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Transmedia Storytelling: Industry Buzzword or New Narrative Experience?

Marie-Laure Ryan

Storyworlds: A Journal of Narrative Studies, Vol. 7, No. 2, Transmedial Worlds in Convergent Media Culture (Winter 2015), pp. 1-19 (19 pages)

“Transmedia storytelling represents a

process where integral elements of a fiction get dispersed systematically

across multiple delivery channels for the purpose of creating a unified

and coordinated entertainment experience. Ideally each medium makes

its own unique contribution to the unfolding of the story”

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Transmedia Storytelling: New Practices and Audiences

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Transmedia Storytelling: New Practices and Audiences

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Melanie Schiller

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Social, Mobile, and Emerging Media around the World

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Social, Mobile, and Emerging Media around the World: Communication Case Studies is an edited collection of cutting edge research on the practical applications of diverse types of emerging media technologies in a variety of industries and in many different regions of the world. In recent years, emergent social media have initiated a revolution comparable in impact to the industrial revolution or the invention of the Internet. Today, social media’s usage statistics are mind-boggling: almost two billion people are Facebook users, over one billion people communicate via What’sApp, over forty billion pictures are posted on Instagram, and over one million snaps are sent on Snapchat daily. This edited collection analyzes the influence of emerging media technologies on governments, global organizations, non-profits, corporations, museums, restaurants, first responders, sports, medicine, television, and free speech. It studies such new media phenomena as brandjacking, crowd-funding, crowd-mapping, augmented reality, mHealth, and transmedia, focusing specifically on new media platforms like Facebook and Facebook Live, Twitter, Sina Weibo, Yelp, and other mobile apps.

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Transmedia Television
Audiences, New Media, and Daily Life
By Elizabeth Evans · 2011

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Transmedia Television
Audiences, New Media, and Daily Life
By Elizabeth Evans · 2011

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Viewers can engage with ‘television’ without ever turning a television set on.

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The early years of the twenty-first century have seen dramatic changes within the television industry. The development of the internet and mobile phone as platforms for content directly linked to television programming has offered a challenge to the television set’s status as the sole domestic access point to audio-visual dramatic content. Viewers can engage with ‘television’ without ever turning a television set on.

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Henry Jenkins - Transmedia Storytelling 101

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Henry Jenkins - Transmedia Storytelling 101

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Transmedia storytelling represents a process where integral elements of a fiction get dispersed systemically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience. Ideally, each medium makes its own unique contribution to the unfolding of the story. (Jenkins, 2007)

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Shared Narratives: Intermediality in Fandom

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Shared Narratives: Intermediality in Fandom

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JSTOR is a digital library of academic journals, books, and primary sources.

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Fan Membership: Traditional and Digital Fieldwork

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Fan Membership: Traditional and Digital Fieldwork

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JSTOR is a digital library of academic journals, books, and primary sources.

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Transmedia Storytelling: A Study of the Necessity, Features and Advantages

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Transmedia Storytelling: A Study of the Necessity, Features and Advantages

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"Transmedia enables the audience to be participants rather than mere viewers. As McChesney mentions, it is about “connection and collaboration” [3]. It gives the chance to create a stronger and more efficient bond between the story and audiences."

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Transmedia Storytelling
Business, Aesthetics and Production at the Jim Henson Company
by
Geoffrey A. Long
B.A. English and Philosophy
Kenyon College, 2000

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Transmedia Storytelling
Business, Aesthetics and Production at the Jim Henson Company
by
Geoffrey A. Long
B.A. English and Philosophy
Kenyon College, 2000

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An audience member could theoretically consume just the games, just the films or just the comics, but the connections between them mean that experiencing the other media forms will improve the experience as a whole

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Exploring audience involvement with an interactive narrative: implications for incorporating transmedia storytelling into entertainment-education campaigns

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Exploring audience involvement with an interactive narrative: implications for incorporating transmedia storytelling into entertainment-education campaigns

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Transmedia efforts have the potential to converge traditional media formats with new media technology and provide a practical way to increase diverse audience exposure to campaign messages. Most importantly, incorporating a transmedia storytelling approach gives target audiences different opportunities to become involved with campaign narratives in diverse media platforms. (Sangalang, Quintero Johnson and Ciancio, 2013)

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Willy Andrés Sotelo Alegría, Laura Escobar Goicochea

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Digital Communication Strategies and the Use of Transmedia Narrative of the "Always Potterfanáticos" Community

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The present research aims to analyze the impact of digital communication strategies of the Harry Potter fan group through transmedia in 2023 in a Facebook fan group. This franchise is one of the most successful entertainment stories. Its eight books have been adapted on the big screen and won the affection of the public.

