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Speaker 1: And now Audio Theater Central.

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Speaker 2: Hello, Welcome to Audio Theater Central. This is the show

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that explores family friendly audio drama through news, reviews and interviews.

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I'm your host, JD. Setter. This is Episode two twenty four.

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Happy New Year, Welcome to twenty twenty six. I hope

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this is going to be a great year for you,

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and I hope it's going to be a great year

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for audio drama. And I'm pretty sure it's going to

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be because We've got a lot of cool stuff coming

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up this year. Well coming up in this episode. We've

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got some feedback from Nate, Jonathan and Austin. We've got

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a few audio drama updates here shortly, but the bulk

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of this episode is going to be what is normally

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my monologue segment. So here's what I'm thinking, but this

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time I am joined by Christopher Green, and we're going

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to have a conversation, sort of a look back back

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on some of the highlights and things we learned about

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making audio drama in twenty twenty five, and then take

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a little bit of a look ahead at what's coming

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in twenty twenty six. So I thought it was the

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perfect way to start off this year. All right, Well,

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let's jump into the updates. We interrupt this program to

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bring you a special.

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Speaker 3: Report and in other news tonight.

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Speaker 2: A brief look at the headlines.

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Speaker 4: Now they want exciting, fast piece news that's relevant and

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entertaining like this.

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Speaker 2: Quick reminder as always, if you have any updates on

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an audio drama project you are working on, or even

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if it's just one that you know about and you

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want to let us know, head over to PFM dot

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link slash atc News and send that over to us.

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You can also click the button in the sidebar on

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our website. Well, first up is just a couple of

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quick recaps in case you missed them, as they were

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posted on our website after our last episode. The Cricket

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on the Hearth and The Haunted Man were new releases

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from Average Romp, which is an audio drama company from

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the UK that we learned about a couple of years ago,

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and it's headed by producer and writer Jonathan Morris. They

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had produced an adaptation of The Chimes, a Charles Dickens

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story in twenty twenty two and we found out about

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it the following year through an arrangement that they had

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with a big finish and so ATC contributor Joe Pearson

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reviewed The Chimes on our website back then. Well they're

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back and they have released two more Dickens stories. And

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I know we are past Christmas now, but if you

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missed these, they are holiday themed, but they are fantastic.

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I think they're well worth a listen. Check out the

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link in the show notes of this episode to see

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the review that I wrote on both of them. They

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packaged both of these stories together in a single release

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and it's about two hours of great audio drama, so

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check those out. And another new release that we posted

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about on the blog, Salt Light Media released a dramatic

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audio production called The Lamb, which is again a holiday

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themed Christmas themed story, but I still think it's worth

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checking out. We're not that far away from Christmas at

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this point, so it is about a forty minute dramatized monologue,

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but it does have some sound design and some music elements,

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so it's right on the line there. It's one of

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those more hybrid style of productions and I think it's

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worth checking out, So that is linked in the show

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notes as well. Now for recent releases, Just Launched is

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a show from Austin Peachey. It's called the League of

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Ordinary Heroes. In a world of superheroes, ordinary people do

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extraordinary things. Each act of kindness encourages the next, weaving

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a tapestry of goodwill across the city and beyond. These

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are the adventures of the League of Ordinary Heroes. So

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this show began as a one off micro audio drama

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from Austin a while back, and he ended up developing

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it into its own series and it features Nathan Carlson,

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who you may have heard before on Jungle Jam or

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Adventures in Odyssey. He is the host of the show

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and you're gonna hear many other familiar names such as

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Rose Beasley, Betsy Nicholson, and Bethany Baldwin, just to name

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a few. There are three episodes already out now and

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they are called Ordinary Joe, Neighborly Stewart, and Merciful Meghan.

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So that show is available now and it is on

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Drama Fi and Window Seats, so you can go check

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it out on either of those platforms. And lastly, this

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was also a post on our website, but wanted to

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mention here just in case you missed it. We put

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together a post of upcoming releases for twenty twenty six,

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so you can get excited about all the cool stuff

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that we know about at this early stage of the

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year that will be coming relatively soon. So that post

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goes over all of the releases that we are aware

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of and looking forward to in this coming year, some

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really cool stuff. So go ahead and check that out

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and let us know which ones you're looking forward to

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the most.

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Speaker 1: Testing one, two, three, testing, Dallas, just me talking.

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Speaker 4: I do that a lot.

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Speaker 1: Where's my speech?

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Speaker 3: How long you're going to work up with it?

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Speaker 2: That's what I want to talk about. So here's what

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I'm thinking in this first episode of twenty twenty six.

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I'm thinking about a lot of stuff. I'm thinking about

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some highlights from twenty twenty five. I'm thinking about some

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things that I'm excited for in twenty twenty six, some

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highs and lows of the past year as a creative,

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and so I thought, what a perfect time to bring

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on the show contributor Christopher Green and talk about some

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of these things together. And we're both indie creators. We've

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worked on our own shows and projects over the last year,

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and we have conversations about this kind of stuff all

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the time, about what's working and what's not, and what

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we're enjoying and what we're not, And so I thought

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it would be interesting to let the community hear some

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of what we talk about in this forum. So this

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is not really an interview and it's not a monologue.

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It's a dialogue. So welcome to the show, Christopher Green.

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Speaker 1: Thanks for having me.

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Speaker 5: Dialogue feels like a very appropriate thing for audio drama.

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Speaker 2: So exactly. So, if you're unfamiliar with Christopher, where have

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you been? But he's a writer, producer, actor, and we've

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collaborated many times over the years. He's been on the

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show before. But we're going to kind of break this

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up into two parts. Part one, we're going to talk

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directly about some of our projects from the past year

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and maybe some of the challenges and some of our

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processes as we work on these. And then part two

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maybe a little bit more generally about the state of

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the industry. So I think this is going to be.

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Speaker 1: Fun, absolutely looking forward to it.

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Speaker 2: So let's talk a little bit about Time Truck Chronicles

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first of all, And you know, this is a project

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that did not start in twenty twenty five. This has

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been in the works for a while but correct me

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if I'm wrong. But I believe the second season dropped

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at the very beginning of twenty twenty five? Is that correct?

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Or was it very very late twenty four?

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Speaker 5: No, you're correct, it was very early twenty twenty five.

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In the first season was probably I want to say,

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like third quarter of twenty twenty four.

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Speaker 2: Okay, okay, So that's what I was thinking. And I

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know this is an interesting project. You worked on it

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for Window Seat exclusively, but you created the show, you

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did the casting, you wrote the scripts, and I thought

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it'd be interesting to kind of talk a little about

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developing a new series. So what was that initial process

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like for you coming up with ideas? I know we

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talked about this a lot as you were kind of

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puzzling through how to build this series. Can you share

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a little bit about that?

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Speaker 1: Yeah?

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Speaker 5: Absolutely, and yeah no, it's always fun to talk about

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these things. We have these chats, like you say, but

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it's rare to get to talk to everybody about this,

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So hi everybody.

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Speaker 1: But anyways, yes, you said, h oh, okay, good.

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Speaker 5: Can you normally hear them JD? Should we be concerned?

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Speaker 2: I hear them all the time.

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Speaker 5: Okay, So that's the way we should be pitching audio drama.

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I hear voices in my head. But yeah, anyhow developing

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that series and how that came about is yeah, I

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just had was having conversations with Windows, excited as they

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were excited to be talking about their platform, and I

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was excited as a producer to be hearing about their platform.

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And big kudos to them. They were very invested early on,

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as they are now as well, of course, but there

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was a big push early on for them to connect

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with existing producers of Audio Trauma and find out from

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them their thoughts on the platform before it even sort

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of launched.

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Speaker 1: They really wanted to.

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Speaker 5: Get the feedback of producers too, which I think is

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key and says a lot about them as a platform

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and as a team. And in having those fantastic, super

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open conversations with them, I got to thinking about how

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the idea of sort of exclusive content which wasn't really

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something well, I know, I shouldn't say that they did

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have exclusive content lined up, such as like the word

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nerd and all that, but in terms of like audio drama,

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it's they didn't really have any exclusive shows lined up yet,

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and so I kind of introed that conversation with them

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and said like, hey, you should have like an exclusive show.

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And so we got to talking and coming up with

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an idea, and I bounce some things off of them,

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and we really wanted to lean into a lot of

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their target audience for children and for families, and a

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big part of their target was thinking about like homeschool

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families and that sort of thing, and so I got

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to thinking about some of that audience and that sort

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of thing, and what I might like to do that

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would also meet what they are looking for, which is

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I think something in a step in developing a new

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series that is often overlooked oftentimes. I think as creatives,

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we can really get into this space where we're like,

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what would be really fun for me or what I

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think is really cool, And that's not unimportant. I wouldn't

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say that's on important, but we also have to think about, well,

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who's going to listen to this and why and how

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does it meet their needs? And in my case is

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twofold because it wasn't just the audience as in the listeners,

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but as in the platform. I was creating it for

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what they're looking for, So it's kind of twofold. But

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those were pretty overlapping, of course, but I've always liked

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things like time travel and science fiction and these kinds

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of things. I'd say it's pretty light science fiction, but

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there's a science fiction element in the time travel aspect

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and that sort of thing. And I'm a new father,

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and so fatherhood is kind of on my mind too,

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and so the idea of a father daughter team time

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traveling through the Bible. Obviously Bible content was a big

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thing they wanted as well, just kind of all came

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together in that.

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Speaker 2: Yeah, And I think it's it is a very good

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point about trying to strike the balance between something that

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I will enjoy and something that will meet an audience.

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And this is something that we've talked about a lot

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over the last couple of years, and I've kind of

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wrestled with that myself as i've been developing one day

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in Aspen Creek. Because that originally as people, as I've

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said before, and I'm sure people are tired of hearing

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me say that was originally supposed to be a one off.

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But then I got feedback on it that people really

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liked that story world, and so I thought, well, let's

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see what we can build out of this and turn

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it into more than just a five minute show. And

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so trying to figure out, well, yes, I'm enjoying this

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story world and I think it's fun, and I like

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these characters and what can I do with them? But

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what can I also do that's going to resonate with people?

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And so it is something that you have to to

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strike that balance. But there, I mean, I think there

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are times to see I'm trying to think how to

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phrase this. I think there are times to lean more

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one way or the other, just depending on where you

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are as a creative. What the goal is for the project,

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for sure, and so it's just something I think it's

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going to be a constant wrestling match if it is

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an independent project. Now, something like Adventures and Odyssey, they

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have very specific goals and guidelines, and so somebody who's

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working on that show, you know, they they're working within

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those parameters. But for somebody like you or me who

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are working on our own projects, I think it's an

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ongoing sort of consideration that we have to.

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Speaker 5: Make absolutely absolutely, And I think whether you're writing or

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developing with say a platform or a company in mind,

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such as as when I was working with Windows Seat

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to bring this about. Even though I did produce it myself,

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it's a show that I own, it was a show

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designed with them in mind, and so there was definitely

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conversation about those things and recommendations from them that I

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did use to adapt things. And I'll give one small

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example is that like in the initial version of the show,

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it wasn't a time truck, it was a time traveling airplane.

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They were going to fly through the Bible. In fact,

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the first few scripts, I believe even when I sent

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you JD the first few scripts as Ji for those

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who don't know, JD plays the father character Philip, and

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I believe when I sent JD the first few scripts

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as you were getting ready to record, like at that time,

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it was actually, I think even in some of those

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scripts still a plane and uh and we and we

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changed it and uh. And part of the reason why

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was because it was the show was originally called I

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think Plane Jane, and it was meant to be kind

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of like a play on words. But you know, being

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we there was concern about, I guess, the negative connotation

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of that expression and didn't want to seem you know,

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and these are the kinds of things you have to

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think about. It might sound like too much, but it

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is what you have to think about. For a platform

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that understands that a lot of their audience is homeschoolers,

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the decision maker that's going to pay for that, even

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though the audience is the kids. Say, there's layers and layers, right,

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there's the platform audience, there's the audience listeners, the kids.

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But the person who's paying for it is the parents.

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And in a lot of homeschool families, that's going to

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be the mom that is making the deciding factor of

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are we going to subscribe to this because dad might

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be off at work. You know, lots of different family dynamics,

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but this is a common family dynamics, especially in homeschool families,

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that it would be that mom home with the kids

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saying I want to subscribe to this faith based show

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for a platform for my kids. So understanding that there

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was a high female demographic that would be decision makers too,

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to kind of name the show after a lightly as

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it is, but even so sort of negative connotation female

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kind of like expression there. It just it seemed even

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if it wasn't egregiously so it felt like maybe a

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mismatch there, and so it was changed, and I think

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I'm happy that that changed. In the end, I think

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that it's kind of been that kind of a cool

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thing from the sound design standpoint to mix in elements

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of the trucks and this thing. So all of that

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to say, kind of what I want to say in

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that was that, like, whether you're doing it for a

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platform like this, whether you are contracting to somebody else,

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or whether you're doing it yourself and you're sort of

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negotiating with your audience, so to speak, I think it's

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a really cool and beneficial thing. Like we've talked at

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length before about the benefits of limitations in art, and

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in a sense, thinking about what your audience will want,

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whether that's a platform, the kids listening, or whoever it's

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going to be. Thinking about who you're going to be

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playing that too, is a limiting factor in a way,

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but it's a limiting factor that helps focus things and

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focus decisions so that you don't end up with sort

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of a blank page syndrome where you don't know what

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to do kind of things.

