The 4th CONTD Sessions – Contenidos para la Televisión Digital – celebrated on the past 19th and 20th of May, at the University of Valencia, left us with the following conclusions:

• We are experiencing the Golden Age of the Spanish fiction of great format, having a privileged position on the schedules of the main general channels.
• There has never been a mixture among the quantity, thematic diversity and quality of Spanish fiction, and the most conventional fiction, more mature ones.
• Spanish fiction has to become more internationalized, despite its specificity regarding its duration, despite the public it addresses and the extremely local thematic.
• There has to be a continuous production of grand format series, because they can be made the most of, both by the channels and the production companies. The production of TV movies and miniseries has to be a continuous project both on the part of the public and on the part of the private channels, because they create industry and great ratings.
• But the attention has to be focused also on a type of fiction that presents a less degree of risk. The channels have to be brave and find new possibilities for the Spanish series, that can adjust themselves both to the ratings and offer fragmentation, as well as to the change regarding fiction consumption.  The fiction has to be for all types of public, not only a singular one.
• Talent and creativity regarding scripts and production, have to be looked for on a higher scale than ever before. That is why it becomes really necessary to invest in scripts, project developments and also pilots.
• Ways have to be found, which can allow the possibility to continue consuming fiction on the Internet, and also allow producers the chance to recover their investments and continue making movies or other products. A rentable exploitation model doesn’t exist yet.
• The spectators want to have a more active role when it comes to selecting their favorite fiction contents. This causes transformation in the way of producing contents, in the way of distributing them and in counting them.
• Strategies begin appearing towards the financing of the fiction products that are developing on the Internet, like the “crowd-funding”, although they still have to be combined with traditional ways of financing.
• The prime time fiction of grand format will continue being produced, but the new fiction formats rely on the artificial production of genres, on the low budget and on the trans-media narrations.
• The TV channels have to adjust themselves to the new interactive digital environment if they still want to maintain the relationship with the young public and the middle aged public that has redirected its attention towards the new devices.
• These new devices and mainly the Internet, improve the trans-media narrations and the cross-media products, which have more and more demands. The channels also understand things as they are, and begin producing contents with this purpose.
• Fiction, within the audiovisual domain, is a very famous genre. Although the formats and the ways to narrate may change, the need to tell each other stories remains untouched.
• Despite all these transformations, fiction continues having a privileged position in the value chain of the audiovisual production. And it will maintain the same position in the future.