DUDETTE ENTERTAINMENT
November, 2023
LET’S CO-CREATE
Introduction
Contextualization of Feedback-Driven
Improvements:
Recognizing the need for improvement, our recent feedback highlighted three key areas:
Clarity: Previous assignments called
for a more straightforward and
transparent presentation of ideas,
emphasizing the importance of clear
communication.
Research Backing: The feedback
stressed the necessity for a stronger
research foundation supporting our
chosen concepts. Well-researched
insights not only bolster our arguments but also instill confidence in
the validity of our creative choices.
Integration of Research with Concept Development: The feedback
pointed out the need to better align
our research with the concepting
creative process. In response, our
current assignment places a significant focus on seamlessly weaving
together our research findings and
creative decisions for a more cohesive approach.
Keeping these valuable insights
in mind, we refined our approach
while creating this assignment.
Each section reflects the specific
improvements we made based on
the feedback we received.
In recent years, the pursuit of happiness and entertainment has become paramount in people’s lives, serving as a coping mechanism in the face of stress and trauma. The global
mental health landscape has witnessed a decline, exacerbated by the challenges posed by
the pandemic, as reported by the World Health Organization (WHO). A Eurobarometer
survey conducted in June 2023 revealed that nearly half of the European Union population
(46%) had experienced emotional or psychosocial problems in the past 12 months (European Council of the European Union, n.d.). In response to these challenges, people often seek
refuge in activities that offer an escape from reality (Santana, 2021).
While escapism has been associated with negative connotations in some research, recent
studies highlight its positive impact on mental well-being. The Institute of Whimsical
Research (IWR) found that engaging in creative outlets, such as literature, art, and music,
resulted in a sense of relaxation and rejuvenation for 78% of respondents (Nabiha, 2023).
Similarly, Shah (2022) sees that fiction books offer a tool for stress reduction, providing
readers with a break from daily issues. Therefore, fiction books, in particular, have gained
dominance in the U.S. book market, constituting over 52.88% of all print book sales as of
2022 (Curcic, 2023). Moreover, reading literary fiction has been linked to the development
of empathy, theory of mind, and critical thinking, contributing to increased social acuity
and a sharper ability to understand others’ motivations (Seifert, 2020).
However, the traditional form of reading books faces challenges in the modern era. Pir
(2022) notes a decline in book reading globally due to the emergence of alternative media forms such as audio, video, and film. This shift is particularly evident in the decline of
print media popularity, including newspapers and magazines, attributed to the rise of online
media and a decrease in print advertisements (Noam, 2015). Sperber (2021) proposes that
podcasts present a solution to this challenge, emphasizing their focus on creating emotional
connections between listeners and hosts.
Choosing the genre of “fiction crime” for podcasts is a deliberate decision of our team
driven by the desire to cater to a predominantly female audience. Research by Vicary and
Fraley (2010) indicates that women exhibit a greater attraction to true crime literature as
a means of self-protection and knowledge acquisition for potential worst-case scenarios.
Similarly, a 2018 study found that 73% of online true crime podcast audiences were female,
with women more likely than men to listen for social interaction, escapism, and voyeurism
(Boling & Hull, 2019).
Despite the popularity of true crime podcasts, critiques, highlighted by McMahon (2019)
and Sherrill (2020), underscore their limitations. These criticisms point to the genre’s
tendency to depict marginalized individuals primarily as perpetrators of crimes rather than
victims, perpetuating bias and incomplete narratives.
To address these challenges, our company endeavors to produce an engaging and ethical
fiction crime podcast series. We aim to foster loyalty in listeners, enhance their overall
experience, and create a vibrant community around our show. To achieve these goals, we
have chosen to employ transmedia storytelling. Transmedia allows for a more profound
exploration of the story world, offering diverse perspectives and expanding the narrative
(Yellowbrick, 2023). Building on Henry Jenkins’ concept, transmedia storytelling encourages audience participation and engagement, fostering a sense of community and making
the audience integral to the unfolding story (Pratten, 2015).
