Posts tagged ‘wicm’

March 22, 2013

Emily’s Crusade

This week we have an amazing new guest blogger who offers her own personal perspective on our Writer’s Group with Emily Kingsley.  And she’s a PhD!  Dr. Melissa Morgenlander is the Founder and Editor of the iQ Journals, a blog about autism, media, technology, and a boy named Quentin. She is also a freelance researcher and curriculum designer who is passionate about leveraging the power of television, games, video, and mobile technology for all children’s learning. Her career began in kids’ TV production, working for shows like PBS’ Where in the World is Carmen Sandiego?, Nickelodeon’s Wubbulous World of Dr. Seuss and Blue’s Clues.   Her research credits include stints for several children’s media powerhouses, such as Sesame Workshop, Cyberchase, Word World, and Little Einsteins. Melissa received her PhD from Teachers College, Columbia University in 2010.  Take it away, Melissa!

On March 11, 2013, CMA hosted longtime Sesame Workshop writer, Emily Kingsley, for a Writer’s Group gathering. Her talk was called “S is for Special Needs.” As both a kids’ TV researcher and a parent of a child with special needs, I was more than excited to attend.

Kingsley began by telling the group the story of how she started at the Workshop. While she had established a career in TV production for game shows and talk shows, when Sesame Street came on the air, she knew she had to be a part of it.  She stalked the production team, who passed her on to research, who passed her on to editing, etc. No one wanted to hire her, but she stayed persistent. After nine months of constantly watching the show and asking the Workshop for work, she finally made her break into the writer’s room.

Kingsley eventually became known as the champion for special needs inclusion on the show. It began with her writing sketches for the Little Theater of the Deaf – a performance group that included both hearing and deaf people (and Linda Bove, who went on to become a cast member). But Kingsley’s insistence to include special needs children became much more personal when she gave birth to her son, Jason, who was born with Down Syndrome.  It was at that point that Kingsley realized her real life mission: To make sure that all children were represented on the show, including those with disabilities. “The feeling of being left out and not represented is so painful,” she told the group. “I realized that I was in a unique position to do something about that.” She lobbied for more diverse casting: children in wheelchairs, people on crutches, and deaf people who sign. This sentiment is beautifully summed up in one musical segment that Kingsley wrote the lyrics for, along with her son, Jason: Count Me In.

Kingsley was clear with her mission at Sesame Street: “People with disabilities are the America’s largest minority,” she told the group. “That does not even include all the parents and people who care for them! They need to be represented and heard from.”  In my blog, The iQ Journals, I spend a lot of time seeking out media that can help my son Quentin learn and adjust to our strange, non-autistic world. I also seek out media that includes people with ASDs so that he and his twin sister, Fiona, can find some representations of their reality on screens.

Let’s keep this conversation going.  What are your thoughts?

September 14, 2012

Unconvential Heroes with an Unconvential Blogger

Okay, okay so I missed another event due to my high society, jet setting lifestyle.  Did you think Prince Harry was going to just undress himself?  Luckily, Jill Cozza Turner, one of the  most talented freelancers I know was on hand to take notes on our August Writers’ Workshop with Tracey Baptiste.  Jill is an Emmy Award-winning writer whose credits include silly, heartfelt shows like Wow!  Wow!  Wubbzy! and Jungle Junction and shows that are more meaty on the curriculum like Word World and Little Einsteins. She recently finished writing for Sprout’s upcoming series The Chica Show and is working on her first original picture book.  Let’s give a warm Muppet show welcome for Jill Turner!

Yaaay!

I signed up for the “Unconventional Heroes” writers’ workshop with Tracey Baptiste hoping I’d get some inspiration for my own projects.  Little did I know that Melinda would ask me to write a guest blog about it!  I’ve got some big shoes to fill, but here goes:

I knew I was going to like Tracey the minute she kicked off her shoes and began her presentation.  I should give her husband some credit too as he set up her projection equipment while everyone around the table introduced themselves.

Tracey started by discussing her background in Trinidad where she lived until she was 15.  Trinidad has a very rich folklore with characters that are similar to the fairy tale characters we Americans have grown up with, but in Trinidad the characters are much more present and very macabre.  For instance, we have mermaids, but they have Mama D’Leau.  This is a creature with a human torso and a snake’s tail.  I was pretty creeped out as she described it, but Tracey relieved my fears by assuring us that if we ever come across one we simply take off our left shoe then tip-toe backwards until we are home safe in our beds.  Yet another unexpected writers’ workshop surprise:  we got survival tips!

