Storytelling for New Technologies and Platforms A Writer’s Guide to Theme Parks, Virtual Reality, Board Games, Virtual Assistants, and More

Want to know what it’s like to write for a theme park attraction? Or an interactive toy? Or a virtual reality game? Wait – those tell stories? And there are jobs for peoplewho write them? Thanks to technology, interactive products and live experiences can now engage us with memorable characters and exciting adventures that were once destined only for the cinema. Storytelling for New Technologies and Platforms: A Writer’s Guide to Theme Parks, Virtual Reality, Board Games, Virtual Assistants, and Moreis a handbook for writers, students, producers, teachers, scholars, career changers, early tech adopters, and just about anyone who loves story and technology. As a collection of articles from some of the best creative writers in their medium, this book will prepare content creators of tomorrow to tackle some of today's most exhilarating creative challenges found on a screen ... or off! Key Features: Expert advice from several industry professionals who have worked for some of the world’s biggest tech and interactive companies. Best practices that not onlyguide writers on how to apply their craft to new fields, but also prepare them for the common ambiguity they will find in corporate and start-up environments. Breakdown of platforms that shows how tech capabilities can fulfill content expectations and how content can fulfill tech expectations. Basic storytelling mechanics customized to today’s popular technologies, live experiences,and traditional game platforms.

Preface: Why this BookWhy These Contributors Were ChosenWho This Book Is Meant ForFriendly DisclaimerTerminologyAcknowledgementsEditorContributors How This Book Is OrganizedLocation: Shared vs. ExclusiveSocial Nature: Social vs. AutonomousExclusive + AutonomousExclusive + InterdependentShared + AutonomousShared + InterdependentStorytelling FactorA Final Note 1: “Virtual Assistants and Storytelling” by Flint Dille and Zane DilleIntroductionThe PlatformPropulsion LoopsWhat’s Coming NextVirtual VirgilClosing 2: “Writing for Toys – Actually a Job” by Rob AutenHow Toys Tell StoriesPlay is PersonalQuick QualificationsKnowing the AudienceSecond FiddlerProviding ValueInstructing EfficientlyEvery Player MattersExtending the ExperienceLeaving Room 3: “Approaching Virtual Reality Storytelling” by Sarah BeaulieuIdentify the Narrative MeansImmersion Has Its LimitsUsers Are the Core of Any VR ExperienceA Ghost StoryKnow the Limits of Your GenreEnvironment as a Narrative PillarLocomotion in VRDriving the User’s GazeThe Question of Interface and TransitionsDirect Environment and Collective ExperienceExtend Your Writer’s SkillsReferences 4: “Building Narrative in Mobile Games” by Bay AnapolCreating an Immersive WorldTeaming UpProblems & SolutionsIt’s a Small World, After AllFuture ThinkingGetting the JobMost importantly, be flexible. Be understanding. Never stop learning.Ship it!References 5: “Storytelling and Board Games” by Maurice SucklingStory-making GamesTailored Storytelling GamesSystemic Storytelling GamesOther Games with Narrative ElementsSystemic/Story-making HybridsSystemic/Story-making/Tailored HybridsSystemic/Other/Tailored HybridsFurther Discussion and Guidance for WritersConclusionReferences 6: “Storytelling in Hybrid Games” by James LaksOverviewMechanics and SystemsGame #1Game #2Game #3DiscussionConclusion 7: “The Shape of Story” by Matt ParkerThere’s a Job for That?The Design ProcessWorking with StakeholdersStory DevelopmentThe Attraction ExperienceThe ApproachThe QueueThe Preshow ExperienceThe Ride ExperienceThe Post-Show and Gift ShopThe Future of Themed EntertainmentAgency & ImmersionParting ThoughtsYour Big Break 8: “Red Flags” by Ross BergerRed Flag #1: One Size Fits All (Not Really)Cognitive LoadPhysical Limits of TechnologyRed Flag #2: Ignoring Consumer ExpectationsRed Flag #3: Focusing on the Holes in the Roof When the House is on FireRed Flag #4: Cashing in the Chips Too LateRed Flag #5: No VisionRed Flag #6: Feeding the Beast PoorlyRed Flag #7: Chemistry Fit … or Lack ThereofOn That Note …

Ross Berger is a writer, narrative designer, and transmedia strategist based in Los Angeles. He is the author of Dramatic Storytelling & Narrative Design: A Writer’s Guide to Video Games & Transmedia (CRC Press, 2020), a "how to" for fledgling game writers and screenwriters. His screenwriting credits include: Law & Order and the Webby-Award winning LonelyGirl15. He also served as the supervising producer for the social media/television experience The Runner. Ross has also worked extensively in virtual reality as a writer for the Oculus Rift launch title Farlands and the award-winning thriller Eclipse: Edge of Light for the Google Daydream and Oculus Go. As a narrative designer in the video game industry, he has written AAA games for Microsoft, Electronic Arts, and many others. Ross is also the author of short stories including "Football with Leatherman" (2020) and "Evie A.I." (2021), both published by TulipTree Publishing in its Stories That Need to Be Told anthologies. A graduate of Brandeis (BA, Philosophy) and Columbia (MFA, Playwriting)universities, Ross is a member of the Writers Guild of America and the Television Academy.