Previously we discussed making your media drillable (Jenkins, 2017, and, Moloney, 2011). Now I would like to discuss a topic that is directly linked with this. That is the topic of Fandom, or 'the fans of a particular person, team, fictional series, etc. regarded collectively as a community or subculture' (Oxford University Press, 2017).
Whilst fandoms can form purely from the core text, making your media drillable, using transmedia storytelling, and generally creating mor
I briefly mentioned drillable media in a previous post "World Building: An Example", but what exactly do I mean by that? Moloney (2011) asks "How can we activate the public’s curiosity, enough to sleuth out more depth and detail on their own?". Basically, what must be done to make the viewer, your audience, dig more deeply, or drill, into the media. This is where a more detailed world, that you can hint at in the primary text, comes in.
If you have solid world building, cr
The forms in which we present visual media are changing all the time. From the development of 3D, to 360 degree cameras becoming more commercially available, and the evolving world of virtual reality.
This opens up a whole range of new options for writers to create worlds, characters and narratives that don't fall into a traditional film or television frame. To be able to do this however a writer first needs to understand what is different about the medium in order to prope
We looked at an outline for creating a world in a the previous post 'World Building: What to Include'. Now lets look at an example to see this method in practice. We will look at a continent sized nation called Ank'Celesti. This is a nation I have created to set a feature length script within. A document was created separate to the script or character information that focuses solely on the setting, we will examine a few of the sections from that document in this example. Fir
When you begin planning a narrative, in particular one not set in the "real world" you need to consider the environment your characters occupy. Everything from the culture, to the landscape, could become important, and you don't want to be writing then suddenly realise you have no idea what type of religion a region follows when it becomes relevant. This kind of thing can throw you off your stride and really put the brakes on your progress. Even if you are remediating a pre-e
Previously we have discussed how to frame emotion in your scene and also how to represent emotion and character through alternate means. Now we need to consider the actual writing of a character, and the ways in which you bring them to life.
A character is more than just a puppet that you direct and your actor portrays from paper to film. To truly bring a character to life and the pull your audience in, providing a more intense immersion, they need so much more than a few l