Transmedia

Can anyone out there in the Transmedia lounge space give me any advice and/or tips on how to write a Narrative Dual Storyline for screenplay?

In other words, it's two parallel stories narrated by the principal character in the film...

Tips and Tricks for adapting a feature to a serial fiction podcast very welcome!

Hi All - I'm looking to commission a graphic novel / series of comic books based a on a thriller script we are producing. As I first step, I'm looking to commission 3 pages as a proof of concept. If anyone has any recommendations, I'd be grateful.

In late February we started principal photography on the most important film project of my life, but had to shut down because of the pandemic.  I quickly wrote an Immersive Solution Play w/ a limited cast and audience as an introduction to the movie.   Again, the shut down made even this small production impossible.  So I wrote a Virtual Reality Immersive Solution Play with avatars, green screen and voice over.  Now I need to find people with experience in VR to discuss how to put it into production.

For those of you in the DC area or who keep up with the Kennedy Center events, I thought y'all would like to know that they are doing the responsible thing and pushing back their dates. While they have been doing recordings and live broadcasts of performances for years, I'm sure they want to move forward in the safest way possible.

What event are you missing at the Kennedy Center this year?

https://deadline.com/2020/06/kennedy-center-honors-mark-twain-prize-post...

I don't even play games, and this looks INCREDIBLE!

What 2020 release are you anticipating?

https://www.youtube.com/watch?v=gHzuHo80U2M

Thought this new program by IG for Content Creators to make money might be of interest to the community. https://www.tubefilter.com/2020/05/27/instagram-igtv-creator-monetizatio...

Does anyone have any idea of what a deal tends to look like when a PC/Console company acquires content for development as a game? Along similar lines, does anyone know if there's a standard deal for when someone in tabletop role-playing games acquires content to develop? I'm being exposed to these markets, and the exposure is coming from someone with more relationships than direct experience.

Does anyone have a background in these fields, who might be able to outline how things work? Do people tend to buy, or do they usually want to license like a publisher? Do they generally want the content creator onboard, or do they want to buy the material and go do their thing? Any help framing any industry standards that may exist in my mind's eye would be helpful.

Happy quarantine, Stage 32!

Over the last few weeks, most of my writing time has been dedicated to expanding a worldbuilding project I started re-dedicating myself to at the beginning of the year. More or less my answer to Harry Potter, Jump Rangers is about little kid space commandoes fighting for humanity's survival against an empire of giant alien dinosaurs - as well as giant alien robots, and all the other giant threats that wait for us among the stars. When "The Saurian Horde" invaded Earth, our world has no interstellar travel of our own. The only way humanity could survive was by colonizing their vast and cavernous motherships, colonizing the worlds where they land, and spreading out amongst the stars like an infestation of bed bugs. While the grown-up refugees of Earth struggle through their ragtag, "bandages and blasters" existence and cling to the last little pieces of human civilization, a number of brave kids have taken it upon themselves to sneak aboard alien vessels and steal technology, to carry news between worlds and star systems, to fight back against the aliens, and to lead humanity into the future.

While I certainly plan to develop this content into comics, cartoons, toys, mobile games and so forth, I've started the project as a tabletop roleplaying game. Since the quarantine started, I've written two new expansions for the game, and I've found an art director who will be producing up to five new pieces of artwork a month as soon as I can reach $550 a month on the game's Patreon. In the meantime, she and I are working on a design bible, and she's generously working on some sketches and profile art to help move the project along. Starting this Saturday, at 11am Pacific, we'll be launching a streaming gameplay show called "Saturday Morning Cartoon," which will hopefully capture the spirit of the game as well as the gameplay, on a Twitch channel at: http://twitch.tv/toptabling

Here's the material I've written for this game so far:

THE JUMP RANGERS COREBOOK

On top of all the rules a person needs to play this game, the Corebook has:

 - Kid Space Commandoes

- Alien Dinosaurs

- Giant Robots

- Pets

- Transforming Mecha Planes

- High-Tech Adventure Gear

- Strange New Worlds

- Corebook is FREE!

- No Parents

MISSION FILE 1: THE UNDERSAUR ALLIANCE

In the first mission of the core Jump Rangers continuity, General Ardin Paksis is asking a brave group of Jump Rangers to make contact with the undersaur rebels on Sauros... and to join him in securing victory against the Saurian on Planet Battleground!

INTEL FILE: RUNAWAYS

What life awaits a runaway kid out there in the galaxy? From a life of crime in the Saurian Undercity to an education in advanced physics and engineering earned while scrapping Lume tech in the vast junkyard of Planet Clearance, this book has all the answers!

INTEL FILE: OF MICE AND MANDIBLES

Before the Saurian Horde came to Planet Mist, that world was home to a peaceful race of space mice. Today, those mice are scattered throughout the Empire because their greatest heroes, the Nomads, brought the Spore to Planet Mist and betrayed them all! Or did they...

