In this bonus episode, Brian Clark (GMD studios) defends his controversial assertion that “transmedia” has outlived its usefulness as a descriptive term for storytelling … and how refining the definition of this emerging breed of narrative will contribute to its long-term viability.
Links mentioned in this episode:
Today, J.C. chats with Kate Sullivan, the mastermind of indie digital publisher Candlemark & Gleam. The company, which has been publishing books since 2010, pioneers the emerging digital publishing space, and often experiments with promotion and distribution.
In this conversation, Kate shares the story behind Candlemark & Gleam, and dives deep on the innovative business and distribution model fueling the recent release of C&G’s latest title Constellation Games, a sci-fi comedy novel written by Leonard Richardson.
It’s a fun and fascinating look at the publishing marketplace, and how indie publishers are uniquely poised to move fast, bet smart, and win big.
Links mentioned in this episode:
Podcast: Interview with Kate Sullivan, of Candlemark & Gleam [ 20:00 ] Play Now | Play in Popup | Download
Hosts Steve Peters and J.C. Hutchins have a fascinating chat with Michel Reilhac, who is the Executive Director of Arte France Cinéma and Director of Film Acquisitions for ARTE France. A passionate evangelist of Transmedia Storytelling, Michel shares his experiences pitching and producing projects in Europe, and talks about the changing transmedia landscape there.
Links from this show:
In this special episode of StoryForward, co-host J.C. Hutchins chats with transmedia storyteller Jan Libby about her creative career, and her latest project, Snow Town.
Links from this show:
Jan Libby on Twitter
Snow Town’s Kickstarter Page
Lonely Girl 15
Sameees
Tell us what you think of the show by giving co-host Steve Peters and I a shout at info at storyworldpodcast dot com!
Podcast: StoryForward, Episode 001 - Jan Libby and Snow Town [ 15:46 ] Play Now | Play in Popup | DownloadHey, everybody! After a long hiatus from regular podcasting, I’m back to the digital airwaves as co-host of the ARGNetcast, a show that covers the transmedia storytelling space. I’ll be posting episodes of that show here in my podcast feed (unless folks pipe up and tell me not to). Tell me what you think of the show by giving co-host Steve Peters and I a shout at info at storyworldpodcast dot com!
Now, on to the episode’s show notes!
On this show, singer/songwriter Thomas Dolby joins hosts Steve Peters and JC Hutchins, as they discuss Science, pushing creativity forward through technology, and the unique game project he co-created for his latest album, The Map of the Floating City.
Links from this show:
Podcast: ARGNetcast, Episode 128 - Interview with Thomas Dolby [ 50:20 ] Play Now | Play in Popup | Download
Few writers have captured my imagination the way Jonathan Maberry has. His Joe Ledger novel series — which chronicles the adventures of the “Department of Military Sciences,” a secret government rapid response team that handles horrific technology-created terrors — has entertained and inspired me in countless ways.
Maberry’s horror fiction always bets big, the stakes are always high, and the payoffs always rock your socks. This dude can write.
When Maberry recently gave me a shout, eager to tell me (and you!) about his latest novel Dead of Night, I leaned in and listened good. I’ve never been much of a zombie fiction guy, but Maberry’s zombie fiction is smarter, meatier — and sometimes, just plain meaner — than most zombie stories out there. Maberry delivered the goods in his 2009 novel Patient Zero … and he’s done it again with Dead of Night.
This is a helluva good read — so good, in fact, that I asked Maberry if I might share an excerpt of it here via my blog. Maberry did me one better: He not only hooked us up with an excerpt; he agreed to an author Q&A, and tossed in access to seven Dead of Night bonus scenes. Hot damn, it’s Christmas all over again!
Maberry has been one of my favorite storytellers for years now, and Dead of Night didn’t disappoint. Let’s dig into my Q&A with Maberry, and afterward, I’ll provide links to that PDF excerpt of Dead of Night and a link to bonus material! Continue Reading…
It is my earnest hope that a mutual friend’s tweet or Facebook post brought you here. I appreciate your curiosity for clicking that link — and since I also appreciate your time, I’ll be quick.
I’m J.C. Hutchins. I’m a freelance storyteller. I’d like to work with you.
I write transmedia experiences, novels, screenplays and more, all for hire. My trilogy of technothriller novels, 7th Son, was optioned by Warner Bros in 2009. A book I co-wrote, Personal Effects: Dark Art, is now in development as a Starz TV series.