Another interesting (read: horrifying) creature in Trinidad folklore is the Douen.  It’s a leprechaun-type being with backwards feet that listens to your mom call your name then mimics her voice to lure you into a forest where they GET YOU.  Yeah, that’s right.  We got the cute little guy on the Lucky Charms box and Tracey had to worry that when her mother called out to her it might actually be a monster trying to kill her in the woods.  No wonder she’s a writer!

As I listened to her stories it was pretty obvious where her creativity comes from.

Tracey talked about how Trinidad honors literature – especially authors from Trinidad and that made her think, “I can do that!” (despite the fact that she was failing English class at the time).   Obviously she turned that around because she went to NYU and got a Bachelor’s in Literature and a Masters in Elementary Education.  She taught for a while but found that it left her no time to do her own writing so she left teaching and got a job at McGraw Hill as an editor and there she learned what kind of writing she enjoyed.

She told us that she got the inspiration for her novel, “Angel’s Grace” when she saw a picture of a girl with a mark on her head.  She began thinking about a story where a girl has an unusual birthmark and meets someone else with the same birthmark.

She wrote the first two chapters and sent them to her agent while she was on maternity leave with her first child.  The agent found some interest in the book and asked for more chapters.  Despite the fact that writing with an infant on your lap is no easy task (trust me, I can vouch for that) she finished the book and once it was published it made the list of 100 Titles for Reading and Sharing.  This was the point where I was thinking, “That’s incredible.  Now explain how exactly you did that.”

Tracey talked about how she likes to use index cards to organize her thoughts and her husband added that there are notebooks all over her house so she always has a place to write down an idea.  I’m reading Anne Lamott’s book, “Bird by Bird” (thank you, Becky and Melinda for the recommendation) and she also uses index cards so I think there might be something to this technique…

Once Tracey went completely freelance she went on to write biographies for young adults.  The best tip and guideline she gave for anyone wanting to write non-fiction was to verify everything.  “If your mother says she loves you, find a second source.”  She also said the key to writing biographies is to find the theme or thread.

Tracey is currently working on new fiction and writes a blog called “Knitting with Pencils.”  (http://www.traceybaptiste.com/)  She also started a company called Fairy Godauthor that helps others elevate their writing as well as assists them in the submission process which can be extremely confusing for someone who’s never done it before.  This woman is BUSY!

However in her spare time (the italics means I’m being sarcastic, if you hadn’t guessed it yet) she likes to search the web for creepy, weird images and then makes fictional covers of the books she hasn’t written yet.  Once such image that someone sent her was a picture of these amazing boots*:

For all of you who want to be Mr. Tumnus for Halloween

She’s currently working on a story called Goat Girl so if anyone can find out how to purchase these boots for Tracey you should send her a tweet or message her on Facebook.

I was so glad to be a part of this workshop.  I could relate to how Tracey balances family life and freelancing and I appreciated how candid she was about her writing process.  I was also inspired to think more about my childhood and background and all the interesting people and stories I could use in my own writing – even if my childhood folklore had mostly happy endings and Prince Charmings instead of one-hoofed devil women trying to steal my soul.

*Special thanks to Sandy Damashek and Corey Nacsenzi for the photos!

Melinda here again.  The next writers’ workshop blog will be about the freelancers’ panel that Jill and I participated in.  Instead of tooting my own horn and recapping the event, I invite you all (both of you) who read this blog (Thanks Mom, Dad) to write in any burning questions you have about being a freelancer and I’ll try to answer them.  If not, I’m just going to write about writing in my pajamas.  Which no, I’m not doing now but maybe I was when I started writing this.  You’ll never know.  Unless you ask.  Send questions to melinda@melindalarose.com or use the comment section.  That’s what it’s there for!

You know I’ll do it

August 31, 2012

Now Kids Can Waste Hours A Day Not Doing Their Work, Too!

Ahh Facebook.  It has changed my life.  Now instead of inventing the next great children’s television series I can read all about what some of my friends had for lunch and just how great it is that it is Friday.  Okay, okay I’m being cynical (I get to be cynical a couple times a year) but it is true that half of all Americans connect with friends via social networking yet under 13s are not technically allowed on Facebook (though they are pretty good at finding ways to be on Facebook anyway).  May’s Talking Tech event had to do with this very subject (and you thought I was just rambling):  Social Networking for Tweens.  Joining us were Christina Poturica-O’Neill, JD: Senior Legal Associate, Children’s Advertising Review Unit (CARU) and Alan Goodman: Editorial and brand consultant, Everloop.com.