Problem analysis
The current landscape of true crime podcasts is saturated with content,
meeting the increasing demand but falling short in providing a comprehensive understanding of the justice system. These podcasts often present
biased narratives by selectively sharing incomplete information, usually
favoring just one side of intricate stories. Recognizing this issue and understanding the potential of the fiction genre, the company aims to produce a
fiction crime podcast series tailored for a target audience of primarily female listeners aged 18-35, who are already engaged with true crime podcasts. The challenge lies in seamlessly transitioning these listeners from
true crime to fiction crime, ensuring authentic engagement and community
building.
Problem statement
The challenge is to address the shortcomings of current true crime podcasts
by introducing a storyworld that includes a fiction crime podcast series, social media profiles of the podcasts characters and its own investigation that
must be solved by the customer (when purchasing the subscription package).
The goal is to captivate a predominantly female audience, aged 18-35, who
are already true crime enthusiasts. The issue is not only attracting their interest but also ensuring a smooth transition into fiction while maintaining
ethical storytelling practices, such as accurate representation and avoidance
of sensationalism. To differentiate from the market, the company aims to
implement transmedia storytelling, building a story world across various
platforms, such as social media, podcast apps and the products own website where clues documents will be sold, to enhance engagement. Potential
risks and challenges will be proactively addressed to ensure the success of
the podcast series. The challenge also includes understanding the audience’s
preferences deeply through qualitative research methods and incorporating
co-creation workshops to involve them in the storytelling process.
Ethical consideration in storytelling and media:
Develop a fiction crime story that adheres to a set of ethical guidelines, ensuring responsible storytelling.
Investigate the ethical considerations in narrative choices, character portrayals, and
overall content creation for the podcast.
Transmedia Storytelling Implementation:
Implement transmedia storytelling techniques to create an immersive storyworld spanning multiple platforms.
Assess the impact of transmedia elements on audience engagement,
aiming to create a cohesive and interactive narrative experience.
Research question:
“How can the ethical enhancement of a fiction crime story
podcast, while maintaining authenticity, continue to captivate our intended audience, particularly those who are
presently dedicated listeners of true crime podcasts? “
Theoretical Framework
1. Ethical Considerations in Storytelling
and Media:
Media ethics plays a pivotal role in guiding the responsible
use of words and images provided by the public (Online
Manipal, 2023). Upholding media ethics is not only essential for maintaining a respectable reputation within the field
but also for producing objective media material consistent
with the ethical code of the organization. Adhering to these
ethical principles contributes to increased brand recognition
and fosters audience confidence.
Hinwood (2022) underscores the power of storytelling and
its ability to serve various purposes. It highlights the ethical
question at the core of storytelling, emphasizing how narratives, whether written or spoken, can be shaped through
discussions, observations of life, and active participation.
Engaging in such activities allows diverse individuals to
participate, underscoring the impact of storytelling on education and the need for an ethical framework to ensure the
veracity and validity of the stories being told.
Ethics, as discussed by Plaisance (2014), can be a challenging subject, not because of resistance or intimidation, but
because it involves grappling with dilemmas and addressing
philosophical principles. Plaisance recognizes that ethics is
inherently about questions rather than answers, posing challenges that require thoughtful consideration.
The MERITS Model (Plaisance, 2014):
The MERITS Model provides a structured series of questions aimed at encouraging ethical decision-making. This
Multidimensional Ethical Reasoning and Inquiry Task Sheet
directs focus to the values involved in an issue, the philosophical principles guiding decision-making, the interests
of various stakeholders, and the moral duties and considerations integral to credible ethical deliberation.
MERITS Model Dimensions:
Conflicting Values:
Identify and explain key values in conflict in a dilemma.
Examine the importance of each value and articulate the conflict.
Decide which value should be given priority and justify it.
Normative Framework:
Consider which philosophical approach is most applicable and articulate how it should guide ethical thinking in this case.
Apply ethical theories like Rawls, Kant, or Aristotle based on the nature of the dilemma.
Stakeholder Interests:
Identify all potential parties affected by the decision or having a legitimate interest.
Minimize potential harm to stakeholders and justify prioritization
based on philosophical frameworks.
