Skip to main content

‘You Never Know Who is in Control’: German Transmedia Content Development

  • Chapter
  • First Online:
The Palgrave Handbook of Script Development

Abstract

In this era of media convergence, transmedia storytelling has emerged as a distinct new form of narrative activity taking place across multiple interconnected media platforms. The new interconnectedness of multiple media platforms through a narrative whole, so-called connected narration, affects the way in which transmedia projects are being produced, which in turn affects the process of script and project development. Collaborative writing across different industries is called for in the production of any transmedia world. Research on transmedia storytelling and world-building has thus far neglected the German market; equally, the script and content development process has received hardly any sustained analytical attention. This chapter sheds light on German transmedia content development process. It examines the complex relationship between the creative process and the finished product of a transmedia series by following an interdisciplinary approach, based on poetics, combining the qualitative analysis of the German transmedia project Netwars/out of CTRL (2014–) with interviews with German creators of transmedia series.

This is a preview of subscription content, log in via an institution to check access.

Access this chapter

Subscribe and save

Springer+ Basic
$34.99 /Month
  • Get 10 units per month
  • Download Article/Chapter or eBook
  • 1 Unit = 1 Article or 1 Chapter
  • Cancel anytime
Subscribe now

Buy Now

Chapter
USD 29.95
Price excludes VAT (USA)
  • Available as PDF
  • Read on any device
  • Instant download
  • Own it forever
eBook
USD 189.00
Price excludes VAT (USA)
  • Available as EPUB and PDF
  • Read on any device
  • Instant download
  • Own it forever
Softcover Book
USD 249.99
Price excludes VAT (USA)
  • Compact, lightweight edition
  • Dispatched in 3 to 5 business days
  • Free shipping worldwide - see info
Hardcover Book
USD 249.99
Price excludes VAT (USA)
  • Durable hardcover edition
  • Dispatched in 3 to 5 business days
  • Free shipping worldwide - see info

Tax calculation will be finalised at checkout

Purchases are for personal use only

Institutional subscriptions

Similar content being viewed by others

Notes

  1. 1.

    Ryan (2013, n.p.) also knows two distinct forms of transmedia storyworlds: snowball effect projects generate a variety of prequels, fan fiction, and transmedial adaptations on account of the popularity of their core text, while a systems project is ‘conceived from the very beginning as a project that develops over many different media platforms. Storyworlds become commercial franchises, and the purpose of the developers is to get the public to consume as many different media as possible’. Weaver’s (2013, p. 8) two approaches to transmedia storytelling are called native and additive: ‘you either create a story that can only be told across multiple platforms or you take a story from one medium and add other media to it to deepen the world created in the focus medium’.

  2. 2.

    Round table conversations are not comparable to a writer’s room with a strict hierarchy and rules, rather they are more informal discussions and exchange in order to update each other.

References

  • About:Kate. (2013). Transmedia, Ulmen Television.

    Google Scholar 

  • Alpha 0.7—Der Feind in dir [Alpha 0.7—The Enemy Within You]. (2010). Transmedia, Zeitsprung Entertainment.

    Google Scholar 

  • AMOS. Transmedia designer of Zeit der Helden.

    Google Scholar 

  • Arte. (2014). Crossmedia, Transmedia oder Hypermedia? Hauptsache die Mauern zwischen Film, Kunst und Internet durchbrechen. Arte. http://creative.arte.tv/de/folge/crossmedia-transmedia-oder-hypermedia-hauptsache-die-mauern-zwischen-film-kunst-und-internet. Accessed 30 December 2017.

  • Bernardo, N. (2014). Transmedia 2.0. how to create an entertainment brand using a transmedial approach to storytelling. Beactive Books.

    Google Scholar 

  • Bennett, J., & Medrado, A. (2013). The business of multi-platform public service: Online and at a profit. Media International Australia Incorporating Culture and Policy, 146(103), 113.

    Google Scholar 

  • Brettmeister, S. Game designer of Wer rettet Dina Foxx?

    Google Scholar 

  • Büttner, S. Head author and producer of Alpha 0.7.

    Google Scholar 

  • Clarke, M. J. (2013). Transmedia Television. New Trends in Network Serial Production. Bloomsbury.