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Speaker 2: Yeah, yeah, yeah, there's so much to consider. It's not

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just like, oh I think this would make a good story,

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let's go make it. I mean you can do that.

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I'm not saying you shouldn't or you can never do that.

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Speaker 1: It's a great place to start.

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Speaker 2: Yeah, absolutely, Yeah. So, I mean, here's another aspect of

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this particular project is with Shadows in Daylight and with

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Greenhorn Tails, we're essentially kind of going for a very

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similar audience with those shows. Sure, older listeners teens, and

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those shows were aimed at an older demographic. Now you've

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done the Jimmy, Sam and Tommy Show, which was aimed

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at probably a younger demographic too, But this time was

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a little bit different. You're writing very specifically for a

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young audience, and so you had to also tell good stories.

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You don't want them to be annoying so that the

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parents get tired of hearing them, but it has to

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be for that young listener. So was that had a

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challenge to figure out how to balance that and still

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tell fun stories, because this is even for a younger

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demographic than like Odyssey.

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Speaker 5: Sure, yeah, I would actually say in this particular case,

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it wasn't a challenge too much anyways. You know, like

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one of our main characters, we have two main characters,

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of course, we have Mirah and her father Philip, So

329
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one of our main characters that sort of a POV

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character in a sense, is a child, and that kind

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of things similar to what you mentioned Jimmy, sam and

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Tommy Show, which wasn't necessarily targeted at kids, but being

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that it was child characters, it would lead one to

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think that, which is I think part of why it

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maybe didn't find its audience well, because it wasn't really

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written with kids in mind, even though it had kid characters.

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This was actually written with kids in mind. So perhaps

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there's I'm not trying to sound insecure or anything, but

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like perhaps there's a case study in there for the

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audience of like what happens when you kind of confuse

341
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your audience, you know what I mean, or don't have

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that clear audience of who is this for? And I'd

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say Jimmy, Samon Tommy Show was for me and my

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sister who made it, and we didn't really think further

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much further than that, and that's why it didn't go

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much further than that.

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Speaker 1: And that's okay sometimes.

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Speaker 5: But for this, yeah, I very clearly knew that I

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wanted it to be aimed for kids, and I kind

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of I think two things made it come a little

351
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bit easier for me is that you know, listeners most

352
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likely don't know this, But I have a background in

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youth and children's ministry in a church context, and I

354
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kind of drew on some of those experiences in talking

355
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to kids in Sunday School and VBS and all these

356
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kinds of things, and hearing how they think and the

357
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questions that they'd ask when we tell a Bible story.

358
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And oftentimes as we're going through these Bible stories, Philip

359
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and me are kind of our guides. Philip is our

360
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sort of authoritative guide that he knows, he actually knows

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things we can trust about the Bible story. And Mira

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is our inquisitive guide who doesn't know things yet, so

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she's asking questions.

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Speaker 2: She's the proxy for the child.

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Speaker 5: Listener exactly exactly, and so she's asking the kinds of

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questions that I would think a lot of these kids

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that I've met might ask, sometimes more humorously played up

368
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in the case of Mira and the show, but these

369
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kinds of things. And then I think the other side

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of it is again, I'm a new father now, and

371
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I think it's changed.

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Speaker 1: The way that I look at a lot of things.

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Speaker 5: And obviously my daughter is still very young, much younger

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than Mira in the show. But even so, I think

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there's a lot of moments where I was writing it

376
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or working on it and thinking like, what's the kind

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of show i'd like her to be able to listen

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to in a few years when she's able to kind

379
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of take it in a little bit better, And those

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are the kinds of things I was thinking of. And

381
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I don't know, maybe having a childlike mine.

382
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Speaker 2: Well, I think that definitely helps always keeping that sort

383
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of jovial approach to things. And I've taught Sunday school

384
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myself and that that would definitely help inform the way

385
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that you present material. So I think that's those are

386
00:21:23,319 --> 00:21:25,400
very valid points well.

387
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Speaker 5: And to that, yourself and Christianna, who played Mirah were

388
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both able to give me feedback as we were doing

389
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recording sessions as well, where there was occasions that did

390
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come up that even after kind of going through this

391
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grip myself, where it was like, you know, where you

392
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guys would become I don't know if a kid would

393
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ask that, or I don't know if like maybe we

394
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might want to phrase that slightly differently, And all that

395
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feedback was super helpful where I'm going, oh, yeah, like,

396
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maybe that's a bit above that age range in And

397
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it's not about dumbing it down. Kids are smart. It's

398
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about putting it in a language that they understand.

399
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Speaker 2: Yeah. Absolutely, And that's another sort of benefit of having

400
00:22:09,039 --> 00:22:15,079
live sessions for recording. I mean, obviously there's the obvious

401
00:22:15,160 --> 00:22:17,400
benefit of the actors being able to play off of

402
00:22:17,440 --> 00:22:19,240
each other. Now, of course we were not in the

403
00:22:19,279 --> 00:22:24,880
same room. We're trans country here. It's not transcontinental. We're

404
00:22:24,880 --> 00:22:28,160
all on the same continent, but we're across the border

405
00:22:28,160 --> 00:22:30,920
from you Europe in Canada. She's in the Northwest, I'm

406
00:22:30,960 --> 00:22:34,680
in the southwest. So we're all on a video session

407
00:22:34,920 --> 00:22:37,440
and being able to play off and that was very

408
00:22:37,480 --> 00:22:41,519
important for me, very beneficial, I think for me and

409
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for Christiana to be able to play off each other,

410
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because if you want that a real genuine feeling dynamic

411
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between a father and a daughter. Sure, we could have

412
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recorded them wild and we probably would have done okay,

413
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but I think it just took it to the next

414
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level for us to be able to play off of

415
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each other, and there were some, I think some really

416
00:23:01,039 --> 00:23:02,440
fun moments because of that.

417
00:23:03,920 --> 00:23:07,680
Speaker 5: No, I absolutely agree with all of that and I mean,

418
00:23:08,200 --> 00:23:14,359
so to my experience with recording sessions for audio dramas

419
00:23:14,400 --> 00:23:17,720
started primarily with a group of people in the same

420
00:23:17,759 --> 00:23:23,640
physical room primarily, and that wasn't necessarily because I felt

421
00:23:23,680 --> 00:23:25,279
it was the best method at the time. That was

422
00:23:25,319 --> 00:23:26,880
just like literally all I knew, like, yeah, this is

423
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what I do. Everybody goes in the same room. And

424
00:23:28,519 --> 00:23:32,039
then later on I learned about other methods that that

425
00:23:32,160 --> 00:23:35,240
could be employed to include people that weren't necessarily in

426
00:23:35,319 --> 00:23:38,160
the same room. For the show Shadows in Daylight, which

427
00:23:38,160 --> 00:23:42,920
I produced the primary cast, especially in the first handful

428
00:23:42,920 --> 00:23:44,960
of episodes, yeah, it was all they were in the

429
00:23:44,960 --> 00:23:46,960
same room, but not in the same always the same time,

430
00:23:47,240 --> 00:23:51,240
but the same recording room physically coming in. I'm physically

431
00:23:51,640 --> 00:23:54,519
there to direct them through oftentimes somebody else in the

432
00:23:54,559 --> 00:23:56,799
separate room recording for me, and I'm like in the

433
00:23:56,920 --> 00:24:00,640
room with the actors, talking to them between scenes and

434
00:24:00,680 --> 00:24:04,039
these kinds of things, and generally speaking, trying to get

435
00:24:04,039 --> 00:24:05,920
as many of them in the same room at the

436
00:24:05,920 --> 00:24:09,559
same time as possible, and where schedules couldn't make that happen,

437
00:24:09,640 --> 00:24:12,079
you know, it might have been four people here, three

438
00:24:12,079 --> 00:24:14,920
people here another day, and then mixing those together, but

439
00:24:14,920 --> 00:24:16,359
at the very least trying to get the same people

440
00:24:16,359 --> 00:24:17,960
who are in the same scenes in the same room

441
00:24:17,960 --> 00:24:21,480
at the same time. And then as I connected to

442
00:24:21,759 --> 00:24:25,000
more people in their space, I was able to connect

443
00:24:25,119 --> 00:24:28,279
to more people who were in totally other places in

444
00:24:28,519 --> 00:24:31,440
the not just the country, like the like the world

445
00:24:31,559 --> 00:24:34,799
and everything like that, and are the content anyways and

446
00:24:35,359 --> 00:24:38,640
record those ways, And I think I kind of shifted

447
00:24:38,640 --> 00:24:42,359
more to almost like all just wilds I guess they're called.

448
00:24:42,920 --> 00:24:45,480
Speaker 1: But with the project like this, like you said, that.

449
00:24:45,400 --> 00:24:49,279
Speaker 5: Dynamic was so important, and it felt like it was

450
00:24:49,319 --> 00:24:51,519
worthwhile to try and get us all in if everybody

451
00:24:51,599 --> 00:24:56,200
was willing, which thankfully everybody was, and so so yeah,

452
00:24:56,319 --> 00:24:59,319
you and Christiana all in this recording at the same time,

453
00:24:59,759 --> 00:25:02,160
and and everybody else was kind of recorded wild and

454
00:25:02,480 --> 00:25:06,119
then mixed in. I don't think I directed anybody else

455
00:25:07,000 --> 00:25:09,839
in person, but I think that that worked okay for

456
00:25:09,880 --> 00:25:12,440
the most part, because you know, you guys have the

457
00:25:12,440 --> 00:25:16,559
bulk of the lines of the show, and so we

458
00:25:16,799 --> 00:25:20,440
have that main sort of skeleton going through the whole

459
00:25:20,440 --> 00:25:22,920
thing of all of that in terms of like voice

460
00:25:22,920 --> 00:25:25,440
tracking and everything, and then everybody mixed in here and there.

461
00:25:25,920 --> 00:25:28,519
It worked because it wasn't the bulk of it there

462
00:25:28,640 --> 00:25:31,960
as well, but most of the there was. There are

463
00:25:32,279 --> 00:25:35,240
one or two spots where as a not a perfectionist,

464
00:25:35,319 --> 00:25:37,359
but as a as a producer, just going to being

465
00:25:37,400 --> 00:25:39,880
kind of like, I wish maybe that was if they

466
00:25:39,880 --> 00:25:41,039
were in the same room, this.

467
00:25:40,920 --> 00:25:43,000
Speaker 1: Would have maybe come out a little bit better.

468
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Speaker 5: But you do what you can and in some in

469
00:25:45,920 --> 00:25:47,519
those kinds of scenarios, you know.

470
00:25:48,920 --> 00:25:51,359
Speaker 2: And to go back to what I was saying a

471
00:25:51,400 --> 00:25:56,519
moment ago, the additional benefit of that again because Mira

472
00:25:56,640 --> 00:25:59,839
and Philip are the main characters, so most of the

473
00:26:00,720 --> 00:26:03,960
is from them, and so us being able to feedback

474
00:26:04,039 --> 00:26:07,440
to you directly because a lot of times I'm saying

475
00:26:07,440 --> 00:26:10,759
this as a writer too. I even try to read

476
00:26:10,759 --> 00:26:14,519
my scripts aloud on my own as I'm going through,

477
00:26:14,519 --> 00:26:18,599
like the final in air quotes, final draft, just to

478
00:26:18,920 --> 00:26:23,640
hear how it's sounding. And a lot of times you

479
00:26:24,119 --> 00:26:26,240
don't maybe pick up on something until you get in

480
00:26:26,279 --> 00:26:28,640
there and you start to record, and then you're like, ah,

481
00:26:29,240 --> 00:26:32,759
that's really not it's not flowing right, And so being

482
00:26:32,799 --> 00:26:35,880
able to make those little changes on the fly, we

483
00:26:35,880 --> 00:26:37,400
wouldn't have been able to do that if we hadn't

484
00:26:37,400 --> 00:26:41,680
been recording together. Now as an actor, sometimes I will

485
00:26:41,720 --> 00:26:45,400
still record an alternative take of a line for somebody.

486
00:26:45,440 --> 00:26:48,480
If I'm doing something on my own, I'll even say

487
00:26:48,519 --> 00:26:52,920
in the recording, hey, what about doing it this way?

