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The decision of how tightly user actions (agency relationship) are linked to the transmedia narrative is one of the most significant decisions a transmedia narrative designer will make. User input can take a variety of forms, from the control of avatars in games to user communication via social networking inContinue Reading

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Choosing to develop a transmedia narrative means giving the author all or most of the control over the narratives’ flow and meaning. Reader control is severely limited because the narrative’s coherence can be compromised by the reader’s desire to take the story in a direction that the author’s version ofContinue Reading

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The discussion of “interactivity” in transmedia narratives covers a broad range of concepts that can confuse as much as clarify the issues of transmedia narrative design. In order to clarify the different concepts associated with “interactivity” and their relation-ships to other elements of transmedia narratives, the terms “user engagement design”Continue Reading

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The synopsis is a one- to two-page outline that describes how the story elements and user experience will unfold over time. It should clearly define the storyworld and concentrate on the narrative threads, introducing key characters, significant objects, settings, and events. The synopsis should be storyworld-focused, but should also beContinue Reading

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A setting is the backdrop within which a narrative occurs, but it goes far beyond the physical characteristics of a place in which events happen. Setting includes the historical background, cultural attitudes, and mood of the time (Bickham, 1994, p. 1). Well developed settings can (Bickham, 1994, p. 3): MakeContinue Reading

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Events are a change in the state of an entity such as a setting or character. External events (outside of a character in the story) may be the result of an uninitiated change (out of the control of a character in the story). An uninitiated change could be a naturalContinue Reading

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Significant objects are the second type of existents (Ryan, Storyworlds Across Media, 2011). To qualify as a plot-significant object, an object must have a substantial impact on the story’s plot. The One Ring in The Lord of the Rings trilogy is an example of a significant object. Without the ring,Continue Reading

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One category of existents is the characters (Ryan, Storyworlds Across Media, 2011) – human or otherwise – which are sentient beings with the ability to feel, perceive, or to have subjective experiences. In science fiction and fantasy non-human characters described as “sentient” typically have similar abilities, qualities and rights asContinue Reading