This document discusses narratives as spatial stories in hybrid ecosystems. It argues that narrative extensions created by readers on social media allow them to feel immersed in a storyworld. Concepts from ecology, like ecosystem and niche, can be applied to hybrid narrative ecosystems to study how media environments, content, and user perception interact. Examples from the book "The Shadow of the Wind" are used to illustrate how narrative elements created by users on social media form different "species" that inhabit the narrative ecosystem through hashtags, geotags, and interactions between users.

1. Narratives as spatial stories in hybrid ecosystem
Kai Pata
Tallinn University, Center for Educational Technology
email: kpata@tlu.ee
1. Introduction
The rapid outburst of various kinds of mutually interconnected productive social media tools
usable for lifelogging with mobile devices has created a possibility for initiating narratives as
consumer-evolved hybrid ecosystems around popular books, TV-series, cartoons etc. Doyle
and Kim (2007) wrote in “Embodied narrative: the virtual nomad and the meta-dreamer”:
"as we now live in multiple realities, as we now occupy multiple spaces, our cultural dream-
pool will soon include the very real, or lived, experiences of embodiment in virtual worlds,
and in turn, new narratives will emerge." Henry Jenkins (2007) suggested in his blog post
about transmedia storytelling that influential stories provide a set of roles and goals which
readers can assume as they enact aspects of the story through their everyday life. The books,
films, and commercially created transmedia narratives lead consumers into the distributed
story world, where different media formats enable to grasp and add different dimensions to
the story. For the narrative fragments created by the readers with social media the word
extension is used, because these enable to extend the stories. In this paper I argue that
narrative extensions are spatially used for personal placement in the hybrid narrative
ecosystem, since audiences want to be immersed into the storyworld to participate and feel
part of it. I will conceptualize narratives as geo- and onto-spatially located story prototypes
that people use for their placement in the hybrid ecosystem and for seeking or creating the
optimal interaction possibilities with it.
The concepts and principles of ecology, such as ecosystem, have been used in different
subject areas – information and knowledge management, media, digital system design,
learning and semiotics – to study how the mediating environments, the information/contents
of messages and the users’ perception and action are mutually interrelated. In this article I
will introduce some ecological concepts and principles that may be useful in hybrid narrative
ecosystems and discuss how the spatial format of narratives is created and supported by
hybrid narrative ecosystem, and which narrative activities does it allow.
2. The Shadow of the Wind Case in new media environments
In order to interrelate the ecology concepts with the situations in narrative hybrid ecosystem,
I will use The Shadow of the Wind Case description: There is an imaginary “community” of
users from different geographical locations in new media environments, who are not
personally acquainted to each other but they all are attracted by one particular “story“ – based
on the book „The Shadow of the Wind“ by Carlos Ruiz Zafon. The website of the book offers
an annotated intinerary on the google-map to visit the geographical locations of the book in
Barcelona (http://www.carlosruizzafon.co.uk/shadow-walk.html). However, the book has not
been deliberately created as a commercial transmedia narrative which targets proactive new
media consumers. Yet, in the book Zafon has written lines that very well illustrate the idea,
how narratives are empowered by readers: “Every book, every volume you see here, has a
soul. The soul of the person who wrote it, and of those who read it and lived and dreamed
with it. Every time a book changes hands, every time someone runs his eyes down its pages,
its spirit grows and strengthens.” These story-fans that in this case empower the book are
familiar with and use actively various types of new media environments, such as Twitter,
Instagram, Statigram, Tumbrl, etc. In all of these environments, the “digital services” like tag,
hashtag and geotag; push and pull; mash and embed; share, follow and like may be used in
such a way that the media contents initially uploaded by one user in one of these

2. environments can be viewed in many different locations and ways, for example situated on
the maps by geotags, filtered by certain meaning-associated tags and hashtags, woven into
some narratives by embedding, mashing or remixing. With the activation of certain services,
each user has combined a specific personal narrative environment to aid his productive
storytelling activities with the self-created or found media contents associated in a personally
meaningful way with that “story”. For example, they can take pictures, write impressions,
annotate and tag the contents, modify the original, self-created or found “story” contents,
remix contents and share them. These users, the new media environments and the
geographical locations of users and the “story”, as well as, the media contents associated with
that “story” form the hybrid narrative ecosystem of „The Shadow of the Wind“.