Duties and Effects:
Reflect on how options reflect moral duties and advance effectiveness
as a moral agent.
Consider direct responsibilities and duties as a media professional.
Evaluate decisions based on duties and values, considering the potential outcome.
We want to use the Merits model to consider ethics in our
products and address situations and issues that may arise
during the public process. This part is not included in our
workshop but this model is crucial for our study as it allows us
to control our ethical values, problems and identifies areas for
enhancement in our production processes.
THEORETICAL FRAMEWORK
2. Transmedia Storytelling
Transmedia storytelling, as articulated by
Hannon (2021) and Jenkins (2007), is a
dynamic narrative approach that involves
the audience as active participants within
the story. Differing from cross-media storytelling, transmedia engages audiences with
distinct stories across various mediums.
Jenkins (2007) emphasizes that transmedia
storytelling disperses essential elements of
a fictional narrative systematically across
diverse delivery channels, creating a unified
and coordinated entertainment experience.
This approach envisions each medium contributing uniquely to the narrative unfolding. The focus often shifts from individual
characters or specific plots to complex fictional worlds capable of sustaining multiple
interrelated characters and stories. This process of world-building sparks an encyclopedic impulse in both creators and consumers,
driving them to master the extensive details
of the ever-expanding world.
Immersion vs Extractability: Balancing
the ability to immerse fans in the fictional storyworld (immersion) and providing
opportunities for fans to bring elements of
the storyworld into the real world (extractability).
Worldbuilding: Expanding the storyworld
beyond the main narrative, offering additional content that enriches the understanding of the fictional world.
Seriality: Breaking down the longer narrative into episodes, chapters, or installments
distributed across multiple platforms.
Subjectivity: Incorporating different points
of view from various characters, allowing
secondary characters to express their perspectives.
Performance: Encouraging fan contribution to the storyworld, whether through fan
fiction, mashups, or role-playing.
The principles outlined by Jenkins guide
the application of transmedia storytelling in We aim to employ Henry Jenkins’ seven
our fiction crime podcast project (Pratten,
principles to construct a compelling story2015):
world for our fiction crime podcast. This
strategic application is crucial for our study
Spreadability vs Drillability: Examining
as it enables us to align with the expectahow easily content circulates through sotions of our target audience while craftcial media (spreadability) and the extent to ing an authentic and engaging narrative
which fans explore the storyworld by delv- environment. These principles serve as a
ing deeper (drillability).
guiding framework, ensuring that our storytelling approach not only meets but exceeds
Continuity vs Multiplicity: Ensuring con- the anticipations of our audience, contribsistency in the storyworld across different
uting to the overall success of our fiction
manifestations while allowing for alternacrime podcast project in the future.
tive retellings or parallel universes.
Sub-questions:
1. Spreadability and Drillability
“How might we explore the ways in which audience members engage
with and navigate the intricacies of the storyworld, and to what extent
does their exploration contribute to their overall comprehension and
enjoyment of the narrative?”
2. Continuity and Multiplicity
“How might we identify the factors that influence the optimal progression of a narrative, and in what ways do variations in pacing, plot development, and character arcs impact the audience’s engagement and
satisfaction with the storytelling experience?”
3. Immersion and Extractability
“Which specific types or formats of written documents might contribute to a heightened sense of immersion for the audience, and how
might these documents enhance their overall engagement with the
content?”
4. Worldbuilding
“In the process of character development, how might we employ effective strategies and sources to construct and convey background information, and to what extent do these contribute to the audience’s understanding and connection with the characters?”
5. Seriality
“How might we measure the audience’s interest in a continuous and
coherent narrative structure, and in what ways does their engagement
with such storytelling elements influence their overall viewing experience?”
6. Subjectivity
“How might we gauge the variation in audience preferences based on
narrative point of view, and how can first-person, third person limited,
or omniscient perspectives be leveraged to impact the audience’s immersion, connection to characters, and overall enjoyment of a story?”
7. Performance
“How might we effectively integrate audience participation into marketing strategies to transform them into active contributors to the storyworld?
