Latitude FoS Phase 2

7/29/2019 Latitude FoS Phase 2

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MEDIA & CONTENT42

THE FUTURE OF STORYTELLING: PHASE 2 is one installment of Latitude 42s, an

ongoing series of innovation studies which Latitude, an international research con-

sultancy, publishes in the spirit of knowledge-sharing and opportunity discovery forboth established companies and emerging entrepreneurs.

THE FUTURE OF STORYTELLING

Summer 2013

PHASE 2 OF 2


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INTRODUCTION

NEW PERSPECTIVES

ON STORYTELLING

At Latitude, we work with some o the oremost companies in media, technology, and advertising,

helping them to grow their audiences through great storytelling. As the landscape evolves, weve been

exploring possibilities or next-gen narrativesincluding how technology is enabling more immersive

and interactive experiences with content and brands.

From our work, we know that the desire or new content experiences isnt niche; its widespread and

growing. It isnt something reserved just or antasy and science ction; it also applies to more unlike-ly genres like non-ction and advertising. With that in mind, our goal is to help content creators and

brand storytellers understand new possibilities or cross-platorm and other tech-driven experiences,

innovative character and storyline interactions, physical world integrations, and more.

Teres still much to gure out, including how to overcome technology and content creation constraints,

as well as the question o how best to measure a new breed o multi-platorm experiences. (Is it by num-

ber o platorms used, desire or interactivity, the various ways these experiences impact our real lives,

or something else?). We hope our work pushes us all a little closer toward answering these questions.


PHASE 2 OF 2 2
http://latd.com/clients-us/#clientshttp://latd.com/clients-us/#clients


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OURQUESTIONS

3

1. What kinds o new story experiences and character

relationships are people looking or?

2. How big are the opportunities or storytellers,

including those in non-fction and advertising?

3. Are there specifc audience types or next-generation

storytelling? How can we reach them?

OURQUESTIONS


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For Content Creators

Level up on the character-audience relationshipAudiences want to get deeper inside the minds o characters; theywant to see things rom their perspectives and, in some cases, developpersonal relationships with them. Would chatting with a character onFacebook really be so dierent rom chatting with a real riend there?

Push the limits o how, when, and where stories are toldAs characters become more 3-D, why shouldnt they live ull, 24/7lives? People are intrigued by the idea o real-time story-worlds whereevents keep unolding whether or not we happen to be tuning in.

For Brands and Marketers

Embrace new narrative techniques, once and or allAudiences agree that theres a big opportunity to make ads eel morelike content people would naturally choose to engage withby provid-ing back-story about a brand or product, visually immersive experi-ences, game elements, and so on. (See p. 8 or details.)

Tink o the real world as another platormTese days, many o us carry around smartphones that not only worksynchronously with other devices, but are capable o interacing withreal objects and places. Maybe the denition o cross-platorm needsa makeover? (Retailers, this especially means you.)

For All Storytellers

Heed the second (and third) screens: heres howWhen it comes to secondary devices, some might think its all beendone beore. (We beg to dier.) op opportunities include interactingwith characters, earning rewards, accessing bonus content, and more.(See p. 9 or the ull list.)

Recognize many audiences and many ways to engage

While its easy to generalize about what audiences want, peopledesire vastly dierent things rom storiessuch as very passive vs.highly interactive experiences. (See p. 11 or more on audience types.)

HIGHLIGHTS

4


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Phase 1 (Previous): Idea Generation

In 2012, Latitude kicked o its Future o Story-telling initiative by interviewing pioneers in themedia space to discuss current challenges andinnovations within the industry.

Next, we conducted an online survey amongst

158 early adopters across the world to generatenew possibilities or interacting with stories. Par-ticipants were asked to play the role o producer,choosing a narrative (a book, movie, plot-drivenvideo game, etc.) that they know well, and re-inventing how audiences might experience thatstory. From these ideas, we developed the 4 Isof Storytellingramework to illustrate key dimen-sions o uture storytell ing experiences.

Phase 2 (Current): Robust Quantication

From 2012-2013, Latitude surveyed 1,107 smart-phone owners in Brazil, the United Kingdom,and the United States. Borrowing material gener-ated in Phase 1 (e.g., uture experience concepts,etc.), the survey aimed to quantiy trends, op-portunities, and key audience targets or secondscreen and transmedia storytelling across genresamongst a broader audience.*

A segmentation analysis was conducted basedon respondents need states and uture desires,yielding 4 segments or audience archetypes:Seekers, Relaters, Realists, and Players. Explorearchetype data interactively at utureostorytell-ingproject.com.