MISSION FILE: THE LIGHTNING JOB

Under the leadership of a mad scientist and a military leader, Zero Base is an undersea research colony on a world with extensive Lume operations. In this rip-roaring, smash-and-grab one-shot adventure, Rangers will work with Zero Base to capture an actual Lume.

INTEL FILE: CRITTERS OF THE GALAXY

Loaded with animals from all corners of known space and beyond, animal-related characters and locations, and even a mission centered around evacuating the animals of Planet Armageddon, this is a book in every way about the animals of Jump Rangers!

If anyone would like to check out the FREE Corebook or any of the other online resources for Jump Rangers, this is where we keep our master list of links: https://www.patreon.com/posts/click-here-for-34534795

If you want to check out the work of our art director, P. Mal, here's a collection of her work: http://www.patreon.com/posts/jump-rangers-has-35068728

If you'd like to visit our Patreon, here's where you'll find the landing page: https://www.patreon.com/jumprangers

If you're interested in getting involved in some way, please let me know what you have in mind! Like any tabletop roleplaying game, Jump Rangers is much more of a community-wide, audience-inclusive collaboration than a film tends to be. Otherwise, we're here for anyone who wants something new and fun to do with their quarantine. If you want to play, and there's nobody in your home to play with, we always have eager players in our Discord - accessible through our master links page.

Thank you for checking this out! I hope everyone is having this much fun with their quarantine, and I'll be back in the next few days with a comprehensive blog post on how to find money for movies! Until then...

Go high and go far, Rangers!

Lifted is my universe.

Earned a Certificate in Transmedia & it changed everything.

The combination of versatility, through different forms of media & the possibilities within each make Transmedia Storytelling the most immersive form of art/entertainment/consumption to date.

*Lifted ventures deep into this territory.

Come say hi.

Nicholas

I produced a pilot for a TV series (There's an App for That, the Monty Python of the digital age.) and now I'm in the process of marketing it. My "data dump book" of info that I'll be working on , during that process:

THE 2020 To-Do list

Marketing takes just as much work and creativity than the writing of the work itself—if not more.

The Art of the Pitch - page 18

It’s crucial to sell a project and this is all the best info on how to do it. It’s also used in advertising and in articles written about the project. (Should have been roughed out during the writing of the work.)

The Markets - page 70

Today is a rapidly changing environment. You need to know what distributors want, where you can fit in and get ideas for ways to pitch them.

The Players in the Industry - page 108

Producer reps, agents and so on.

The Art of the Query & Meet - page 166

Query letters. Info needed when applying to contests, in a form that is expected. This is mainly for script writers, but the same info is useful to all. There’s a lot more to selling a project or getting into festivals that writing a pitch.

———

Poster - page 194

There are a whole list of rules governing this. And as the say in social media marketing, if it doesn’t grab the attention of project buyers, it won’t grab the attention of possible viewers.

Trailers - page 200

Again, it’s about the pitch. If you can’t intrigue possible viewers, who have so many choices today, you’re in trouble. And the first people you need to sell with it are acquisition people.

IMDb - page 209

This is not only your website, it’s also your LinkedIn page, and a recourse to find acquisition people or reps.

Copyright - page 224

Networking - page 2

Local and national ways of hooking up with people who just might turn out to very very useful to your goals.

Directories - page 234

Where to put For Sale signs, your poster.

—— It’s a number’s game - data dumps of email addresses, etc. ——

Literary & Media Agents - page 239

I’m selling both the books and a TV series based on them. So for me, this is the nest place to begin.

Acquisition Exes - page 276

A list of people with the right kind of job titles. They come up as judges in festivals and in other industry news. And although it may sound like a waste of time, their job depend on finding great projects, so try to impress the assistants who are screening their emails.

Pitch Sessions - page 281

Stage 32.

Festivals - page 28

Most are a waste of time, but they can be crucial to a project getting picked up. This gets into the ways to find them and the political involved.

Domestic Producer Reps - page 327

Hard to find, but there are ways to do it. They can get a project into major festivals.

Connected Lawyers - page 356

The big ones have been doing contracts for years. Now they have gotten into the

Aggregators & VOD - page 391

This is normally not where the money is at, but things are changing so fast, it’s a mistake not to know what’s going on here. For extremely low budget webseries, it may be the only option.

Podcast/Audiobook Version - page 403

A list of markets that are looking for projects that have a huge fan base.

——— after distribution ———

Publicity - page 405

Press releases, etc.

Interviews & Articles - page 416

A place to put ideas for promoting a project, after it’s been picked up. Of hand, I think that this can be an important part of the pitch process. Why is this project different, why are you an emerging talent to watch, what does this project have to say about today’s world, and so on and on. Influential publications that relate to this field, which would list writers interested in interviewing you.

Ed Toolis

edwintoolis@sbcglobal.net