488
00:26:52,960 --> 00:26:55,920
It's flowing a little bit better for me, you know.

489
00:26:55,920 --> 00:26:58,400
I definitely still give them what they have on their script,

490
00:26:58,960 --> 00:27:01,079
so they if they want to stick with it, sure

491
00:27:01,240 --> 00:27:03,960
that's the that's the prerogative of the director or producer.

492
00:27:04,640 --> 00:27:08,920
But just giving them another option another thing to consider,

493
00:27:09,480 --> 00:27:13,039
because sometimes it just flows better for that character or

494
00:27:13,039 --> 00:27:15,880
for the actor even absolutely.

495
00:27:15,920 --> 00:27:18,680
Speaker 5: And I'll say, if if we have listeners who maybe

496
00:27:18,720 --> 00:27:22,839
have less experience with that, what I would recommend to

497
00:27:22,960 --> 00:27:26,000
them is, and I know you do this, but I'm

498
00:27:26,079 --> 00:27:28,519
just saying this for the benefit of others. Make sure

499
00:27:28,640 --> 00:27:34,039
you record the as is lines a few times really well,

500
00:27:34,920 --> 00:27:37,880
with the equal gusto and passion, even if you think

501
00:27:37,920 --> 00:27:41,440
that it should be said differently, and then offer your

502
00:27:41,480 --> 00:27:44,640
alternates so that if the director producer is kind of like,

503
00:27:44,680 --> 00:27:46,240
you know what, that's neat, but that's not what I

504
00:27:46,279 --> 00:27:49,119
was going for, they have it. So just make sure

505
00:27:48,920 --> 00:27:51,079
that the real ones there are not the real one,

506
00:27:51,079 --> 00:27:54,359
but the one that they put on the page, and

507
00:27:54,400 --> 00:27:58,279
then then add those other things as well, because those

508
00:27:58,319 --> 00:28:01,119
things are helpful to hear. Sometimes is a totally different

509
00:28:01,400 --> 00:28:03,559
take on things as a director. As a producer, I

510
00:28:03,599 --> 00:28:07,559
appreciate those things. I appreciate when people get so into

511
00:28:07,599 --> 00:28:10,079
the character that they're like, maybe this character would actually

512
00:28:10,079 --> 00:28:13,160
say it this way kind of yeah, you know, And

513
00:28:13,319 --> 00:28:15,880
if you're doing an ongo and going series, you get

514
00:28:15,880 --> 00:28:19,279
that benefit to where somebody can say I have. I've

515
00:28:19,279 --> 00:28:24,119
definitely experienced this with Shadows in Daylight, particularly with Abigail Bourne,

516
00:28:24,119 --> 00:28:27,039
who plays Ley. I've had a number of times where

517
00:28:27,079 --> 00:28:30,119
we've recorded. She's one that I usually I do usually

518
00:28:30,440 --> 00:28:32,000
for the most if she as long as she has

519
00:28:32,039 --> 00:28:34,640
a sizable role, I do usually direct her over a

520
00:28:34,720 --> 00:28:36,960
video call and all that kind of thing too, even

521
00:28:36,960 --> 00:28:40,240
if it's not alongside everyone else to get the recording.

522
00:28:40,319 --> 00:28:42,119
But I have a number of times where she's like,

523
00:28:42,640 --> 00:28:44,559
I was reading this and I don't know that this

524
00:28:44,599 --> 00:28:48,480
feels like lay in this in this scene. Now, because

525
00:28:48,519 --> 00:28:52,079
she's got now into a second season of playing this character,

526
00:28:52,200 --> 00:28:53,839
she can say that now if she If you're a

527
00:28:53,880 --> 00:28:55,839
brand new actor in the new well I just read

528
00:28:55,880 --> 00:28:58,079
the script one time and I don't feel like that,

529
00:28:58,559 --> 00:29:00,519
just just go with the director. But if if you

530
00:29:00,640 --> 00:29:03,920
get that equity with a director, that can be helpful

531
00:29:03,920 --> 00:29:05,240
to them. And I've had a few times I like,

532
00:29:05,319 --> 00:29:07,680
oh yeah, yeah, No, I don't want them to be

533
00:29:07,759 --> 00:29:09,359
right about this, but they're right and I need to

534
00:29:09,440 --> 00:29:09,799
change this.

535
00:29:10,599 --> 00:29:12,359
Speaker 2: Yeah. I mean, it's kind of going back to what

536
00:29:12,400 --> 00:29:15,839
I was talking about with Paul McCusker in the previous episode,

537
00:29:15,920 --> 00:29:19,039
is not being too precious about your writing, because sometimes

538
00:29:19,519 --> 00:29:21,599
there are some better ideas in the room and you

539
00:29:21,680 --> 00:29:25,240
got to just set aside your feeling and let it,

540
00:29:26,160 --> 00:29:28,160
let it take its course and figure out what what

541
00:29:28,279 --> 00:29:28,920
might work better.

542
00:29:29,400 --> 00:29:31,440
Speaker 5: I would say that something that I have learned over

543
00:29:31,480 --> 00:29:34,559
the years is that treat the script like it was

544
00:29:34,559 --> 00:29:38,799
written in ink if you are an actor, but offer suggestions,

545
00:29:39,559 --> 00:29:43,240
you know, within reason. If you're a writer, treat the

546
00:29:43,279 --> 00:29:47,000
script like it's written in pencil. Like you mentioned the

547
00:29:47,039 --> 00:29:51,279
final air quotes draft. Because when I especially if i'm

548
00:29:51,319 --> 00:29:54,160
writing something for someone else that I'm not directing and producing,

549
00:29:54,359 --> 00:29:56,599
when I send it off to them, I fully expect

550
00:29:57,200 --> 00:29:59,559
that they are going to probably change. The directors going

551
00:29:59,599 --> 00:30:02,480
to want to take things differently, change some things up,

552
00:30:02,680 --> 00:30:05,519
not just interpretation, but even whole lines and scenes if

553
00:30:05,559 --> 00:30:09,480
they feel that that's necessary. I look at the script

554
00:30:09,839 --> 00:30:12,200
as a blueprint. At that point, you know, you get

555
00:30:12,200 --> 00:30:14,279
it as finished, you do your best job as you can,

556
00:30:14,359 --> 00:30:17,039
but you recognize that that director does not see this

557
00:30:17,119 --> 00:30:19,680
as gospel, but they see this as a blueprint that

558
00:30:19,720 --> 00:30:22,559
they can reinterpret the way that they want to. And

559
00:30:22,599 --> 00:30:25,400
that's okay, Like you said, not holding it so closely,

560
00:30:25,519 --> 00:30:28,680
because these are your collaborative partners. These are not your

561
00:30:28,759 --> 00:30:30,400
Lackey's going and making.

562
00:30:30,200 --> 00:30:31,680
Speaker 1: The show for you.

563
00:30:31,680 --> 00:30:34,519
Speaker 5: You are making the show together, and you can't treat

564
00:30:34,559 --> 00:30:35,680
it as your baby only.

565
00:30:36,279 --> 00:30:38,920
Speaker 2: Yeah. I mean we've done that, even a little bit

566
00:30:39,039 --> 00:30:42,079
with Greenhorn Tails. I mean, you and Michael are the

567
00:30:42,119 --> 00:30:45,400
primary writers. But those drafts come to me and then

568
00:30:45,440 --> 00:30:47,400
I do a little polish. I mean I don't go

569
00:30:47,559 --> 00:30:50,599
through and just wholesale change a bunch of stuff, but

570
00:30:51,240 --> 00:30:53,240
there are little tweaks that I make here and there,

571
00:30:53,839 --> 00:30:56,440
and it's fun, and some of them I'll go back

572
00:30:56,480 --> 00:30:58,720
and forth with you, like can you explain this line

573
00:30:58,720 --> 00:31:01,440
here because I'm not quite figuring it out, And then

574
00:31:01,480 --> 00:31:03,559
you'll say, well, this is what I was envisioning. I'm

575
00:31:03,559 --> 00:31:05,960
like Okay, okay, I got that, and so we might

576
00:31:06,000 --> 00:31:08,920
tweak it a little bit. But talking about working with

577
00:31:09,319 --> 00:31:12,400
or writing projects for somebody else, and another project you

578
00:31:12,440 --> 00:31:16,240
did last year was the Potion of Power for Heart Matters,

579
00:31:16,720 --> 00:31:18,480
and this was a little bit of a different situation

580
00:31:18,759 --> 00:31:22,839
from the window Seat arrangement. This was where you were

581
00:31:23,559 --> 00:31:28,519
contracted to write this full length script and then I guess,

582
00:31:28,559 --> 00:31:31,000
similar to to Green Orent Tales, that script goes off

583
00:31:31,039 --> 00:31:34,480
and then they can make changes for sure, and then

584
00:31:34,720 --> 00:31:37,160
all the production and everything else is on them too,

585
00:31:37,240 --> 00:31:39,599
So you're like the first point in this assembly line

586
00:31:39,759 --> 00:31:42,799
of production. But what was that like for you? Working

587
00:31:42,839 --> 00:31:46,200
as a contract writer in that sort of a situation.

588
00:31:46,480 --> 00:31:48,960
Speaker 1: It was a lot of fun. I enjoyed it quite

589
00:31:49,000 --> 00:31:49,279
a bit.

590
00:31:49,759 --> 00:31:51,400
Speaker 5: I've thought about it quite a bit too, in the

591
00:31:51,480 --> 00:31:54,720
signs of like I'm a trying to find the way

592
00:31:54,759 --> 00:31:57,440
of saying this that doesn't sound like a flex it's

593
00:31:57,480 --> 00:32:01,519
not meant to be. But a multi disciplinarian as it

594
00:32:01,559 --> 00:32:05,279
comes to audio drama, whether it's right, you know, some writing.

595
00:32:05,680 --> 00:32:08,440
So I don't really consider acting to be among my

596
00:32:09,200 --> 00:32:12,720
stronger areas when it comes to audio drama, but I

597
00:32:12,759 --> 00:32:15,200
have fun doing it when I have the opportunity but

598
00:32:15,359 --> 00:32:19,799
writing and sound design, voice track editing, and I've i

599
00:32:19,880 --> 00:32:22,240
gained this not a strength therea but occasionally I've done

600
00:32:22,240 --> 00:32:25,240
a little bit of scoring on my own projects, that

601
00:32:25,359 --> 00:32:29,160
sort of thing, as in musical scoring. But what was

602
00:32:29,200 --> 00:32:32,000
really interesting about the experience is, you know, I wondered

603
00:32:32,000 --> 00:32:33,640
when I was going into it, like, am I going

604
00:32:33,720 --> 00:32:38,880
to feel as attached or as proud of this project

605
00:32:38,960 --> 00:32:42,039
that I only wrote, I did also do voicetrack editing

606
00:32:42,079 --> 00:32:46,279
on it, but that I wrote versus the ones like

607
00:32:46,359 --> 00:32:48,599
Shadows of Daylight, where where I wrote it and I

608
00:32:48,680 --> 00:32:51,400
directed it and I did a lot of the recording

609
00:32:51,559 --> 00:32:54,200
and the sound design and blah blah blah. And I

610
00:32:54,240 --> 00:32:56,480
have to say I felt just as much sort of

611
00:32:57,200 --> 00:33:00,640
not in a negative sense, but pride in both types

612
00:33:00,680 --> 00:33:04,440
of projects. So I think that really helped me see

613
00:33:04,599 --> 00:33:07,000
more and more that as much as I do have

614
00:33:07,039 --> 00:33:10,000
other areas that I enjoy and I, at the risk

615
00:33:10,039 --> 00:33:12,880
of hubrist think I do a good job on in

616
00:33:13,119 --> 00:33:16,000
audio drama, that it really showed me how much I'm

617
00:33:16,000 --> 00:33:19,359
connected to the writing side of audio drama and that

618
00:33:19,440 --> 00:33:22,200
kind of thing. But yeah, it was a great enjoyable

619
00:33:22,240 --> 00:33:25,839
process and working with Austin who produces all this stuff

620
00:33:26,000 --> 00:33:29,240
at heart matters and he does a great job. And

621
00:33:29,640 --> 00:33:35,480
Austin is a keen eye who goes through everything with

622
00:33:35,559 --> 00:33:40,000
a fine tooth comb, and so he's he It's cool

623
00:33:40,359 --> 00:33:43,200
working with someone who's going to get into your story

624
00:33:43,240 --> 00:33:46,720
as much as you are and and then be willing

625
00:33:46,759 --> 00:33:48,359
to go like, hey, does this, does this work? Does

626
00:33:48,359 --> 00:33:50,599
this make sense? Should we keep this? Should we change

627
00:33:50,920 --> 00:33:53,559
change that? And Austin is one of those people that

628
00:33:54,200 --> 00:33:57,480
I feel like he gets the stories. Obviously, he's also

629
00:33:57,599 --> 00:34:03,400
an ATC contributor and he spent much time analyzing audio

630
00:34:03,480 --> 00:34:07,559
drama and so that's a huge asset as a writer

631
00:34:07,680 --> 00:34:10,559
to work with someone like that who can get into

632
00:34:10,639 --> 00:34:12,599
it and they're not just changing things for the sake

633
00:34:12,639 --> 00:34:15,199
of changing things, but because they really care about your

634
00:34:15,239 --> 00:34:18,599
story just as much as you do. And yeah, that

635
00:34:18,719 --> 00:34:20,639
was a really fun experience to work together on that.

