Designing a Transmedia Project for Class: Lessons from The Orangery

Hook: Turn classroom frustration into a polished transmedia project

Students struggle with retention, project scope and real-world workflow. Teachers struggle to fit creative, multiplatform work into limited class hours. This module solves both: a tested, week-by-week classroom plan that walks learners from a short comic to a produced audio drama and a festival-ready short film—inspired by The Orangery's transmedia success and industry interest from agencies like WME in early 2026.

Why this matters in 2026: The evolution of transmedia learning

Transmedia projects went from niche experiments to a mainstream production strategy by late 2025. Studios and IP outfits such as The Orangery have shown how a single graphic novel can become multiple revenue-generating formats. In January 2026 The Orangery signed with WME, highlighting market demand for IP that can move across platforms—an important signal for educators preparing students for creative industries.

Three trends make this module timely:

• AI-assisted preproduction: Tools for script outlines, voice prototyping and storyboarding speed up iteration (use ethically and transparently).
• Audio renaissance: Serialized audio dramas and podcasts are back in festival programs and streaming slates.
• Accessible, low-cost filmmaking: Smartphone cameras and free editing tools make short films feasible in a classroom.

Module overview: From graphic novel to multiplatform storytelling

This is a modular, adaptable unit suitable for high school to undergraduate courses in media, English, art and film. The core learning outcome: students will adapt a 6–12 page short comic into two new formats—an audio drama (episodic, 10–12 minutes) and a short film (3–8 minutes)—while practicing collaboration, rights awareness and production workflows.

Key skills students gain

• Adaptation and narrative compression
• Scriptwriting for audio vs. visual media
• Sound design and basic mixing
• Directing and blocking for short film
• Storyboarding and visual continuity
• Project management and pitching
• Ethical use of AI and IP management

Curriculum blueprint: 8–10 week project plan

The plan below is optimized for a semester schedule with two 60–90 minute class sessions per week. Shorter schedules are possible by compressing phases or extending outside class time.

Week 0: Prep and rights

• Select source comic (teacher-provided or student-original). If using published IP, secure permission; otherwise use public-domain or student-created work.
• Introduce core concepts: transmedia, adaptation, audience, platforms.
• Form production teams: writer/adaptor, storyboard artist, audio lead, director, producer, marketing.

Week 1: Close reading and adaptation brief

• Close read the comic: character arcs, beats, visual motifs and world rules.
• Create a one-page adaptation brief for each target format (audio drama & short film).
• Deliverable: two 250–400 word briefs that justify format-specific choices.

Week 2: Script structure & loglines

• Teach format differences: internal narration works in audio; visual beats are primary in film.
• Write loglines and 3-act outlines for both adaptations.
• Deliverable: loglines + 3-act outlines (peer review session).

Week 3–4: Draft scripts & audio storyboard

• Audio team scripts an episodic pilot (10–12 min). Include scene descriptors for sound effects and music cues.
• Film team writes a 3–8 min shooting script with shot suggestions.
• Deliverable: first drafts; class table read for audio script; read-through for film.

Week 5: Design & preproduction

• Artists produce condensed storyboards: audio uses a timeline-based sound map and storyboard; film uses visual panels with shot types.
• Technical prep: reserve gear, assign roles, plan locations, secure talent or use students.
• Accessibility plan: transcripts, captions, descriptive audio.

Week 6: Production

• Audio: record VO in small booths or quiet rooms; capture ambiences and SFX.
• Film: shoot scenes—prioritize coverage and sound; use clap or slate for sync. Use lightweight cameras and phone rigs informed by field reviews like the PocketCam Pro review when selecting gear.

Week 7: Post-production

• Audio: editing and mix in a DAW; add music and SFX; export stems.
• Film: edit for pacing; basic color correction; final sound mix with audio stems.
• Deliverable: master files + promotional stills.

Week 8: Presentation & distribution

• Class screening + listening session with feedback rubrics.
• Publish to platforms: audio to podcast hosts or SoundCloud, film to YouTube/Vimeo and short film festivals.
• Deliverable: pitch packet and reflective essay that documents adaptation choices.

Practical tools and software (2026 recommended)

Choose tools to match classroom budgets. Free and low-cost options make this accessible.

• Scriptwriting: Fade In, WriterDuet (collaboration), or free Google Docs templates.
• Storyboarding: Storyboarder (free), Clip Studio for panels, or paper thumbnails — see pro pipelines for reference in studio systems and asset pipelines.
• Audio recording/editing: Reaper (affordable), Audacity (free), Descript for quick edits and transcripts (use with AI ethics guidelines; see notes on AI tools in AI annotations and document workflows).
• Voice & SFX libraries: Freesound, BBC Sound Effects Archive, or licensed packs; note ethical use of AI voices (ElevenLabs-style tech) and confirm rights.
• Video editing: DaVinci Resolve (free), CapCut for mobile, Adobe Premiere or LumaFusion for tablets.
• Collaboration: Google Workspace, Miro for planning, Slack or Microsoft Teams for communication.

Assessment rubrics and evidence of learning

Assessment should balance craft, collaboration and reflection. Use rubrics tied to the briefs.

