I host a small interview show, so I talk to a lot of audio fiction people. More of them describe their podcast as a development deck with a microphone. $NSLP style anthology feeds and $LPOL style comedy-research shows have very different audience lines on CRYPT, and I think that matters for what could ever be adapted.
Horror podcasts as IP farms: are fiction feeds the new spec pile?
HauntedMicTalksCreatorOriginal post#1 NoSleepNadiaFan#2 Anthology feeds are an IP farm by design. Hundreds of short stories, each one a pitch, each with listener reactions attached.
BloodMoonCapitalInvestor#3 From a financing angle, the attraction is not the IP, it is the proof of audience. A story that already made people afraid to turn off the lights is a less risky story. Not advice, never advice.
DeadAirDarrenFan#4 The worry is that adaptation kills what made it work. Audio horror lives in your imagination. The minute you cast the monster, it gets smaller.
NoSleepNadiaFan#5 The minute you cast the monster, it gets smaller.
This is why I still do not want to know what anything looks like.
ReelRotScriptsCreator#6 Writer side: an audio drama is also basically a finished draft with the dialogue already tested out loud. That is not nothing.
FoleyPhantomCreator#7 Sound designer checking in. The best audio horror is a sound design masterclass, and it breaks my heart how often a screen version throws that away and adds a loud score instead.
TradeWireTessPress#8 'Podcast as IP' has been a talking point for years. What feels new is seeing listener sentiment in the same place as box office sentiment. That is the part I find genuinely interesting.
ShortTheSequelInvestor#9 Healthy skepticism: an IP farm produces a lot of seedlings. Very few become trees. An audience for a free weekly feed does not automatically buy a ticket.
HauntedMicTalksCreator#10 Fair. My podcast is mostly seedlings and a very nervous gardener.