Today (tonight) (just now), In Media Res, has published my co-curator contribution for a week-long special called Transmedia Now. If you don’t know about In Media Res, here is the quick low-down:

In Media Res is dedicated to experimenting with collaborative, multi-modal forms of online scholarship. Each weekday, a different scholar curates a [short] video clip/visual image slideshow accompanied by a [short] impressionistic response. We use the title “curator” because, like a curator in a museum, you are repurposing a media object that already exists and providing context through your commentary, which frames the object in a particular way. The clip/comment combination are intended both to introduce the curator’s work to the larger community of scholars (as well as non-academics who frequent the site) and, hopefully, encourage feedback/discussion from that community.

IMR is not just inviting scholars to co-curate, but also practitioners. This transmedia-themed week was organised by Elizabeth Strickler and starts with me; then over to Marc Ruppel (if you’ve read my thesis you know he has been researching this area a long time too); Robert Pratten; Brian Newman; and finishing with Ted Hope. Enjoy the awesomeness of Transmedia Now (and please comment)!

Tomorrow I’ll be presenting on transmedia at Jon Reiss’s Think Outside the Box Office Melbourne workshop for Australian Film, Television and Radio School and the Melb Int Film Festival. Reiss refers to me in his book of the same title, but it is great to be asked to contribute to his workshop! Can’t wait!

The day after I’ll be presenting at X|Media|Lab’s Screen X-Tended event for the Melbourne Film Festival, as organized by Screen Australia. There is a bevvy of speakers, including Jeff Gomez! The day after that, we’ll all be mentoring projects at the lab.

Lance Weiler wrote an article on the importance of story for Filmmaker Magazine, and quotes me in the process!

I had a great chat with Liz Hover of the Canadian National Screen Institute about transmedia and my new website YouSuckAtTransmedia.com. Hear the rationale behind the site in our short audio chat here.

As I also mentioned, I was invited to chat on an audio chat show TummelVision. This was a great long chat (about an hour) with Kevin Marks, Heather Gold and Deb Schultz . I really enjoyed talking about the practice and philosophy of transmedia! The archived audio is now online.
Finally, as you know, I mentored in the UK recently at The Pixel Lab. I wasn’t going to put my presentation online, but I had many requests. So, here it is in all its extended-with-lots-of-words-glory:

I was fortunate to have been involved with CFG early in the design process when I was brought in by Nokia as a transmedia story and game consultant. The project has since changed, and so I’m excited to see what happens! I wanted to know a bit more about the background of the project and Nokia provided me with the answers!

How is Tim Kring involved with Conspiracy For Good?
Tim Kring, master transmedia storyteller is the creator of Conspiracy For Good. Similar in spirit to Tim Kring’s work on “Heroes”, Conspiracy For Good is about creativity and storytelling helping drive positive change in the world.

Nokia approached Tim about creating content for Nokia’s Ovi Store and Tim had the idea of Conspiracy For Good in mind as new project to start on for some time. Tim and Nokia discussed the idea and Nokia found that Conspiracy For Good meshed well with the company’s philanthropic philosophy.

Conspiracy For Good is a very big idea and as such has involved well over a hundred people in several countries to make a reality.

Why did Tim Kring decide to partner with Nokia on this project?
Tim Kring has long been watching the development of mobile platforms as they become an integral part of people’s lives. To make the Conspiracy for Good a reality Tim had to look to a global partner with a commitment to both innovation and social responsibility. Nokia as the world’s largest mobile phone manufacturer with global reach was positioned to be the perfect partner. Nokia’s commitment to creating innovative content, as well an impressive corporate ethos of philanthropy, aligns perfectly with the Conspiracy for Good’s goal of using narrative to create positive change in the world.

As well as having many elements online, the entire experience is now happening live in London. The first of a series of live events have happened, and so here is a helpful recap:

If you’re lucky you can still get in for today’s action, and make sure you sign up for Action 3 and then the Finale when you can. I wish I could be there!

Tummler is a Yiddish word used to describe the act of catalyzing others to action. Tummelvision is a weekly Internet live podcast hosted by Heather Gold, Deb Schultz & Kevin Marks first on Leo Laporte’s  TWiT Netcast Network and now independently.