WE ASKED MORE THAN 1,200 PEOPLE ACROSS THE WORLD,

HOW WOULD YOU LIKE TO EXPERIENCE STORIES IN THE FUTURE?


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Whats Next?

Understanding what audiences want today andanticipating what theyll want tomorrow is some-thing we at Latitude do everyday. Tis study isjust one chapter in our ongoing exploration othe uture o storytelling. o continue discover-ing with us, visit utureostor

ytellingproject.comand subscribe to our newsletter.

*Phase 2 ndings are not intended to be representative o thegeneral population. Phase 2 data is based on participants livingin Brazil, the United Kingdom, & the United States between theages o 15-59 (n=1107). All participants were smartphone own-ers with basic cable and/or pay V services (which could includestreaming rom the web) who watch at least 6 hours o V con-tent per week. At least 50% o participants rom the UK & USwere required to own a tablet.
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Character Connections are the Next Level o Social

Weve all identied with characters specic challenges and

aspirations, but weve done it mostly rom a distance; they

havent sought our advice or explained a complex relationship

weve always wondered about. Audiences want more personal

and uid character encounters; 78% want to riend a char-

acter digitally (e.g., receive Facebook updates, text messages,etc.), with the ability to sway the characters decisionsjust

as with a real riend. Tat said, people also want these rela-

tionships to aect their own lives, not just the charactersby

cultivating an open mind, teaching them, or motivating them

in other positive ways.

Stories with a View: Seeing rom Greater (or More) Heights

Enhanced perception is in demand; 87% crave the ability to

see events through the eyes o a particular character or toswitch between dierent characters points-o-view. (Some

even want to see the real world rom a characters perspec-

tive.) How did people perceive Holden Cauleld? What would

the Buddha think o Internet culture? People want the abil-

ity to spectate reelywithout constraints like time or third

person point-o-view. Not surprisingly, many want to see this

applied to genres like drama and sci-, but non-ction also

presents clear opportunities: reality (29% o all participants

interested), history (27%), documentary (25%), sports (19%),

travel (16%), news (15%) and even advertising (13%).

INSIGHTCHARACTERS CAN BECOME

OUR FRIENDS

For Star rek, the user could choose to experience things romdierent crew members perspectives; they could explore planets with

La Forges eyes and see many colors; they could look through Dataseyes, clicking on things around them to reveal inormation on specic

subjects; they could see emotions as roi does, which Im sure would be

interestingperhaps everyone would have an aura; and so on.Female, 15, Pembroke, MA, USA


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INSIGHTSTORYLINE INNOVATION:

REAL-TIME & REAL GOOD

Play with New Possibilities, Like Paral lel Worlds

odays always on, mobile culture provides more canvas or storytellers to work with; we can access

content instantly, 24/7, so why shouldnt content access us in the same way? As characters become

more real, its only natural that they should go on living their lives even when we arent actively tun-

ing in. When signicant events happen, we might receive text messages rom characters or push alertsrom ofcial news sources. In act, 91% say narratives with a real-time story-world would motivate

them to tune in more oten to ensure they werent missing anything.

Do More Good in This World

Tanks in part to mobile technology, stories can be designed such that actions taken within the story-

world have a positive impact in the actual worldor individuals or or society. (urns out, running

rom zombies does have health benets, and combating ctional, evil corporations can build real li-

braries in Zambia.) Good news: 88% want stories to help them learn about and support worthy causes.


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For those who enjoy mixing real and imaginary worlds and also enjoy exercise, an app could be

developed that would tie the story to certain walking or running routes in dierent cities. As theperson runs, the smartphone uses GPS data to pinpoint where they are on the route and trigger audio

cues that relate to the story, like: You need to deliver a message to the resistance camp located inCentral Park. A rebel will meet you at Bow Bridge by the lake. Male, 26, Sausalito, CA, USA
https://www.zombiesrungame.com/https://www.zombiesrungame.com/http://www.conspiracyforgood.com/index.phphttp://www.conspiracyforgood.com/index.phphttp://www.conspiracyforgood.com/index.phphttp://www.conspiracyforgood.com/index.phphttps://www.zombiesrungame.com/https://www.zombiesrungame.com/


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By Popular Demand: Innovative Advertising

Audiences are ready and waiting or marketers to come up

with something truly resh and inventive; 92% agree that

theres a real opportunity or brands to borrow rom enter-

tainment-based narratives, making ads eel more like a story

or a game. When asked how ads with more creative elements

(see chart opposite) might impact their opinions about a pro-

moted brand or product, participants reported that theyd be:

more aware o it (38%)

more likely to talk with others about it (38%)

more likely to make a purchase (36%)

more likely to visit the brands website (36%)

more likely to eel positively about the brand (34%)

Stories Could Be One-Click Storeronts

Brands have an opportunity to reach us through more seam-

less integrations with the content were already hooked on.

