Is there such a word as ‘backblog’? If there is I have a serious case of it. If there isn’t such a word, I claim it as my own.
This photo courtesy: kodomut via Flickr cc licence
Last post I started to unpack the many discussions that took place at BookCamp during the Melbourne Writers Festival. I was eager to attend BookCamp to hear Kate Pullinger talk about her journey as an author with digital (in particular, transmedia) fiction. I was not disappointed!
The topic under discussion for the session she led was:
Why do we read? What do the new technologies offer to stories?
We first tackled the question of why we read fiction.
- to escape, to relax, for enjoyment
- to discover (empathy, other ways of thinking)
- to inform
Included in this was discussion on what we want as a reader from the experience.
- good writing
- a good story
- experience of being taken away – a connection to the writing
We then turned to the big question. What does that mean in terms of digital transformation? We identified books as a form of content management/delivery. Their advantage is one of minimal technology – no computer, no electricity, no downloading etc.. One still has to learn how to use them.
What happens when you take the content beyond the book? How do you retain that ideal reading experience?
Kate gave us a walk-through of a chapter of her transmedia fiction, “Inanimate Alice“. She spoke of how the work took on a life of its own (unanticipated) in terms of pedagogy/education. Schools were using it as a gateway into digital literacy and multimedia. Fanfiction popped up then started flooding in. We watched an example of some authored by year 5’s at a local school. Kate spoke of some of the decisions she made while writing IA that addressed the ‘why we read’ issues.
- the story is told in first person narrative – for engagement purposes
- no representation of faces in the illustration side of the work – they trialled that and the reader response was not as good. Readers wanted to imagine Alice for themselves.
We moved to discussing the evolution of story-telling. Stories in the 19th Century depended heavily on detail. Kate had a quote (must find out whose!) about literature from that time containing “a continual rain of detail’. With the advent of cinema there was a move toward economy of detail and a stronger emphasis on action/plot. Digital fiction removes the detail further by supplying the visual in a fashion not disimilar to picture books. Text and visual still need to work together. Visual literacy is necessary to understand the story.
We went on to explore the relationship between interactive/digital fiction and gaming. What gaming can bring to story-telling is the notion of play. Kate’s research found there is a divide between those who want to be told/given a story and those who want to have control and make choices over the story. Kate spoke of how they(creative team) worked hard on the design of Inanimate Alice so movem nt into more interactivity occurred pleasantly and inobrusively. They were aware of the importance of enhancement but not at the expense of the story.
The dicussion turned to the question of whether some genres or types of stories leant themselves to digitial/interactive story-telling better than others. The biggest barrier at this point it was agreed was the screen experience. As screen technology improves more people will be willing to experience stories from them.