Christina gave us an overview on what CARU does.  Basically, they review child targeted ads in all media and evaluate them.  When ads are found to be misleading or inconsistent with established CARU guidelines they nicely ask the advertisers to cooperate with them and change their ads.  This self-policing approach helps keep the FCC at bay.  They are the first FTC approved safe harbor under COPPA (the Children’s Online Privacy Protection Act).  Whew, there were a lot of initials being thrown around there.  Online they work with advertisers to make sure that kids can’t click on inappropriate material or accidentally buy something online, etc.

“Great Melinda, great, but what does this have to do with Facespace?” you say.  Well, that brings me to Alan’s part.  Alan spoke about his new project everloop.com, a Facebook-type site specifically for kids 13 and under.  Kids can only sign up with a parent’s consent and they get an account that doesn’t use their real names or any personal info that could identify them.  And here’s the part that made me go “Wha?”  – There are live personnel monitoring all activity on everloop in real time making sure there’s no cyberbullying going on and that no predators are trying to glean personal info from the kids online. The site is providing a social network for kids and teaching them to be good cybercitizens as it gives each kid a credit score of sorts that goes up or down depending on how they conduct themselves online.

Sir, it’s all just chatter about “Twilight.”

So, I’m 9 years old, what’s in it for me?  Well, besides being able to chat with kids and your friends (provided you know their usernames) the site boasts the most awesome thing I wish I could use as an adult. The Goob.  Even the name is awesome.  This, ladies and gentlemen, is what happens when you employ one of the geniuses who was responsible for making Nickelodeon a household word in the ’80s, thanks Alan! Goobs are cyber pranks you can send to you friends that sabotage their screens (safely of course).  You can bombard a screen with toilet paper or start an onscreen food fight.  Neat.  The site also partners with companies to provide content exclusive to everloop like free online books from Harper Collins.

Food fight!

Oh and why is it called everloop, you ask?  Because instead of having a network of friends you have loops.  Kids can join loops about sports or music or they can create their own loops.  Everloop keeps them in the loop, get it?  Alan, if you’re reading this, is there any way I could get a Goob on my phone?  Just for me? Pretty please.  Ahh, to be young again.

Main Takeaway:   Kids are becoming more technically savvy but that doesn’t mean they have any more common sense than we did when we were that age.  A certain degree of policing is a good thing so the kids don’t get involved with folks who may be out to hurt them.  Also, they won’t be able to just order things online and stiff you with the bill the way we got our parents with all those calls to 1-900-NEW-KIDS.  Don’t look at me like you don’t know what I’m talking about. http://www.youtube.com/watch?v=CxH67j0ZUx4

As someone on the internet observed, that phone is bigger than that kid’s head.

Personal Takeaway:  I have got to get me a goob.  It’s really all I can think about.

Inappropriate Takeaway:  I’m gonna be honest and say that while I buy that a real kid is gonna have a hard time joining everloop without parental permission, I think it could be fairly easy for an adult to log on and pretend to be a kid.  But I guess that’s where that live chat monitoring kicks in.  Can you imagine the person who has to read all that?  I imagine it looks a little like this:

TeamEdward:  LOL!  OMG!  TMI!  182.  JK.

TeamJacob:  SH^  LTLWDLS.

TeamEdward:  LQTM.  LYLAS.  ABTA.

Live Monitor:  WTH?

True Story

August 17, 2012

A New Blog and a Fabulous New Guest Blogger

I’m pleased to present the first guest blogger of my blogging administration.  Or perhaps I should say Vice-Blogger.  I told you all up front that there was no way I could go to EVERY event so like all good leaders in the blogosphere, I have put together a trustworthy cabinet of children’s media veterans to step in while I’m on vaca in Kennebunkport.  It is with pleasure that I introduce the lovely and talented Jennifer Oxley, children’s television creator, Creative Director, Director, Animator, Writer of books, TV shows and well phrased e-mails.  Jennifer is the recipient of an Emmy Award for her work on “Little Bill,” she created the look and animation style for “The Wonder Pets!” and is currently working on “Peg + Cat” a new show she created with Billy Aronson for PBS Kids!  Jennifer is going to give us some insight into the event Talking Tech:  Turning books into apps.  Take it away, Jen!

