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This is the author’s version of a work that was submitted/accepted for publication in the following source:
Klaebe, Helen, Hancox, Donna, & McGowan, Lee (2014) Transmedia Storytelling: From Interviewing to Multi-Platform. In 18th International Oral
History Association Conference, 9-12 July 2014, Barcelona, Spain. (Unpublished)
This file was downloaded from: http://eprints.qut.edu.au/75805/
c Copyright 2014 Please consult the authors
Notice: Changes introduced as a result of publishing processes such as
copy-editing and formatting may not be reflected in this document. For a
definitive version of this work, please refer to the published source:
Name
Professor Helen KLAEBE, Dr Donna HANCOX,
Dr Lee McGOWAN
Affiliation
Queensland University of Technology
Postal address
Creative Industries Precinct, Kelvin Grove QLD
4059 Australia
Email address
[email protected]
Phone and fax numbers
+61 400 303 013 (no fax)
Relevant sub-theme
New Ways to Share Our Dialogue with the Public
individual paper
Presented by Helen Klaebe
Bio:
Professor Helen Klaebe is Assistant Dean, Research, Commercialisation and External Relations,
Creative Industries Faculty, Queensland University of Technology, co-editor of IOHA’s Words &
Silences Journal and Vice President of IOHA. Dr. Donna Hancox is a Senior Lecturer in Creative
Writing at Queensland University of Technology. Dr. Lee McGowan is a Senior Lecturer and
Head of Studies, Postgraduate Coursework for Creative Industries Faculty School of Media,
Entertainment and Creative Arts at Queensland University of Technology.
Transmedia Storytelling: From Interviewing to Multi-Platform
Abstract (English):
There is nothing new under the sun – so the saying goes, and in a digital age of recording oral
histories, this holds true. Despite advances and innovations across the board in information and
communication technology in the field of oral history it is essentially only the devices we record
on that have changed. However, what has emerged is a plethora of ways that oral history
interviews can be used to produce multimedia, or transmedia storytelling outputs- for exhibitions
in public institutions, schools and by communities to engage interested groups, and in families and
by individuals wanting to play with new ways of telling their family stories and histories.
In 2010, QUT’s Creative Industries introduced a postgraduate unit called Transmedia Storytelling:
From Interviewing to Multi-Platform, which was the first postgraduate course of its kind in
Australia. Based in a Creative Writing discipline, but open to all coursework Masters, PhD,
Research Masters and Doctorate of Creative Industries students, this unit introduces students to
the theory and practice of semi-structured interviewing techniques, oral history conventions and
applications, and the art of storytelling across various platforms.
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The unit content was designed to provide students with an understanding of how to conduct oral
history interviews as a qualitative research method, and then employ narrative techniques to
develop interviews into stories that can be shared across multiple platforms.
The skills to
combine technology and storytelling are essential concepts for students to grasp if they are to
actively contribute as professionals within the Creative Industries.
This paper will highlight how this unit is taught and assessed, including the theory and technique
driven processes that enable students to: understand effective storytelling practices across a range
of methods; develop the ability to collaborate with other practitioners; and hone their skills within
the context of convergent transmedia storytelling practice.
Abstract (Spanish):
No hay nada bajo el sol- como dice el dicho, y en la etapa digital de la historia oral esto
es verdad. A pesar de los avances e innovaciones en todas partes de la tecnología
comunicativa y de la informática en el campo de la historia oral, son solamente aparatos que
usamos para recordar que la historia ha cambiado. Sin embargo, que ha aparecido es una
plétora de maneras en que las entrevistas de la historia oral pueden ser utilizadas para
producir resultados de la historia que son multimedia, o transmedia - para exposiciones en
instituciones públicas, colegios y comunidades para atraer a grupos interesados, a familias o
a individuales que quieren adaptar nuevas maneras de contar los cuentos y la historia de sus
familias.
En 2010, el departamento de Creative Industries de QUT introdujo una unidad de posgrado
que se llama Transmedia Storytelling: From Interviewing to Multi-Platform (Narración
Transmedia: De la entrevista hasta la multi-plataforma), fue el primer curso de su modalidad
en Australia. Está basado en la disciplina de la escritura creativa, pero abierto a los
estudiantes de todos los Coursework Masters, PhD, Research Masters y Doctorate of Creative
Industries, esta unidad introduce a los estudiantes a la teoría y a la práctica de las técnicas de
entrevista de una manera semi-structured, las convenciones y aplicaciones de la historia oral,
y el arte de la narración a través de varias plataformas.
El contenido de la unidad fue diseñado para dar a los estudiantes una comprensión de como
hacer entrevistas de la historia oral como un método de investigación cualitativo, y luego
emplear técnicas narrativas para producir historias de las entrevistas que pueden ser
compartidas a través de muchas plataformas. La habilidad de combinar la tecnología y la
narración es un concepto esencial para que los estudiantes entiendan si van a contribuir de
una manera activa como profesionales en las Industrias Creativas (Creative Industries).
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Este publicación, subrayará como esta unidad es enseñada y evaluada, incluyendo los
procesos conducidos por las teorías y técnicas que hacen que los estudiantes puedan:entender
los prácticos efectivos de la narración a través de muchos métodos, desarrollar la habilidad de
colaborar con otros practicantes y mejorar sus habilidades en el contexto de la
narración transmedia.
Introduction:
In 2010, QUT’s Creative Industries introduced a postgraduate unit called Transmedia Storytelling:
From Interviewing to Multi-Platform, which was the first postgraduate course of its kind in