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Star Wars and the History of Transmedia Storytelling

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Star Wars and the History of Transmedia Storytelling

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"as the current age of media conglomeration and consolidation continues to intensify, Star Wars' transmedia history can help us understand both the opportunities and the tensions that arise when commercial entertainment properties expand across multiple media platforms while engaging with different audiences."

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Star Wars and the History of Transmedia Storytelling

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The collection places Star Wars at the center of those studies’ projects by examining video games, novels and novelizations, comics, advertising practices, television shows, franchising models, aesthetic and economic decisions, fandom and cultural responses, and other aspects of Star Wars and its world-building in their multiple contexts of production, distribution, and reception. In emphasizing that Star Wars is both a media franchise and a transmedia storyworld, Star Wars and the History of Transmedia Storytelling demonstrates the ways in which transmedia storytelling and the industrial logic of media franchising have developed in concert over the past four decades, as multinational corporations have become the central means for subsidizing, profiting from, and selling modes of immersive storyworlds to global audiences. By taking this dual approach, the book focuses on the interconnected nature of corporate production, fan consumption, and transmedia world-building. As such, this collection grapples with the historical, cultural, aesthetic, and political-economic implications of the relationship between media franchising and transmedia storytelling as they are seen at work in the world’s most profitable transmedia franchise.

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Creating Transmedia Narratives:The Structure and Design of StoriesTold Across Multiple Media ByPeter von Stackelberg December 2011

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Creating Transmedia Narratives:The Structure and Design of StoriesTold Across Multiple Media ByPeter von Stackelberg December 2011

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A four-level process (transmedia project, storyworld, story, and scene/sequence levels) is also developed to document the steps involved in designing a transmedia narrative. The four-level process provides a structured framework that will help teams standardize their design and development approaches to transmedia narrative projects

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Introduction to a topic for the 4th World Journalism Education Congress. In this paper, I present a definition of transmedia storytelling. Then I explain the significance to journalism and make clear why this is not just another term for "cross-media" or "multi-platform" journalism. Finally, I will discuss the challenges for journalism education. There is a complete list of references.

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Introduction to a topic for the 4th World Journalism Education Congress. In this paper, I present a definition of transmedia storytelling. Then I explain the significance to journalism and make clear why this is not just another term for "cross-media" or "multi-platform" journalism. Finally, I will discuss the challenges for journalism education.

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Converging Worlds: From Transmedial Storyworlds to Transmedial Universes

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Converging Worlds: From Transmedial Storyworlds to Transmedial Universes

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JSTOR is a digital library of academic journals, books, and primary sources.

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Media Technologies, Transmedia Storytelling and Commodification - Göran Bolin

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Media Technologies, Transmedia Storytelling and Commodification - Göran Bolin

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Proceedings of the International Conference on Communication and Applied Technologies 2025 (ICOMTA 2025)

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This is an open access book.ICOMTA’25 – V International Conference on Communication and Applied Technologies 2025 is organized by the Universidad Austral de Chile, with collaborators including the Universidade de Vigo (Galicia, Spain), the Universidade de Santiago de Compostela – Political Research Team (Galicia, Spain), the International Research Network on Communication Management (XESCOM), and WAPOR Latin America.The conference will take place at the Universidad Austral de Chile (Valdivia, Chile) on September 2, 3, and 4, 2025, and will be held in a hybrid format (in-person and virtual).

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The psychological impact of fanship and fandom on well-being

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The psychological impact of fanship and fandom on well-being

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Fandom and Wellbeing – Exploring the Psychological Link

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In the twenty-first century, fanship and fandom have emerged as powerful social phenomena, encompassing diverse areas such as music, sports, and other cultural forms. These shared interests enable individuals from varied backgrounds and cultures to connect and foster meaningful relationships. This chapter delves into the intricate relationship between fanship, fandom, and psychological well-being, particularly among young adults. Using a quantitative approach, the study analyzed data from 167 participants to explore how fanship and fandom influence factors like social connectedness and resilience. Key findings highlight significant correlations between fanship, fandom, and well-being, with men showing higher levels of social connectedness. Additionally, the research underscores the role of fanship and fandom in fostering collective resilience, providing valuable insights into their broader psychological and social impacts.

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If you don't capture their imagination in the first 5 seconds you've lost them forever.

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“Storytelling is among the oldest forms of communication. Storytelling is the commonality of all human beings, in all places, in all times.”
― Rives Collins

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"The open world often means the player is able to encounter

different parts of the overall story in whatever order they

choose, or the player is able to access smaller, more iso-

lated side stories in whatever order they choose" mcintosh, cohn and grace 2010

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"A much lower budget clearly makes it imperative to utilise media which is cheaper to work with and distribute such as websites, blogs, webisodes and social media," Fantastic Transmedia: Narrative, play and memory across science fiction and fantasy storyworlds. Colin B. Harvey (2015)

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"More and more, storytelling has become the art of world building, as artists create compelling environments that cannot be fully explored or exhausted within a single work or even a single medium.”