636
00:34:21,159 --> 00:34:23,679
Speaker 2: So another thing that was a little bit different on

637
00:34:23,719 --> 00:34:29,119
this one is again your experience primarily was with Shadows

638
00:34:29,159 --> 00:34:33,000
and Daylight, Greenhorn Tails, and Timetruck prior to these, those

639
00:34:33,039 --> 00:34:37,119
are all shorter. Now of those three Shadows and Daylight

640
00:34:37,199 --> 00:34:39,960
are is the longest. But this is a you know,

641
00:34:40,119 --> 00:34:43,360
essentially almost a feature length it's an hour long show.

642
00:34:44,079 --> 00:34:47,280
Did you have to sort of approach that any differently

643
00:34:48,000 --> 00:34:50,599
or how did that work for on the writing side

644
00:34:50,840 --> 00:34:54,760
of writing a longer show and also working in the

645
00:34:54,760 --> 00:34:56,559
fantasy genre. Yeah.

646
00:34:56,760 --> 00:34:57,159
Speaker 1: Yeah, So.

647
00:34:58,639 --> 00:35:04,239
Speaker 5: The interesting thing about long form writing like this is

648
00:35:04,360 --> 00:35:07,400
that depending on the kind of stuff that you've worked on,

649
00:35:07,480 --> 00:35:09,400
the kind of series. If you've worked on series and

650
00:35:09,440 --> 00:35:11,920
now you're doing a long form thing, depending on what

651
00:35:11,960 --> 00:35:14,559
you've worked on, it's a shorter story. And what I

652
00:35:14,559 --> 00:35:16,360
mean by that is like, if you take something like

653
00:35:16,400 --> 00:35:20,440
Shadows in Daylight that the first season arc is all

654
00:35:20,480 --> 00:35:23,119
one story, that's a good point twelve episodes that are

655
00:35:23,159 --> 00:35:27,960
all approximately twenty to thirty minutes, So you know you've

656
00:35:28,000 --> 00:35:31,360
got well, I mean, let's do a little math here.

657
00:35:31,440 --> 00:35:35,519
Let's say twenty five as an average times twelve, that's

658
00:35:35,679 --> 00:35:36,840
three hundred minutes.

659
00:35:37,199 --> 00:35:38,679
Speaker 1: We'll divide that by sixty.

660
00:35:38,719 --> 00:35:42,599
Speaker 5: That's five hours, so as a five hour story to

661
00:35:42,880 --> 00:35:46,280
a story that's about just under an hour about fifty

662
00:35:46,320 --> 00:35:48,559
I think it was fifty minutes, so in a sense,

663
00:35:48,800 --> 00:35:52,679
that was a much longer story. And so doing something

664
00:35:53,519 --> 00:35:56,320
and in between, say something like Greenhorn Tails or timetruck

665
00:35:56,400 --> 00:36:00,320
chronicles that is about five to ten minutes in an episode.

666
00:36:00,440 --> 00:36:05,159
Self contained story, but simple focused stories not that complex

667
00:36:05,199 --> 00:36:08,800
by design, and this is a bit more complex. So

668
00:36:09,559 --> 00:36:13,559
I think the biggest challenge was the middle of the story.

669
00:36:14,119 --> 00:36:18,280
The ending at the beginning very clear, but then figuring out, like, Okay,

670
00:36:18,320 --> 00:36:20,239
how much time do we have to live and breathe

671
00:36:20,280 --> 00:36:24,079
in this section and what is the consequences of that.

672
00:36:24,559 --> 00:36:26,199
If I go too long in this section, then I

673
00:36:26,199 --> 00:36:28,880
only have so much time in this section, and that

674
00:36:28,960 --> 00:36:32,960
sort of thing, Like specifically I'll put these in real

675
00:36:33,000 --> 00:36:40,039
world terms without any major spoilers, but the recruitment section

676
00:36:40,880 --> 00:36:45,679
and the battles section. Wanting to spend more time in

677
00:36:45,719 --> 00:36:47,599
the recruitment section, it was like, Okay, now I have

678
00:36:47,679 --> 00:36:50,920
less time to work on the battle section, and then

679
00:36:51,039 --> 00:36:55,039
trying to weigh if we've straight to, you know, too

680
00:36:55,119 --> 00:36:57,840
much one two or the other. If we wanted to

681
00:36:57,920 --> 00:37:01,760
stretch out, I would say I'm with the final product.

682
00:37:01,880 --> 00:37:04,119
If I could have spent more time anywhere, I would

683
00:37:04,119 --> 00:37:07,360
have probably spent more time in the battles lengthen a

684
00:37:07,400 --> 00:37:10,920
little bit more of that to kind of show more

685
00:37:10,920 --> 00:37:13,519
of that transformation. I'm trying to be semi big here

686
00:37:13,519 --> 00:37:16,320
to not give a way too many spoilers, but you

687
00:37:16,360 --> 00:37:19,400
work within Again. Limits are a good thing because I

688
00:37:19,440 --> 00:37:22,840
think the average person that I've heard feedback from hasn't

689
00:37:22,880 --> 00:37:26,639
felt like any particular section was too long or too short,

690
00:37:27,199 --> 00:37:30,000
And so maybe if I had had more freedom with

691
00:37:30,039 --> 00:37:32,320
the length of it that might have it might have

692
00:37:32,400 --> 00:37:36,360
become meandering. I don't know, so yeah, I think in

693
00:37:36,440 --> 00:37:41,280
terms of structurally or specifically, when it comes to writing

694
00:37:41,280 --> 00:37:44,639
a long form thing. If someone is listening and they're

695
00:37:44,679 --> 00:37:48,280
thinking of writing a long form thing, first ask yourself

696
00:37:48,280 --> 00:37:50,880
the question doesn't need to be that long. If there's

697
00:37:50,880 --> 00:37:52,719
a good reason for it to be that long, then

698
00:37:52,760 --> 00:37:55,440
make it that long. If there isn't, don't. Don't stretch

699
00:37:55,480 --> 00:37:59,000
it for the bragging rights of making a long form

700
00:37:59,079 --> 00:38:01,519
thing a short form one.

701
00:38:01,559 --> 00:38:01,800
Speaker 4: Will.

702
00:38:01,800 --> 00:38:04,920
Speaker 5: Do you know there's a famous quote. You're a well

703
00:38:04,960 --> 00:38:07,079
read person, JD. You'll probably know who it is, even

704
00:38:07,119 --> 00:38:09,559
though I've forgotten who said it. I think it might

705
00:38:09,599 --> 00:38:11,920
have been Mark Twain, but you can correct me. But

706
00:38:11,960 --> 00:38:14,480
it was something like I didn't have time to write

707
00:38:14,480 --> 00:38:16,400
a short letter today, so I wrote a long one.

708
00:38:17,159 --> 00:38:19,039
Speaker 2: I'm familiar with it, but I can't remember who said

709
00:38:19,039 --> 00:38:19,280
it either.

710
00:38:19,440 --> 00:38:22,719
Speaker 5: Yeah, And it's so true because it doesn't take much

711
00:38:22,840 --> 00:38:25,880
to just meander on the page. It takes a lot

712
00:38:25,920 --> 00:38:28,599
to revise and be intentional about what needs to be

713
00:38:28,719 --> 00:38:30,079
kept and what doesn't.

714
00:38:30,599 --> 00:38:32,119
Speaker 1: Yes, you know, I think.

715
00:38:31,920 --> 00:38:35,599
Speaker 5: That's a skill. I remember as a kid watching DVDs

716
00:38:35,639 --> 00:38:38,039
and they'd have these deleted scenes as a bonus, and

717
00:38:38,079 --> 00:38:40,519
I'd be like, even Odyssey's had a few of those

718
00:38:40,559 --> 00:38:43,840
two deleted scenes in some of their album CDs and whatnot,

719
00:38:43,880 --> 00:38:45,760
and I remember always being like, why did they Why

720
00:38:45,760 --> 00:38:47,440
did they cut it? There seems to be like nothing

721
00:38:47,480 --> 00:38:51,119
wrong with this scene. But now, as with a bit

722
00:38:51,119 --> 00:38:53,880
more experience, I've gone like, yeah, but I've cut scenes

723
00:38:53,920 --> 00:38:56,239
now too where I'm like that that's cool, that's fine,

724
00:38:56,320 --> 00:38:59,639
but it doesn't really serve the story in any meaningful way.

725
00:39:00,320 --> 00:39:02,519
And sometimes a meaningful way can be that it's fun.

726
00:39:02,639 --> 00:39:05,800
But it was like, you know, I've caught stuff now

727
00:39:06,280 --> 00:39:07,719
where I'm just like, yeah, we didn't need that, we

728
00:39:07,760 --> 00:39:11,119
didn't need that. And I think that's a good skill,

729
00:39:11,719 --> 00:39:14,199
even if you're writing long form not so it's not

730
00:39:14,320 --> 00:39:16,039
just like long for the sake of long.

731
00:39:16,639 --> 00:39:20,079
Speaker 2: Yeah. Yeah, it's so true, and especially when you're doing

732
00:39:20,719 --> 00:39:23,719
a really short form project like you and I have

733
00:39:23,760 --> 00:39:27,960
done some several micro audio dramas, you have an even

734
00:39:28,039 --> 00:39:32,000
shorter time, yes, and so every second counts in that

735
00:39:32,079 --> 00:39:34,960
sort of a project, So you're making sure that you're

736
00:39:35,000 --> 00:39:39,239
progressing the story with every every single second of audio

737
00:39:39,320 --> 00:39:42,360
that you leave in. It's got to be there for a.

738
00:39:42,360 --> 00:39:46,400
Speaker 5: Reason, yes, And this what made this a good candidate

739
00:39:46,440 --> 00:39:48,719
for a long form story is that it was key

740
00:39:48,840 --> 00:39:51,920
to the story itself that we see the main character

741
00:39:52,039 --> 00:39:56,639
go through a big change in transformation throughout the story,

742
00:39:57,159 --> 00:40:01,760
and so it's very difficult to illustrate that effectively in

743
00:40:01,840 --> 00:40:04,760
a super short run time. So that's that's what made

744
00:40:04,760 --> 00:40:07,599
a story like this makes sense in long forms. So

745
00:40:07,639 --> 00:40:09,480
like that's what I mean, Like people got to think, okay,

746
00:40:09,519 --> 00:40:12,239
what what is the reason it should be long? You know,

747
00:40:12,280 --> 00:40:15,039
you think people talk about Lord of the Rings movies

748
00:40:15,079 --> 00:40:18,119
being like four hours long. It's like, well, it's a journey.

749
00:40:18,159 --> 00:40:21,320
They're going on this huge journey, and it's not like, Okay,

750
00:40:21,360 --> 00:40:23,199
we're just gonna do a hop, skip and a jump

751
00:40:23,280 --> 00:40:25,039
and we're over at Mount Doom throwing the ring and

752
00:40:25,360 --> 00:40:27,920
we're done. Kind of thing, like there's no movie then

753
00:40:28,000 --> 00:40:30,559
there's no there's no story, you know, so it is

754
00:40:30,599 --> 00:40:32,400
the story of the journey. So it's important that that

755
00:40:32,480 --> 00:40:36,480
journey feels long and earned in that case, because to

756
00:40:36,920 --> 00:40:41,639
feel the grandeur of it. Yeah, I realized I didn't

757
00:40:41,639 --> 00:40:44,079
really answer your question about working in a fantasy genre.

758
00:40:44,559 --> 00:40:49,480
So that was relatively new space for me. I'm much

759
00:40:49,719 --> 00:40:54,679
like probably anybody else who was a homeschooled Christian growing up.

760
00:40:55,320 --> 00:40:59,679
They read Chronicles of Narnia and you know, probably sat

761
00:40:59,719 --> 00:41:02,280
down like I did. Many others probably sat down did

762
00:41:02,320 --> 00:41:05,280
and try to write their own kind of fantasy things

763
00:41:05,400 --> 00:41:08,360
because they're inspired by that. And if we looked back

764
00:41:08,400 --> 00:41:10,199
on it now be like this was a little too

765
00:41:10,320 --> 00:41:12,760
close to the same thing. But you know, I was young,

766
00:41:14,679 --> 00:41:18,480
But yeah, writing in the fantasy genre here was a

767
00:41:18,599 --> 00:41:19,519
lot of fun.