Australia. Based in a Creative Writing discipline, but open to all coursework Masters, PhD,
Research Masters and Doctorate of Creative Industries students, this unit introduces students to
the theory and practice of semi-structured interviewing techniques, oral history conventions and
applications, and the art of storytelling across various platforms.
The unit was designed and taught by Dr Donna Hancox and me originally, with Dr Lee McGowan
joining us in 2013. We developed the course structure and content specifically to step students
through the process of creating a transmedia story that originated from a semi-structured
interview.
This draws on the collaborative, flexible and innovative nature of the Creative
Industries, something we wanted the unit to reflect. It was key that we equip students with skills to
work and flourish in such a dynamic environment.
Students are offered opportunities to develop the necessarily generic, yet fundamental research
skills, they can then apply to their chosen discipline. This discipline-driven focus informs the
students’ work and studies outside of the course. For instance, in our Masters of Creative
Industries we have a mix of animation, interactive and visual design, music and sound, creative
writing, professional writing, journalism, creative advertising, creative production and arts
management students who may take the class, as well as Higher Degree Research students. The
students are challenged to find a way to ‘tell a story’ based on the interview they conduct, and
then lead through the crafting of a narrative that is wholly relevant to their field and chosen
discipline. For example, students who work in the not-for-profit sector have created a narrative
strategy to address a particular issue that arose from the interview with their classmate; students
from marketing and advertising have designed a marketing campaign across a range of media
based on the interview and an industrial design student who developed the narrative underpinning
the sustainable design of his furniture project.
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This scholarly and pragmatic approach sees theory and technique driven processes work in
alignment to enable students to: understand effective storytelling practices across a range of
methods; develop the ability to collaborate with other practitioners; and hone their skills within
the context of convergent transmedia storytelling practices.
Weekly two-hour workshops are conducted throughout the semester. The initial emphasis is on
the theory of interviewing and interviewing techniques, the second part focuses on theories and
exemplars of convergence and transmedia storytelling and the third sees the students focus on
developing the narrative of their earlier work in interviewing and gathering an oral history. This
part of the course includes the class pitching ideas about their can application of these theories and
practices within their respective disciplines and professions. The students are able to propose
ambitious project plans regardless of their individual level of practical experience. In other words,
students may come into the class with zero knowledge, through to basic or advanced practical
skills. Our expectation is that each student will be challenged beyond their intellectual comfort
zone, and gain confidence enough to try new software applications and practices in storytelling.
Learning the theory, along with the practice:
In weeks one and two the focus is to give an overview of oral history interviewing- the history,
theory and processes. Material covered in these classes include: definitions on what oral history is,
ideas on finding a suitable project; ethics, copyright and permissions relating to interviewing
participants; logistics on organising interviews- how the massive amount of digital data needs to
be stored and organised; and what equipment is ideal, such as microphone and digital recorders.
We emphasise the theory, as well as the practical application because we believe that it is at the
intersection of the knowing and the doing that students benefit most. An overview of the history,
theory and features of transmedia are also introduced at this time, so that students can start to
imagine what they may want to do with their recordings- what will their interview material be
transformed into. Students are asked to investigate existing transmedia projects in their area of
practice, such as multimedia books, interactive films, online marketing and games, to begin
planning how they might best make use of transmedia storytelling.
Interviewing technique principles are introduced next, as are notions of memory and the retelling
of memories. Students work in pairs from week one, researching a component of their partner’s
history and determining which component of their life they will interview each other about.
Students workshop how interviewing and oral history can contribute to their own practice and
whether they are already using these tools, and also the ways in which stories can be used as
research.
During this process students learn first-hand the ‘uncomfortableness’ of being interviewed. As
they see their own story recorded and edited (and even manipulated) to create a new story product,
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they can be torn between the enthusiasm for producing an engaging cultural ‘product’ and the
anxiety about ‘their story’ becoming public domain. This encourages them to consider the ethical
implications of telling other people’s stories and introduces them to concepts of ownership and
authorship that are increasingly important in the digital space. The process can at times be quite
confronting and students are encouraged to discuss their apprehension or enthusiasm – both sides
are equally explored and challenged.
Putting the practice into practice:
Students are expected to work autonomously between classes- conducting research, listening to
interviews, and using the reading list as a starting point to look for good examples of the use of
oral history interviews in personal disciplines.
In week four, the first 25% assignment is
undertaken in class, where each student conducts a semi-structured oral history interview with a
fellow student based around a topic, which is agreed upon in the workshops prior to the
examination. The interview is examined based on their addressing of four criteria:

Theory
Demonstration of relevant theoretical concepts that underpin successful
interviewing, and application of these concepts to the interview, interviewee, and
the topic

Structure and Organisation
Evidence of a systematic and logical structure, including use of transitions.
Relevance of structure in particular topic/issue. Good use of lead to create clear
purpose and direction.

Communicator Style
Rapport between interviewer and interviewee; vocal style and range of
technique; quality of introduction and conclusion; facility with language in
clearly framing ideas and issues; and use of equipment to create a professional,
accessible audio interview.

Quality of the questions
Evidence of research in the question design; style and range of questioning for
achieving stated goals; use of probes and follow-up questions to expand and
clarify issues, comments, ideas; evidence of interactive listening; sensitivity to
interviewee and/or issues; and the ability to handle difficult/confronting
questions
Students have been given a lot of resources and opportunities to practice to this point, but most do
not do as well in this assignment as they expect, as they often don’t incorporate the theory into the
practice. They naively see the task as a simple interview and an easy 25%, but often comment in
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the debriefing as a group the following week, that is was harder than they thought, and even
though many had practiced, getting the equipment and interview process lined up as they had
hoped was very challenging.
Rethinking how the theory and practice work together:
As the students are beginning to put together their project plan they have a series of workshops
from industry experts on how stories can be taken from ‘real life’ and transformed into a nonfiction or a fictional piece of transmedia, for instance in the following fields: film and television
writing; gaming; advertising; museums and galleries; and journalism/creative writing/online
publishing. At the same time, the students start to experiment with their interview and start to
consider specific aspects of their proposed projects: what some of the conventions and tropes of
storytelling in their own discipline are; which platforms do they think would be best for their story
and why; how the overarching narrative of the story acts as a framework for the various platforms
they are using; and what audience considerations do they need to make in their own practice. In
the final assessment (worth 50%) students need to present a project plan adapting an original story
(based on the interview from Assessment 1) to be developed across three different media
platforms or using three different types of media on one online platform. They must also provide
an example of the story from one platform. Story adaption is not simple and so the students are
challenged by how they might proceed. No student seems to end up with a story project that they
start off thinking they will do.
In the meantime, while these ideas and practices are being ‘mulled over, tested, and developed,
assignment 2 – the 3,000 word essay – is due in week 7. Students are asked to write an essay in
relation to OH or transmedia theory. The question choice is open, but examples are given to help
guide the student. For instance, possible essay questions/topics regarding oral history include:

Look at a number of projects from the Creative Industries where OH is used. Explore one
or two case studies to discuss the strengths and weaknesses of the approach used in
encompassing OH.

Examine one of the theories related to OH interviewing, such as the reliability of
memory, or the importance of ‘truth’ for instance.

Examine the power relationship between the interviewer and the interviewee and whether
you think it is important to consider this when conducting an OH project, and why?

