Up to this point, we have explored the encoding process as if storyform and storytelling were the only concerns. This is only true in a theoretical sense. In practice, you cannot relay a story from author to audience except across a medium. The medium in which a story is presented both limits the tools available to the author, and provides uniquely useful tools. For example, motion pictures are not known for the capacity to present stories told in taste or touch or smell. Stage productions, however, have made effective use of all three. Also, a novel allows a reader to jump ahead if he desires, and examine aspects of the story out of order, something one cannot do as easily in a movie.

Stories in many media are recorded to play back directly to the audience. Others are recorded as cues to performers and translated through them to the audience. Still others are not recorded at all and are simply told. There can be as many media as there are means of transferring information.

Even within a single medium there may exist several formats. For example, in television there are half-hour, three-camera formats, half-hour, single-camera formats, one-hour and two-hour and miniseries formats. Also, time is not the only quality that defines a format. Soap operas, episodic series, and multi-throughline episodic series are but a few variations. Each of these formats offers dramatic opportunities and each works under constraints. By exploring their demands and benefits, the process of encoding can be related to best advantage in each.

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