I got an iPad when my 1 year old son was born as an excuse to download all the cools apps for kids I’d been hearing about. First to download was Sesame Street’s THE MONSTER AT THE END OF THE BOOK app. I’m a huge fan of the book and was very curious to see how it had been adapted for the iPad. I was impressed! Narrated by the lovable furry old Grover himself, this app is charming and sweet with clever touches of interactivity that are perfectly woven into the story.

Ever since my first download I’ve been having a blast playing with new apps. Few are up to the level of the monster app, but I did find a lot of great standouts. Like Mo Willems DON’T LET THE PIGEON RUN THIS APP.

 So when I heard Women in Children’s Media was doing an event with Editors Tracey Keevan from Disney Publishing Worldwide and Betsy Loredo of Sesame Workshop, the two companies who created these genius apps, I immediately signed up.

The event was very well attended with folks from all areas of Children’s Media. Incidentally, it took place at the Sesame Street offices in Lincoln Center, where I worked years ago in the Interactive Technologies Department. Back when interactive CD ROMS were the wave of the future. Now years later these interactive games seem to have been reinvented in downloadable apps.

The Talking Tech presentation began with an informative case study of how an app gets made, using my favorite monster app as an example. We learned that the original 1971 golden book written by the Sesame directing legend Jon Stone has sold over 5 million print copies. So turning this beloved story into an app was a no brainer. The trick would be living up to the unquestionable greatness of the original book.

Rule #1: Start with a great story

Rule #2: Advocate for your audience

Rule #3: Ask Questions (and don’t be afraid to look stupid)

To visualize what the app would look like the team created storyboards and wireframes (similar to a choose your own adventure) to map out the content.  The team made decisions about the animation style (they wanted a vintage look) and how the text would be handled (they wanted it highlighted).

Then after 3 months of development time they tested a first pass with kids. And they addressed notes from researches like “can you give the kids more of a clue what to do with the ropes.”

80 days later (and a day before Christmas) the final build was done. And it launched with great success reaching the status of top 10 apps for kids.

Betsy closed by saying what you need to make a successful app is a “good story, a cute adorable monster… and at least 80 days.”

I certainly agree with all this, but couldn’t help but wonder, do you also need a best selling book that’s sold over 5 million copies, and a huge company backing the project? How can an Indie developer be successful in the growing App market? This question was asked, but wasn’t really addressed.

Next Tracey from Disney took the podium and highlighted some of the different types of apps that are out there:

1.     Storybook Apps: A reading experience with some bonus features, like IT’S A SMALL WORLD.

2.     Storybook Deluxe: Usually based on a feature film

3.     Original Feature Apps: Taking a popular character and building an original app around that character, like Mo’s Pigeon app.

4.     Comics and Graphic novels

5.     Learning Apps

6.     Interactive Digital Books: basically the book with a couple add-ons

Afterwards there were loads of great questions asked, like “do you expect parents to play with kids.”  And the response was, after about 3-5 minutes the kids are usually in complete control of the iPad. So you need to design your content so kids can play independently.

I thoroughly enjoyed the presentation, and was particularly excited to hear all the details about the monster app. Although, I think it would have been a stronger discussion if a successful indie panelist were added to the group. As interesting as it all was, the talk felt a bit one sided.

June 8, 2012

I’m Teacher’s Pet at the Writer’s Workshop

I’ll tell you a secret.  Shh, no one in the world knows this as I have kept it carefully under wraps with my suave demeanor and impeccable fashion sense:  I am a nerd.

We can’t all be the Flash.

I know, you’re totally shocked!  Well, at the last writer’s workshop event I completely blew my cover by becoming the infamous classroom stereotype:

This month’s writers’ workshop was with Mackenzie Cadenhead.  Mackenzie is an accomplished author and former editor at Marvel.  Oh yeah, that’s right thee MARVEL.

Mackenzie was kind enough to walk us through the how tos of creating a comic book and as her example she happened to use a comic that is very near and dear to my heart Runaways.  Like comic books?  You should check it out.  Don’t like comic books?  What is wrong with you?

Not These Runaways

These Runaways

Like many of our children’s media properties the comic book starts with a pitch.  Every comic should be based around a clearly articulated, exaggerated metaphor.  Like X-Men being about discrimination and discovering yourself.  Runaways is all about old vs. young, rules vs. freedom.  The series is about six young friends who find out that their parents are actually super villains.  The teens run away and discover that they have superpowers, too (well some of them are more like stolen gadgets but you get the picture).  The kids resolve to right the wrongs of their parents and be a force for good.