For example, 73% o people are interested in discovering real-

world products or services at relevant points in a story. (Just

click on that car or specs and pricing!) With real-time tech-

nologies like Shazam or V, brands are already beginning to

synch up the Buy now button with our avorite contentgiving an entirely new meaning to contextual relevance.

INSIGHTTO BOLDLY GO:

BRANDED CONTENT & BEYOND

WHICH ELEMENTS SHOULDNEXT-GEN ADVERTISING INCLUDE?

Id like to see more advertisements that...


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TOP OPPORTUNITIES FOR

SECOND SCREEN

saturation

% currently doing this

demand

%intereste

dindoingmoreo

fthis

65%

70%

75%

80%

85%

90% best new opportunitiesopportunities still remain

15%20%25%30%35%40%45%50%55%

GET FUN FACTS IN REAL-TIME

MAKE A PURCHASE

ACCESS BONUS CONTENTGET BACKSTORY

VOTE TO DECIDE OUTCOME

POST CONTENT TO SOCIAL MEDIA

DISCUSS IN REAL-TIME

BOOKMARK SCENES

CHECK IN TO SHOW OR MOVIE

EARN REWARDS

INTERACT WITH CHARACTERS

ENTER RELATED CONTEST

PLAY RELATED GAMES

DONATE OR GET INVOLVED

SUBMIT IDEAS

FOLLOW CHARACTERS

SNEAK PEEKSGET SUMMARIES

DISCOVER RELATED PRODUCTS

KEEP WATCHING ON ANOTHER DEVICE

CHECK LIVE SCORES OR UPDATES


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Get Real

For some time now, brands have been inserting themselves

into story-worlds where it eels natural to do so. For ex-

ample, souped-up Dodge Chargers and Darts have recently

been sighted in Syys hybrid game/V show, Deance, to

serve a role that wouldve otherwise been played by generic,

unbranded vehicles. Now lets turn this idea on its head: bybringing the story out o the screen, incorporating actual en-

vironments like retail stores and museumsand even real

happenings like auto heists. Ninety-our percent eel that

companies should treat the real world (e.g., places, people,

or objects) as another platorm that can interact with content

they view on other devices.

Make Retail Part o the Story

Real world integrations stand out as a particularly compel-

ling opportunity or retailers (and consumer goods brands),

as many already inhabit physical locations. Consider a Man-

hattan retail store called SORY that changes its inventory

every month to support a new theme or story (like color or

love) and allows other brands to sponsor part o the conver-

sation around this story with a physical presence in the store.

SORY poses the question (and the answer): Why cant

physical places like retail stores be part o the story?

INSIGHTMULTI-PLATFORM NOW

INCLUDES THE REAL WORLD

For mystery or action narratives, itd be neat i you could use an appthat would import real world objects into the game. Say you have a

suspect, and you need to run a background check right away. You need a

laptop! Go to Best Buy, scan a laptops QR code, and boom!you have alaptop imported into your game. Male, 23, Madison, WI, USA

10
http://en.wikipedia.org/wiki/The_Art_of_the_Heisthttp://thisisstory.com/our-story/http://thisisstory.com/our-story/http://en.wikipedia.org/wiki/The_Art_of_the_Heist


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11

WHO IS THE NEW AUDIENCE?WHAT DO THEY WANT?

Impact

Te story aects my actual lie, by inspiringme to discover more, make a purchase,better mysel, or take action in some way.

IntegrationTe story plays out across platorms, orcan interace with the real world.

InteractivityI can interact with characters, the storyline,or other ans.