Why did it start?

Heather, Deb and Kevin have always lived and worked at the intersection of technology, culture and business  and the art and complexities of social engagement both online and off.  It all came together in 2008 when Kevin responded to Clay Shirky at a Supernova conference. Clay was saying that we didn’t know why communities and conversations form and flourish. Kevin disagreed and so did Deb and Heather. If we live in an age of participatory media and culture, why is it we place so little emphasis on the art of the types of skills required to engage and collaborate in this new online world. Heather & Deb were in the room and had also been equally frustrated with the lack of the right word to describe this skill set as well as the lack of emphasis on these uber-connector types who bring life and humanity to the Web.  None of the existing definitions seemed to work and they were also loaded with preconceived notions that didn’t quite fit: community manger (community is served not managed), evangelist (too religious and too much about advocacy of an agenda or idea),  organizer, host/hostess, geisha – you get the idea.  The best suggestion came from Teresa Nielsen Haden who suggested tummler!

To come along and join the conversation. There is often an active online chat between listeners at the same time as the on air chat, so all is in! Details:

The show livestreams every Thursday at 5pm PST and 8PM EST.  Just hop over to TummelVision LIVE! and you can take part in the chat and listen to the show live.

Here are some other timezones for that time. Come and heckle me at TummelVision.tv!

Cross Platform project (interactive): Entry into the Cross Platform Interactive project category will include the interactive enhancement of a television property on digital platforms. This can include works produced for the web and mobile phones and games associated with a television program. Authorship and/or copyright ownership must be assured by the entrant.

Original Online Program Entry into the Original Online Programs includes a program or series of programs created specifically for internet audiences. Eligible programs have only been broadcast on the internet and have not been distributed, as is, via cable, satellite or terrestrial systems. Authorship and/or copyright ownership must be assured by the entrant. Works must have been broadcast for the first time between 1 January 2009 and 30 June 2010.

Branded Entertainment (interactive)Interactive Branded Entertainment is an original online program which will include demonstration of content that uniquely positions a brand, product or service within the context of a multiplatform entertainment experience. This can include works produced for the web and mobile phones and games. Authorship and/or copyright ownership must be assured by the entrant.

I’m currently directing a production and so if all goes well, and the awards and still around next year, I’d like to apply. But for those of you who have a production you can enter, get to it! Entries close on July 12th!

The lab is aimed at European media professionals with a strong track record in their sector, and has a particular focus on the creation, finance and distribution of cross-media properties to create sustainable European media businesses. The Pixel Lab will enable producers and other media professionals to tap into the business knowledge-base of the film, advertising, online, broadcast, gaming and mobile industries.

There are two labs, and I’ll be mentoring at both the Welsh Mini-Lab and the full Pixel Lab. I’ll be with a great bunch of mentors:

• Ian Ginn, Producer, Hubbub Media (NL)
• Ben Grass, Producer & MD, Pure Grass Films (UK)
• Brian Newman, Consultant and Former President, Tribeca Film Institute (USA)
• Michel Reilhac, Executive Director ARTE France Cinéma (FR)
• Nuno Bernardo, CEO, beActive Entertainment (PT)
• Wendy Bernfeld, MD, Rights Stuff BV (NL)
• Guillaume Blanchot, Director of Multimedia and Technical Industries, Centre National du Cinema (FR)
• Alexandre Brachet, CEO, Upian.com (FR)
• Christy Dena, Director, Universe Creation 101 (AUS)
• Mel Exon, Managing Partner, BBH Labs (UK/USA)
• Lizzie Francke, Senior Development & Production Executive, UKFC (UK)
• Jeff Gomez, President & Chief Executive Officer, Starlight Runner Entertainment (USA)
• Paul Grindey, Head of Legal & Business Affairs (Scripted Content), Ch4 (UK)
• Monique de Haas, Audience Engagement Expert, Dondersteen Media (NL)
• Michelle Kass, Film & Literary Agent, Michelle Kass Associates (UK)
• Ray Maguire, President, Sony Computer Entertainment UK, Nordic, Ireland (UK)
• Erica Motley, Film & Digital Consultant, Terbish Partners (USA)
• Steve Peters, Experience Designer & Partner, No Mimes Media (USA)
• Gregor Pryor, Digital Media Lawyer and Partner, Reed Smith (UK)
• Timo Vuorensola, Filmmaker (Iron Sky) & Internet Pioneer (FIN)

We’ll be working with an awesome bunch of practitioners who will also be mentoring each other and sharing with us!

