Sunday, 16 February 2014

The new "Chaplin" era

The old "nobody knows anything" attitude about the web is giving way to increasing recognition that emotional, compelling content and storytelling is proving to be decisive in drawing audiences online.

The story “structures” will be different (as television is from radio, as cinema is from print, print is from online) but structures will be found.

We are still in the “Charlie Chaplin era” of a new medium, but the Chaplin figures are out there trying to understand and write the rules right now.

Some early patterns show promise in attracting and engaging audiences online.

Successful online content producers:

Think a lot about the user experience and design content and platforms based on that.

Actively engage with their audiences and build infrastructures for that to happen.

Change program elements quickly in response to selected audience comments.

Budget more on distribution and promoting content, less on production values.

Have a solid understanding of how search drives audience to content.

Are moving away from online display ads and more toward paid subscriptions.

Seek creative partnerships with corporations and funders, not just “sponsors.”

While TV is as big as it ever was, more people are watching it the way they want to, on their computers and small screens.

The challenge for content creators and those who fund them is to identify the patterns and rules that work best to express content in the new online medium, especially for smaller screens as PCs begin to fade from the scene.

How to build an audience online

Demoralized online content creators who see "The Toilet Flushing Cat" racking up millions of hits and getting more every day should take heart... remember it's just one video.

Successfully getting audiences to consistently engage with your content online is no accident, and there are specific things you can do to build an audience online, including: 

"Easy entry" is essential. There should be no context necessary for the viewer to engage with your content. Each of your videos should be able to stand on its own: easily understandable and immediately compelling.

Minimize branding and opening credits. Get right to the action.

Short chapters engage audiences.

"Topical" works. This is especially good news for news people and news organizations. Consider what people are searching for every day. What's happening right now, what's relevant, what's new, unusual and breaking stereotypes are what people are constantly looking for and sharing online. 

Cross promotion builds audience share. Give your target audiences as many opportunities as possible to find and share your content. Have a presence and playlist on as many video platforms as possible, including YouTube, DailyMotion and Vimeo. Create a dedicted Facebook page, Twitter feed and Instagram site specifially about your content. When you have created something new, update each site with your new content simultaneously.

Seek subscribers. People are 20% more likely to view new content if they subscribe to it. Alert your subsciber base each time you add new content to your site.
  
Optimize for search. Use lots of tags and metadata. Invest time and energy into thumbnails, keywords and especially provacative, intuitively searchable titles and headlines. Make it easy for the audience to find you.

Use analytics to show who was watching and for how long; identify patterns; why are some of your videos rising ("trending") or falling off in your ratings?

What makes a YouTube star?

A YouTube star is not a celebrity but “a friend” to the audience.
  
An “authentic” personality who speaks about ordinary human experience.

Uses low production values...
 
Is intensely focused on distribution... 

Has a subscriber base..
 
...and actively cross-promotes content on multiple social platforms.
 
For example...

Jenna Marbles is a self-described “blogger and entertainer” who has uploaded about 200 of her homemade videos since 2010. According to the New York Times she is one of the few content creators to reach more than one billion hits on YouTube and twelve million subscribers.

She is not a celebrity (well, she is now) and she writes and shoots most of her videos herself in her apartment using her laptop; very low production values. 

But: she is talented and funny (and uses a lot of profanity); she is “a friend” to the audience, an authentic personality who speaks about ordinary human experiences in a very amusing way; her weekly topics include: "Interrupting Adele" (10 million views); Drunk Makeup Tutorial" (17 million); "What Girls Do in the Bathroom in the Morning" (25 million); "What Girls Do in Cars" (32 million).

She actively cross-promotes her weekly content, promoting it on multiple social platforms including Facebook, Twitter and Instagram, and gets around 1 million views a day. 

As of 2013 (estimated by Comscore) YouTube has paid Jenna Marbles about $350,000 dollars for her videos.

Why the new golden age of TV is not on TV


People who say they never watch TV, especially young people, are actually huge consumers of TV programs, but they watch on computers, tablets and smartphones, getting the TV experience the way they want it.

The web medium is new, and it's a completely different experience for the user, as unique as television is from radio, as cinema is from print.

Just like "traditional" media, online content has its own rules for engaging audiences... and they are still being discovered, especially about the behavior of online audiences.

It turns out audiences are very particular about what they will watch online.

Online audiences...

...will engage only with intuitively usable platforms and content. Will not engage with platforms that don’t give them the experience they want.

...want content that is emotional, personality driven and “authentic” ( not “polished” like broadcast.)

...will share content if it reaches them emotionally.

...want their input to be a) heard and b) integrated into their favorite shows online.

...are fiercely passionate – true fans who are very loyal and knowledgeable about “their” content online.

The bottom line for online content creators? Keep in mind your audience fully expects a specific experience online - content that is easy to find, to view and interact with, to comment on and to share.

Thursday, 25 October 2012

"Chaos Storytelling"

During a recent project for factual television producers, one of the participants asked if there was any way to "break out" of the same old beginning / middle / end - character/conflict/resolution story structure that has held away for producers and their audiences since Aristotle first articulated it all those years ago.  He wanted to know if there is something he called "chaos storytelling" - a way to tell stories for television which don't always have the rigid character/conflict structure and a neat and complete ending.