3. Ecology of narratives in The Shadow of the Wind ecosystem
Next, my intention is to find analogies between ecology concepts and principles and the
narrative storytelling of The Shadow of the Wind Case. Ecology as a discipline deals with
different levels of structural elements of ecosystems, both biotic and abiotic. Note that there
is no consistency in literature what to consider as biotic and abiotic factors in digital
environments – users, media content, technology and services have all been classified as
“living” species or as part of the abiotic environment. In ecology the biotic factors are
organized in a set of entities grouped in a growing complexity order: individual organism,
species, population, community and ecosystem. The sub-disciplines of ecology deal with
these complexity levels, therefore, I will introduce the concepts in association with them.
Behavioral ecology focuses on the communicative interactions of individual organisms of
the animal species with variable phenotypes and behavior. Individual organisms have
awareness and they interact, communicate, move, reproduce, and die while living in certain
conditions and environments. Depending on these interactions the fitness – the extent to
which an organism is adapted to cope in the particular environment – is determined.
Adaptability is the extent how much a system (organism, population, species) is fit to the
environment where it functions and it is measured with its ability to stay alive and reproduce.
Individual organisms are self-directed – they operate for their own benefit or profit. They
compete with other organisms from this or from other species for limited resources.
We may consider several types of “digital organisms” in narrative ecosystems such as digital
media contents, digital tools and services for narrative production, and the produsers. The
produser term is associated with the ‘produsage’ concept introduced by Bruns (2008).
‘Produsage’ concept combines users’ production and consumption as inseparable of each
other in the surrounding environment. Digitally we can limit the produsers to these users who
have created accounts for produsage in new media environments, since only they can interact
with the described hybrid ecosystem. Each element of the narrative created/used by produser
may be considered as a specimen of the symbiotic “digital organism”, consisting of a
produser-created media element and some produser-activated services of digital tools. For
example, a produser has visited a location from the “story”, taken a picture with Instagram,
added the geotag and the hashtags of the “story” and some other personally meaningful
hashtags as well, pushed this image to Twitter with a tweet (see Fig. 1, left), or embedded it
to his Tumblr blog story and Tweeted about it (see Fig. 1, right).

3. Figure 1. The story elements from Twitter represent symbiotic produser-activated organisms
from „the Embodied Place“ and „the Creation“ species, which are composed of contents and
services that give the variability to these organisms withn the species.
These “digital organisms” have variability in characteristics and behavior due to the
produsers’ intentions, perceptions and cultural belonging. They may have some awareness of
other narrative story elements for example by tags, hashtag; by geotags and web address; they
are inhabiting certain geographical and virtual locations; they may interact with other
narrative story elements in these locations of the habitat, for example by embed and mash
services; they may migrate from one location to another for example by push and pull
services; in different locations they may have different ability to reproduce, and be modified
depending of the software platform possibilities and user habits in the communities; they may
have a different life-span in these environments, for example at Twitter wall the “digital
organisms” might die sooner than in Tumblr, since the use of hashtagging habit that allows
filtering and reuse is culturally weaker. The variability is associated with different fitness of
those narrative story elements in different surroundings of the hybrid narrative system.
One communication-based phenomenon described by behavioral ecology is swarming
(Bonabeau, Dorigo & Theraulaz, 1999) that is a self-organized behavior where local
interactions between decentralized organisms of some species can create complex organized
behavior. Individuals in swarms have ecological relations to the collective. They maintain
their individuality and viability in case if the collective swarm intelligence and viability
emerges (Sauter, Matthews, Parunak, van Dyke & Brueckner, 2005). In a swarm every
individual organism is only responsible for its individual actions, but the actions all together
cause shared intelligence to emerge. Swarming is based on mutual awareness and
communicative acts between organisms, either on direct real-time signals or on the signals
that are offloaded to the environment using it as a shared memory. Reading swarm signals
from the environment and directly from the swarm members enables organisms to maintain
individual wellbeing and accommodate themselves to be fit. Such swarming systems can
accomplish global tasks and form complex patterns through simple local interactions of
autonomous organisms.