• Chiara Carbonara, Arcane Star Productions with My Uni Experience
• Dave Edwards, DEEM with Project X
• Nathan Erasmus, Gravy Media with Roze and the Robots
• Kevin Moss, PlayThisNext with Dr0id
• John Shackleton, Movie Mogul with Panic Button
• Owen Stickler, Dinamo Productions with The Heavy, Heavy Monster Show
• Tom Ware, Rondo Media with Rockford
• Steve Williams, Dai4films with Milly’s World
• Rob Alexander, Perfect Motion with The Bow Project (UK)
• Jan Bednarz, Buzz Films with Turf: The Road to Paris (UK)
• Emilie Blézat, Sciapode Films with Fleurs du Mal (FRANCE)
• Helena Bulaja, Alt F4 – Bulaja Studios  with Mechanical Figures_Inspired by Tesla (CROATIA)
• Peggy Desplats, Cassiopée Films with Midnights (FRANCE)
• Benjamin Faivre, Telfrance Série with La Scénarioze – 142 euros (FRANCE)
• Gabriel Festoc, Yunkunkun Productions with Clandestino (FRANCE)
• Marc Guidoni, Fondivina Films with Kinopanorama (FRANCE)
• Patric Jean, Black Moon with Miracles (BELGIUM)
• Tom Murphy, Streamline with Quest (UK)
• Arabella Page-Croft, Black Moon with Outpost: Black Sun (UK)
• Justine Potter, Savvy Productions with The Cupid Concept (UK)
• Jeremy Pouilloux, La Générale de Production with L’OEIL AMÉRICAIN (FRANCE)
• Krishna Stott, Visit Sheerport – Bellyfeel with The Alexander Wilson Project (UK)
• Paulina Tervo, WriteThisDown with Awra Amba – Virtual Village (FINLAND)
• Lena Thiele, with Farewell Comrades! Interactive (GERMANY)
• Marietta von Hausswolff von Baumgarten with Krev?! (SWEDEN)
• Stephane Adamiak, Transmedia Project & Partnership Manager, France Telecom/Orange (FRANCE)
• Diogo Andrade, Filmmaker (PORTUGAL)
• Nichola Bruce, Filmmaker (UK)
• Ian Fenton, Writer/Director Lynchpin Productions (UK)
• Andrea Garello, Scriptwriter (ITALY)
• Caroline Gerdolle, Writer/Development Producer (FRANCE)
• Ilann Girard, Producer & Consultant, Arsam International (FRANCE)
• Pati Keilwerth, Creative Producer & Consultant, Patisserie Film (GERMANY)
• Sabine Lange, Director Multi-Media ARTE (GERMANY)
• Dan Lawson, Head of Production, Development & Inward Investment Screen WM (UK)
• David McKenna, Executive Producer Cross-Media & Arts, RTE (IRELAND)
• Despina Mouzaki, Producer and Director, Thessaloniki Film Festival (GREECE)
• Stavros Papageorghiou, Documentary Producer/Director, Tetraktys Films (CYPRUS)
• Anna Reeves, Freelance Writer/Director (FRANCE)
• Simon Staffans, Format Developer, Media City (FINLAND)
• Mira Staleva, Head of Co-production Market, Sofia Film Festival (BULGARIA)
• Petra Strban, Production Manager (SLOVENIA)

We are going to have an amazing time. You should also know that Power to the Pixel has also announced The Pixel Market

:

The Pixel Market incorporating The Pixel Pitch and The Pixel Meetings has now opened for applications. We are looking for international projects with stories that can span a combination of film, TV, online, mobile, interactive, publishing, live events and gaming. Applications must be made by the producer of the project and submitted through a production company. Enter now for your chance of winning the £6,000 ARTE Pixel Pitch Prize! Deadline for applications is Friday, 6 August 2010.