My original stories have been enjoyed by tens of thousands of people in more than a dozen countries. My for-hire work has connected with hundreds of thousands. I continue to develop original IP, work with creators to expand new IP, and collaborate with agencies to enhance existing IP.
I also help craft multimedia marketing campaigns that create memorable connections between people and products. Most of these products were my own. Others were more high profile, such as toys (Nanovor) and television series (Discovery Channel’s The Colony).
I’ve worked with pioneers in the transmedia storytelling space such as Jordan Weisman, and agencies that innovate branded storytelling experiences such as Campfire. I live to collaborate, rev it to the creative red-line when needed, and consider deadlines immovable objects.
Do you need a fleet-footed creator to help your company or client achieve its business goals? I might be able to help. Download my creative resume to see what I’ve been up to recently. If my skills and accomplishments ring your bell, toss my name in your Rolodex.
And please, introduce yourself. I’d love to learn more about you, and answer any questions you might have about me or my work.
Thanks again for your curiosity and consideration. I hope to hear from you soon.
Note: This post originally appeared on the website WriterUnboxed. This is the one of several WU guest posts I’ll reprint here on my site.
There comes a point in the life of your Work In Progress when — hot dog! — it’s no longer a Work In Progress. The sucker’s done, you did it … heck, you frickin’ nailed it, and the time has come to query agents, or present it to your agent or editor, or self-publish. The rest of this essay assumes that your work will resonate with the appropriate gatekeepers, and soon soar beyond your grasp, off into the world, to be consumed by an audience.
This distribution could come in the form of a big-name publisher, an indie press, DIY-fueled print on demand, self-recorded audio podcast, home-brewed blog serialization … whatever. Point is, it’ll be out there. But unless you’re blessed with an existing audience (fancy-pants publishers call this a “platform,” though I prefer the term “wicked awesome fans”), few people are going to know about it. Your brilliant tale is bobbing in a sea of other brilliant tales. Your signal is lost in all that noise.
To leave the success of your work completely in the hands of a publisher publicist is foolish; that professional may be talented, but he’s pimping at least 20 other books this month, and is spread so thin, he gives Silly Putty a run for its money. To believe that random word of mouth alone will differentiate your stuff from other novelists’ is equally wrongheaded; how can people gab about something they don’t know exists? You’re a writer, which means you’re probably broke, so self-funded ads are out of the question. And doggone it, Oprah isn’t returning your calls.
There’s a dozen-dozen ways to combat the great enemy Obscurity — but I recommend making friends. It’s good for business.
Cranking out that novel (or other creative work) was a solitary act: It was just you and the words. Now that it’s in the wild, you’re personally, ethically obligated to give it every chance to succeed. Reaching out to published peers and influencers can help. By contacting fellow players in the industry, you can earn the attention of colleagues, share your content across multiple fan-bases, and increase awareness for your work.
Now remember, making friends is good for business. And business is what you should be most concerned about, now that you’re staring down the howitzer barrel of earning out that advance. Make-believe time is over. You’re no longer a wordsmith; you’re a businessperson. It’s time to strategize. You gotta move books, man.
So make friends. Do some research. Find online-savvy authors in your genre — or compatible genres — who like to blog, are on Facebook or Twitter, or release content in other interesting ways (like podcasting). Examine what they’re talking about in these spaces, especially if they’re talking about other authors. This is a good thing, particularly if you’re already a fan of their work. This is an opportunity to make friends. Continue Reading…
I can’t rightly say if it’ll be a full-on novel, novella, straight read or transmedia experience (like Personal Effects: Dark Art). Hell, it could jump over into screenplay territory by the time it’s said and done. All I know is that I’ve wanted to write a Western for years, I’ve got a title, and I can hear the low-frequency rumble of a spiffy idea growling in my gut.
Oh, and a cover. Because the stock photo was free at iStockphoto.com, and I had two hours to kill.
On May 1, I’ll start working on THUNDERTAKER, the first story set in the universe I’ve created for The 33. The 33 is a cross-media project that I’d originally intended to release as a free fiction podcast last year. The world of The 33 will now likely be first seen in a series of ebooks. That’s what THUNDERTAKER will probably become.
Truth is, I don’t fully know what THUNDERTAKER will be by May’s end, save for the fact that it’ll be gruff, gritty and as nasty as razor wire. And for me, there’s something delightful in not knowing what unholy mayhem will soon unfold.
I’ll probably keep you in the loop as the story develops. Stay tuned … and watch the horizon.
–J.C.