768
00:41:19,599 --> 00:41:21,400
Speaker 1: And this is a I would consider.

769
00:41:21,239 --> 00:41:24,840
Speaker 5: Light almost like storybook fantasy in a sense that the

770
00:41:25,679 --> 00:41:28,639
elements are not there's not like a deep you know,

771
00:41:28,760 --> 00:41:32,639
it's not like a Brandon Sanderson deep complex magic system

772
00:41:32,960 --> 00:41:37,800
kind of fantasy. There's just some elements that wouldn't happen

773
00:41:37,960 --> 00:41:42,239
in our real world kind of thing, but mostly possible

774
00:41:42,360 --> 00:41:44,920
in our real world. And so yeah, that was a

775
00:41:44,960 --> 00:41:47,119
lot of fun to work in that genre, as I've

776
00:41:47,199 --> 00:41:50,199
not done that as much, and it's kind of inspired

777
00:41:50,280 --> 00:41:53,920
me in some other things too as a result afterward,

778
00:41:53,960 --> 00:41:56,920
and I think it's also shown me kind of Another

779
00:41:57,000 --> 00:42:01,480
thing that I like about in writing is most lee grounded,

780
00:42:01,960 --> 00:42:05,559
with some small element that maybe wouldn't happen in our world,

781
00:42:05,639 --> 00:42:08,119
whether it's a comedy thing like it's, okay, this is

782
00:42:08,159 --> 00:42:10,800
relatively believable, but there's one thing that's just a little

783
00:42:10,880 --> 00:42:13,599
suit too silly to be real. But most of it's

784
00:42:13,639 --> 00:42:16,800
grounded enough that we're still gonna excuse the one thing

785
00:42:16,880 --> 00:42:19,800
that makes the story possible. You know, same thing in

786
00:42:19,880 --> 00:42:22,760
this fantasy or in science fiction. So you know, the

787
00:42:23,039 --> 00:42:25,880
Time Track Chronicles is similar to that in the sense

788
00:42:25,920 --> 00:42:29,440
that it is mostly believable. We get a fairly believable

789
00:42:30,519 --> 00:42:35,599
father and daughter and a fairly dynamic for them. We've

790
00:42:35,639 --> 00:42:39,719
got true Bible stories that they're experiencing. But then we've

791
00:42:39,760 --> 00:42:42,639
got this one thing that conveniently allows them to be

792
00:42:42,719 --> 00:42:45,519
in these Bible stories, this time traveling truck, which clearly

793
00:42:45,559 --> 00:42:48,280
couldn't happen in the real world. But most of it

794
00:42:48,400 --> 00:42:52,800
is generally grounded. There's a reference in the Jonah episode

795
00:42:53,280 --> 00:42:57,880
where Philip makes a remark about making a rocket ship

796
00:42:58,000 --> 00:43:02,559
out of a refrigerator and Mira's like, wait, seriously, you

797
00:43:02,719 --> 00:43:04,280
that and he is like, oh, well, you have a

798
00:43:04,320 --> 00:43:05,800
time traveling truck. Why couldn't I.

799
00:43:05,920 --> 00:43:07,880
Speaker 1: But then he pauses and he's like, no, I'm just

800
00:43:07,960 --> 00:43:08,400
kidding you.

801
00:43:08,519 --> 00:43:10,599
Speaker 5: Of course, not kind of thing, right, So like it

802
00:43:10,800 --> 00:43:13,920
establishes sort of a boundary of like, we're gonna do

803
00:43:13,960 --> 00:43:15,800
a little bit of unbelievable stuff, but we're not going

804
00:43:15,840 --> 00:43:19,119
to that ridiculous. And I think that's what makes the

805
00:43:19,199 --> 00:43:24,360
one untrue thing believable if everything else is properly grounded.

806
00:43:24,719 --> 00:43:27,760
Speaker 2: Yeah. Yeah, that makes a lot of sense. So I

807
00:43:27,840 --> 00:43:32,000
think five has had seen some pretty cool stuff come

808
00:43:32,320 --> 00:43:37,000
from your brain and two our ears please, so i'n't.

809
00:43:37,079 --> 00:43:41,079
I've definitely enjoyed obviously playing a part in Time Truck,

810
00:43:41,119 --> 00:43:43,519
but also just getting to hear them and seeing them

811
00:43:43,880 --> 00:43:48,280
come together and really enjoyed potion of power from heart matters,

812
00:43:49,000 --> 00:43:52,599
And it makes me kind of think about some of

813
00:43:52,679 --> 00:43:57,840
the broader things that we're seeing in independent audio drama

814
00:43:58,599 --> 00:44:02,719
as we move into this more neural section of this conversation.

815
00:44:03,760 --> 00:44:06,639
You know, I think there has been a handful of

816
00:44:07,400 --> 00:44:12,679
fantasy stuff overall in independent audio drama, but the majority

817
00:44:12,800 --> 00:44:16,239
of it that I've checked out hasn't been all that great,

818
00:44:17,280 --> 00:44:22,440
and until this year, I've not really heard all that

819
00:44:22,639 --> 00:44:25,920
many fantasy shows that I'm like, man, this is really

820
00:44:26,159 --> 00:44:30,000
really good. Of course, there's the old BBC adaptation of

821
00:44:30,039 --> 00:44:31,840
The Lord of the Rings, which I think is really fun.

822
00:44:32,239 --> 00:44:34,239
Some people don't care for it because it was done

823
00:44:34,320 --> 00:44:36,880
so many years ago. It's not quite up to par

824
00:44:37,239 --> 00:44:41,119
to our expectations as fans of high quality audio drama.

825
00:44:41,800 --> 00:44:46,239
But then this year we had the Road to Quay Luma,

826
00:44:46,320 --> 00:44:50,320
which was a pretty high quality show, straight up epic

827
00:44:50,400 --> 00:44:54,599
fantasy there, and then of course Potion of Power. But

828
00:44:55,880 --> 00:44:59,239
are there any other trends that you have observed in

829
00:44:59,360 --> 00:45:02,679
terms of in terms of genre or style. You know,

830
00:45:02,760 --> 00:45:05,559
we've talked about long form stuff, and we've talked about

831
00:45:05,599 --> 00:45:08,679
micro audio drama, which I'm really loving to see so

832
00:45:08,800 --> 00:45:12,440
many people jumping on that bandwagon the last couple of years.

833
00:45:12,920 --> 00:45:16,440
I think the super short format can be really fun.

834
00:45:16,559 --> 00:45:18,960
It's a challenge, but it can be really really fun.

835
00:45:19,079 --> 00:45:22,199
So any thoughts on any of.

836
00:45:22,199 --> 00:45:24,880
Speaker 5: That, I'd love to see that become more of a trend.

837
00:45:25,039 --> 00:45:29,920
I love to see more first time producers try something

838
00:45:30,480 --> 00:45:33,639
like that. It's analogous to the short film, where you

839
00:45:33,679 --> 00:45:36,800
have a lot of film producers that are brand new

840
00:45:36,960 --> 00:45:38,559
trying to make a name for themselves to do a

841
00:45:38,639 --> 00:45:44,960
short film oftentimes, and short doesn't mean not as epic

842
00:45:45,159 --> 00:45:48,039
or interesting or all those kind of things as we've

843
00:45:48,079 --> 00:45:50,639
talked about. Sometimes short means that you've thought through it

844
00:45:50,800 --> 00:45:53,800
more about what really needs to be to be on there.

845
00:45:53,800 --> 00:45:56,400
And I think this happens a lot in film because

846
00:45:56,480 --> 00:46:00,719
making something long is so it's so expect that is

847
00:46:00,760 --> 00:46:04,440
such a non starter for a small time independent producer,

848
00:46:04,559 --> 00:46:06,440
Like even if you just it's one thing to be

849
00:46:06,519 --> 00:46:10,679
a YouTuber, you know, film yourself talking head at home

850
00:46:10,800 --> 00:46:12,960
in your living room and talk about a topic and

851
00:46:13,000 --> 00:46:15,360
you can make it look good. It's another thing to

852
00:46:15,599 --> 00:46:17,559
film a short film with a lot of you know,

853
00:46:17,639 --> 00:46:21,239
with a bunch of people. And so, going back to limitations,

854
00:46:22,039 --> 00:46:24,880
one of the limitations that doesn't exist as much in

855
00:46:24,920 --> 00:46:27,639
audio drama compared to film that we've a lot of

856
00:46:27,719 --> 00:46:30,119
us have talked about as a great advantage is that

857
00:46:30,239 --> 00:46:34,000
it's so much cheaper than it is film to do

858
00:46:34,159 --> 00:46:39,159
something of that equal length or scale. But the downside

859
00:46:39,159 --> 00:46:41,960
of that is you could be brand new and your

860
00:46:42,000 --> 00:46:44,320
first foread at the gate could be ten hours long.

861
00:46:44,920 --> 00:46:48,000
And you know, I even look at myself with shadows

862
00:46:48,039 --> 00:46:50,079
in daylight, and I wish that my first fore aat

863
00:46:50,079 --> 00:46:52,639
a sort of public at a gate was something shorter.

864
00:46:53,000 --> 00:46:53,159
Speaker 3: You know.

865
00:46:53,280 --> 00:46:58,199
Speaker 5: I've always given my metaphorical flowers to Ben Kemp, producer

866
00:46:58,239 --> 00:46:59,960
of A Bit of Time Travel, for starting out with

867
00:47:00,239 --> 00:47:04,800
an anthology series that was just one off stories loosely

868
00:47:04,880 --> 00:47:08,440
connected in theme and building up from there. And now

869
00:47:08,440 --> 00:47:11,679
he's doing The Church at Trussel Falls, which is a

870
00:47:11,880 --> 00:47:15,039
series with recurring character and all this kind of stuff.

871
00:47:15,079 --> 00:47:18,119
Speaker 1: But he wisely chose to start out with.

872
00:47:18,199 --> 00:47:21,639
Speaker 5: That anthology, this one off sort of approach, and I'd

873
00:47:21,639 --> 00:47:23,960
love to see more people do that. So that's not

874
00:47:24,079 --> 00:47:25,880
a trend that I'm necessarily seeing. It's a trend that

875
00:47:25,960 --> 00:47:29,440
I want to see but more of. And I love

876
00:47:29,519 --> 00:47:32,679
short form audio drama. I think in our busy world,

877
00:47:32,960 --> 00:47:36,159
where short form content on the video side has a

878
00:47:36,280 --> 00:47:39,159
rise in popularity, I think there's an opportunity for that

879
00:47:39,599 --> 00:47:43,639
in the audio side, especially as cultural conversation seems to

880
00:47:43,679 --> 00:47:47,039
be shifting at large about having less screen time and

881
00:47:47,239 --> 00:47:49,519
being able to put your phone down and not look

882
00:47:49,519 --> 00:47:51,599
at the screen and just listen to something real quick.

883
00:47:51,920 --> 00:47:54,159
I think there's a huge market for that, So I

884
00:47:54,199 --> 00:47:57,519
think it's it's a trend in the audience that I

885
00:47:57,599 --> 00:47:59,599
think is happening. But I don't think it's a trend

886
00:47:59,639 --> 00:48:02,400
that is altered done to the producers yet that hopefully

887
00:48:02,480 --> 00:48:05,480
it will more Otherwise, I guess, you know, JD and

888
00:48:05,519 --> 00:48:08,280
I can just eat that market with you know, asking

889
00:48:08,360 --> 00:48:11,639
Creek and Time Truck and Greenhorns, and we're fine to

890
00:48:11,719 --> 00:48:13,440
do that. But yeah, if you all want a piece

891
00:48:13,440 --> 00:48:15,440
of the pie, you know, you better step up.

892
00:48:15,599 --> 00:48:16,159
Speaker 1: I just say it.

893
00:48:16,880 --> 00:48:19,639
Speaker 5: But other trends I guess that I am seeing is

894
00:48:20,199 --> 00:48:22,480
tell me if you agree with this. But a trend

895
00:48:22,519 --> 00:48:25,960
that I feel like I am seeing in Indie family

896
00:48:26,039 --> 00:48:31,519
friendly space is ironically, despite the name, edge of your content,

897
00:48:32,880 --> 00:48:35,199
edge of your content in the family friendly space. By that,

898
00:48:35,320 --> 00:48:42,039
I don't necessarily mean anything on savory well well maybe yes,

899
00:48:42,119 --> 00:48:45,360
but I don't mean distastefully, So I just mean that,

900
00:48:45,440 --> 00:48:50,079
you know, example as heart matters, particularly the production Princess

901
00:48:50,360 --> 00:48:54,679
is probably the most clear example that they've done as

902
00:48:54,800 --> 00:49:00,280
something that definitely touches on some really sensitive subject matter.