Yay!

Some people haven’t understood me. In the beginning many in my university department didn’t understand what the heck I was talking about. You want to do a thesis of what-media? I applied to the creative writing department, and they sent me to the media department. It’s about media, right, not writing. Hmmm. Others didn’t understand why I would do a PhD when I’m keen on pursuing my creative passions? Why on Earth would anyone do a PhD if they don’t plan to work in academia? It’s like walking the Sahara before you write a book. Well, funny you should say that. I watched an interview with writer Paula Constant a few weeks ago (transcript, video). She wanted to be a writer. But before she wrote her first book she decided to walk across the Sahara. She needed to take that journey before she wrote. It was a perfect expression of who she is. A long road to a destination, but a path that is truly her own. This is where I think people who knock others, who claim that they can’t be X because they also do Y have never taken a risk themselves, have ever been courageous enough to be truly different…indeed, to be themselves.

To be nobody but yourself in a world which is doing its best, night and day, to make you everybody else means to fight the hardest battle which any human being can fight; and never stop fighting.
 e.e.cummings

One of the things Paula Constant said was that she had never completed something. I have completed things in the past, but nothing substantial. I wanted to do the PhD because I wanted to explore every aspect of a phenomenon I was passionate about. I wanted to research the past and present, I wanted to understand. I also wanted to train my mind to stay on one thing. Ha! At least I’ve learned to complete multiple things. But the training of the mind was important. I wanted to learn how to form an argument, to have knowledge that can be communicated in a sophisticated manner. I was very surprised by what I discovered.

I entered academia being bewildered by big words. It frustrated me and so I understand when others are frustrated too. Why can’t they just say the same thing in accessible language? I’ll tell you why. Experts delve deep. Discussions in academia last for decades, centuries. It is amazing, you don’t just turn up and say this is what I think! You enter a rushing river in which people throughout time have been pondering the same thing. Over that time the discussions get more and more specific. Generalisations don’t work, and terms have years of significance behind them. This isn’t just in academia. Any area of specialisation leads to jargon. So, big words aren’t about being a wanker (though a small population are like that), they are about communicating a specific point.

I also learned a lot about seeing something you create through to the end. I mean, this thesis has been in my life for years. I had to learn to keep going no matter what, to force myself to work. I’ve learned the easiest and most fun stage is definitely the wide exploration stage at the beginning. I’ve learned writing is research too. You discover things while you write. I learned that the hardest and darkest part of a major project is the final leg. This was for me in part due a significant death.

In the last four years, all of my significant female elders have died: my maternal and paternal grandmothers, and most recently mother. I know most people don’t have good relationships with their parents, and I know many are not brought up in loving environments, but I did and I was. My mother was an extraordinary woman and my only parent growing up. My life is less without her.

In fact, while writing the thesis was the hardest thing I have done, the worst part was finishing it. It broke my heart to finish it because it meant the end of a chapter of my life that included my mum. Just putting it online makes the end of this chapter undeniable. She isn’t here to be a part of it. It is the last leaf on the autumn tree. I remember when I was cleaning her blood out of the carpet (she hit the floor when she collapsed). I relished it because I could smell her, she still had a life-force of some kind, she was present. The heart-wrenching part was not cleaning her blood, but removing the last bit. Until there was no stain, nothing. Gone. Releasing the PhD is that last moment for me all over again. As long as my PhD is not released, I’m still in that world where I was struggling to finish it and she was there with me.

But she was there at my undergraduate ceremony, with my Granny too (see pic). And a couple of months before she died, she sent me a graduation gown for PhD ceremony. She was magically clever like that. Yes, now I have to leave that chapter of my life behind. She’ll be with me in other ways.

I am actually lucky to have a gift to give to the world as part of this crossing-over. It isn’t the thesis I thought I would write, it isn’t the thesis I wanted to write, but it is what I decided to give at this point in time. It lovingly embraces the complex breadth of the area, and so most of you with it. It is in many ways a mirror of you all, the beauty I see in you.

