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Overview
While the digital community has optimized the
interactive, long-form storytelling. We review several creative ways businesses and publications are using
immersive content experiences to tell stories, market products, and communicate messages.
current challenges facing the creation of longform, immersive experiences on the internet.
Unfortunately, telling stories in this way
remains expensive and inaccessible for most
businesses given the available technology.
4 Introducing Fable
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Part 1:
with a conduit to share their experiences. While the mediums, styles, and
formatting in which storytelling occurs shift to meet the trends of the day, at
into a narrative. Naturally, people set out to solve this exact problem, which
its core, a good story is one that captures the hearts, minds, and attentions
primary platform for organizations to edit, modify, and publish their digital
the previously substantial impact of the printing press. In its infancy, the
the CMS was an incredible boon for short-form content, particularly in the
form of articles and blogs. Social media plugins, data streams, internal
was paid to the relationships between, the display of, or users engagement
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and the NBA suite of sites, for example, present multimedia content by
integrating content and data from services like Ooyala, Brightcove, and other
internal video hosting platforms.
While short-form content most certainly has its time and place, it is clearly
not capable of telling the whole story alone; it is not truly providing an
immersive experience for the audience that allows for a deeper connection
to be established.
click bait headlines, animated GIFs, and simplified lists. Media sites like
Buzzfeed have perfected the news snacking content type, catering to
those with short, sharp bursts of attention. Much of the content served up
today is in some variation of a sound bite story - nothing more than a few
seconds for fear the attention will be lost.
Snapchat images, Vine videos, short blog posts, and articles under 350
as people become more and more connected. Yet, even with a proliferation
of content to satiate this incessant need for fresh and new, there is
excitement about their possibilities have gripped some in the digital world,
causing some writers and speakers to declare (a bit hyperbolically) that the
connection in a world full of superficial ones. A request for the balance and
While short-form content may be great for keeping pace and driving traffic,
it is long-form content that builds lasting, long-term relationships that
keep your audience coming back time and time again.
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The New York Times has been at the forefront of this effort, launching
into the digital storytelling scene with the wildly ambitious Snow Fall in
information. Over the past two to three years, theres been a major
Washington state. The project was recognized in April 2013 with a Pulitzer
Prize for feature writing. Other publications like the Washington Post
content does not suffer from the short virtual lifespan that plagues its short-
scrolling mechanism to keep users engaged as they move through the story
form cousins. The average tweet, for instance, only has about 18 minutes
Long-Form Journalism
Businesses and publications are getting more creative about how they
form content either regularly or sometimes; 19% do so every day. About 60%
of those users read two to three long articles in a sitting, and another 17%
communicate brand messages. The most successful are those which treat
read four or more. Tablets and phones, Palser says, are more conducive
the internet as a medium in and of itself, not just a location for content.
In the sweet spot between list-icles and solid blocks of unpalatable text,
some media companies have fused journalism and web design to effectively
tell powerful stories.
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for the purpose of creating long-form articles, recognizing the draw they
options, and more. We are truly given the full story of the Model S, as close to
Its not only media companies that have embraced immersive, long-form
Like short-form, there is no set formula for effective long-form content, and
model that treats written narratives not as ends, but rather beginnings.
With its interactive InfoGuide series, CFR focused on user interaction and
limited time and/or staff. In Part 3, well explain the technology gap making
Brands, too, have discovered new ways to help users to experience their
it difficult for smaller organizations to keep pace with the interactive content
trend.
People are willing to dig into content they truly care about. Marrying the
best practices of short-form with long-form provides the double whammy
of engagement and retention.
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Part 3
team elects to implement their interactives outside of the CMS, the loss of
technical standards can prove problematic over the long term, increasing
problematic for most content managers, who, after all, are not always
mechanism for creating and deploying it: its difficult to wrangle unique
layouts and styles into a templated CMS. Most content management systems
are simply not built to accommodate the kind of flexibility that exquisite
from, much like a CMS but with a focus on long-form narratives. While they
long-form demands.
Limited Options
possible with a dedicated development team. Like any templated layout, the
resulting story is restricted to a predetermined format, closing the door on
truly dynamic, intricate storytelling.
This is the storytelling technology gap: the space between restrictive layouts
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In Part 4, we examine Phase2s new technology solution built to fill this gap.
Part 4:
Introducing Fable
When we realized that several of our clients were interested in exploring
images, and videos can be nested within each other. Images can live
inside maps, which can live inside timelines, etc. Not only does this
set out to create a storytelling platform that would enable authors to build
revolved around resolving our clients pain points and addressing their
to one layer, as was the case with the previously mentioned tools,
they are free to nest elements allowing their audience to dig deeper.
The Carnegie Corporation of New York, for example, integrated an
Fable fills the marketplace gap, living in the middle ground between
that enrich the narrative, but dont detract from it if visitors arent
teams who wish to be truly creative. Put simply, it is more ambitious than
one allows readers to control the pace and direction of discovery. This
the current tools on the market, but cheaper to maintain than a custom
control creates not only a deeper connection to the content, but to the
development team.
Nesting: Fable utilizes a nesting capability that has never been seen
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is one less thing for developers to focus on. Fable provides, in essence,
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the building blocks necessary to construct a good story, with none of
and dynamic content running browser-side ensure no Fable user has to fear
the success of their interactive. When your content goes viral, Fables simple
content from a third party. Via UTF-8 support, the stories told through
hosting and publishing model will make sure your story reaches everyone
To explore how Fable is being used today, take some time to poke around in
form content results in heavy pages that can have long initialization or
load times. Fable addresses this by only loading the needed content as
the user begins to interact with the page. Known as lazy loading, this
minimizes wait time and allows the user to begin enjoying the content as
Great Immigrants
Mobilizing for Math and Science
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UCSF 150
Part 5:
to know what shes trying to say. Using a tool solely for technologys sake
content creation, the technology gap in the storytelling market, and Fable
as a reliable tool for filling this gap. To conclude, wed like to leave you
have consultants on staff that can help guide an organization down the path
of great storytelling.
overarching story.
Fable is a technology solution for organizations committed to not only great
Organizations that tell stories successfully stay true to the age-old principles
storytelling, but their role in developing a strong story of their own. Digital
storytellers should know how to gather and surface story elements that
communicating what makes them unique and forging connections with their
audience in a real and powerful way. Technology can create new ways to
deepen those connections, but before it can be effective, the author needs
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Additional Resources
Phase2 Resources:
Other Resources:
Fable website
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