903
00:49:01,079 --> 00:49:05,519
I think depending on how you define family friendly content,

904
00:49:05,679 --> 00:49:12,239
I would still consider it family friendly or family sharing

905
00:49:12,400 --> 00:49:13,280
family values.

906
00:49:13,400 --> 00:49:14,159
Speaker 1: Let's put it that way.

907
00:49:14,440 --> 00:49:20,480
Speaker 5: It is espousing and speaking up for family values. In

908
00:49:20,639 --> 00:49:24,800
so doing, it has to not revel in but make

909
00:49:24,880 --> 00:49:27,960
the audience aware of some things that are not so

910
00:49:28,119 --> 00:49:31,559
family friendly. And they did it as tastefully as they

911
00:49:31,599 --> 00:49:35,199
could while still being very clear about what was happening.

912
00:49:35,679 --> 00:49:38,079
I'll be honest, it was hard listen. I could not

913
00:49:38,199 --> 00:49:40,239
listen to it all in one sitting. I would not

914
00:49:40,400 --> 00:49:40,920
recommend that.

915
00:49:41,559 --> 00:49:42,119
Speaker 1: I'm not saying that.

916
00:49:42,119 --> 00:49:45,599
Speaker 5: I wouldn't recommend the show. Heart Matter is doing great things.

917
00:49:45,880 --> 00:49:48,880
I think it's important stuff that they're talking about, super

918
00:49:48,960 --> 00:49:50,880
important stuff that people need to be aware of.

919
00:49:51,000 --> 00:49:53,519
Speaker 1: And sometimes we have to be uncomfortable.

920
00:49:54,159 --> 00:49:57,880
Speaker 5: And sometimes art, good art doesn't make us laugh, or

921
00:49:57,960 --> 00:50:00,920
sometimes it makes us really really uncomfortable so that we

922
00:50:01,039 --> 00:50:03,719
want to do something. I think of something like Alliver Twist,

923
00:50:04,360 --> 00:50:08,400
that was a novel that actually inspired change for orphans

924
00:50:08,440 --> 00:50:11,480
in London because it made people really uncomfortable when they

925
00:50:11,599 --> 00:50:15,000
realized that this was going on. Yeah, and so there's

926
00:50:15,039 --> 00:50:17,159
something powerful in that. And you know, I also think

927
00:50:17,199 --> 00:50:22,400
of Jake Muller as another area of Edgier. It is Christian,

928
00:50:22,639 --> 00:50:28,159
it is espousing Christian and family friendly values, but it

929
00:50:28,360 --> 00:50:32,599
is doing so in a way that sheds light on

930
00:50:33,719 --> 00:50:36,320
some dark areas that people need to be made aware of.

931
00:50:36,719 --> 00:50:38,199
So I don't know if if you would agree with

932
00:50:38,280 --> 00:50:41,719
that as a recent trend or or a bigger trend,

933
00:50:41,800 --> 00:50:43,800
or just maybe there's a few isolated incidents.

934
00:50:43,960 --> 00:50:46,760
Speaker 2: But yeah, I think I think it could qualify as

935
00:50:46,800 --> 00:50:50,639
a trend because it's something that we've talked about, even

936
00:50:50,719 --> 00:50:53,320
back in the early days of atc Roy and Andrew

937
00:50:53,360 --> 00:50:57,639
and I would talk about wanting to see more clean

938
00:50:57,920 --> 00:51:01,719
audio drama, family friendly. We've talked about those terms before,

939
00:51:01,800 --> 00:51:06,760
but you know, stuff that is appropriate but aimed at

940
00:51:06,960 --> 00:51:09,719
an older demographic. We love Adventures, not Ice. We love

941
00:51:09,760 --> 00:51:12,239
a lot of these other shows. They're great, they're fun,

942
00:51:12,920 --> 00:51:16,599
but you know, I'm not twelve years old anymore, and

943
00:51:16,800 --> 00:51:20,679
so getting to hear some stuff that is challenging. But

944
00:51:20,840 --> 00:51:25,000
it's a well told story. Yes, I think it's really

945
00:51:25,079 --> 00:51:28,000
great and it kind of makes me think it sort

946
00:51:28,039 --> 00:51:33,559
of started well. No, Jake Muller had already Darby has

947
00:51:33,599 --> 00:51:35,760
had the idea for Jake Muller for a very long time,

948
00:51:35,800 --> 00:51:40,039
but one of the first ones that really came to prominence,

949
00:51:40,199 --> 00:51:43,480
I guess would be what River Cross was doing with

950
00:51:43,880 --> 00:51:48,360
those things, tackling some of the similar topics that Heart

951
00:51:48,400 --> 00:51:52,400
Matters is today, but just in a different continent. You know,

952
00:51:52,480 --> 00:51:55,960
they're talking about these from the perspective of Africa, and

953
00:51:56,280 --> 00:52:00,440
here we are saying, well, trafficking and those kind of

954
00:52:00,480 --> 00:52:03,360
things are not just happening in another country in a

955
00:52:03,400 --> 00:52:07,079
foreign land. They're happening right here in our own nation

956
00:52:07,239 --> 00:52:11,239
and our continent here of North America. And so I

957
00:52:11,280 --> 00:52:13,480
guess Heart Matters sort of kind of just brought this

958
00:52:13,599 --> 00:52:16,719
stuff home and saying, hey, this is happening, this is

959
00:52:17,119 --> 00:52:20,719
something that you need to be aware of. And so

960
00:52:21,239 --> 00:52:24,039
Jake Muller is a sort of a different thing. It's

961
00:52:24,239 --> 00:52:27,599
definitely not as well, I guess. It's more on the

962
00:52:27,800 --> 00:52:31,400
spiritual side of things, and it's a not quite as

963
00:52:32,000 --> 00:52:35,239
dark and disturbing as some of the topics that Heart

964
00:52:35,320 --> 00:52:39,159
Matters and River Cross sure we're dealing with. But yeah,

965
00:52:39,360 --> 00:52:42,760
I'm I'm really glad that these types of shows are

966
00:52:42,800 --> 00:52:43,719
being made these days.

967
00:52:45,079 --> 00:52:45,880
Speaker 1: No, me too.

968
00:52:45,960 --> 00:52:47,400
Speaker 5: I mean, in a way it kind of picks up,

969
00:52:48,159 --> 00:52:51,159
like to the things that I really enjoyed before this

970
00:52:51,360 --> 00:52:54,039
kind of more recent seeing this happened is I've made

971
00:52:54,039 --> 00:52:55,559
a no secret that I'm a big fan of the

972
00:52:55,599 --> 00:52:59,599
Novacom Saga and Adventures and Audissey, which is maybe not

973
00:52:59,800 --> 00:53:01,800
as edgy as some of this stuff, but it was

974
00:53:01,960 --> 00:53:04,679
still I mean, I don't know when I first heard

975
00:53:04,679 --> 00:53:06,320
it was like, oh, man, like, we're we're getting into

976
00:53:06,440 --> 00:53:10,159
some like darker territory than we would with AIO normally,

977
00:53:10,800 --> 00:53:15,039
you know. And then also the Father Gilbert mysteries and

978
00:53:15,679 --> 00:53:18,679
the two very distinct things. But I would say probably

979
00:53:18,719 --> 00:53:22,400
the closest reference point to Jake Muller would be something

980
00:53:22,760 --> 00:53:25,679
categorically would be something like Father Gilbert in that sort

981
00:53:25,679 --> 00:53:29,800
of like supernatural sort of element, you know.

982
00:53:30,599 --> 00:53:32,679
Speaker 2: Yeah, yeah, I would totally agree with that. And it's

983
00:53:32,760 --> 00:53:35,639
like it makes me think of back in the day

984
00:53:35,719 --> 00:53:39,239
those novels from Frank Peretti, the Darkness Duology that he did,

985
00:53:39,960 --> 00:53:43,400
Piercing the Darkness and this Present Darkness. It's sort of

986
00:53:43,559 --> 00:53:47,960
like that's that style, that sort of content, but much

987
00:53:48,039 --> 00:53:52,639
more updated. Of course, it's it's a contemporary that Jake

988
00:53:52,760 --> 00:53:55,760
is dealing with now. But yeah, so I'm really liking that.

989
00:53:56,400 --> 00:53:58,719
I think that those are those are great. We talked

990
00:53:58,719 --> 00:54:00,559
about a little bit some of the things we'd like

991
00:54:00,639 --> 00:54:03,320
to see a little bit more on the micro audio drama,

992
00:54:03,400 --> 00:54:07,400
more people embracing that. Now. You and I have other

993
00:54:07,840 --> 00:54:10,719
members of the Audio Drama Alliance have Glenn Haskell with

994
00:54:10,760 --> 00:54:13,480
First Acts Audio Productions. He's really gone all in on

995
00:54:13,920 --> 00:54:15,760
that short form and then.

996
00:54:15,679 --> 00:54:19,920
Speaker 5: And whatever he's put in in his coffee. I'd like

997
00:54:20,079 --> 00:54:22,400
some of that because his output is insane.

998
00:54:23,119 --> 00:54:27,320
Speaker 2: Yeah, yeah, so I'm really liking that. I'm sure there

999
00:54:27,679 --> 00:54:29,440
are other people that are slipping my mind right now,

1000
00:54:29,559 --> 00:54:33,480
but those are the groups that I'm seeing really working

1001
00:54:33,559 --> 00:54:35,239
in that in that format. So yeah, I would like

1002
00:54:35,280 --> 00:54:38,320
to see that a little more. One thing that I've

1003
00:54:38,440 --> 00:54:41,920
kind of thought about a lot lately is the idea

1004
00:54:42,000 --> 00:54:45,639
of when to end a show or do you start

1005
00:54:45,679 --> 00:54:48,599
a project with the intention of ending it at a

1006
00:54:48,679 --> 00:54:52,519
certain point, or do you just go create this thing

1007
00:54:52,559 --> 00:54:54,679
and then just let it run for as long as

1008
00:54:55,719 --> 00:54:58,800
you think it should be or you know, I know

1009
00:54:58,920 --> 00:55:01,400
we've talked a little bit about this. I've talked with

1010
00:55:01,480 --> 00:55:04,480
Austin about this in the context of Adventures in Odyssey,

1011
00:55:04,639 --> 00:55:06,639
and you know, it's been running for almost forty years,

1012
00:55:07,519 --> 00:55:11,440
but I think there's a lot of value in saying

1013
00:55:11,599 --> 00:55:13,800
this thing has an end date on it. This is

1014
00:55:13,920 --> 00:55:18,559
not going to be running indefinitely, so real quickly, you

1015
00:55:18,639 --> 00:55:20,039
just thought I'd toss that out to you and see

1016
00:55:20,039 --> 00:55:21,000
if you have any thoughts on that.

1017
00:55:21,400 --> 00:55:26,519
Speaker 5: Oh, I agree, I think, you know, for speaking personally,

1018
00:55:26,559 --> 00:55:28,480
when I started out with something like Shadis in Daylight,

1019
00:55:28,559 --> 00:55:31,920
I really didn't think about where it was going to end,

1020
00:55:32,079 --> 00:55:35,960
because I you know, I was young, didn't really know

1021
00:55:36,039 --> 00:55:38,920
what I was doing, and my reference point was Adventures

1022
00:55:38,960 --> 00:55:40,920
and Odyssey and I was like, well, I've been going

1023
00:55:41,000 --> 00:55:43,000
for like decades and they don't seem to have any

1024
00:55:43,039 --> 00:55:44,760
indication of when they stop, so we'll just see where

1025
00:55:44,800 --> 00:55:48,760
the train takes us too. And I think that in

1026
00:55:48,920 --> 00:55:52,880
retrospect that wasn't the best approach. I think, first of all,

1027
00:55:52,920 --> 00:55:57,239
odyssey is you know, unless your odyssey or unshackled, you know,

1028
00:55:57,800 --> 00:56:00,719
like it's few and far between, and it's a good

1029
00:56:00,800 --> 00:56:04,599
idea to do you have a sense of where you're going.

1030
00:56:04,639 --> 00:56:08,800
I mean, I'm blanking on any audio dramas that did this,

1031
00:56:08,960 --> 00:56:10,760
but I can think of a lot of TV shows

1032
00:56:10,800 --> 00:56:15,280
where they didn't necessarily. Maybe it was funding, maybe it

1033
00:56:15,360 --> 00:56:18,880
was this or that, but the time, the ending that

1034
00:56:19,000 --> 00:56:21,039
they wanted to have and the ending that they got

1035
00:56:21,320 --> 00:56:24,079
because the producers wouldn't let them make anymore or whatever

1036
00:56:24,679 --> 00:56:26,880
didn't work out. And people have seen some of these

1037
00:56:26,880 --> 00:56:29,719
shows and go, oh, this was so great and now

1038
00:56:29,760 --> 00:56:33,320
it's it never finishes, and it's it's frustrating, you know,

1039
00:56:33,679 --> 00:56:37,519
it's frustrating to an audience kind of thing. And there's

1040
00:56:37,559 --> 00:56:41,719
lots of shows. I'm sure there's audio dramas, you know.