For me, the best place to start thinking more about the idea of "chaos storytelling" (as opposed to "structured" storytelling) would be to read Erich Auerbach's famous essay "Odysseus' Scar" from his book "Memesis: the representation of reality in Western Literature." Auerbach explains the origins of Aristotle's idea, and how, back then, he had a rival who was equally influential, with exactly the opposite approach to storytelling.

Ovid's "Metamorphosis" is a good example of how memorable stories can be told without any kind of definitive ending or structure. In Ovid's approach, stories are about "continuous transformation" - from the grotesque to the beautiful to the shocking to the reassuring, etc. etc. etc. There's no end to it, and that's what the Metamorphosis was all about. Ovid's "message" is there is no clear "resolution" to stories (and in life)... we just keep changing.

The ancient Indian epic "The Mahabharata" follows a similar pattern to Ovid; there are few clear winners and losers in its incredible collection of stories. And deeply connected to the Mahabharata are the fantastic Indonesian shadow puppet plays known as the "Wayang." The art of storytelling in the Wayang is fascinating (everything is told in shadow and seen through smoke, which represents desire and human failings); it is very deep and has profound things to say about human stories. Again, like Ovid and the great Indian epics, the Wayang has no clear winners, losers or final resolutions.

My colleague's question made me think - could "chaos" and Ovid's ideas about impermanence and change be the key to storytelling for a completely new medium that is all about continuous transformation... the web?

Wednesday, 18 July 2012

Telling your science story on film and video



I do a lot of work with scientists and researchers, and many of them want to know how to make a short film about their research for their presentations, the websites of their institutions and research centers and for online platforms.

My message to scientists is: telling the story of your research in a short film or video is possible. It’s a LOT of work and it takes a lot of time. But it is a fun process, and helps you think differently about your work (which is good). Your audience will respond.

First, answer the most basic question of all: who is your film “for?” Your film is for an audience. That means, you have to express your ideas about your research in a way that your audience understands. That's an easy concept to understand but much more difficult to execute properly.

For example, audiences within your scientific discipline might have one expectation for your film. People in science, but outside the discipline might have another expectation. And the general public has another expectation altogether. So it's tricky. It is essential that you keep your target audience in mind when you think about how you want to tell your story film or video.

The two key structures we use to explain scientific research in the medium of film or television are:
  • Processes
  • Character driven stories

A "process" is simply describing step-by-step, in a logical way, to your audience how a certain result was reached. Obviously because that matches your work process, it's an ideal structure for expressing scientific research on video. But what's essential is the process is explained clearly and understandably for your audience. "Processes" in films about science are quite common and usually quite effective.

Process: animation

The most basic approaches involve simple computer animation. Some creative scientists have taken animation a step further, to tell a short story about their research:


Process: live action

The next level of telling your science story using a process involves live-action and “real people.” It's a step above simple animation, but the principle of showing a process is still very clear. Here is an example of a process using live action. This one uses a very technical, step-by-step approach. Videos like this are quite common in science today:



Process: visual metaphors

The next step up in making your process more interesting for audiences is using a “visual metaphor” to explain your process. What's most important is that the metaphor is a simple one, easy for your audience to understand. That also makes it easier to visualize (shoot.)





Character-driven stories

Now the next level up from "process” stories are what are called "character-driven stories." A character-driven story is the "gold standard" for storytelling in film and television, because audiences respond extremely well, if they are done well. But there’s a big drawback: process stories are easy, character driven stories are very, very hard to do well.

The topic has to be strong enough to support a character driven structure with enough built-in, ever worsening conflicts to keep the audience with you, and the character, and what is happening to them, has to be strongly compelling for the audience.

That's a tall order and obviously means not every scientific or research theme is suitable for a character-driven story. But when everything comes together there are few structures more powerful for audiences:


If you want to do a character-driven film about your research, here are the key points to consider when it comes to structuring and planning your idea:
  • Who is affected (your “character”)?
  • The stakes have to be the highest possible for the character (the loss of life, by the way, is the highest)
  • You don't tell what happens, until the end

“Sense of wonder”

This is quite possibly why a lot of researchers got into science in the first place. It is the "sense of wonder" about scientific research, and the challenge of visualizing that on film.

This is perhaps the most famous example of inspiring a “sense of wonder” about science in audiences.


Millions of people have seen “Powers of 10” since it was made in the 1960s. It is directly responsible for inspiring tens of thousands of young people around the world to pursue a career in science. That's not a bad goal for your own film about your research!

Sunday, 19 February 2012

The coming of "iPadTV"

Finding ways to express content and turn the iPad (ok, no free plugs) "tablets and smart phones" into something closer to a television experience (that also combines the unique characteristics of mobile platforms) is accelerating:

A start up in San Francisco called Remixation has introduced a "TV Guide" for mobile platforms, an app called "Showyou" which shows thumbnails of all the videos currently playing on YouTube, Vimeo, etc that friends are sharing on social networks:

In the first major study of its kind, Nielsen, which tracks media use, found in 2011 young American television viewers are more or less watching the same television shows their parents do, but more and more young people are watching on smart phones and tablets, not on TV. 

And for the first time, in 2012 the Super Bowl was broadcast online - it scored 2.1 million unique views, compared to 111 million on television. NBC claims the game was "the single most-watched sports event ever online." 

I wonder how many people watched it on their iPad, um, I mean tablet?