ImmersionI can go deeper into the story, by learning

more about it or through heightenedsensory experiences.

seekers relaters realists players

Passivewant to go deeper

into the story world

Activewant to bring the storyout into the real world

Based on a segmentation analysis o peoples motivations or engaging with stories and theirinterest in various second screen experiences, we uncovered our audience archetypes: Seek-ers, Relaters, Realists, and Players. Te graphic below maps the archetypes to Latitudes 4 Isof Storytelling. (Darker shades o red indicate greater interest in each I.)o explore audiencedata interactively or to discover your own archetype, visit utureostorytellingproject.com.

Te 4 Is of Storytelling (above) is a ramework Latitudecreated by analyzing themes present in the uture storytellingconcepts generated by Phase 1 participants. It represents notonly a desire to delve deeper into stories, but also to bringstories out o the screenboth literally and gurativelytomingle with our actual lives.
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An intensely extroverted coterie

when it comes to content, Relaters

want to discuss and share their avor-

ite narratives with riends and am-

ily, in-person and online. Naturally,

social media plays a key role or this

group both in discovering and stay-

ing committed to content. Relaters

arent just looking to bond with other

people, though; they enjoy orming

deep, emotional connections with

characters, especially when these connections uplit or inspire them.

Prole

Gender: roughly equal split between men & women Age: typically under 35, including many teenagers Genres: comedy, drama, reality Second screen: smartphone Values: sharing, optimism, relating Is: interactivity (with others & the story), impact

op Future Requests

Interact with characters in a way thats not pre-scripted See things rom a particular characters perspective, or switch between di-

erent characters perspectives See, hear, or touch the story-world (e.g., have an immersive sensory experi-ence via virtual reality, 3D eects, etc.)

What Brands Should Know

Generally value engaging with characters and socializing (especially via so-cial media)

Preer relatable brands; they eel that what they buy plays a role in deningwho they are

Enjoy humorous ads, as well as game-like and visually immersive ones Rely strongly on riend recommendations via social media and requently

recommend to others this way ypically discover new content via V commercials/promos & riends

SEEKERS RELATERSTis group is all about going deeper

into the story, exploring dierent

worlds, and learning new things

making them voracious inormation

seekers. Tey want more back-story,

more bonus content, more sneak

peeksmore, more, more. And they

want it without distraction; Seekers

are least likely to use a second screen

(or any reason including looking

up related content, emailing, shop-

ping, texting, etc.) simultaneously while engaging with a story, but they

do express interest in checking out related content at other times.

Prole

Gender: skews emale Age: more 35-59 year-olds Genres: drama, mystery & crime Second screens: computer, tablet Values: escape via mention stimulation, ocus, depth o experience Is: immersion

op Future Requests

Look up back-story about the characters, setting, or plot

Explore or interact with the storys setting (e.g., explore a room or landscape,examine objects, etc.)

Access more sneak peeks rom episodes or sequels


Generally value learning and opportunities to go deeper into content More likely than other archetypes to pay attention to ads Appreciate humor and creativity in ads, as well ads eaturing deals Rely strongly on riend recommendations & quality o a brands reputation Oten recommend products & services to riends, but place much less em-

phasis on socia l media relative to more traditional word-o-mouth methods ypically discover new content via V commercials/promos & riends


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Tese super-engagers are into just

about everythingrom ollowing

their avorite characters witter

accounts to becoming characters

themselves. Tey crave interactivity,

gravitating towards narratives with

game elements and a spirit o adven-

ture or competition. But why stop

there? Players also want to take part

in creating stories, such as by sub-

mitting ideas to writers or producers

or authoring their own narratives. Teyre avid multi-screeners and mo-

bile devotees (particularly attached to their smartphones and most l ikely

to own tablets)which may explain why theyre extra enthusiastic aboutpossibilities or integrating stories with the real, physical world.

Prole

Gender: skews slightly male Age: more 18-34 year-olds Genres: diverse tastes including sports, comedy, horror, advertising Second screens: smartphone & tablet Values: enjoyment, agency, collaboration & competition, personal success Is: immersion, interactivity (with others & the story), integration, impact

op Future Requests

Compete with other ans in a game scenario, or collaborate with them toactually write or produce a story

Become a character Have real-world actions aect events within a story


Desirable audience (e.g., tech-y, highly social, etc.) but can be hard to engage Least V-centric archetype; high level o comort with other devices Value brands with a high cool actor; interested in real world integrations

Preer non-traditional ads (e.g., branded content, ability to help shape thestory, contests, game elements, immersive visuals, social media tie-ins, etc.)

ypically discover new content via social media & online orums

Te idea o integrating narratives

into the real, physical world intrigues

this down-to-earth crowd, especially

i it leads to tangible or meaning-

ul outcomes such as making a pur-

chase, learning something new, or

inuencing how a story ends (e.g.,

by voting). Realists want stories that

lead to personal growth, productivi-

ty, and all-around better living. With

eet rmly planted in the real world,

they are more likely than other archetypes to gravitate towards non-c-

tion narratives.