    Google Scholar 

  • Costa-Zahn, K. Producer of Dina Foxx—Tödlicher Kontakt and Wer rettet Dina Foxx?

    Google Scholar 

  • Dena, C. (2009). Transmedia practice. Theorising the practice of expressing a fictional world across distinct media and environments. Ph.D. thesis, University of Sydney.

    Google Scholar 

  • Die Kulturakte [Culture Files]. (2010–2015). Transmedia, Gebrüder Beetz Filmproduktion.

    Google Scholar 

  • Dina Foxx—Tödlicher Kontakt [Dina Foxx—Deadly Contact]. (2014). Transmedia, teamWorx Produktion für Kino und Fernsehen GmbH, UFA Lab.

    Google Scholar 

  • Dowd, T., Fry, M., & Niederman, M. (2015). Storytelling across worlds: Transmedia for creatives and producers. Focal Press.

    Google Scholar 

  • Eco, U. (1997) [1962/1967]. Opera aperta. Bompiani.

    Google Scholar 

  • Evans, E. (2011). Transmedia television: Audiences, new media, and daily life. Routledge.

    Book  Google Scholar 

  • Evans, E. (2020). Understanding engagement in transmedia culture. Routledge.

    Google Scholar 

  • Grob, N. (2007). Autorenfilm. In T. Koebner (Ed.), Reclams Sachlexikon des Films (2nd ed., pp. 49–53). Reclam.

    Google Scholar 

  • Grotenhoff, M. Producer of Netwars.

    Google Scholar 

  • Heise, V. Creator and producer of Zeit der Helden.

    Google Scholar 

  • Herman, D. (2002). Story logic: Problems and possibilities of narrative. University of Nebraska Press.

    Google Scholar 

  • Hills, M. (2012). Sherlock’s epistemological economy and the value of ‘fan’ knowledge: How producer-fans-play the (great) game of fandom. In L. E. Stein & K. Busse (Eds.), Sherlock and transmedia fandom: Essays on the BBC series (pp. 27–40). McFarland & Company.

    Google Scholar 

  • Jenkins, H. (2006). Convergence culture. New York University Press.

    Google Scholar 

  • Jenkins, H. (2007). Transmedia storytelling 101. Confessions of an Aca-Fan. The Official Weblog of Henry Jenkins. http://henryjenkins.org/2007/03/transmedia_storytelling_101.html. Accessed 21 October 2015.

  • Jenkins, H. (2011). Transmedia 202: Further reflections. Confessions of an Aca-Fan. The Official Weblog of Henry Jenkins. http://henryjenkins.org/2011/08/defining_transmedia_further_re.html. Accessed 21 October 2015.

  • Kinder, M. (1991). Playing with power in movies, television, and video games: From Muppet Babies to Teenage Mutant Ninja Turtles. University of California Press.

    Book  Google Scholar 

  • Klastrup, L., & Tosca, S. (2004). Transmedial worlds—Rethinking cyberworld design. University of Utrecht. http://www.cs.uu.nl/docs/vakken/vw/literature/04.klastruptosca_transworlds.pdf. Accessed 05 January 2018.

  • Kolvenbach, M. Author and director of Netwars.

    Google Scholar 

  • Krauß, F. (2018a). Im Angesicht der ‘Qualitätsserie’. Produktionskulturen in der deutschen Fernsehserienindustrie. Medienindustrien. Aktuelle Perspektiven aus der deutschsprachigen Medienwissenschaft. Navigationen. Zeitschrift für Medien- und Kulturwissenschaften, 2, 47–66.

    Google Scholar 

  • Krauß, F. (2018b). Showrunner und writer’s room. Produktionspraktiken der deutschen Serienindustrie. Montage AV, 2, 95–109.

    Google Scholar 

  • Long, G. A. (2007). Transmedia storytelling: Business, aesthetics and production at the Jim Hensons Company. MSc. thesis, Massachusetts Institute of Technology.

    Google Scholar 

  • Mahne, N. (2007). Transmediale Erzähltheorie. Eine Einführung. Vandenhoeck and Ruprecht Verlag.

    Google Scholar 

  • Maj, K. M. (2015). Transmedial world-building in fictional narratives. Image Zeitschrift für interdisziplinäre Bildwissenschaft. Special Issue Media Convergence and Transmedial Worlds (Part 3), 22, 83–96.