In the name of all who have created their own path, walked their own Sahara, and had the courage to follow their own star, I give you what is hopefully my first substantial gift to the world: my PhD.

Then I’m off to Lucerne, Switzerland, for the Eurovision TV Summit. As part of the Eurovision iTV, Crossmedia & Mobile Content track, on 22nd April, I’ll be speaking at the first TEDxTransmedia. This too has a wonderful line-up with (in alphabetical order) Stephen Dinehart, Ian Ginn, Jeff Gomez, Nathan Mayfield, David Rowan, and Christopher Sandberg. Then on 23rd April at 10.15 am, I’ll be presenting on the ‘Transmedia Discussion panel with Stephen Dinehart. They’ve asked me to talk about serious ARGs etc there.

What a wonderful time this is going to be! I hope to see some of you there! Videos of these sessions MAY be put online after. The TEDXTransmedia ones MAY be streamed. I’ll keep you posted (through Twitter most likely).

And check out his other interviews with great people like Elan Lee, Jeff Gomez, J.C. Hutchins, Mike Monello, Brent Friedman and more!

This Guild-wide adoption is unprecedented as it will allow executives who expand storylines of franchises onto multiple platforms to receive official credit on these projects as “Transmedia Producers”. These producers develop cross platform storylines on Film, Television, Short Film, Broadband, Publishing, Comics, Animation, and Mobile — and now, they’ll be credited with an official title. I’m told this is a historic move for the PGA because the guild rarely backs new credits. “These amendments demonstrate how the guild supports producers making and changing the game,” a source told me tonight.

This sounds fine and is very exciting. But then I read the description of the credit:

A Transmedia Narrative project or franchise must consist of three (or more) narrative storylines existing within the same fictional universe on any of the following platforms:  Film, Television, Short Film, Broadband, Publishing, Comics, Animation, Mobile, Special Venues, DVD/Blu-ray/CD-ROM, Narrative Commercial and Marketing rollouts, and other technologies that may or may not currently exist. These narrative extensions are NOT the same as repurposing material from one platform to be cut or repurposed to different platforms.

A Transmedia Producer credit is given to the person(s) responsible for a significant portion of a project’s long-term planning, development, production, and/or maintenance of narrative continuity across multiple platforms, and creation of original storylines for new platforms. Transmedia producers also create and implement interactive endeavors to unite the audience of the property with the canonical narrative and this element should be considered as valid qualification for credit as long as they are related directly to the narrative presentation of a project.

Transmedia Producers may originate with a project or be brought in at any time during the long-term rollout of a project in order to analyze, create or facilitate the life of that project and may be responsible for all or only part of the content of the project. Transmedia Producers may also be hired by or partner with companies or entities, which develop software and other technologies and who wish to showcase these inventions with compelling, immersive, multi-platform content.

To qualify for this credit, a Transmedia Producer may or may not be publicly credited as part of a larger institution or company, but a titled employee of said institution must be able to confirm that the individual was an integral part of the production team for the project.

Most of this looks good. I’m thrilled marketing efforts are included (‘content marketing’ takes story and game design skill!). I am especially happy with the fact that one can be brought it at any point in the project. Some people don’t get what consultants do and so I’m glad to see that being brought in for a period of time, either early or later, still qualifies.

The parts that are unfortunate are the following:

• The minimum of three (or more) narrative storylines. This is bad. I know Jeff Gomez has been pushing for the 3 media-platform rule for a few years now. But that was because it was an effective pedagogical device to get new practitioners to understand the need to think expansively. Making this official is a mistake. Although Jeff Gomez and Henry Jenkins focus their studies and energy on franchises, franchises are only type of transmedia project. There are tons of different implements of transmedia projects. What about all the transmedia producers for special television episodes that includes the web in a special two-screen experience? Gosh, simultaneous media-usage with TV shows especially created to work with the web or mobile are one of the biggest growth areas in broadcasting. And books with websites or DVDs? The minimum-of-three rule applies to franchises easily, but it shows how little these people know about how big the area is. I hope it won’t be strictly observed.
• The minimum of three (or more) narrative storylines. This too shows a very narrow view of the area, but one that is quite pervasive and so understandable. Both Henry Jenkins and Jeff Gomez have been pushing the idea of transmedia storytelling for years. I stopped using storytelling years ago because when working in the transmedia space, I actually found I spend a lot of time working in both narrative and game modes. Game consoles aren’t even listed in the media platforms. Despite the rise of the game mode across societies, most of ‘Hollywood’ if you like, still sees it as a lesser mode of expression. Understanding how games work and how narratives work, indeed, how interactivity works too, is part of the skill-set of most transmedia writers (and producers). For now though, everyone keeps using the term ‘storytelling’ because it helps people understand that it isn’t just about marketing or something like that. For me, it is more important to recognise the unique skill-set involved with this area. But obviously it is so unique most people working in it don’t get it!

