI
or
Key
Success
Indicators
(KSI),
help
an
organiza<on
define
and
measure
progress
toward
organiza<onal
goals.

121. Key
Performance
Indicators
Reflect
the
organiza<onal
goals
and
must
be
quan1fiable.

123. KPI’s
Sales
Revenue
• How
much
revenue
has
your
campaign
brought
your
company?
Understanding
your
sales
revenue
is
important
to
know
how
effec<ve
campaign
is,
no
company
wants
to
spend
money
on
something
that
isn’t
genera<ng
money.

124. KPI’s
Cost
Per
Lead
• How
much
is
it
cos<ng
you
to
acquire
a
customer
through
your
campaign?

125. KPI’s
Traffic
to
Lead
Ra<o
• Understanding
your
website
traffic,
especially
knowing
where
your
traffic
is
coming
from,
whether
it’s
organic,
direct,
social
media
or
referrals
is
extremely
important.

126. online
content
marke<ng
KPI’s
reach
• unique
visitors
• geography
• mobile
readers
engagement
• bounding
rates
• click
paUerns
• unique
pages
sen<ment
• interac<on
• social
sharing

127. KPI’s
Social
Media
Reach
• number
of
lead
conversions
assisted
by
each
social
media
channel
• number
of
customer
conversions
generated
through
your
social
media
channels
• percentage
of
traffic
associated
with
social
media
channels

129. KPI’s
Mobile
traffic,
leads
and
conversion
rates
• number
of
lead
conversions
from
mobile
devices
• bounce
rates
from
mobile
devices
• conversion
rates
from
mobile
op<mized
landing
pages
You
don’t
only
want
to
see
how
many
visitors
are
conver<ng
through
mobile
but
you
also
want
some
indica<on
of
how
effec<ve
your
mobile
presence
is.

131. weekly
dashboard
• Sales
revenue
• Cost
per
lead
• Traffic
to
lead
ra<o
• Social
media
reach
• Mobile
traffic

132. first
you
need
a
…
goal

133. hUp://<nyurl.com/iemeskpi

134. succes
indicators
(1
–
2
pages)
How
will
the
stated
goals
be
measured,
and
from
those
results
how
will
you
decide
if
the
service
has
been
successful?
The
KPIs
(Key
Performance
Indicators)
and
ROI
(Return
On
Investment)
are
tradi<onal
ways
to
measure
success,
but
from
a
story
perspec<ve
there
may
be
other
engagement
metrics
you
are
building
into
your
services.

135. User
need
(1
paragraph)
This
is
a
short
high-­‐level
sec<on
covering
the
key
ques<on
of
why
your
service
will
be
no<ced
and
used.
A
simple
user-­‐needs
analysis
will
highlight
gaps
in
the
market,
weak
compe<<on,
or
just
a
strongly
‘needed’
u<lity-­‐like
service.

136. needs
analysis
determining
user
goals,
purposes,
and
objec<ves:
-­‐
what
do
users
want
to
accomplish
using
the
product?
-­‐
what
are
their
overall
goals?
-­‐
what
do
users
need
from
the
product
to
accomplish
these
goals?

137. target
audience
and
marke<ng
(2-­‐4
pages)
This
sec<on
will
cover
two
key
areas:
Who
will
use
the
service,
and
how
will
you
aUract
them
to
it?
It
will
include
a
demographic
and
psychographic
breakdown
of
your
user/
audience,
lis<ng
compe<ng
services
or
examples
of
similar
services,
quo<ng
numbers.

139. business
models
(1-­‐2
pages)
This
provides
an
overview
of
how
the
budget
will
be
raised
or
revenue
generated.
For
many
mul<-­‐plagorm
services
there
will
be
a
mix
of
business
models,
so
this
sec<on
will
detail
primary
and
secondary
models,
which
may
include
the
following:

140. business
models
(1-­‐2
pages)
Sponsorship
(commercial
or
funded
by
agency)
Adver<sing:
text
based
or
rich
media
adver<sing
(surround
or
product
placement)
Subscrip<on
(to
use
the
service):
part
of
the
freemium/premium
model
Transac<on:
direct
sales
of
product,
pay
per
use
or
premium
or
extended
elements
Affiliate
marke<ng:
money
for
connec<ng
with
like
services
Virtual
currency:
taking
a
percentage
of
exchanges
for
virtual
currency
from
real
world
money
Direct
sales
of
the
mul<-­‐plagorm
‘format
itself’
to
third
par<es
Sales
to
market
intelligence
of
anonymous
user
data
Peer-­‐to-­‐peer:
taking
a
percentage
of
user-­‐to-­‐user
fees
in
your
project’s
‘market’,
such
as
virtual
goods
exchanges
or
embedded
online
auc<ons
Sales
of
product
placement
spots
Dona<ons
to
parts
of
whole
elements
of
the
service
……

141. projec<ons,
budge<ng
and
<melines
(2-­‐5
pages)
This
sec<on
will
detail
all
the
important
costs
and/or
likely
revenues
and/or
profits
from
the
service.
It
should
include
a
spreadsheet
lis<ng
how
much
the
service
will
cost
to
build,
and
this
may
develop
in
granularity
as
the
service
planning
moves
forward.

142. produc<on
team
(1-­‐2
pages)
This
should
be
a
full
breakdown
of
the
mul<-­‐
disciplinary
team
related
to
this
specific
project,
lis<ng
their
individual
mul<-­‐plagorm
and/or
transmedia
roles
and
responsibili<es.

143. storytelling
project
report
• Business
and
marke<ng
(7
to
14
pages)
• Treatment
(6
to
10
pages)
• Func<onal
specifica<on
(10
to
15
pages)
In
total:
23
to
40
pages
Deadline:
Paper
day

144. next
week
• See
you
@
De
Pont
–
12.45
• Download
transmedia
bible
&
read
it
• Select
the
parts
you
need
• Read
about
De
Pont
and
start
thinking
about
their
business
case
• Think
about
a
group
–
choose
a
‘chairman’
• ‘Chairman’
sends
me
the
names
of
the
group
• Read
chapter
1,
2
and
3

145. • The
new
digital
Storytelling
• Alexander
Bryan

146. storytelling
project
report
• Business
and
marke<ng
(7
to
14
pages)
• Treatment
(6
to
10
pages)
• Func<onal
specifica<on
(10
to
15
pages)
In
total:
23
to
40
pages
Deadline:
Paper
day
Oct
28