    Google Scholar 

  • Mertikat, F. Art director and creative director of Netwars.

    Google Scholar 

  • Mikos, L. (2016). Television drama series and transmedia storytelling in an era of convergence. Northern Lights, 4, 47–64.

    Article  Google Scholar 

  • Nandzik, J. creator, author and director of About: Kate.

    Google Scholar 

  • Netwars/out of CTRL. (2014–). Transmedia, Filmtank.

    Google Scholar 

  • Pleger, R. Author and director of Die Kulturakte.

    Google Scholar 

  • Prince, G. (1982). Narratology: The form and functioning of narrative. Mouton.

    Book  Google Scholar 

  • Producers Guild of America. [ca. 2010]. Transmedia Producer. Producers Guild of America. https://www.producersguild.org/page/coc_nm?#transmedia. Accessed 28 June 2018.

  • Ryan, M.-L. (2013). Transmedial storytelling and transfictionality. Poetics Today, 34(3), 361–388.

    Article  Google Scholar 

  • Ryan, M.-L. (2015). Transmedia storytelling: Industry buzzword or new narrative experience? Storyworlds, 7(2), 1–19.

    Google Scholar 

  • Ryan, M.-L. (2016). Transmedia narratology and transmedia storytelling. Artnodes, 18, 1–10.

    Google Scholar 

  • Scolari, C. A. (2009). Transmedia storytelling: Implicit consumers, narrative worlds, and branding in contemporary media production. International Journal of Communication, 3, 586–606.

    Google Scholar 

  • Thiele, L. Transmedia designer and creative director of Netwars.

    Google Scholar 

  • Thon, J.-N. (2016). Transmedial narratology and contemporary media culture. University of Nebraska Press.

    Book  Google Scholar 

  • Tosca, S., & Klastrup, L. (2020). Transmedial worlds in everyday life: Networked reception, social media and fictional worlds. Routledge.

    Google Scholar 

  • Tschurtschenthaler, G. Producer of Die Kulturakte.

    Google Scholar 

  • Veugen, C. (2016). Assassin’s creed and transmedia storytelling. International Journal of Gaming and Computer-Mediated Simulations, 8(2), 1–19.

    Article  Google Scholar 

  • Wagnerwahn [The Wagner Files]. (2013). Transmedia, Gebrüder Beetz Filmproduktion.

    Google Scholar 

  • Weaver, T. (2013). Comics for film, games, and animation: Using comics to construct your transmedia storyworld. Focal Press.

    Google Scholar 

  • Weiß, F., & Gößler, T. (2014). Kreativitätsindustrie: Writers room. Das US-Amerikanische Konzept zur Serienproduktion. Televizion, 27(1), 30–34.

    Google Scholar 

  • Wer rettet Dina Foxx? [Who rescues Dina Foxx?]. (2011). Transmedia, teamWorx Produktion für Kino und Fernsehen GmbH, UFA Lab.

    Google Scholar 

  • Wolf, M. J. P. (2012). Building imaginary worlds: The theory and History of subcreation. Routledge.

    Google Scholar 

  • Zeit der Helden [Time of Heroes]. (2013). Transmedia, Zero One Film.

    Google Scholar 

  • Zeitler, M. Author and director of Dina Foxx—Tödlicher Kontakt and Wer rettet Dina Foxx?

    Google Scholar 

  • Zimmermann, A. (2015). Blurring the line between fiction and reality. Functional transmedia storytelling in the German TV Series About:Kate. Image—, A.Zeitschrift für interdisziplinäre Bildwissenschaft. Special Issue Media Convergence and Transmedial Worlds (Part 3), 22, 22–35.

    Google Scholar 

Download references

Author information

Authors and Affiliations

Authors

Corresponding author

Correspondence to Sarah Renger .

Editor information

Editors and Affiliations

Rights and permissions

Reprints and permissions

Copyright information

© 2021 The Author(s), under exclusive license to Springer Nature Switzerland AG

About this chapter

Check for updates. Verify currency and authenticity via CrossMark

Cite this chapter

Renger, S. (2021). ‘You Never Know Who is in Control’: German Transmedia Content Development. In: Taylor, S., Batty, C. (eds) The Palgrave Handbook of Script Development. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-82234-7_39

Download citation

Publish with us

Policies and ethics