Prole

Gender: roughly equal split between men & women Age: more 35-59 year-olds Genres: documentaries, news, travel, advertising Second screen: computer Values: practicality, real-world relevance, sel-improvement Is: interactivity (with the story), integration, impact

op Future Requests

Bring narratives out o the screen, into the real world, by involving actual

places, people, or objects Discover new products or services through stories Learn more about the way characters live (or lived) & any larger historical or

societal happenings surrounding the story


Generally goal-oriented (e.g., enjoy voting & contests, sel-betterment, etc.) Feel V is the anchor or social interactions & experiences on other devices;

desire dierentiated experiences across platorms Actively recommend brands via socia l media & other word-o-mouth

Open to innovative advertising; many approaches work well Preer ads that invite interest & dont try to persuade (e.g., branded content) ypically discover new content via ofcial V network sites & online ads

REALISTS PLAYERS


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It would be really interesting i a V show pitting two warringgroups against one another could have battles and, ultimately,

the outcome o the galaxy could be infuenced by viewersbe itthrough games, real-lie quests, knowledge-based contests, and so

on. I think sci- is a good t or this because reality is very arbitrarythere, and the rules can bend to accommodate interesting and com-pelling cross-media integrations. Male, 28, Cambridge, MA, USA

I want technology to help me make sense o complex storiesbyproviding amily trees, characters maps, and biographies. My

dream is that, when I encounter a character I dont remember well,I wont have to fip back hundreds o pages scanning or where

theyve appeared previously. Instead, I click on his or her name,and get a summary o everything I should know at this stage o the

story, with no risk o spoilers. Male, 28, London, UK


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VISIT US AT FUTUREOFSTORYTELLINGPROJECT.COM

VISIT US AT WWW.LATD.COMTHE FUTURE OF STORYTELLINGPHASE 2 OF 2 15

Latitude is a ull-service, custom research consultancy. We help compa-nies at the oreront o media, advertising, and technology better under-stand and engage their audiences across the ollowing areas:

Tought leadership & opportunity discovery Brand, marketing & social media strategy Content/programming strategy & testing Digital & mobile usability & UX design Advertising eectiveness & optimization

Were not just number crunchers; were seasoned storytellers and mediaindustry veterans. Get to know us better by subscribing to our newsletter:http://latd.com/clients-us/#maillist

We work with companies to develop and execute studies that uncovernew opportunities or growth, tied to emerging trends and user behav-iors. Our signature Tought Leader Oering is designed to meet mul-

tiple stakeholders needs while increasing our clients industry standingthrough:

Custom, multi-phased study designs that deliver on a range o goals Innovative qualitative-quantitative hybrid techniques Insight Reels or proessional, video-based reporting Other engaging visual outputs or industry presentations Press release creation & PR support

o learn more, send an e-mail to [email protected].

How We Work with Clients Latitudes Signature Tought Leader Oering

THIS REPORT IS LICENSED UNDER CREATIVE COMMONS

ATTRIBUTION-NONCOMMERCIAL-SHAREALIKE

Latitude is an international research consultancy helping clients create

engaging content, sotware and technology that harness the possibilities othe digital world.

To learn more about working with Latitude, contact:

Neela Sakaria / EVP/Managing Director / [email protected]

For press inquiries, contact:

Kim Gaskins / Director o Content Development / [email protected]

Latitude Studios, a branch o Latitude Research, reimagines the way research

is traditionally communicated through an emphasis on storytelling and highlyvisual, interactive ways o conveying knowledge and insights. We tell stories,

rom the perspective o individuals and groups o people across the world,

about how the Web can continue to change the way we live or the better.

latd.com@latddotcom

facebook.com/latituderesearch

Study Leads:

Kim Gaskins, Director o Content Development

Neela Sakaria, EVP/Managing Director

Supporting Team:

Andy Wiltshire, Senior Analyst & Lead Strategist

Kadley Gosselin, Content Manager & Designer

Illustrations by 2Minds Studio and Gregory Hartman or Latitude
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