So how to make that awesome idea into a series?  A standard comic pitch usually goes through 5 or 6 book arcs (that’s enough for 1 trade paperback graphic novel, as they call them).  The end of every issue is of course a cliffhanger, leaving the readers wanting more.

After the pitch is the script (still in familiar territory here).  It looks a bit like a screenplay with the panel descriptions and dialogue all typed out.  Sometimes writers suggest layout, sometimes they don’t. Now here’s where it gets all “wha?” for those of us who don’t work in the comic arts.  The job of Mackenzie, as editor, is really to be the go between between the writer and artist as none of them are likely to be in a room at the same time.  After script comes layout which is really like a rough storyboard.  After the layout is decided on the pencil drawings are done.  These look more final but are still, well, in pencil (hence the name).  Once the pencils are done the panels are inked.  The inking really indicates the light source and is an amazing art form unto itself.  After the inking comes coloring, another powerful tool.  Color choices can reflect mood or the characters’ alignment, it can also show the passage of time and time of day.  Then after the pictures are final, inked and colored, the letterers come in and fill in the text of the book.  A good editor and a good artist know enough to leave room in the picture for the dialogue to fit and the writer also needs to be aware that there’s not room for a 20 line monologue in one panel.  The editor has to juggle all these artists artistic sensibilities and make them gel into one cohesive unit. From what I can tell comic book writing is somewhere in between writing a teleplay and a silent movie script.  You count on the pictures to fill in information so you don’t have to have text spell everything out for you.  It sounds like a really interesting challenge.  Kind of like saving the world on a daily basis, only on a smaller scale.

Main Takeaway:  My first thought was:  comic books look like they’re hard to write. I want to do it!  Read ‘em or don’t read ‘em but there’s no doubt that comics are an amazing art form.  Every medium presents its own sets of challenges and triumphs.

Personal Takeaway:  What a great medium for exploring wonderful universal truths with kids or anyone!  As a kid I learned from Spider-Man that with great power comes great responsibility. I learned from Batman that you can do one of two things with the tragedies that happen in life – use them to become a better person or use them to go dark side.  We all have the potential to be monsters or heroes.  And I learned from the Incredible Hulk that you wouldn’t like me when I’m angry.  Okay, maybe not that last one but rule of threes and all that…

Hulk Baby, Smash!

Inappropriate Takeaway: I don’t know if it’s inappropriate or just an interesting factoid but comics are not returnable.  Once they’re stocked in the store they’re there and there’s no ripping off the covers and returning them to the publisher.  My local comic book store should’ve thought of that before purchasing 8 million copies of Peter Porker:  The Amazing Spider Ham ‘cause I’m pretty sure I was the only one itching to buy that one on new comic book day.  (It was my favorite comic book when I was a kid, by the way, next to Katy Keene.)

This? Not so much.

This seems more like me.

May 11, 2012

Saving the World with Erica Branch-Ridley

For the second writers workshop of the new year we sat down with Erica Branch-Ridley, the Assistant Vice President for Platform Innovations at Sesame Workshop.  Sound fancy?  Is fancy.  Erica got her start as a musical theatre major. She worked on 48 Hours (the news show not the Murphy/Nolte powerhouse movie) as Dan Rather’s assistant, worked on a kids show with Maya Angelou at BET and even found time to teach preschool!

Freeze, Rather!

She went back to school herself and took some multimedia classes and eventually wound up at Nick Jr. online where she worked on the notion of convergence, how to make the things online jive with the TV portion.  Erica started writing promos encouraging kids to go online.  This was at a time when networks were afraid that if you drove your viewers online they wouldn’t come back and watch the shows on TV.  Needless to say, the online folks still like some good quality TV time (I know I do).  From Nick Jr. Erica went to TV Land to start a broadband channel and then she found her home at Sesame Workshop.

And that’s how you get to the street

A typical day for Erica includes studying shows and scripts and working with vendors to come up with games and new levels of interactivity.  Her goal is to have the online compliment the on-air and deepen the storytelling for the kids.  Cue the Transmedium!

Meh-heh-heh

Erica then walked us through one of the coolest things I’ve seen online (and I’ve even seen that Honeybadger video):  the Electric Company’s Prankster Planet.