For example in hybrid narrative systems we may consider communicative interactions
between active produsers such as requesting, informing and sharing (Tomasello, 2008)
narrative story elements to be used for initiating the swarming of narrative story elements.
Each narrative story element, created and activated by produsers as part of their narrative

4. activities around the “story”, can stay tuned to the local and global surroundings and the other
narrative story elements currently alive in the hybrid narrative system (for example by
communicative signals of tags and hash- and geotags), and this may cause swarming
phenomena to appear in meaningful places of the virtual or geographical locations.
For instance, if a narrative element associated with the “story” is tagged, hash- or geotagged
in Tumblr or Instagram, these may be accumulated and found by many produsers using tags
as signals inspiring the other produsers to create similar elements. The swarm signaling by
accumulated tags in the hybrid narrative system is a self-organized process, in which some
tags will perish since they are rarely used and others may survive since being frequently
added by many produsers. The swarming that appears due to real time awareness of narrative
elements may be found more in the environments that use the flow, such as Twitter.
Figure 2. The variations of “ the Quote” species from Instagram, Tumbrl and Twitter habitats.
Population ecology deals with the populations of organisms of species. It focuses on the
dependence of individual organisms on the other organisms in the population of species, as
well as on their dependence on the informational connections between individual organisms
in the populations. Population ecology uses the concepts of variability, abundance, density
and the distribution of individual organisms within one population and within one species in
certain habitats. Species is an abstraction for the class of organisms, having some common
qualities, characteristics and behavior and ability to give offspring. Species exists in time as a
range of qualities, characteristics and behaviors inherited or learned from those individual
organisms that were fit to the living conditions.
For instance, in hybrid narrative systems tags and hashtags may describe the qualities of the
narrative story elements; the services, which are used for sharing these story elements allow
certain behaviors for the story elements; and produsers’ interaction with these contents allows
them to be multiplied and modified in different new media environments. In The Shadow of
the Wind ecosystem the following species could be empirically found by labelling the themes
that reappeared in different media environments: “the Book”, “the Reader”, “the Author”,
“the Illustration” (see Figure 1), “the Quote” (see Figure 2), “the Caption”, “the Embodied
Place” (see Figures 1 and 3) and “the Embodied Action”.
In narrative ecosystems the species may be discovered either by inductive or deductive way.
In the inductive analysis the emergent content categories may be disovered as memes or
patterns and labelled as species as was done in this paper. In the deductive analysis one may
also look for certain pre-defined expected species that are related with the initial story. That
may be useful, if one is interested in investigating how a certain narrative or transmedia
narrative with its complex characters, roles, activities, visuals, language, concepts etc. might
influence the produsers. For example the character of Julian Carax and the Father’s Book
Shop (it was classified and generalised as „the Place“ species) seemed to be inspiring the
produsers in the Shadow of the Wind ecosystem. However, in this paper it was not aimed to
demonstrate what characteristics of the original book might have evoked the produsers to
contribute to The Shadow of The Wind ecosystem. To see how the original book, has
involved different produsers to create „the Quote“ species an interested reader might for

5. example compare the frequencies of most popular quotes, such as “Books are mirrors: you
only see in them what you already have inside you.” appearing in Twitter, Tumbrl and
Instagram, or see the quote’s qualitative transmutations as Figure 2 demonstrated and posit
which of these organisms of the same species might survive longer (be liked and shared by
other produsers) in the narrative ecosystem.
Figure 3. The examples of “the Embodied Place” species from Twitter (left) and Tumbrl
(right) habitats.
Each species uses a particular niche – this concept denotes the abstract range of biotic and
abiotic conditions that enable the fitness of the organisms of this species. The niche may be
visualized as a n-dimensional space (Hutchinson, 1957). While niche is an abstract
conceptualization what the species would need for fitness, a habitat is a distinct part of the
real environment, a place where an organism or a biological population normally lives or
occurs and can be most likely to be found.
