Writers / Screenwriters: if you aren't thinking "transmedia" when it comes to your story, you need to be. Once upon a time studios just wanted high concept, figuring they'd get a great movie out of it (and a great movie poster, which would entice people to see said great movie). Then they wanted not only high concept, but a great character as well, a hero (or heroine, or group) that could support multiple storylines, sequel after sequel after sequel... Now they want high concept, great characters, AND a fully-fleshed out, living, breathing, fictional universe, one containing any number of discrete, self-contained worlds, any one of which can easily be spread out / disseminated over multiple platforms--movies, books, comic books, video games, mobile gaming, ARGs, etc etc... Star Wars. Harry Potter. The Matrix. Here, then, we take a quick look at this handy dandy quick reference chart, put together by Bud Caddell, from a talk given by Henry Jenkins on the 7 Principles of Transmedia Storytelling--
1. Spreadability vs. Drillability
The ability and degree to which content is shareable and the motivating factors for a person to share that content VS the ability for a person to explore, in-depth, a deep well of narrative extensions when they stumble upon a fiction that truly captures their attention.
2. Continuity vs. Multiplicity
Some transmedia franchises foster an ongoing coherence to a cannon in order to ensure maximum plausibility among all extensions. Others routinely use alternate versions of characters or parallel universe version of their stories to reward mastery over the source material.
3. Immersion vs. Extractability
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 gift shop).
Transmedia extensions, often not central to the core narrative, that give a richer depiction of the world in which the narrative plays out. Franchises can exploit both real-world and digital experiences. These extensions often lead to fan behaviors of capturing and cataloging the many disparate elements.
Transmedia storytelling has taken the notion of breaking up a narrative arc into multiple discrete chunks or installments within a single medium and instead has spread those disparate ideas or story chunks across multiple media systems.
Transmedia extensions often explore the central narrative through new eyes; such as secondary characters or third parties. This diversity of perspective often leads fans to more greatly consider who is speaking and who they are speaking for.
The ability of transmedia extensions to lead to fan produced performances that can become part of the transmedia narrative itself. Some performances are invited by the creator while others are not; fans actively search for sites of potential performance.