Don’t get me wrong. I want you to read the blog. I really do. But people, seriously, stop reading and go to ww.pbskids.org/electriccompany/pranksterplanet/

They need your help to stop the funniest thing I have ever heard in my life (and as you know I’m a regular laugh riot).  Wait for it.  It’s coming.  They need your help to stop the Word Suckinupanator!  Let me re-write that with hyphens:  The suck-in-up-an-ator.  It’s a problem.  Huge problem. It’s stealing all the words from the planet Earth!  Awesome.

Prankster Planet is a two-minute animation seen at the end of episodes of the Electric Company.  At the end of the animation there is always a cliffhanger and a call to go online and save the day!  The plot of Prankster Planet ping pongs back and forth between on-air and online.  Online you make an avatar of yourself then go through training, learning how to move on the planet’s surface.  You can even watch the 2-minute mission clip again and then it’s off to save the day!  So what happened to Erica and our heroes at the Electric Company when Prankster Planet went up?  Will they succeed in bridging the gap between on-air and online? Tune in next time…

…Pretend it’s next time.  TV ratings went up, online traffic went up.  Prankster Planet was good all around!  In fact, Erica and the team just got a grant to do eight more levels!  So look for more Prankster Planet on a TV and PC near you!

Main takeaway:  On-air folks need not worry that online is going to be the death of television.  A good website enhances the storytelling that’s seen on TV and lets kids go even deeper into the world that they love.  Good storytelling is good storytelling no matter the medium.

Don’t do it television! There’s so much to live for!

Personal takeaway:  “Production is production.”  It’s easy to get freaked out by all these technological innovations (especially considering I can barely post a picture on this WordPress site) but it all comes down to a great, engaging idea.  The technology is there to serve the wonderful creative, creativeness that is in our heads.

Inappropriate takeaway:   Word Suckinupinator has sent me into a Beavis and Butt-head-esq fit of giggling.  You can make the girl grow up but you can’t turn her into a grown-up.  Thank goodness.

Hee hee! Suckinupanator!  Hee hee!

April 27, 2012

I Spend an Evening with my BFF Nancy Kanter

Okay, okay, Nancy Kanter isn’t really my new BFF (I wish!) but she was awesome enough to sit down and share her life story with us at the first ever WiCM Red Chair Series.

And yes, there was indeed a red chair.  Two, in fact.

Amy Friedman moderated as Nancy Kanter, Vice President of Disney Junior Worldwide shared the story of her storied career and gave us a sneak peek of the launch of the new 24 hour Disney Junior channel.

What? Did you think I was making this up?

From any early age, Nancy knew she didn’t want a conventional life.  Her dad was a director on Your Show of Shows and worked in advertising and her mom owned a preschool so the makings of a master of kids’ TV was in the works from the start.  But Nancy had other lofty plans:  she wanted to be a translator at the UN.  That is, until she heard that there is a high suicide rate among folks with that profession.  Yikes.

So she decided to go into TV and film.  She started out as an editing intern and worked with D.D. Allen and as an apprentice editor on Dog Day Afternoon.  She continued working as a film editor and then realized she wanted more creative control.

And that's one to grow on

She produced “Stood Up” an ABC afterschool special (Remember those?), met Arlene Sherman and starting doing shorts for Sesame Street.  When her husband had to move to LA for his work she started at Disney.  At the time the network was struggling with preschool, they had done Bear in the Big Blue House and Rolie Polie Olie but there was no testing with kids and certainly not the extensive preschool presence Disney has today.

Which brings us to the present and the launch of Disney Junior.  They needed to find a way to differentiate Disney Junior from PBS or Nick Jr. and what they really thought about is that Disney already means so much to people.  Disney has been touching people’s hearts through their movies, characters, theme parks, etc. for years and Disney Junior’s shows had to have the same amount of heart. When they did focus group testing and asked kids who Mickey was they found that most kids simply answered “my friend.”

Not you, Hall of Presidents

See? Everyone Loves Disney World!

We then got a sneak peek of a wonderful new lineup that includes some familiar faces from Disney TV and movies (Mickey and the gang, Peter Pan, princesses) as well as new friends.  I don’t want to give anything away, you’re just going to have to tune in to see.

All in all, there is just too much information to report.  The Red Chair Series is one of my favorite WiCM events ever, it was so nice getting to know a bit about Nancy, not just her resume but about her as a person and the path she’s taken to get where she is.  At the conclusion of the event, we retired to the bar next door for drinks and were encouraged to introduce ourselves to Nancy. That really blew me away, that Nancy would take the time to talk with us so openly and honestly and say hello to each one of us personally.