1041
00:56:41,760 --> 00:56:43,960
I don't think the Last Chance Detectives. I don't think

1042
00:56:43,960 --> 00:56:47,000
they did too many of those, right, And so it

1043
00:56:47,039 --> 00:56:49,480
would be great to see more of these things, you know,

1044
00:56:49,639 --> 00:56:52,039
And I think, yeah, you know, to be not to

1045
00:56:52,159 --> 00:56:54,440
over spiritualize, but you know, I think of like Jesus

1046
00:56:54,519 --> 00:56:56,559
saying that you know that a builder is going to

1047
00:56:56,599 --> 00:56:59,880
consider before he goes and builds, like the materials and

1048
00:57:00,039 --> 00:57:01,880
how much he needs and how much it's going to cost,

1049
00:57:02,159 --> 00:57:04,000
or a king going to war whether or not he

1050
00:57:04,079 --> 00:57:05,679
can win, and all these kinds of things, And so

1051
00:57:06,159 --> 00:57:09,960
I think it's prudent to think about where something is

1052
00:57:10,039 --> 00:57:12,480
going to where and when something is going to end,

1053
00:57:12,679 --> 00:57:16,400
and think about that from the beginning. I mean, it's

1054
00:57:16,400 --> 00:57:20,079
the same thing in an individual script. Generally speaking, I

1055
00:57:20,119 --> 00:57:23,960
would say most people understand or should understand where the

1056
00:57:24,000 --> 00:57:26,840
story is going to end before they start writing. You

1057
00:57:26,920 --> 00:57:30,199
should have an outline. I'm a big firm believer in outlines.

1058
00:57:30,920 --> 00:57:32,719
Even if you don't have an outline, I like bullet

1059
00:57:32,760 --> 00:57:34,800
points in this. You should have an idea of at

1060
00:57:34,920 --> 00:57:37,960
least beginning, middle, and end before you start writing.

1061
00:57:38,480 --> 00:57:40,280
Speaker 1: Otherwise they're just going to be going all over.

1062
00:57:40,159 --> 00:57:42,800
Speaker 5: The place and who knows what. It's the same thing

1063
00:57:43,199 --> 00:57:44,880
with a series, even if it's not a series with

1064
00:57:44,960 --> 00:57:48,320
an overarching plot. Having an idea of how long you

1065
00:57:48,400 --> 00:57:51,119
want to try this or it lets people know what

1066
00:57:51,239 --> 00:57:53,239
you're expecting too. If you're doing audio drama and you

1067
00:57:53,400 --> 00:57:57,039
have actors, it lets them know, like do you expect

1068
00:57:57,079 --> 00:57:58,880
me to do this for the next fifty years? Do

1069
00:57:58,960 --> 00:58:01,079
you expect me to do this for the next year,

1070
00:58:01,360 --> 00:58:03,239
Like I don't know if I can commit to this,

1071
00:58:03,400 --> 00:58:07,039
you know. So it'll help you have people with commitments too.

1072
00:58:07,079 --> 00:58:08,960
If you can say, like, hey, I'm looking for you

1073
00:58:09,079 --> 00:58:12,320
to do this for this many episodes, you know, and

1074
00:58:12,480 --> 00:58:15,679
that's going to happen over this period of time, you know.

1075
00:58:16,440 --> 00:58:18,760
Speaker 2: That's a really good point to consider. I hadn't really

1076
00:58:18,800 --> 00:58:21,679
thought about that, you know, at this moment. But yeah,

1077
00:58:21,760 --> 00:58:26,159
if you, especially if you're working on these smaller budgets

1078
00:58:26,239 --> 00:58:28,599
like you and I are, sometimes even on zero budget

1079
00:58:28,639 --> 00:58:32,760
on just a passion project, Yeah, you need to communicate

1080
00:58:32,800 --> 00:58:36,360
to everybody involved the duration. So yeah, I think that's

1081
00:58:36,400 --> 00:58:39,880
a great point to think about when working on your

1082
00:58:39,920 --> 00:58:44,119
own projects, and just keeping in mind that it's probably

1083
00:58:44,280 --> 00:58:48,000
best in most cases to have some sort of roadmap

1084
00:58:48,519 --> 00:58:51,039
of this is where we're going to wrap this thing up.

1085
00:58:51,199 --> 00:58:54,199
So I think that's really good. Well, well, speaking of

1086
00:58:54,280 --> 00:58:56,559
wrapping up, we probably should wrap this up here, but

1087
00:58:57,639 --> 00:59:00,199
I wanted to get your feedback a little bit on

1088
00:59:01,239 --> 00:59:05,000
maybe some of the highlights that you've seen or that

1089
00:59:05,079 --> 00:59:07,599
you've heard, some of your personal favorites two or three

1090
00:59:08,000 --> 00:59:11,559
audio dramas of twenty twenty five that you really enjoyed.

1091
00:59:12,000 --> 00:59:13,840
I'll give you a couple of minutes to think about that.

1092
00:59:14,400 --> 00:59:16,880
I'm going to say, in terms of micro audio dramas

1093
00:59:17,079 --> 00:59:20,119
or short form things, I think my top favorite from

1094
00:59:20,400 --> 00:59:24,360
twenty twenty five was Ben Kimp's at his Bedside, just

1095
00:59:24,760 --> 00:59:29,960
a really crazy few minutes of audio. I mean, if

1096
00:59:30,039 --> 00:59:32,440
you haven't heard it, listener, there's a link in the

1097
00:59:32,480 --> 00:59:35,320
show notes. Go check it out. I'm not going to

1098
00:59:35,360 --> 00:59:37,079
say anyth about it because I don't want to spoil anything,

1099
00:59:37,239 --> 00:59:40,719
but Ben Kimp is such a great writer, and I

1100
00:59:40,800 --> 00:59:44,239
think he has really been able to dial in that

1101
00:59:44,679 --> 00:59:49,039
short form and just tell a crazy story in just

1102
00:59:49,079 --> 00:59:51,840
a few minutes. So that's probably my favorite short of

1103
00:59:51,960 --> 00:59:55,440
the year. A couple other longer ones. I really really

1104
00:59:55,639 --> 01:00:00,400
liked Stand Firm that Craig Hart with LRT Media produced

1105
01:00:00,480 --> 01:00:06,079
for Daniel Gibbs science fiction story. Just a really, really

1106
01:00:06,199 --> 01:00:09,320
great story that just pulls you in. That's one of

1107
01:00:09,360 --> 01:00:12,159
my favorite releases of the year. And then right at

1108
01:00:12,199 --> 01:00:15,760
the end I heard a brand new show from Average

1109
01:00:15,840 --> 01:00:19,079
romp Over in the UK, their adaptation of The Cricket

1110
01:00:19,119 --> 01:00:22,440
on the Hearth from Charles Dickens. My goodness, what a

1111
01:00:22,519 --> 01:00:25,119
phenomenal audio drama. So those are a couple of my

1112
01:00:25,239 --> 01:00:28,480
favorites from the year. I mean, there were so many

1113
01:00:28,639 --> 01:00:30,920
really good releases, but those kind of popped in my

1114
01:00:31,039 --> 01:00:32,599
mind as some of my favorites.

1115
01:00:33,360 --> 01:00:36,679
Speaker 1: Yeah, no, those are all those are solid. I am.

1116
01:00:37,079 --> 01:00:39,960
Speaker 5: I promise the audience that I am not sort of

1117
01:00:40,840 --> 01:00:44,280
just trying to pump the tires of the host here.

1118
01:00:44,960 --> 01:00:49,519
But I have really enjoyed the Aspen Creek series, thank you,

1119
01:00:49,800 --> 01:00:52,519
and getting to listen to those. I love a good

1120
01:00:52,840 --> 01:00:56,400
micro audio drama. I say it again, audience, if you

1121
01:00:56,519 --> 01:00:59,440
are aspiring producers, please make some of those.

1122
01:00:59,679 --> 01:01:01,760
Speaker 1: Yeah, I will gladly listen to those.

1123
01:01:02,360 --> 01:01:06,440
Speaker 5: But yeah, no, I really enjoyed listening to those, and

1124
01:01:06,480 --> 01:01:09,079
all the things coming from from heart matters.

1125
01:01:09,800 --> 01:01:11,400
Speaker 1: Some of the stuff from a heartman, as we'll say that.

1126
01:01:11,480 --> 01:01:14,360
And the enjoy is not the word. Yeah, that's not

1127
01:01:14,559 --> 01:01:16,199
meant to be negative to them.

1128
01:01:16,360 --> 01:01:18,679
Speaker 5: It's just the content is not necessarily meant to be

1129
01:01:18,800 --> 01:01:22,599
enjoyed in every case, like something like Princess. But I

1130
01:01:22,679 --> 01:01:27,119
think Princess was ambitious and so and I'm glad it

1131
01:01:27,199 --> 01:01:32,079
came out and can make a difference. And I was

1132
01:01:32,159 --> 01:01:35,159
also excited to hear some of the people that I

1133
01:01:35,280 --> 01:01:40,480
heard in there in it, and particularly I was excited, well,

1134
01:01:40,599 --> 01:01:43,280
I mean again, I'm biased from Shadows in Daylight, but

1135
01:01:43,320 --> 01:01:45,800
I was glad to see out here Abigail Born in

1136
01:01:45,920 --> 01:01:48,679
there that I think that might be be said some

1137
01:01:48,920 --> 01:01:51,559
Lamplighter Guild stuff and Shadows Daylight that might be the

1138
01:01:51,599 --> 01:01:54,400
only thing she's else she's done in audio drama space

1139
01:01:54,480 --> 01:01:57,599
so far yet, So that was really cool to hear.

1140
01:01:58,480 --> 01:02:02,320
And Lifetime, which also came out this year from them,

1141
01:02:03,119 --> 01:02:09,079
was a game, very ambitious and hearing Rose Beasley man,

1142
01:02:09,639 --> 01:02:11,679
there's there's someone to watch out for. I feel like

1143
01:02:11,760 --> 01:02:15,199
she's been in a bunch of stuff this year and

1144
01:02:15,440 --> 01:02:19,519
I've been impressed with everything that she's done, and right

1145
01:02:19,559 --> 01:02:22,519
alongside Bethany Baldwin in that, and Bethany's been all over

1146
01:02:22,599 --> 01:02:27,880
the place to this year, and they've been together in

1147
01:02:28,039 --> 01:02:31,119
more than one production now, both in Princess and Lifetime

1148
01:02:31,760 --> 01:02:34,440
as well as I believe this was this year from

1149
01:02:34,559 --> 01:02:38,079
Glenn Haskell with Wednesday's Weather Yea, I believe it was

1150
01:02:38,239 --> 01:02:40,800
very early this year, I believe, And they were both

1151
01:02:41,199 --> 01:02:45,000
together in that too, which you know disclaimer I was

1152
01:02:45,039 --> 01:02:48,119
also in that as well, and that was a lot

1153
01:02:48,159 --> 01:02:50,519
of fun to hear them play in that too.

1154
01:02:50,639 --> 01:02:50,800
Speaker 2: Yeah.

1155
01:02:50,840 --> 01:02:53,119
Speaker 5: There's there's been some great stuff and some great stuff

1156
01:02:53,719 --> 01:02:56,519
that has been worked on in this year that has

1157
01:02:56,599 --> 01:02:59,599
not come out yet that will hopefully come out next year.

1158
01:03:00,079 --> 01:03:03,559
Speaker 2: Yeah. Yeah, Yeah, I'm glad you said that about some

1159
01:03:03,760 --> 01:03:05,400
talent to watch because that was something that I had

1160
01:03:05,440 --> 01:03:08,400
planned to bring up and I had forgotten yeah, I

1161
01:03:08,800 --> 01:03:11,880
would agree with that. Rose Is She's so good. She's

1162
01:03:11,920 --> 01:03:16,360
so good. Bethany. Everything I've heard from Bethany is really good.

1163
01:03:17,199 --> 01:03:19,239
Christiana Thomas. I mean, these are people that I know,

1164
01:03:19,519 --> 01:03:20,400
I know in real life.

1165
01:03:20,400 --> 01:03:22,480
Speaker 1: I wanted to I was hoping you had mentioned Christiana.

1166
01:03:22,559 --> 01:03:26,320
Speaker 5: She's done great and done stuff opposite you a few

1167
01:03:26,360 --> 01:03:29,480
times now, not just time talk Loomis and the daffodils

1168
01:03:30,239 --> 01:03:32,880
and that sort of thing too. I think she's underrated.