Co-Creation/Workshop Plan
O
ute alternative viewpoints, while
ur co-creation and workshop
two researchers from our team
plan draw inspiration from the
facilitate the session. Two obwell-established framework proservers record video footage and
posed by Jung-Joo et al. (2018),
document observations.
providing a structured approach
Distribution of Power
for designing and executing
Acknowledging power differenco-creation projects. The frametials, participants are strategically
work incorporates ten distinct
grouped to balance influence.
design choices categorized into
Inclusive tools such as pens,
project preconditions, participants, markers, and papers are provided
co-creation events, and results.
to facilitate notetaking and annoOur project, named “Case Closer,” tation, ensuring equitable opportufalls within the design research
nities. The workshop’s dynamic is
domain, aiming to design a trans- enhanced by mixing participants
media experience for the audience and encouraging personal story
of our fiction crime podcast.
creation in smaller groups.
3. Design Choices Related to
1. Design Choices Related to
Setting for Co-Creation
Project Preconditions:
The setting of co-creation sessions
Scope of Design
is vital for participatory design.
As guided by Patricio et al.
Seats are arranged in a comfort(2011), our project’s scope of
able cafeteria layout to foster open
design extends beyond traditiondiscussion and active participaal considerations, focusing on
tion. A brief introduction about
service touchpoints, operational
our company and team members
processes, and organizational
initiates the collaborative process.
aspects. In the context of fiction
The workshops take place in a
crime podcast creation, our scope university workspace designed for
encompasses new storytelling
creative collaboration, offering
methods, production processes,
a fresh and innovative setting.
and customer touchpoints, includ- Snacks and drinks are provided to
ing the customer journey, story
incentivize engagement.
layout, music and sound, and plot 4. Design Choices Related to
development across various platProject Results
forms such as social media and
Outputs of the Project
game documents.
Following the co-design work2. Design Choices Related to
shops, the design researchers
Participants:
diligently compile a comprehenDiversity in Knowledge
sive report. This document serves
Our co-creation workshop empha- as a repository for key stakeholder
sizes the importance of diverse
insights and innovative design
knowledge. Four target audience
ideas, particularly focusing on the
members passionate about spestoryline’s elements such as plot,
cific domains act as co-designethics, and fictional materials. The
ers, inspiring product needs and
report goes beyond the narrative,
storyline development. Two media encompassing detailed descripcontent and ethics experts contrib- tions of features within the sto-
ryworld and capturing the target
audience’s expectations based on
the seven principles outlined by
Henry Jenkins. The principles are
employed as a framework to align
the storyline with the audience’s
preferences and engagement
tendencies. The report fulfills the
dual purpose of addressing team
interests, fostering new ideas,
and incorporating novel methods
to enhance audience experience
within the storytelling innovation
process.
Outcomes of the Project:
While the proposed ideas generated during the co-creation
workshops are in the process
of implementation, the tangible
impact on the target audience’s
experiences is yet to be evaluated.
The outcomes of the project will
materialize through the treatment
outlined in Concept Bible 2. This
comprehensive document will
synthesize the refined ideas and
insights from the co-creation
workshops, presenting a holistic
view of the project’s envisioned
direction. Furthermore, the
outcomes will manifest in our
elevator pitch, strategically delivered before production, aimed at
garnering additional feedback and
testing the level of interest our target audience has in our story. This
pivotal step ensures that the audience’s engagement is considered
and valued before delving deeper
into the intricate construction of
the story world in the subsequent
project phase.
1. Spreadability and Drillability
“How might we explore the ways in which audience
members engage with and navigate the intricacies of
the storyworld, and to what extent does their exploration contribute to their overall comprehension and
enjoyment of the narrative?”
During a co-creation session with our target audience
and concepting experts, we delved into understanding how audience members engage with and navigate the intricacies of the storyworld. A significant
point of interest that emerged was the exploration of
characters’ characteristics, encompassing both demographic and psychographic details. This common
theme underscored the importance of such character
information for the audience’s effective navigation
of the storyworld, contributing significantly to their
overall comprehension and enjoyment. The question
naturally arose: Should this character information be
accessed through the social media entry point or the
subscription clue documents entry point? Through
discussions with participants, a consensus emerged:
a ‘balance’ approach. The audience expressed that
having a complete victim profile or similar details
solely in the clues could be overwhelming. However,
if this information is strategically distributed across
both the documents and the victim’s social media
profile, it becomes more accessible, enabling a more
engaging exploration of the storyworld without
compromising the overall comprehension of the
narrative.