Henry Jenkins

https://www.sensesofcinema.com/2018/cleverman-australian-superheroes/too-busy-building-a-world-to-tell-a-story-between-world-building-and-storytelling-in-the-cleverman-storyworld/

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“Too Busy Building a World to Tell a Story”: Between World-Building and Storytelling in the Cleverman Storyworld – Senses of Cinema

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"When I first started you would pitch a story because without a good story, you didn't really have a film. Later, once sequels started to take off, you pitched a character because a good character could support multiple stories. and now, you pitch a world because a world can support multiple characters and multiple stories across multiple media." ~ Henry Jenkins

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TOP 17 QUOTES BY HENRY JENKINS | A-Z Quotes

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Discover Henry Jenkins famous and rare quotes. Share Henry Jenkins quotations about culture, technology and marketing. “The key is to produce something that both...”

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Journal of Media Critiques [JMC] - Changes in Mass Communication -- Page 37

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Journal of Media Critiques [JMC] - Changes in Mass Communication -- Page 37

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"The opportunities created by web technologies, and effective power of social media bring storytelling and technology together; and, many new opportunities emerge with the development of mobile screens, which was not the case in past."

https://journalmediacritiques.com/index.php/jmc/article/download/13/17#page=36

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"The hardest part, as I think you all know, is to keep it simple. Keep trying to simplify whatever you’re doing, over and over again; when you feel it’s too simple, it’s probably just about right. And whenever you feel like something will require that you spend more time explaining it than what it would take to just experience it, you should seriously consider to re-develop that part." Simon Staffans, 2012 https://simonstaffans.com/2012/11/27/da-vinci-on-transmedia/

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'there is clearly an enduring appetite for material we might broadly describe as the ‘fantastic’. Henry Jenkins has argued that the reason might lie with the fandoms these genres attract: transmedia storytelling appealing to those individuals who enjoy searching out disparate narrative elements across multiple media platforms (2008:20–21).' (C. B. Harvey, 2015)

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I’m standing in a cinema foyer waiting excitedly to be allowed entry. I’m here with two of my oldest friends, both male, whom I’ve known since I was a kid. We’re surrounded by similar thirtysomething males, a few women and huge hoardings…

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"A box of Star Wars cereal isn't an example of transmedia storytelling unless it somehow makes a distinct and valuable contribution to the story being told."

Geoffrey Long/Jenkins

https://www.academia.edu/13427605/Transmedia_Storytelling_Business_Aesthetics_and_Production_at_the_Jim_Henson_Company

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Transmedia Storytelling: Business, Aesthetics and Production at the Jim Henson Company

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Transmedia narratives use a combination of Barthesian hermeneutic codes, negative capability and migratory cues to guide audiences across multiple media platforms. This thesis examines complex narratives from comics, novels, films and video games,

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"The key to an interesting transmedia experience is to not

give anything away. Rather than providing the entire web-

site, begin by reading the book. Then provide the website

Lamb, A., & Johnson, L. (n.d.). Fluid Environments for Life-Long Learning. Retrieved

September 3, 2011, from Lamb Learning Group:

http://eduscapes.com/fluid/index.html

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"Write down your biggest personal flaw. Not a plot idea, not a character, just the thing your carrying" - Paul Schrader

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Stop chasing original ideas—here’s what actually makes you creative

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The story should model itself in ways that readers consume

stories – meaning that to simply fragment a story across

multiple platforms won‘t work…Dragging read-

ers/audience from one platform to another simply ―because

you can won‘t work. There‘s a danger of overkill and

hosting parties‘ at venues where nobody will turn up." Norrington, A. (2010, April). Harnessing 'e' in Storyworlds: Engage, Enhance,

Experience, Entertain. Publishing Research Quarterly , pp. 96-105.

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'Transmedia literacy is considered crucial in education to prepare students for the challenges of the modern world.' Jenkins, H. (2006). Convergence Culture: Where Old and New Media Collide. New York University Press.

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These fans are described by Jenkins

and others as actively participating in the process: they translate their

interests in the stories and the franchise into a range of media messages, from concordances and Wikipedia entries, fan fiction, and fan videos to fan films, “cosplay,” and game mods. 1 Such participatory fan practices in-evitably extend the story world in new directions.

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JSTOR is a digital library of academic journals, books, and primary sources.

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'Regardless of how amazing the interactive and participatory mechanics seem, the story, being the backbone of the transmedia project, needs to be strong. It has to entice the audience to explore and unlock the various narrative elements.' (Yomi Ayeni, 2024)