For example, the “story” images with different hashtags in Instagram can create an abstract
meaning-space, an ontospace defined by their basic categories of being – this may be
considered the niche for the “story” image species (see Fig. 6), whereas different geotags
allow marking the geographic range, which is virtually enriched with Instagram “story”
images and all together forms the hybrid space of the habitat (see Fig. 4).
Figure 4. A hybrid location The Calle de la Princesa in the The Shadow of the Wind
ecosystem.
Population is a group of individuals from the species occupying a certain habitat in a certain
area. Populations have the ability for homeostasis that is keeping the population density

6. within certain ranges independent of environmental disturbances in this area. For example,
the population of “story” images from “the Quote” species may inhabit Instagram, Tumbrl
and Twitter, but the distribution and density of these populations is different – in Twitter it is
the lowest since it is a habitat that favors the compressed tweets by default and only the
address of the image appears in the initial tweet, also migrating the images (pushing from
Instagram) requires an extra effort. The textual quotes are more competitive (take less effort
to create and remix) than those that are illustrated with the image of the quote. The organisms
in a population that are physically situated close-by can influence each other more frequently,
intensively and many-sided ways. For example, when a produser is sorting the narrative
elements into feeds by tags and hashtags, the similar contents are mashed and appear closeby
(see Figure 5), and it becomes possible noticing different species of that story and the internal
variety.
Figure 5. Filtering the “story” images species community in the narrative ecosystem with the
hashtag #carlosruizsafon enables the produser to: grasp the most catching aspects of “The
Shadow of The Wind”; see the variability within different story-species for inspiration;
deduce the fitness of story element species in this ecosystem by their frequence of usage;
evoke to contribute either an innovative way or by adding some similar content that in turn
might fuel swarming.
Populations are unable to reproduce themselves if the density of organisms in this area stays
below the critical level. To keep optimal density populations use different strategies, such as
the formation of various aggregations. The Instagram habitat allows the critical mass of the
“story” images for their wellbeing. Since the “story” images are distributed by hashtags into
different sub-niches in the meaning-space the co-existence of different viewpoints to the
“story” – in the same habitat might become possible (see Fig. 6).

7. Figure 6. The meaning niche of The Shadow of the Wind composed by plotting the of
Instagram hashtags as the multi-dimensional space differentiates the more popular attraction
areas in the meaning niche. “The Embodied Place”, “the Book”, “the Caption” and “the
Quote” species in narrative ecosystem may be considered as the spatial story prototypes.
We may also say that different habitats of Instagram, Twitter and Tumbrl contain some
similar niche dimensions that allow the “story” images to inhabit these spaces (for example
the hastags #carlosruiszafon; #theshadowofthewind). Populations grow rapidly only if there
are many resources available and their growth decreases when the resources become scare.
Resources are part of the abiotic elements in ecosystems and I will discuss what might be the
abiotic parts in hybrid narrative ecosystems further on.
Different species use different population strategies: a) the opportunistic (r-strategy)
populations prevail in changing environmental conditions that allow rapid population growth,
short and one-time lifecycles and no care for offspring. In this sense Twitter as the produser-
awareness based storytelling environment favors the r-strategy for narrative contents: the
contents have a viral ability to spread, but they disappear quickly from the flow and they are
not taken care of (e.g. edited). The stabile (k-strategy) populations invest more energy on
their few offspring. For example, Tumbrl and Instagram enable k-strategy populations of
story elements, in which the contents are well edited and annotated with tags and hashtags,
which allows better sharing, reuse and multiplication.
A recent literature in evolutionary theory emphasizes the idea of niche construction as an
ecological factor (Odling-Smee, Laland & Feldman, 2003) stressing the two legacies that
organisms inherit from their ancestors, genes and a modified environment (an ecological
inheritance) with its associated selection pressures. They argue, that organisms have a
profound effect on the very environment as a feedback loop, which must persist for long
enough, and with enough local consistency, to be able to have an evolutionary effect.
