With so many television networks now using mobile as a marketing channel, I’m wondering who will be the first to actually use it as a storytelling mechanism as well. What exactly does that mean? Here’s an example:

Terrorists have kidnapped Jack Bauer’s daughter. To free her he must go to a warehouse and steal a decoder from a paramilitary group that will allow the terrorists to activate some bomb somewhere (presumably in whatever city he is currently in). He enters the warehouse; it’s empty. Suddenly the door locks behind him and he receives a text message. “Nooooooo!” Cue digital clock countdown… End of episode.

What if 30 seconds later,  all the viewers subscribed to “24: The Mobile Experience” received the same message that Jack got? Engagement on a new level. Now they feel part of the experience.

Mobile devices already play such a large part in 24

This concept could be executed in multiple ways. For example, it could happen alongside end-of-show cliffhangers , or even during commercial breaks. It isn’t limited to text messaging either. Let’s say a television character listens to a troubling (and plot-forwarding) voice mail that is not privy to the viewing audience. Those audience members subscribed to the mobile service could  receive a call allowing them to hear that same message.

Additionally, this idea of extended reality could be applied to reruns and computer viewing (i.e Hulu), though it would require more effort on the part of viewers. A graphic could appear in the corner of the screen (which we know Fox already loves doing) instructing viewers to text in a code to get access to the ‘mobile moment.’ What did Jack Bauer just read on his phone? Text 12345 to 242424 to find out!

Whichever method you choose, the point is that you’re finding new ways to engage an audience.

It’s about blurring the

already hazy line

between fiction

and reality.

There are some obvious challenges. The writing staff would have to be committed to including these ‘mobile moments’ into the overall plot of the show. Once committed, they would have to carefully craft plot lines in such a way where receiving these mobile bits of information would enhance the show for those subscribed, but not detract for everyone else.

Additionally, a campaign of this magnitude would have to be carefully executed. If it was to only happen during the first-run of an episode it would be important to collect time-zone information during the initial opt-in, among other things.

Some of you may be thinking, why go through all of the trouble?

1. Many networks already use the mobile channel for marketing their shows, such as USA and Bravo. This is just an extension of that; using mobile as a way to engage viewers. Bravo actually does a good amount of in-show text messaging. On Top Chef for instance, you’ll often receive an SMS commenting on the action you’ve just seen. “Can you believe who just packed their knives?”  “I can’t believe Spike just said that.”

Marketing is all about engagement though. The more engaged a consumer is, the more apt they are to repeat the actions you’re suggesting via your marketing. If they enjoy being part of this extended reality you’ve created for them, they’re more likely to come back and watch your show the next week.

However, my vision is geared more towards fictional shows (as opposed to the reality TV Bravo is so well known for). It’s about using mobile to enhance the power of storytelling via integrated media channels, which leads us to…

2. The rise of interest in alternate reality games (ARGs). There’s a benefit to extending the reality of a show beyond television. It engages viewers at times other then when the show airs. But what if you could use that same extended reality to bring more viewers to the show when it’s on the air? By letting them join in the shared experience, you’re ultimately adding more eyes to watch commercials. Instead of using extended reality to increase offline (i.e. off-television) engagement, you’re using the concept to expand your viewing audience.

The Lost ARGs are a strong statistical example of how engaged people are willing to become with ‘fictional experiences.’ In the UK, over 30,000 unique users regularly interacted with the first alternate reality game (The Lost Experience). In The Lost Experience, there were also many advertisers involved, including Sprite. Without going into too much detail (you can find a substantial amount of ARG statistical research yourself right here) Sprite web traffic went up 400%.

Granted, it might have been difficult to work my mobile concept into the first few seasons of Lost. I’m pretty confident cell phone reception on the island was limited (and no, Naomi’s satellite phone doesn’t count).

We see that people want to become more invested in the shows they love. We need to give them the opportunity in ways beyond ARGs. From a creative perspective,  tools such as the mobile channel will allow writers to tell a story via television (and beyond) in ways they never thought possible.

3. You may have noticed I referenced advertisers and commercials a few times in this post. At the end of the day it all comes down to money. Luckily, beyond enhancing storytelling, mobile can be a great revenue stream too.

Let’s go back to the 24 example. For $4.99 per month (during the season), a subscriber could receive ‘mobile moment’ text messages and calls during the show, extended previews  of next week’s episode not available on TV,  access to a new ring tone or wallpaper each week, and text messages alerts between episodes with facts and what not.

If that’s not enough, you could even supplement your income by including advertiser messages (‘This message was brought to you by Sprite’) at the end of each SMS.

You are not only enhancing the viewer experience, you’re generating additional revenue as well for little to no overhead cost, as most of this content already exists. It just needs to be converted to mobile formats.

So what’s the takeaway? Many people (myself included) have said that the third screen is now the first. Instead of worrying about which is the better medium for consumer engagement, we should be focusing on how best to use these screens in concert with one-another. I once wrote, “More and more, marketers and advertisers are faced with the struggle of crafting a fragmented narrative that transcends medium.”

Perhaps, to an extent, I was wrong. Televisions writers can use television and mobile in tandem, during the same time frame (i.e. within the confines of an episode). Maybe the narrative won’t be so fragmented this way.

I realize that it’s unclear who this post was intended for; marketers or writers? I suppose the answer is both.  This concept provides effective means for marketers to engage viewers in an nontraditional way.

That said, the creative side of me is fascinated by what you could do from a storytelling perspective. I’ve been transfixed by  the concept ARGs relating to television and movies for a while now, but I always feel they’re slightly lacking. You’re engaged with the mythology of the show, but not the show itself.

As much as the third screen may be the first, and television is dead, or whatever other nails you want to hammer into the coffin of TV, I still think there’s some fresh life left in this aging medium. It just needs some help from its friend mobile.