And finally, the question you most wanted to know.  What Disney character does Nancy think she is?  Daisy Duck.  She has good shoes and is a bit of a diva.  See?  I am her BBF.  That’s so something only a BFF would know.

Main Takeaway: There are so many roads to take in life and everything teaches us a lesson and helps us get to where we belong.

I knew I should've taken that left turn at Albuquerque

Personal Takeaway: Everyone makes mistakes, you just have to get through them.  Nancy told a wonderful story about when she was taking a rough cut of Dog Day Afternoon to Paramount to be screened by the execs and Al Pacino and a bus ran over the film.  Luckily, the film itself wasn’t damaged. But really, yikes.

What the what?

Inappropriate Takeaway:  Amy told us that she’s taken her red chairs with her throughout her career.  I gotta steal me some office furniture.

April 13, 2012

I-View, You-View, We all Love to Co-View

For this event, the lovely folks at the Joan Ganz Cooney Center invited us in for some insight into their report The New Co-Viewing:  designing for learning through joint media engagement. Our panelists included producer Heather Tilert, Assistant VP of Platform Innovations at Sesame Workshop Erica Branch-Ridley, Director of the Center of Children and Technology Shelley Pasnick, Director of Education and Research at Sesame Workshop Mindy Brooks and Dr. Lori Takeuchi Director of Research at the Joan Ganz Cooney Center.  The whole shebang was moderated by madam president herself, Sarah Wallendjack.

Before we get into the new co-viewing, what the heck was the old co-viewing you ask?  Well, it’s pretty much what it sounds like.  Older research says that kids who watch TV with parents learn more when they watch together than they do on their own.  Same with radio and books.  The new co-viewing has been expanded to include video games and other joint media engagement, people interacting together with media including both playing and creating media together.  Who knew that when my high school friends and I spent our weekends making up and shooting TV shows including “Deena the Chick Who Thinks She’s a Pirate” that we were participating in joint media engagement?

Yarr! I be creative.

But I digress. My point is (that’s right, I had a point) since my tendency is toward rambling it may be best to check out the report at:  www.joanganzcooneycenter.org/reports/  Ta-da!  There is so much rich information in the report that we’d be here all day if I tried to sum it all up so go check it out for yourselves.  Well, maybe not right now, finish reading my awesome blog entry first but then right after check it out.

After an overview of the report, the panelists were asked to introduce themselves and talk about how co-viewing impacts what they do and how they approach their shows.  Sarah admitted that for the shows they make at Out of the Blue, the main focus is the kids. Of course one hopes that parents watch with their kids but since there is no control over whether or not the show is co-viewed, the shows have to stand alone, assuming that parents aren’t in the room.  Heather mentioned that she always tries to make sure the shows are funny and have appealing music that parents would enjoy.  It’s important to have something in there for the parents without leaving the kids behind, of course.  Erica and Mindy spoke about a new intergenerational game they developed for the Electric Company called the electric racer game.  The game is designed for two players and helps kids improve their reading skills. http://www.pbs.org/parents/electriccompany/electric-racer.html#

If Only I Had a Co-Viewing Partner!

Darn it!  I have been trying to play this game with my alter ego Miranda but apparently you really do need two players to play.  Stupid imaginary friend and her stupid lack of driving skills (grumble grumble).  Anyway, grab a person with a pulse and try it out!  One player drives the car into words and the other play unscrambles the words that get unlocked.  Unscrambling the words makes the car drive even faster!  The game does a great job of making sure that parent and child are both busy so it’s not just a case of the parent telling the child what to do or the parent supervising the child as he/she plays.  It truly is cooperative and as soon as I make some friends, I’m totally trying it out.

So what advice did our illustrious panel have for people who want to reach a co-viewing audience?

Research, research, research.  Test things out with focus groups.  Think about the nature of the platform you’re using and how you can pull in another person on a small screen.  The electric racer game works well because one player uses the keyboard and the other uses the mouse.  You could even do it on a laptop!  Erica mentioned that when she talked to kids, she was surprised to learn how social seemingly antisocial media is.  Kids don’t just want to watch a show, they want to play the show, too.  Dear friends:  When we watch a movie together and halfway through I predict the ending, I’m not being a jerk.  I’m trying to engage you in a JME (joint media experience).  You’re welcome.