In summary, our findings suggest that a combination
of social media profiles and clue documents, each
providing distinct layers of information, offers the
audience an opportunity to delve deeper into the
storyworld. This approach not only enhances engagement but also ensures a more comprehensive
understanding of the narrative without overwhelming the audience.
2. Continuity and Multiplicity
“How might we identify the factors that influence
the optimal progression of a narrative, and in what
ways do variations in pacing, plot development, and
character arcs impact the audience’s engagement
and satisfaction with the storytelling experience?”
In the co-creation session with the target audience
and experts, the progression of the narrative emerged
as a central focus. Analysis of participant approaches shed light on the essential factors for a smooth
narrative progression. Notably, the pace of the story
proved to be intrinsically linked with plot development. Participants, as they crafted their stories,
consistently revealed a tendency to unveil more
detailed and diverse clues as the narrative advanced.
Interestingly, those posing questions exhibited a shift
in focus—from character backgrounds in the initial
stages to a heightened interest in the crime itself as
the story unfolded. The results underscore a continuous audience interest in nuanced details, spanning
character information (both victim and killer) and
intricate aspects of the crime. This analysis led to
the conclusion that the narrative should strategically
provide information regarding the past, present, and
future elements of the story. Moreover, this should
align with the multiplicity principle, ensuring a diverse and immersive experience for the audience.
In essence, our findings suggest that maintaining a
balance between revealing past, present, and future
narrative elements, while adhering to the multiplicity
principle, positively impacts audience engagement
and satisfaction. This approach caters to diverse
preferences, offering a richer and more immersive
storytelling experience.
RESULTS
RESULTS
3. Immersion and Extractability
“Which specific types or formats of written documents might contribute to a heightened sense of
immersion for the audience, and how might these
documents enhance their overall engagement with
the content?”
Participants in the Co-Creation session indicated a
desire for the inclusion of crime scene images in the
selection of documents to be included in the subscription package in order to improve the immersive
experience. This preference stems from the sense
of visual examination of the crime scene, which
piques participants’ interest and engages them in an
active search for hidden clues. To add a more personal feel to the materials, participants specifically
recommended adding components like chat or diary
entries, along with CCTV footage of the scene.
Notably, participants emphasised the importance of
preserving a careful balance between the photos’
specificity and the chat/diary entries’ content. It was
stated that these textual and graphic components
shouldn’t give away too much information or give
away too many obvious hints regarding the case. It
was determined that maintaining and enhancing the
audience’s connection with the story would need this
strategic restraint.
4. Worldbuilding
“In the process of character development, how
might we employ effective strategies and sources to
construct and convey background information, and
to what extent do these contribute to the audience’s
understanding and connection with the characters?”
Our team discovered during the Co-Creation session
that the target audience had a notable preference
for getting updates on the character’s existence and
background via social media. This preference is a
result of these platforms’ broad accessibility and
simplicity in tracking previous events. In addition,
participants indicated that they would want a properly balanced combination of hints and detailed
character backstories, which would make solving the
main case more difficult.
In response to the question of how character backstory strengthens audience connection, our participants
underlined that people typically build closer bonds
with one another. As a result, creating a thorough
representation of the characters on social media
channels makes the audience feel more connected to
the characters and improves the entire engagement
experience.
5. Seriality
“How might we measure the audience’s interest
in a continuous and coherent narrative structure,
and in what ways does their engagement with such
storytelling elements influence their overall viewing
experience?”
The interest in the narrative structure was another
topic covered in the Co-Creation session. It became
evident from the discussion that the target audience
wants the episodes to avoid giving away too much
of the case so they can interact with the product
independently and come up with their own solution.
Regarding the narrative’s structure, they wanted to
establish the scene and add more details to the plot
than just the murder case. This information can be a
dialogue between the characters or a description of
the location itself. According to the participants in
the Co-Creation, all of this put together would complete the narrative framework and increase interest in
the story.