• Adaptation rationale (20%): clarity of why scenes changed, audience choices, and format-specific strategies.
• Scriptcraft (25%): structure, pacing and dialogue appropriate to the format.
• Production quality (25%): sound clarity, edit pacing, visual continuity and technical execution.
• Collaboration & process (15%): roles fulfilled, schedules met, communication logs.
• Accessibility & ethics (15%): captions, transcript, credits and ethical AI/IP disclosures.

Classroom roles and how to scaffold collaboration

Divide students into teams of 4–7 with clear responsibilities. Rotate roles across projects so each student practices multiple skills.

• Producer: schedule and rights management
• Adaptor/Writer: craft scripts for both formats
• Director: oversees film shoots and performance direction
• Audio Lead/Sound Designer: records and mixes audio drama
• Artist/Storyboarder: visual continuity across platforms
• Editor: assembles film; coordinates with audio lead
• Marketing: creates posters, loglines and festival list — consider portable presentation gear referenced in real-world field reviews like the Nimbus Deck Pro.

Sample lesson: Adapting a visual beat into sound

Objective: Teach students how to translate a visual panel into an audio scene.

1. Pick a single comic panel with a strong visual motif (e.g., a shattered window, a dripping faucet).
2. Ask students to list what is present visually: textures, color, motion, silence.
3. Create a sound map: foreground sounds (dialogue), middle ground (SFX), background ambiences, and musical motif.
4. Write a 60–90 second script including auditory cues and brief performance directions.
5. Record a quick edit; play in class and compare emotional tone to the original panel.

Legal, ethical and accessibility checklist

Teach students to treat IP and AI responsibly. Use classroom projects to model good industry practice.

• Confirm rights for source material; use original or teacher-cleared content where possible.
• Disclose any AI-generated voices/music and keep records of prompts and licenses — follow incident and audit guidance such as the document capture privacy playbook.
• Provide captions, transcripts and image descriptions for all outputs.
• Credit contributors and source material clearly on publish pages and festival submissions.

Extensions and subject-specific adaptations

This module scales across subjects and levels.

• English/Language Arts: focus on adaptation theory, voice and narrative perspective.
• Art/Comics: emphasize panel composition and visual continuity across platforms.
• Music & Sound: deeper sound design and original scoring.
• Media Studies: distribution strategies, festival submissions and pitch decks — consider practical workshops and post-mortem approaches from creator workshop field guides.
• Computer Science: build an interactive website or Twine-based complement to host the transmedia elements.

Real-world inspiration: Lessons from The Orangery

The Orangery's model shows how one graphic novel can become serialized audio and screen adaptations, creating multiple audience entry points. Their 2026 deal with WME confirms industry appetite for IP that is adaptable and platform-native. In class, use this as a case study: analyze one of The Orangery's titles (public summaries) and map how visual motifs can become sonic themes and film visuals.

Tip: Use industry press like The Orangery/WME news as a prompt to teach students about market fit—what makes a graphic novel attractive for multiplatform storytelling?

Assessment: Showcase, feedback and portfolio building

End the module with a public showcase: a listening session for the audio pilot and a screening for the short film. Invite local creators, other classes or a virtual jury to provide feedback. Students should submit a portfolio: scripts, storyboards, production notes, final masters and a 500-word reflection describing what changed in the adaptation process.

Practical pitfalls and how to avoid them

• Scope creep: enforce page limits and runtime caps early in the brief.
• Poor audio: prioritize sound capture—invest in lav mics or use phone mics with pop filters.
• Role burnout: rotate tasks and require progress logs to keep teams balanced.
• Overreliance on AI: use AI for drafts and transcription only; students must make creative decisions and declare AI use. For policy and credential conversations see thoughts on how micro-credentials and product thinking are changing education-to-industry pathways.

2026 predictions for classroom transmedia

Expect these developments to shape future projects:

• Credentialization: micro-credentials for production roles (sound design, editing) will become common.
• Hybrid festivals: more festivals will accept multiplatform submissions and cross-promote audio and film entries.
• AI co-creation norms: clear attribution rules and classroom policies will standardize AI use.
• Platform-first thinking: students will design for specific release ecosystems—podcast platforms, vertical video, short film circuits.

Actionable takeaways (quick checklist for teachers)

• Start with a short, clear source comic and secure rights.
• Split work into two parallel adaptation streams (audio & film).
• Teach format-specific writing early: audio needs sound maps; film needs visual continuity.
• Use free tools: DaVinci Resolve, Reaper, Storyboarder.
• Require accessibility deliverables and AI disclosure.
• End with a public showcase and portfolio artifact for each student.

Final notes: From classroom exercise to industry-ready thinking

Designing a transmedia classroom module trains students to think of stories as living IP—adaptable, platform-aware and audience-sensitive. The Orangery's WME alignment in 2026 proves industry appetite for this approach. When students learn to move a story from graphic novel to audio drama to short film, they gain transferable skills: narrative economy, technical craft and collaborative production—exactly the competencies the creative industries seek.

Call to action

Ready to run this module? Download the printable project checklist and rubric pack, adapt the 8-week plan to your calendar, and start with a single panel exercise this week. Share your students' transmedia pieces with our community to get feedback from educators and industry mentors.

Related Reading

• How AI annotations are transforming document-first workflows (2026)
• Studio systems, asset pipelines and storyboarding workflows (2026)
• How to protect your screenplay: accessibility, compliance & distribution
• Premiere micro-events and festival strategies for small films (2026)