Otherwise, I’m thrilled to see this has gone through. Well done to Jeff and the PGA. I hope a Transmedia Writer is the next credit officially recognised. A lot of my work is also as a Transmedia Story and Game Analyst (like a Story Analyst for films and TV shows). But what are the chances of that happening soon? They’re still struggling to recognise game writers, let alone writers who work across narrative AND game modes, across media platforms (minimum of 2 hopefully). Time will tell… I hope so!!!

Late Addition: Brooke Thompson thinks it is a step in the right direction but also questions the three storylines rule in Twitter: “RE PGA Transmedia Credit — three narrative storylines? What does that do to the idea of transmedia being ONE story told across platforms?” I saw that and left that because I don’t think the PGA are quite ready to get their head around the single story, multiple media concept. It is one ARGers are quite familiar with, but not those who have come to the area through the notion of ‘story extensions’ in franchises. (I actually talk about some of these issues in my thesis.) Anyway, to me, it is good to see I’m not alone in my thoughts about this area!

Update: The PGA has announced that “the omission of video games from that list is an oversight that will be amended shortly”; and then also clarified that the role includes extending existing IP and introducing original IP.

Northern Lights. Volume 10 (2012). Volume editors: Mette Mortensen & Eva Novrup Redvall. Re-thinking Film and Media Production: Creativity, Convergence and Participation

Deadline for abstracts: December 15, 2010
Full articles to be delivered on March 15, 2011.

The 2012 volume of Northern Lights will focus on the renewed interest in film and media production. In recent years there has been a shift across a broad field of media and cultural studies from primarily devoting attention to the finished product, oeuvre or reception to also considering production practices. On the one hand, technological changes in the modes of production and distribution have caused a blurring of boundaries between media consumers and producers. On the other hand, concurrent with a heightened awareness of the project-based nature of work in creative industries, a scholarly interest in creative collaborations, choices and constraints as well as institutional contexts have emerged. New empirical topics along with new theoretical and analytical tools have gained ground within film and media research in response to this development. Areas of studies such as ‘screenwriting’, ‘creativity’ and ‘convergence culture’ are appearing, just as familiar theoretical keywords like ‘production aesthetics’ and ‘cultural production’ are being rethought. Acknowledging that the conditions of production have a great impact on the framework for reception, production analysis and theory may pave the way for new insights into the aesthetical, technological, ethical, ideological, political and economical aspects of film and media.

In particular, the editors will consider articles relating to the following themes:

•    Analyses of creative work and production practices through theoretically informed case studies.
•    The changes brought about by user-generated content and other participatory practices to different media formats and to the larger contexts, e.g., of popular culture, the public debate and politics.
•    The convergence of different media systems setting new conditions for the modes of production.
•    Collaborative practices in film and media production, e.g., how they challenge the traditional notions of oeuvre and authorship.
•    Studies of institutional frameworks and power structures in the film and media industry globally as well as nationally.
•    Changes in the roles and self-perceptions of film and media professionals prompted by new modes of production.

Deadlines:

Abstracts/papers: December 15, 2010
Full articles: March 15, 2011
Publication: January 1, 2012

Abstracts/papers should be sent to the volume editors: Mette Mortensen, University of Copenhagen (metmort@hum.ku.dk) and Eva Novrup Redvall, University of Copenhagen (eva@hum.ku.dk).