Main takeaway:  When designing games or shows to be co-viewed you still have to make sure your property is kid-driven, has multiple planes of engagement (you could talk about and play the show afterward or the app or the game, etc. – uh oh do I hear the Transmedium lurking around again?) and make sure your media is properly scaffolded to be entertaining to everyone who is watching/playing/creating.

Isn't Co-Viewing Swell, Kids?

Personal takeaway:  Engaging in media, even watching TV, is not a passive pastime.  It all depends on what you bring to the table and how you engage with the media itself and the people around you.  (Dr. Who role playing game, here I come!)

Allons-y!

Inappropriate takeaway:  Never mind this writing nonsense, what I really need is to play more video games.

Just imagine that's a girl and there I am. Destroying the Covenant.

Now you are free to go read the report.

March 10, 2012

Writing Workshop: Elly Kramer Gives Us The Peeps

Our second event of the new year was a writing workshop starring the wonderful and talented Elly Kramer, Director of Production and Development at Nickelodeon Preschool.  Elly shared with us the ins and outs of her responsibilities at Nick Jr. AND the ins and outs of the pitch process.

Not that kind of pitching! Go Sox!

Getting to Know All About the Person Who Holds the Fate of Your Beloved TV Show in Her Hands:  Elly got her Masters Degree in Developmental Psychology and started her career at Nick as a research coordinator on Dora and Blue’s Clues.  She’s been there ever since.  She shoots, she scores the perfect job on the first try! (What is it with all these sports references?)  Nowadays, a lot of Elly’s job consists of liaising (At first I thought I invented this word but no, it’s a word!) between a series’ production team and everyone else at Nick Jr. (licensing, casting, etc.).  Elly’s a true Jill-of-all-trades as she gives input on casting decisions, scripts and basically helps show creators nurture their babies and bring them to life on screen.

This Image Came Up When I Googled "Liaising." Works for me!

Now What You’ve All Been Waiting for:  Another part of Elly’s job is taking pitches from show creators.  I gotta say, having met Elly a bunch of times there is no one you would rather pitch your show to.  Elly exudes a sense of warmth and openness and one gets the impression that she really wants to help you make your idea better.  Don’t get me wrong, that doesn’t mean your show will be picked up but you and your ideas will be treated respectfully.  Sometimes Nick will put together a creative assignment and let creators and other folks on what Elly calls their “Good peeps list” know what they’re interested in for their next slate of development.

Mmmm - Thems good peeps!

The network will solicit mini-bibles, 10 pages or less that include the show overview, character description, episode ideas and curricular focus.  Out of the big batch of submissions they’ll pick the shows they like and ask for 11:00 pilots.  Then they pick out of those pilots and select a few they’d like to produce.  The list of potential shows gets narrower and narrower until you are left with the series that will go to air.

Not a good peep yet?

No worries, Nick also has an open pitch submission policy which means they are always open to hearing new ideas!  “There’s never a bad time for a good idea,” Elly told us, attributing the quote to her colleague Teri Weiss.  In fact, Nick couldn’t make it any easier to pitch your show, there’s a website www.nickpitches.com that will walk you through the submission process.    Generally, the network works 3 years out so shows are in development now that won’t hit the air until 2015.

Bad Peeps

 Some common questions asked about pitching/submitting ideas:

Do you need to have a creative team behind you?

Having already established writers, curriculum folks, etc. can certainly help you get in the door but you don’t necessarily need a team behind you. Again, it all comes back to that one good idea.

Do you have to have a digital strategy or talk about transmedia (whatever that is) in your show bible?

Nope. You can talk about how you think your property would work across platforms but it’s not necessary.

"And I would've gotten away with it if it weren't for those kids and their meddling mutt!"

Is everything animation nowadays?

While most of the content being made is animation, Nick will hear pitches for live action shows though it’s a bit harder to get a live action show made these days.

My take on the event?  Well, Elly has a pretty wonderful job.  At its core, she’s helping people make their ideas better.  Who wouldn’t want to do that?

Main Takeaway:  There is no bad time for a good idea.  Create and pitch the show you love because it’s going to take a long time, a lot of collaboration and a ton of love to get that puppy off the ground.  Be open to change while still being true to yourself.

That puppy is off the ground!

Personal Takeaway:  Don’t be afraid of development executives, pitching or putting your show or yourself out there.  If an idea doesn’t get out into the sunlight, it’s not going to grow.

Inappropriate Takeaway:  Collaboration makes for better ideas, better ideas make better shows and maybe, just maybe, better shows make better kids and better kids will make better adults that will take better care of me when dementia kicks in.

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