The Messages We Send Each Other

As most of you would be aware, on the announcement of the Storyworld Conference & Expo Advisory Board, Andrea Phillips published a post highlighting “sexism”.

It’s a list I wouldn’t disagree with on other grounds — in fact, it’s a pretty great list. There’s certainly a lot of star power represented there. On the other hand… the teams I’ve been on have been pretty evenly split between men and women. There’s no good reason there should be only two women and eleven men on that board. (And indeed, one of the two women, Alison Norrington, is on there by virtue of being the one organizing the conference.)

I agree with her. In fact, EVERYONE AGREES. No-one is dissenting the fact there is gender blindness. So, what is the problem then? At first for me, I noticed the conversation was devolving into remarks about the list being the same old people. More often than not, such remarks are a veiled attempt to put down the people on the list. This is a subtext of what is happening, but to a lesser degree.

The second thing that concerns me is the focus on Alison. Alison fucked up, and she knows it! She has learned her lesson in a very public trial by fire. As we all know from lessons learned, this is one she will never forget. And it is important to highlight that Alison is not alone (that is the point). Andrea observed her own thought process, and noticed that she too firstly thinks of men in transmedia. I have done it too, and was thankfully gently awoken to my gender blindness by a male colleague. Alison is now aware of it, and many of the people who have read Andrea’s post are now aware of it. This is all good.

But it is important to move away from hanging Alison out to dry here. Indeed, although Andrea says repeatedly the post is not about Alison, a fairer approach would of been to include many other lists that have gender blindness. It perhaps also needs to be said that although the Advisory Board is mostly male, all is not lost! LOL. They, we, are capable of recommending some great people. Further to this, the list of women speakers for this event is already outstanding. Seriously. They.know.their.shit.

In fact, it is great that Andrea has included a list of awesome women working in the area. There are more too. This helps work against the problem. Being conscious of gender blindness is step one, step two is knowing who the women are. I remember when Tara Hunt, CEO & Co-Founder of a Shwowp, put out a similar call to action and list regarding women in technology in 2007: Women Who Risk: Making Women in Technology Visible. She cites the invisibility of women in media, and conferences, recalling the important BlogHer list that was subsequently put together:

The situation of the lack of women as conference speakers has become so dire that BlogHer put together a Women in Technology list that, among other things, watches for new conferences being announced, then swoops in with a long list of very qualified speakers to offer the conference organizers. Lucky for us, our efforts are being recognized by many conference organizers and they are beginning to come to this list for suggestions before the conference has even been announced.

So what else do we need besides lists? Sheryl Sandberg, COO of Facebook, gave a great speech at TED recently: Why we have too few women leaders (embedded at the bottom of this post). She focuses on what we can do as individuals, asking:

What are the messages we need to tell ourselves? What are the messages we tell the women that work with and for us? What are the messages we tell our daughters?

Sheryl offers three pieces of advice for those that want to stay in the workforce. Her talk is wonderful, but I’ll concentrate on the first: 1) Sit at the Table. The data shows, Sheryl continues, women systematically underestimate their own abilities, and men overvalue their own. Men attribute their success to themselves, and women attribute to it to other external factors. (See the video for a true and astounding thing about women and “likability” too). Men are better at reaching for opportunities than women. We’ve got to get women to sit at the table.

This is why I found it interesting that the majority of women who agreed with Andrea messaged her privately. I can understand the reluctance to be embroiled with anything “political”, but engagement with the topic doesn’t have to be that way. In fact, everyone agrees…! Further to this, I and many others will attest that women are more likely than men to decline, or not even bother responding to invites to public speaking events. And I’ve seen posts about this in other industries, but can’t find them right now. We’ve got to get women to sit at the table.

For me, I reflected on how women usually undervalue themselves and fall into gender blindness themselves and made a (perhaps tenuous) connection between the two. It makes sense that a woman who undervalues herself would view a man as a success. Anything outside of the self is a success if you don’t feel it inside.

I personally want to see more women running transmedia companies, and more importantly, creating original transmedia IP. There are more women working on other people’s stories than their own. Of course, all writing draws from the personal, but conceiving of an entire world imbues with it the ability to share a unique way of seeing. Sit at the friggin’ table.

Some women are public. I hardly blog anymore, but I Twitter and occasionally give talks, and am currently developing my own IP and web service. Andrea decided to be public and do frequent blog posts and talks. Jan Libby does indie ARGs between her branded entertainment jobs. The list goes on. But the point I really want to make with these examples is that no-one came to them and said, can you do this? They did it for themselves. Sure, I get on lists. But while they may occasionally help put food on the table and shelter over my head, they don’t fund my own creative projects or web business. A career doesn’t happen when you’ve been chosen. It isn’t outside of you.

So what I’m saying is, yes, be conscious. Make lists with your eyes open to those around you. We all know how important this is. But this isn’t all that is needed. Indeed, don’t think for a second that you need a list to exist. Open your eyes to yourself too.

Now go and check out Sheryl’s video at TED! (For some reason my embedding isn’t working at the moment.)

Transmedia writing overview for if:book Australia

if:book, the Institute for the Future of the Book, has organisations in London and New York. It now also has one in Queensland, Australia! “if:book Australia promotes new forms of digital literature and explores ways to boost connections between writers and audiences, and is a small think-tank and part of the Queensland Writers Centre”. Recently, I was commissioned to write an essay on transmedia writing. It is the first essay in a series that will run until November this year, and will culminate in an ebook (various formats) freely distributed under Creative Commons licensing. My essay titled “Do You Have a Big Stick?“, an overview of transmedia writing, is now online! 🙂

Gettin’ it Going: Transmedia Victoria

Well hello there. It has been a while since I’ve blogged and today you’ll find out one reason why. I’ve been working away at my own creative project and startup, but also on an event. A few months ago the Australia Council for the Arts (esp the cool digital program) approached me about helping get transmedia happening in Australia. They said, hey, what if we could get all the funding bodies together about this? Well that is a good idea! So part of the process is activating transmedia in Australia is to begin by running a conference and workshop day, starting in Victoria. It is important to activate local networks as well as national and global ones. I’m curating and co-organising the event, and Eve Penford-Dennis of Freeplay is project managing it.

