This article examines the transmedia world building of Orhan Pamuk’s The Museum of Innocence, and explores how transmedia storytelling can effectively merge fiction and nonfiction to serve as a means of historical documentation and artistic expression. The Museum of Innocence is not only a novel, but also a physical museum situated in Istanbul. In contrast to conventional museums that present factual material, the physical Museum of Innocence’s discourse upholds the fictitious aspects of the novel, asserting that the characters have influenced the museum and played a role in the production of the novel. Paradoxically, the objects exhibited in the cabinets were acquired from antiquarians and secondhand stores, providing insight into the previous decades of Türkiye and unveiling historical, social, religious, cultural, and political facts and occurrences. The primary objective of this essay is to illustrate how the utilization of transmedia enables The Museum of Innocence to establish its unique and distinct reality. Furthermore, it suggests that the transmedia storytelling in this particular case relies on intersemiotic translation and transcreation, where the emphasis on the source text and target text diminishes in favor of the symbiotic relationship between the two concepts. By posing key questions—“How can world building expand in different directions and platforms?”, “Through which ways a novel–museum pair crosses various semiotic systems?”, “What roles can intersemiotic translation and transcreation play in transmedia storytelling?”—this essay deliberates on transmedia storytelling and world building, while offering a new model to analyze the transmediality of fictitious source texts. The essay proposes that Pamuk engages in the translation of written verbal signs into physical reality, while also employing fiction as an artist and curator at the museum to transcreate the physical reality. This process leads to an exceptional manifestation of transmedia storytelling and world building.