Transmedia storytelling (also known as transmedia narrative or multiplatform storytelling) is the technique of adapting a single story or story experience across multiple platforms and formats using current digital technologies.

From a production standpoint, transmedia storytelling involves creating material that engages an audience using various platforms and techniques—such as social media, film and television, educational tools, merchandising, and more—to permeate everyday life. To achieve this engagement, a transmedia production will develop and adapt stories across multiple forms of media in order to deliver unique pieces of material in each channel. Importantly, these pieces are not only linked together (overtly or subtly), but are in narrative synchronization with each other.

Transmedia storytelling often emphasizes audience engagement and medium-specific work, expanding the possibilities of narrative storytelling beyond the binary of original storytelling versus adaptation.

Transmedia storytelling can be related to the concepts of semiotics and narratology. Semiotics is the "science of signs" and a discipline concerned with sense production and interpretation processes.

The origins of the approach to disperse the material across various commodities and media is traced to the Japanese marketing strategy of media mix, originated in the early 1960s. Some, however, have traced the roots to Pamela: Or, Virtue Rewarded (1740) written by Samuel Richardson and even suggest that they go back further to the roots of earliest literature.

Some works include, but are not limited to:

The study of transmedia storytelling—a concept introduced by Henry Jenkins, author of the seminal book Convergence Culture—is an emerging subject. Because of the nature of new media and different platforms, varying authors have different understandings of it. Jenkins states the term "transmedia" means "across media" and may be applied to superficially similar, but different phenomena. In particular, the concept of "transmedia storytelling" should not be confused with traditional cross-platform, "transmedia" media franchises, or "media mixes".

One example that Jenkins gives is of the media conglomerate DC Comics. This organization releases comic books before the release of its related films so the audience understands a character's backstory. Much of transmedia storytelling is not based on singular characters or plot lines, but rather focuses on larger complex worlds where multiple characters and plot lines can be sustained for a longer period of time. In addition, Jenkins focused on how transmedia extends to attract larger audiences. For example, DC Comics releases coloring books to attract younger audience members. Sometimes, audience members can feel as though some transmedia storylines have left gaps in the plot line or character development, so they begin another extension of transmedia storytelling, such as fan fiction. Transmedia storytelling exists in the form of transmedia narratives, which Kalinov and Markova define as: "a multimedia product which communicates its narrative through a multitude of integrated media channels".