As an analogy, for any narrative story element the niche as its meaning-space is determined
by all the specimen that the produsers activated and tagged. Specimen of the narrative story
elements need to adapt to the niche, but also create and modify this niche and the species’
conceptualization of that kind of narrative story elements. In hybrid narrative systems the tag-
based information of the meanings of the produser-activated narrative story elements can be
accumulated as an ecological inheritance into the meaning niche for a story, which may be
used for the narrative swarming.

8. The community ecology focuses on the coexisting communities of species (note that the
concept is different from what is a community of people), their composition, interactions,
organization and succession, as well as, on the trophic flows from autotrohic to heterotrophic
species. A community is a temporary coalition of naturally occurring group of populations
from different species that live together in the same habitat interacting with each other and
with the environment. For example we may describe a trophic flow analogy of pushing the
“story” images from Instagram to Tumbrl or Twitter (see Fig 1, right). In this case the initial
image created in Instagram may be seen as an autotrophic organism, whereas the blog-post or
tweet with the image from Instagram is like the heterotophic organism that needs the trophic
flow from Instagram. However, the blog-posts and tweets without images in Twitter and
Tumbrl may be considered autotrohic organisms, and are situated at the beginning of the
food-chains.
Important characteristics of the sustainable community are the diversity of species within the
community, their connectedness and aggregation, the resource-sharing interactions between
species such as antagonism (the existence of one species excludes the existence of other
species), competition (mediated suppression between species), and mutualisms that are
associated with energy and matter exchanges (including parasitism, symbiosis,
commensalism) as well as communicative interactions between species. Competition has
been viewed as one of the strongest and most pervasive forces in community ecology,
responsible for the evolution of many characteristics of organisms. The results of between-
species competition are mutualisms (symbiosis, parasitism). Previously I have described the
within-species competition in Twitter among the textual and illustrated „the Quote“ species.
Within-species competition causes territorial or aggregated distribution that in one hand
strengthens competition and induces hierarchies but on the other hand it also increases comm
unication, learning from each other, and may promote the suitable microclimate for narrators.
Different species of The Shadow of the Wind ecosystem seem to have different frequency,
which may be associated with general storytelling habits associated with book-narratives –
there are many organisms that belong to „the Quote“ or to „the Book“ species, however „the
Embodied Place“ and „Embodied Action“ appear rarely. Therefore, it may be predicted that
produsers in the hybrid narrative „story“ ecosystem cannot be easily engaged to embodied
action in geographical locations unless the density of such offloaded story pierces increases.
The ecosystem ecology deals with the trophic relations – the energy and matter flow in
ecosystem. The transformations of matter and energy are mediated through the functions and
behaviors of living organisms and abiotic components. The basic principle of ecology is that
in natural systems the resources are limited by abiotic factors and biotic species’ role is to
compose, exchange, accumulate and decompose energy and matter. In order to understand
better the abiotic resource-based interactions between narrative species at least two abiotic
factors should be determined: the energy and the matter. In hybrid narrative ecosystems it is
possible to use attention of produsers as one of the analogues of energy, and the created
meanings, emotions and actions may be suitable for the analogy of matter. Different narrative
species need the use produser-attention to stay alive, reproduce and participate in the
composition, exchange, accumulation and decomposition of the “story” meanings, evoking
the produsers’ emotions and actions in the hybrid narrative ecosystem.
Ecosystem ecology assumes that trophic relations between species within ecosystem allow
the one-directional flow of energy and matter through the ecosystem. The direction of the
flow along the trophic chains is directed from lower autotrophic organism levels (that are
able to assemble energy into the energy rich products) towards heterotrophic organisms (that
need energy-rich products to exist) to those that dissemble matter and free the energy. The

9. temporal deposition of energy-rich products may also remove them from the ecosystem flows
for some time periods. The permeability of a natural ecosystem to flow energy and materials
will depend on the nature of the 'architecture' of the components of the system, the
connections in the trophic chains and the side-paths and hubs in the trophic web and
characteristics of individual species. Secondly, the individuals within one species and
between the species interact with each other and these interactions impact on the energy flow.
Productivity is the ability of systems (such as populations, ecosystems) to accumulate energy
in matter in time, and this concept may be used for comparing the systems.
