Abstract
This article seeks to add to the conversation around transmedia practices in Victorian culture and to suggest that sensation, a particular type of storytelling that sought to affect its audiences physically and emotionally with its extreme events in contemporary settings, was significant to the development of transmedia practices in the ease with which sensationalists moved their stories across boundaries and the highly self-reflexive way in which they did so. Whilst contemporary reviewers expressed anxiety about the fractured and multiple means by which sensation could be consumed, sensation writers like novelist Mary Elizabeth Braddon and playwright Dion Boucicault highlighted their sensational productions as transmedia, often in the face of critical opprobrium. Examining both writers' versions of The Octoroon (1861-2), a story about racial inequality set in antebellum Louisiana, we can see how offering readers and audiences sensational stories that continued, expanded or re-told other sensational stories kept Victorian consumers coming back for more. Sensation, this article suggests, was at the forefront of stimulating its audiences in new ways: bodily, intellectually, and emotionally, and that the transmedia connectedness of sensationalists' work increased their capacity to create new sensations.