It also means taking the audience on an emotional journey that goes from moment-to-moment.

We tell stories across multiple platforms because no single media satisfies our curiosity and no single platform our lifestyle.

You must write experiences that combine personalization, participation, cross-platform communication and social connecting

The combination of story and experience and how
these can be combined in a multitude of ways.

it’s up to you to decide based on experience, preference and resources. At one extreme you might have an entirely fictional world, tightly controlled by the author with no audience interaction and at the other you could have an experience based around real-world places & events in which the audience is free to completely change how the story evolves and is experienced.

importance of narrative - how important is the story to the experience?

importance of co-creation - how important is it that the audience contribute to the story- experience?

importance of the real-world - how important is it that the story-experience pervades real locations, places, events and people?

importance of gaming - how important is it that the audience has a goal or must achieve or collect something?

pull out from the narrative key entities and elements that you might later use to either encourage participation, stimulate ideas around participation or simply to (justify?) prove a context

You will also have to consider the audience relationship to the client

It means focusing on something to the exclusion of all else and this can apply just as well to reading a book or looking at a painting as it can to clicking around a web page

With transmedia, one media may act as Discovery content for another. For example, the comic book serving as Discovery content for a movie or, in the example of the Xbox game Alan Wake, six webisodes act as Discovery content for the game.

If your project smells familiar then the audience can progress to a more specific, personal question: will I like it?
The teaser has convinced the audience your project is something they might like, but what can you tell them to reassure them it’s worth their additional time and (possibly) money?

In this model, tollgates are barriers between one stage and another. TG1 is tollgate 1. It’s the barrier that prevents audiences knowing that your project exists. TG1 can be breached by search engine optimization (SEO), recommendations, links and anything that puts your content on the map. But the first audience encounter should be with your Teaser content. Tollgate 2 requires a little more explanation. Think of TG2 as a wall that the audience must climb.

It’s only when the audience touches the target content that it can see it for what it is. If your Discovery content has done its job then the audience’ expectations will be met or exceeded. But if you have deceived or misled them then they’ll be disappointed.
There is nothing more you can do at this point. The target content is what it is. This is what the audience came for and it has to deliver.

Although content in the participation stage may be available before the Experience, its goal is to aid exploration – not to tease or persuade (even though audiences might use it for reassurance to lower). Having experienced the target content – either in part or in full – the audience now listens for affirmation. They ask questions to themselves and to others and seek content that answers their questions or fulfils their desire for more.

In this engagement model the ultimate audience engagement is collaboration or contribution. Not everyone in the audience will progress to this stage and some authors may think this undesirable.
Collaboration is not that same as participation. Participation might be passive (reading additional content and exploring the world) or active - voting, sharing, commenting, discussing, Tweeting and so on. Collaboration is adding to the storyworld: writing fan fiction, creating videos or illustrations. It’s providing new content that you, as author, are free to embrace or reject.

When considering mobile as platform for transmedia storytelling, it's useful to imagine it as a window into the imagination. The mobile device provides an opportunity to reinterpret the real world and make the mundane part of a storyworld and vice versa, take a virtual world and overlay it onto the real world.

The release schedule describes how often you publish content to your audience. The goal is to profitably maintain engagement between published content. A good illustration of my approach can be given by looking at the webseries as a platform.

Although audience collaboration may not be a prerequisite for a transmedia project, I think we’re at the point where the benefits of encouraging collaboration outweigh the problems. The benefits I see relate to the fact that we now work in an overcrowded, competitive and often free content marketplace. Hence, collaboration for me means an opportunity to:

As the saying goes, if it doesn’t spread, it’s dead. You need to design content that helps people tell their story... while telling your story; content that says something positive about the relationship between the giver and then receiver.
There are those who argue a video is only viral after it's been shared or if it has several hundred thousand views. And Henry Jenkins argues that "viral" is completely the wrong word to use because it fosters the wrong mindset.