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Seven interactive essays on digital nonlinear storytelling
edited by Matt Soar & Monika Gagnon

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Keywords: Co-Creation

Co-Creation (\kō-krē-ˈā-shən\):

Responding to the ongoing crisis in scholarly publishing, Alex Reid argues that transmedia scholarship will inexorably be a collaboratively authored enterprise.  As Reid notes: 
In a print world, the monograph makes practical sense. The document must be completed before being published. It must stand alone on a shelf, bound together but separate from other bound-together texts. But online, obviously, nothing stands alone. Furthermore, one of the principle affordances, if not advantages, of the network is the capacity for versioning. And not just by 'the' author, but by a user-community.
Importantly, Reid extends the possibilities of "co-authorship" to readers; it is our intent that the agency afforded the reader of this project by its design and platform are reflective of this inclusion of the user-community in the role of authorship.

Further, networked collaboration is an essential component of this project's execution ; we worked on the project separated by thousands of miles and at no point in person during its creation.  Careful coordination was required at all steps, from our preliminary planning to the final stages of tweaking layout of the pages.  At times, progress was intensely deliberate, as technical challenges such as network connectivity issues, server time-outs , and ensuring that we were never both actively altering the same page of the project (and thus potentially over-writing one another's changes) engendered a strict authorial and editorial discipline of coordination.  The co-creation of this project was heavily reliant on communication platforms both old and emergent, from telephone to text message to collaborative document spaces to chat forum to videoconference calls .

As a result of this intensive and sustained process of collaboration, we felt that both of our roles had expanded significantly beyond the original (and traditional) designations of Suzanne as author and Chris as editor.  Suzanne's duties extended well into the traditional domains of the editor, just as Chris crossed into the conventional tasks of author.  Our work here is thus presented as the product of our work as both co-authors and co-editors, much like many of the modes of transmedia scholarship discussed herein.
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