Who do you think owns ‘the story’ in an OH interview? Consider copyright and the moral
rights of all the stakeholders involved in the OH interview process. How would you
mitigate the risks for all interested parties?
Once the essay is submitted the students really seem to understand the importance/integrity of
story and one’s ownership of their story – as if the ‘playing’ with a fellow student’s
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story/interview has consequences and questions that need to be addressed when the person you are
writing about is going to see your final work first hand and in a public setting. Towards the end of
semester, in weeks 10 and 11, students learn how to critique each other’s work – a practice widely
engaged in creative writing discipline, but often a new concept to other disciplines. again this can
be quite confronting for students, but by week 12 when students undertake their oral presentations,
they seem to embrace feedback and be eager to incorporate some to the group’s comments into
their final creative work, which is submitted in week 13.
Conclusion:
This unit places a great deal of importance of praxis, as we believe that for students to be
successful in the creative industries they need to understand the theory behind a range of skills and
concepts before they put them into practice. It is through this integration of theory and practice,
without privileging one over the other, we aim to produce thoughtful and dynamic graduates who
can build sustainable careers. The inclusion of oral history into a unit of transmedia storytelling is
integral to this unit, and allows students to think about storytelling beyond the ‘how’ to also
consider why the story is important, which infuses their project with a purpose; and think about
the people behind the story which leads them to also consider the audience. We believe that this
approach give students a unique perspective on transmedia storytelling.
Reading list resources
Bagnoli, Anna. 2009. "Beyond the standard interview: The use of graphic elicitation and artsbased methods." Qualitative research 9 (5): 547-570. Accessed 2014/04/29/06:53:28.
http://qrj.sagepub.com/content/9/5/547.short.
Bolin, Göran. 2007. "Media Technologies, Transmedia Storytelling and Commodification." In
Ambivalence Towards Convergence: Digitization and Media Change, edited by Tanja
Storsul and Dagny Stuedahl, 237-248. Göteborg: Nordicom. Accessed April 29, 2014.
http://sh.diva-portal.org/smash/record.jsf?pid=diva2:356436.
Campbell, Andy and Kate Pullinger. 2012. "A Digital Fiction Thriller." Accessed April 29, 2014.
http://duel-blog.com.915soon2b.co.uk/?p=1.
Charlton, Thomas L., Lois E. Myers and Rebecca Sharpless. 2006. Handbook of oral history:
Altamira Press.
http://qut.summon.serialssolutions.com/search?s.q=%22Oral+history+interviews%
3A+from+inception+to+closure%22.
Crawford, Brian. 2014. OHAA - How to use the Zoom H4N audio recorder (broadcast February
23, 2014). http://vimeo.com/87432045
Dena, Christy. 2013. "Emotion and the Self in Games." Accessed April 29, 2014.
http://cordite.org.au/essays/emotion-and-the-self-in-games/.
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Jenkins, Henry. 2003a. "Transmedia Storytelling." Accessed April 29, 2014.
http://www.technologyreview.com/news/401760/transmedia-storytelling/.
Jenkins, Henry. 2003b. "Transmedia Storytelling: Moving characters from books to films to video
games can make them stronger and more compelling." Accessed April 29, 2014.
http://www.technologyreview.com/news/401760/transmedia-storytelling/ .
Jenkins, Henry. 2009. "The Revenge of the Origami Unicorn: Seven Principles of Transmedia
Storytelling." Accessed April 29, 2014.
http://henryjenkins.org/2009/12/the_revenge_of_the_origami_uni.html.
Jenkins, Henry and Nico Carpentier. 2013. "Theorizing participatory intensities A conversation
about participation and politics." Convergence: The International Journal of Research
into New Media Technologies 19 (3): 265-286. Accessed 2014/04/30/05:18:49.
http://con.sagepub.com/content/19/3/265.short.
Jenkins, Henry, Sam Ford and Joshua Green. 2013. Spreadable media: Creating value and
meaning in a networked culture. New York: NYU Press.
Klaebe, Helen G. 2007. "Sharing Stories with each other: Collecting oral histories of our
community." Creative Work. Accessed April 29, 2014. http://eprints.qut.edu.au/14068/ .
Mod, Craig. 2012. "Subcompact Publishing." Accessed April 29, 2014
http://craigmod.com/journal/subcompact_publishing/.
Morrissey, Charles T. 2006. "Oral History Interviews: From Inception to Closure." In Handbook
of oral history, edited by Thomas L. Charlton, Lois E. Myers and Rebecca Sharpless.
New York: Altamira Press.
Pachter, Marc. 2008. The art of the interview (broadcast 2008/01//).
http://www.ted.com/talks/marc_pachter_the_art_of_the_interview
Perks, Robert and Alistair Thomson. 1998. The oral history reader: Psychology Press.
http://qut.summon.serialssolutions.com/search?s.q=%22What+makes+oral+history+differ
ent%22.
Phillips, Andrea. 2012. A creator's guide to transmedia storytelling: how to Captivate and Engage
Audiences Across Multiple Platforms. London: McGraw Hill Professional.
Portelli, Alessandro. 2006. "What Makes Oral History Different?" In The oral history reader,
edited by Robert Perks and Alistair Thomson, 32-43. London: Routledge.
Pratten, Robert. 2010. "Transmedia: 5-Steps to Selecting the Right Platforms « Culture Hacker."
Accessed April 29, 2014.
http://workbookproject.com/culturehacker/2010/05/17/transmedia-selecting-the-rightplatforms/.
Pullinger, Kate. 2011a. "Comment: Educators need to utilise the explosion in digital writing." The
Guardian. 2011/01/11/T11:01EST. Accessed April 29, 2014.
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http://www.theguardian.com/classroom-innovation-bett/why-educators-need-to-utilisedigital- writing.
Pullinger, Kate. 2011b. "Intimate Alice." Accessed April 29, 2014.
http://inanimatealice.com/index.html.
Pullinger, Kate. 2012. "Frankenstein by Dave Morris – review." The Guardian.
2012/05/17/T18:00EST. Accessed April 29, 2014.
http://www.theguardian.com/books/2012/may/17/frankenstein-dave-morris-app-review.
Robertson, Beth M. and John Gasper. 1995. Oral history handbook: Oral History Association of
Australia (SA Branch).
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