Some of the strategies I’ve employed for this event:
1) Target professionals who already work in multiple artforms. What I’ve seen over the years is that if someone has been working (for example) in film for twenty years, they’re the least likely to move into transmedia. It is people who have or do work in more that one artistic sector that are more amenable to transmedia.
2) Target professionals who are interested in creating original IP rather than those who want to just jump onto the latest thing or are just there to try and make money. Those who are attracted to the latter items usually make up the majority of audiences for education events, and they are important…but they’re not necessarily the ones the who progress the artform.
3) Pitch the talks at intermediate level knowledge. This is to make sure those who are already working in the transmedia area are being stretched, but also I believe it will be more appealing to serious artists who don’t want in transmedia. I’m guessing that professionals are inspired more by the issues and inspirations or other professionals more than spin about a thing they “should” be doing.
4) Include discussions about writing, design, directing and producing issues. There has been an overemphasis on producing for the past few years. I think I understand why this was needed. More recently writing has come back on the agenda. But there are other areas in transmedia that are needed as well. Directing is a big one (I’m starting to talk about directing stuff here). Transmedia will really move forward when every member of a team understands the artform they’re working in and works towards the same goal.
5) Include discussions about how to work across creative sectors. One of the biggest impediments to working with transmedia in Australia and any country really is the difficulty in dealing with different creative cultures. Each medium has its own culture with its own language, schedules, hierarchies and habits. Transmedia needs people who can work in more than one industry as much as more than one artform.
6) Include discussions about running a transmedia studio. There are many production companies and freelancers that work on one part of a transmedia project, and there always will be. But it is also important to have more transmedia studios operating so the production processes and understandings of different artforms spreads across a team. Transmedia studios have their own contemporary bent as well, as they have the need for unique deployment & content management technologies, as well as a diverse range of revenue sources. They are also likely to have elastic teams, increasing and reducing according to the demands of different projects.
7) Include as many funding bodies as possible. Another aspect to getting a strong transmedia ecology going is funding bodies. Just like industrial cultures, they have their own languages. But they will all play a part in the emerging transmedia ecology (economy), especially in helping original IP happen.
8) Ensure there is a great mix of people there to facilitate awesome collaborations. Eve and I are contacting so many people from different creative sectors. We’ll be doing overt networking activities at the event, and activating existing meetups after the event.

As for the speakers, I needed to include people who will cover the above topics and approaches as well as represent theatre, dance, gaming, film, TV and digital sectors predominantly. I’d love to have lots of music and literature and so on people there too. It is also important to have speakers that will talk to the funding bodies and other key stakeholders. But I only have one conference day, with certain stakeholders. There are also many speakers I would of loved to have had from around the world and Australia. I really want to make this clear. There are plenty of you that are my favourite colleagues who are not at this event. This was simply a logistical issue. I love you all. But for now, here is the exciting list of people:

Tassos Stevens (UK), Co-Director of Coney – Clients include National Theatre, the Science Museum, Guerilla Science, Tate Britain, Hodder & Stoughton, and the Royal Opera House.

Steve Peters (USA), Co-Founder No Mimes Media – The Hunt, The Threshold (CISCO); Why So Serious? (THE DARK KNIGHT); Year Zero (Trent Reznor); Minutes to Midnight (WATCHMEN); I Love Bees (BUNGIE)…

Flint Dille (USA), Co-Owner Bureau of Film & Games, author The Ultimate Guide to Video Game Writing and Design – DC Comics, Ubisoft, Atari, THQ, Activision, Electronic Arts, Monolith, Marvel, Warner Bros., Dimension, Take 2, Midway, Microsoft, Disney and Namco.

Andra Scheffer (Canada), Executive Director of the Bell Broadcast and New Media Fund, co-editor How to Make Money with Multi-platform Digital Media.

Michel Reilhac (France), Executive Director of Arte France Cinema and Director of Film Acquisitions for ARTE France; previously Executive Director of Forum des Images in Paris, General Manager of the American Centre in Paris and of the National Theater of Chaillot in Paris, Executive Director of the National Centre for Contemporary Dance in Angers, France.

Jackie Turnure (Qld, Aus), Head of Development, Hoodlum – Day X Exists (SALT); Join the Mosaic (FLASHFOWARD); Find 815, Dharma Wants You (LOST); Primeval Evolved; SPOOKS Interactive; EMMERDALE Online.

Sue Maslin (Vic, Aus), Producer, Art Film Media – Road to Nhill (1995), Japanese Story (2003), winner of 26 international wards including the AFI Award for Best Feature Film and Hunt Angels (2006), winner of the AFI Award for Best Documentary Film.

Phil Morle (Syd, Aus), Co-Founder Pollenizer – Kazaa; Posse; Spreets; 99Dresses; MoGeneration; BBC.

Jordan Green (Vic, Aus), co-founder and Deputy Chairman of the Australian Association of Angel Investors and Jordan founded and leads Angel investor group, Melbourne Angels Inc.

We’ll see how it goes, but I am really excited about the event. I can’t wait to be there and be a part of it. Check out: www.TransmediaVictoria.net.au. 🙂