The different produser-activated narrative story elements may have variety of tag, hashtag
and geotag-based connections between them as well as there are connections between
produsers and between narrative habitats that are made by mashing, embedding, pulling and
pushing services. All these connections provide the connectivity for narrative ecosystem. The
produser attention (=energy) allows transforming provided information at separate narrative
elements (=matter) into meanings, emotions and actions (=matter). The narrative flow is
created around the “story” which is fuelled by producers’ attention and which has several by-
products, that may be accumulated to the hybrid narrative ecosystem and further used as
signals for narrative activities (as was described in marrative swarming).
4. Spatiality of narrative ecosystems
Spatiality is a key concept in hybrid narrative ecosystems. The unitedness of two spaces (the
niche and habitat) into a hybrid narrative ecosystem – allows produsers‘ movement across
virtual-, geographical- and meaning-locations, initiating the redefinition of these locations
based on storytelling (e.g. Barcelona as #thecityofshadows), and enables interaction and
communication between the produsers and the story-elements that they create. Being in a
geographical location (e.g. in old town of Barcelona) a produser can explore the meaning
niche that augments it, discover different attractive areas in the meaning niche related with
that location by other narrators (e.g. #love, #erotic, #tragic, #time, #mysterious, #thrilling,
#shadow), and view the story elements situated in the virtual locations, which try to compete
or cooperate with each other in order to capture produsers‘ attention. The produser can
associate his new story element with one or many of these places in the meaning-niche,
adding particular (hash)tags. When certain meanings are frequently used the story-elements
accumulate, increasing the produser-attraction to certain meaning-places and shaping the
niche, which in turn influences, which properties of the story elements may give advantages
for survival. Any attractive meaning-dimension in the meaning-niche representation
(#theshadowofthewind) may be used to discover other geographical or virtual locations
associated with the same meaning, and it can direct produsers from one geographical location
(e.g. La Rambla, Tibitabo in Barcelona at Fig. 6) or virtual location to another. Emotional or
action potentialities (see Fig. 3) may appear in the virtual or geographical locations of the
narrative ecosystem due to the meaning-niche tags. Discovering the similarly-minded people
may be promoted as well.
Characteristic to the hybrid narrative ecosystem are the produser-created proactive story-
elements – the extensions – with different characteristics and fitness that inhabit particular
virtual or real locations with suitable meaning-niches. Storytelling in spatial mode is creating
and revisiting meaningful places in the hybrid narrative ecosystem as a self-directed activity
for personal placement. The feedback-loop to and from the ecosystem is created by produser-
participation in the composition and adaptation of the meaning-niches and habitats. The
stories appear as a result of accumulated swarming activities of many produsers and may be
described as abstract story-species, which are adapted to and fit to certain attraction areas in
the hybrid ecosystem space. For instance, one may conceptualize these story-species as
memes. These story-species have trophic and communicative connections with each other

10. that channel the narrative flows in hybrid ecosystem and cause the productivity of narrative
ecosystems. An emergent narrative flow that crosses attractive story-places may become
detectable only in time and may reveal the causal storylines as patterns of shared mind, which
appear due to self-regulated processes in the hybrid narrative ecosystem.
5. Conclusions
This paper discussed the possibilities of using ecology concepts for investigating narrative
phenomena in new media environments. Particularly the hybrid narrative The Shadow of The
Wind ecosystem was investigated with the focus of produser-created contents. The space
limits of this paper inhibited to take an insight, which elements of the initial story in the book
written by Zafon, and in what way, might have influenced the produsers in developing certain
story-pierces in this ecosystem. It might be a subject of future studies how a novel or a
complex transmedia narrative as an ecosystem itself may function, and how it might be
extended by produsers’ storytelling activities. This paper suggested that narrative ecosystems
could be studied at different ecosystem levels to reveal the spatiality of narratives and well as
the narrative flows in such ecosystems. Considering the spatiality of narratives enables
designing story elements that are fit to the transmedia ecosystem networks and may initiate
fandom interactions with the stories for expanding the ecosystem.
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