RESULTS
6. Subjectivity
“How might we gauge the variation in audience
preferences based on narrative point of view, and
how can first-person, third-person limited, or omniscient perspectives be leveraged to impact the
audience’s immersion, connection to characters, and
overall enjoyment of a story?”
Over the course of our Co-Creation session, everyone agreed that telling the story in the third person
was something they all preferred to do. This tendency also included the wish for the story or podcast
to be told in the third person. This preference stems
from the belief that it makes it easier for the narrator
to include more in-depth supporting elements, which
makes the story easier for the audience to follow and
more interesting.
In addition, participants indicated that they would
like to investigate the killer’s point of view, suggesting that this method would add another level of
complexity to the story and improve the listening
experience as a whole.
7. Performance
“How might we effectively integrate audience participation into marketing strategies to transform them
into active contributors to the storyworld?
As part of Dudette Entertainment’s participation in
the entrepreneur program, the company collaborated with three 1st-year Creative Business classes to
optimise its concept. The collaboration served as
additional co-creation sessions.
A key element of Dudette Entertainment’s product,
CaseCloser, involves turning customers into active
contributors to the storyworld, creating an immersive
experience. The focus of the sessions with 1st-year
students was to explore effective marketing strategies to engage a broader audience and integrate them
into the storyworld before CaseCloser’s launch.
Results from the sessions yielded diverse ideas and
proposals from the students, reflecting various offline
marketing strategies. Notably, live events such as
escape rooms, live investigations, and themed gatherings emerged as popular concepts within the three
classes. This suggests that physically bringing the
storyworld to the audience, especially through interactive events, could be a highly effective strategy.
While online marketing was acknowledged, the analysis revealed its primary role as a means to capture
the target audience’s attention rather than actively
involving them in collaboration. While not disregarded, online marketing was found to contribute to
other aspects of the CaseCloser concept.
In summary, the research indicates that integrating
the audience into CaseCloser’s storyworld might be
most efficiently achieved through offline marketing
strategies, particularly live events. These findings
align with the aim of actively involving consumers
in the storytelling experience, distinguishing it from
online marketing, which serves different purposes
within the CaseCloser concept.
Link co-creation recording video
References
Conclusion
Our research journey, driven by the imperative to address mental health challenges
in the wake of global stressors, culminates in profound insights for Dudette Entertainment’s venture into fiction crime podcasts. The intersection of escapism, mental
well-being, and storytelling has been illuminated, positioning fiction as a powerful
tool for relaxation and rejuvenation.
In navigating the transition from true crime to fiction, our findings echo the resonance of diverse and immersive storytelling. The multifaceted approach, spanning
offline marketing events, strategic narrative pacing, and transmedia worldbuilding,
emerges as a potent strategy. The significance of physical, immersive experiences
aligns with the desire for audience involvement, setting our direction for captivating true crime enthusiasts. The delicate balance between narrative elements, revealed through co-creation sessions, emphasises the importance of nuanced clues,
diverse formats, and a ‘balance’ approach in character development. The demand
for third-person narratives and exploration of the killer’s perspective resonates with
our transmedia storytelling strategy, underscoring the potential for engaging content.
Our co-creation sessions unveil a preference for a ‘balance’ approach, distributing
character information across social media and subscription clue documents. This not
only deepens engagement but also ensures accessibility without overwhelming the
audience, a testament to the strategic intertwining of various platforms in transmedia
storytelling.
The proposed implementation of crime scene images and a mix of text and graphic
components aligns with the desire for immersive experiences. Strategic restraint in
content delivery is paramount, preserving audience connection and enhancing their
active involvement in the narrative.
As we move forward, our research lays the foundation for ethical fiction crime
podcast creation. By understanding audience preferences deeply and incorporating
co-creation insights, Dudette Entertainment is poised to create a vibrant and engaging storyworld. The transmedia storytelling approach is not merely a strategy but a
commitment to fostering a community around our podcast, ensuring a meaningful
and ethical storytelling experience for our audience.
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