The situated documentary allows us to examine the emerging transformation of the storytelling model of journalism from the analog to the digital age. In the traditional model of analog journalism, storytelling is dominated by a linear presentation of facts, typically from beginning to end. The audience experiences the story in a passive—almost voyeuristic—mode. Stories tend to have a single or sometimes dual modality of media forms (e.g. text, or text combined with photographs, infographics, audio, and video). A story is published and fixed in time. Corrections might be published later as an afterthought. Stories tend to be based on events, and as such, are episodic rather than contextual. The voice of a typical story is that of a third-person narrative, perhaps best characterized by legendary CBS Evening News Anchor Walter Cronkite’s signature sign-off, “And that’s the way it is.”
The new media storytelling model is nonlinear. The storyteller conceptualizes the audience member not as a consumer of the story engaged in a third-person narrative, but rather as a participant engaged in a first-person narrative. The storyteller invites the participant to explore the story in a variety of ways, perhaps beginning in the middle, moving across time or space, or by topic. Nonlinear storytelling may come as a bit of a shock to some traditional journalists, but it is possible to adapt to new technology without sacrificing quality or integrity.
~John V. Pavlik and Frank Bridges’ monograph, The Emergence of Augmented Reality (AR) as a Storytelling Medium in Journalism, published in Journalism and Communcitaion Monographs, Volume 15, Number 1, Spring 2013. (via virtual300)
FJP: This came across my Twitter radar a few days ago where Jill Falk was kind enough to share the quote. It’s an interesting concept and one that has roots beyond contemporary multimedia storytelling.
For example, my favorite books growing up were of the choose your own adventure variety. You read a chapter and were then told to proceed to chapter X, Y or Z depending on your plot desires. Later, as a teenager, I was fascinated by Julio Cortázar’s “Hopscotch”. The table of contents told you you could read the book traditionally, from Page 01 to the end. It also gave you an alternative reading. That is, read Chapter 01, then jump about nilly-willy, forward and back between chapters. The end result is a type of narrative driven more by “impressions” than linear storytelling.
William Burroughs did this as well. “Naked Lunch” can supposedly be read any which way. Front to back, back to front, jumping about the middle. It’s all good. Urban legend has it that Burroughs dropped the manuscript on the way to his publisher. Despite pages spilled on the ground there were no worries. Again, the book could be read any which way so he gathered the pages up, stuffed them in his binder and continued on his way.
Film plays with this too. Fans of Memento enjoy the front to back and back to front chronologies. Other films employ this technique as well. Back in the 1960s, Jean Luc Goddard famously remarked, “I agree that a film should have a beginning, a middle and an end but not necessarily in that order.”
So let’s go back to multimedia storytelling with the Internet as a primary distribution platform. The underappreciated hyperlink is our key to moving back and forth within a narrative. Our design and UX considerations help control where the story inquisitor might go. But despite our best intentions, that independent viewer is going to pick and choose his or her way through a narrative.
Check our Multimedia Tag for references here. These are stories that have beginning, middle and end. But they’re also stories where the viewer chooses what his or her beginning, middle and end actually is. Site visitors are independent operators. We can try to guide them with our design but they’ll go where interest guides them to go.
Which brings me in a roundabout way to the crux of the matter — multimedia storytelling or not — and that’s the atomic unit of online consumption.
This is a concept that’s been around for a while now. In my interpretation it means something like this: Whatever you do, whatever you post, whatever you research, whatever you pour your heart and soul into, the following will happen: your story will be sliced and diced and shared on social networks and otherwise refactored elsewhere. This could be the mere title. It could be a sentence buried deep within you article. It could be seconds 00:45 - 00:55 of a video. It could be an animated gif of that video. It could be metadata of the information that you produce. It could be an API mashup of all the above.
Simply, whatever story you produce, and whatever media you use to produce it in, your content will be broken down into its smallest parts and shared on Tumblr, Twitter, Facebook, Reddit, blogs and the like.
This is not a bad thing. It’s an agnostic thing. This is remix culture.
Simply and unambiguously, we must deal with it. And from this side of the Internet, we deal with it pleasurably so. — Michael
THIS LINK IS FOR YOUR EYES ONLY, IT IS NOT TO BE POSTED OR SHARED.
Email from Vanity Fair PR to media reporters. The link is to a PDF version of a story about the Washington Post that will appear in the magazine’s upcoming issue.
Via Advertising Age:
Rather than do a big dump of all the new stories as soon as the issue drops and obviate the need for anyone to buy it, the content is doled out in dribs and drabs over the course of the month. For those of you hoping there is some sort of process or perhaps even an algorithm behind this schedule, you will be disappointed.
"Every story is different. There’s no formula," said a Vanity Fair spokeswoman. "We try different things all of the time."
This bit of sausage-making is interesting given the challenges before magazine publishers. Many have been underwhelmed by how much ad revenue they can pull in from posting their (often very expensive) print journalism on their website.
"We want people to buy the magazine," said the spokeswoman.
I was thisclose to Rickrolling a link on this one.
Facebook today released the results of a study it conducted on what types of posts by the Facebook Pages of journalists performed the best. Among the highlights: Incorporating personal analysis in posts increased referral clicks by 20%, and including a thumbnail image when posting a link boosted Likes by 65% and comments by 50%. While these findings are for Pages of journalists, the best practices they illuminate can be useful for the admins of any type of Page.
This isn’t telling most what they don’t already know about packaging content for the web. Here’s what it does do: Make the point clear that a non-tailored RSS feed into Facebook isn’t going to get job done—just like personalized tweets are proving to win for brands and journalists alike on Twitter.
”It’s mostly tha voice.” © Guru. Matter of fact? Let that bass line walk: (some strong language)
“A lot of rappers have flavor and some got skills but if your voice aint dope then you need to chill.”
What they have to say about engagement vs click thrus is very interesting.
FJP: Liking the Gangstarr quote.
It’s not that far-fetched to imagine 20 to 25 percent of magazines’ readership existing in a digital platform three to four years from now.
Scott Dadich, Condé Nast’s vice president of digital magazine development, explaining the company’s tablet strategy.
Justin Ellis, Nieman Lab. Condé Nast’s Scott Dadich on reinventing mags for the iPad and why partnering with Apple matters.