1169
01:03:33,480 --> 01:03:36,360
I've heard her do some voices that maybe haven't been

1170
01:03:36,400 --> 01:03:39,880
into final things yet that are different, So I'm excited

1171
01:03:39,920 --> 01:03:43,000
to see her do more things as well. And not

1172
01:03:43,119 --> 01:03:45,599
even on the acting side, but although he is a

1173
01:03:45,679 --> 01:03:50,360
fantastic actor as well, throwing out there a dominic trice

1174
01:03:51,119 --> 01:03:53,440
that man is like what they used to say, a

1175
01:03:53,480 --> 01:03:54,199
triple threat or.

1176
01:03:54,199 --> 01:03:54,639
Speaker 1: Something like that.

1177
01:03:54,800 --> 01:04:02,840
Speaker 5: But like, yeah, he's talented, producer, sound as I'm editor, composer, actor,

1178
01:04:03,280 --> 01:04:05,719
Like just we're just gonna let him do everything, I guess.

1179
01:04:05,800 --> 01:04:09,239
Speaker 2: But yeah, yeah, he's great too. Yeah, and we'll hear

1180
01:04:09,360 --> 01:04:14,199
him hopefully this year everybody in the Hardy Boys, So yes,

1181
01:04:14,880 --> 01:04:18,119
that's gonna be coming soon hopefully. But yeah, I mean

1182
01:04:18,199 --> 01:04:21,320
there is some really great talent in this space. I've

1183
01:04:21,360 --> 01:04:24,039
realized that I said mostly females and mostly ones that

1184
01:04:24,119 --> 01:04:28,199
I've worked with, but it is because I am able

1185
01:04:28,280 --> 01:04:29,840
to work with a lot of these people and I

1186
01:04:29,920 --> 01:04:34,199
get to see firsthand how good they are. And I'm

1187
01:04:34,280 --> 01:04:37,280
starting to think I don't think I've done anything that

1188
01:04:37,480 --> 01:04:42,360
ended up in a released project directly opposite Bethany in

1189
01:04:42,440 --> 01:04:45,880
a live sort of situation like I have with Christiana

1190
01:04:45,960 --> 01:04:49,239
and with Rose because we record Aspen Creek in a

1191
01:04:49,320 --> 01:04:52,039
live session as well. Though I did a table read

1192
01:04:52,159 --> 01:04:55,599
with Bethany for a project in the audio drama Alliance.

1193
01:04:56,400 --> 01:04:59,519
So I've got to play off of all of them

1194
01:04:59,719 --> 01:05:02,599
and just to see how talented they are. It's so

1195
01:05:02,960 --> 01:05:05,920
so fun to watch, and so yeah, I think there's

1196
01:05:06,320 --> 01:05:08,119
some really great talent in this space.

1197
01:05:08,920 --> 01:05:11,280
Speaker 5: And just to throw a couple, if I may, just

1198
01:05:11,360 --> 01:05:14,159
throw a couple more more out there. Jonathan and Alicia

1199
01:05:14,239 --> 01:05:17,320
over at Eternal Future Productions, not even just from an

1200
01:05:17,400 --> 01:05:22,800
acting side, but directing. I've had the pleasure of being

1201
01:05:23,239 --> 01:05:26,280
in a production which was Heritage, not in twenty twenty five,

1202
01:05:26,760 --> 01:05:30,159
but in twenty twenty four that Alicia directed, and she's

1203
01:05:30,199 --> 01:05:33,800
definitely a talent to watch out for good. Director pulled

1204
01:05:33,880 --> 01:05:36,360
things out of me as an actor that I didn't

1205
01:05:36,360 --> 01:05:39,800
think I would be able to achieve. In the final thing,

1206
01:05:40,960 --> 01:05:43,119
it takes the right kind of person as a director

1207
01:05:43,199 --> 01:05:44,679
to be able to see things in the actors they

1208
01:05:44,679 --> 01:05:48,760
don't see in themselves, and so she did an excellent

1209
01:05:49,079 --> 01:05:52,599
job with that. And of course Jonathan is everywhere as well,

1210
01:05:52,840 --> 01:05:54,440
so you know, yeah.

1211
01:05:54,639 --> 01:05:57,800
Speaker 2: Well, and aside from the acting and directing side, in

1212
01:05:57,920 --> 01:06:00,679
terms of writers, I think I want to watch is

1213
01:06:01,000 --> 01:06:04,000
Ben Camp. We've already mentioned him. I mean, yes, I've

1214
01:06:04,079 --> 01:06:07,159
really enjoyed a bit of time travel, but what I've

1215
01:06:07,239 --> 01:06:11,440
heard from and about what he's got planned for the

1216
01:06:11,519 --> 01:06:15,400
church at Trestle Falls, I'm really enjoying that and seeing

1217
01:06:15,480 --> 01:06:17,320
him write in a little bit of a different style.

1218
01:06:18,039 --> 01:06:21,039
I just really like pretty much everything he's ever done.

1219
01:06:21,199 --> 01:06:25,320
Speaker 5: So I've gone on record as calling him a modern

1220
01:06:25,440 --> 01:06:29,519
day Mark Twain, and I'll stand by it. He's a

1221
01:06:29,639 --> 01:06:33,119
fantastic writer. I'm pretty sure I told him this before

1222
01:06:33,480 --> 01:06:36,000
that if he wrote a grocery list, I would read it.

1223
01:06:37,440 --> 01:06:38,679
Speaker 1: He's he's a great writer.

1224
01:06:38,760 --> 01:06:40,559
Speaker 5: I mean, we have the benefit of both being part

1225
01:06:40,599 --> 01:06:43,519
of the Ada, which Ben Kemp is also a member of.

1226
01:06:43,679 --> 01:06:47,440
And in our own chats with other members, even just

1227
01:06:47,519 --> 01:06:50,400
the thought he puts into a message that he sends.

1228
01:06:51,519 --> 01:06:53,239
I always joke I see and it's like, okay, I

1229
01:06:53,280 --> 01:06:56,280
see Ben is typing. Wait another thirty minutes and it

1230
01:06:56,400 --> 01:06:56,960
will be there.

1231
01:06:57,800 --> 01:06:58,800
Speaker 1: Because he's thinking.

1232
01:06:58,639 --> 01:07:01,119
Speaker 5: About what he says, and that shows the character of

1233
01:07:01,239 --> 01:07:04,000
person that he is, and he brings that approach into

1234
01:07:04,079 --> 01:07:08,280
his writing. Nothing is haphazardly placed in his scripts.

1235
01:07:08,840 --> 01:07:11,960
Speaker 2: Yeah, that's so true. Well, a lot of cool stuff

1236
01:07:12,039 --> 01:07:15,039
came in the last year. Now kind of looking at

1237
01:07:15,559 --> 01:07:18,480
what's coming in this year of twenty twenty six, my

1238
01:07:18,599 --> 01:07:21,360
top I mean again, lots of stuff that I'm excited about,

1239
01:07:21,400 --> 01:07:23,320
but probably the ones I'm most excited about at this

1240
01:07:23,400 --> 01:07:27,159
point that we know of resurgence from Eternal Future, I'm

1241
01:07:27,199 --> 01:07:30,079
really excited to hear that, which should be coming very soon.

1242
01:07:30,920 --> 01:07:36,519
Welcome to Hope Springs from Augustine Institute, the Finnian Jones

1243
01:07:37,079 --> 01:07:39,719
story from lamplightder Theater. I'm really excited about that, and

1244
01:07:39,840 --> 01:07:42,800
the next Jake Muller. So there's four that I'm really

1245
01:07:42,960 --> 01:07:45,239
looking forward to. There's going to be some other stuff,

1246
01:07:45,280 --> 01:07:48,400
I know, but those are the ones that are kind

1247
01:07:48,400 --> 01:07:51,280
of at the top. Of my list of anticipated releases for.

1248
01:07:51,360 --> 01:07:56,239
Speaker 5: Me, definitely the top of my list, somewhat selfishly so so,

1249
01:07:56,679 --> 01:08:01,400
but not entirely for that reason is Hope Springs with

1250
01:08:01,840 --> 01:08:07,400
Pauma Cusker there. Very excited to hear that get out

1251
01:08:07,639 --> 01:08:10,760
and and I am allowed to say at this point

1252
01:08:10,840 --> 01:08:13,760
that I did help with some of the voice track editing,

1253
01:08:14,320 --> 01:08:16,319
which is, you know, a small thing in the grand

1254
01:08:16,359 --> 01:08:18,399
scheme of things, but it means that I have heard

1255
01:08:18,840 --> 01:08:23,680
some of this show already, and I am not going

1256
01:08:23,760 --> 01:08:28,760
to give anything away, but I will say it's very good.

1257
01:08:29,399 --> 01:08:32,560
It's very different from something like Odyssey. But if you've

1258
01:08:32,720 --> 01:08:36,600
enjoyed Odissey, and I think, if I may, if you

1259
01:08:36,840 --> 01:08:42,960
enjoyed Odyssey, particularly at the time period that maybe you

1260
01:08:43,199 --> 01:08:46,039
or I may have been listening to Odissey the most

1261
01:08:46,119 --> 01:08:51,760
heavily and not for the sake of reviews. Yeah, yeah, nineties,

1262
01:08:51,880 --> 01:08:56,079
two thousands, maybe early early two thousands. I think within

1263
01:08:56,159 --> 01:08:59,359
that space, then you'll really like this show. Not to

1264
01:08:59,399 --> 01:09:01,119
say in any way that it is copying any of

1265
01:09:01,159 --> 01:09:03,800
those things, but I think there is a certain essence

1266
01:09:03,880 --> 01:09:08,720
that is similar in a broadest, broadest sense.

1267
01:09:08,520 --> 01:09:09,960
Speaker 2: Of yeah, there's a similar vibe.

1268
01:09:10,520 --> 01:09:14,800
Speaker 5: Yeah, there's some great characters, very interesting storylines. I'm very

1269
01:09:14,880 --> 01:09:17,239
excited for that to come out, for people to hear

1270
01:09:17,319 --> 01:09:18,319
it and to hear what people think.

1271
01:09:18,880 --> 01:09:23,640
Speaker 2: Yeah. Sure, Yeah, So man, I've enjoyed chatting about this

1272
01:09:23,720 --> 01:09:26,079
stuff with you, kind of looking back at some of

1273
01:09:26,119 --> 01:09:28,840
the stuff that we've both been involved in working on

1274
01:09:29,239 --> 01:09:32,760
over the last year. What we've got coming up. I

1275
01:09:32,880 --> 01:09:35,680
know you've got some shadows and Daylight stuff you definitely

1276
01:09:35,760 --> 01:09:37,439
want to get to this year. I'm going to try

1277
01:09:37,520 --> 01:09:41,479
to get a few more micro audio dramas out. We'll see,

1278
01:09:41,640 --> 01:09:45,239
we'll see where we go with Aspen Creek. So there's

1279
01:09:45,239 --> 01:09:47,279
a lot to look forward to, lots of stuff on

1280
01:09:47,560 --> 01:09:50,800
the to do list, but it's always fun to kind

1281
01:09:50,840 --> 01:09:53,800
of talk nuts and bolts of making audio drama. So

1282
01:09:53,960 --> 01:09:55,159
thank you for coming on the show.

1283
01:09:55,359 --> 01:09:56,279
Speaker 1: Thank you for having me.

1284
01:09:57,439 --> 01:10:00,239
Speaker 2: Okay, so, if you're going to tell people to one

1285
01:10:00,279 --> 01:10:03,039
thing that you want them to go listen to right

1286
01:10:03,119 --> 01:10:07,720
now that you worked on in twenty twenty five, well.

1287
01:10:07,680 --> 01:10:10,319
Speaker 1: Okay, before you qualified that, I was going to say

1288
01:10:10,359 --> 01:10:11,039
Aspen Creek.

1289
01:10:11,119 --> 01:10:15,239
Speaker 2: But that's right in the first episode.

1290
01:10:15,479 --> 01:10:19,159
Speaker 1: Oh there we go, Then there you go. Technically I'm

1291
01:10:19,199 --> 01:10:20,720
in two episodes, that's true.

1292
01:10:20,840 --> 01:10:24,399
Speaker 5: Yeah, yeah, Yeah, there's a there's a little easter egg

1293
01:10:24,520 --> 01:10:25,640
of me singing a song in.

1294
01:10:25,640 --> 01:10:28,760
Speaker 2: The background of the third episode.

1295
01:10:28,840 --> 01:10:31,680
Speaker 1: Third episode. Yeah, I was gonna say, but yeah, no,

1296
01:10:32,159 --> 01:10:33,479
do do go listen to that.

1297
01:10:33,720 --> 01:10:35,920
Speaker 5: But if you're talking more to the spirit of the

1298
01:10:36,039 --> 01:10:38,800
question of something that I worked on in twenty twenty

1299
01:10:38,840 --> 01:10:40,279
five that I'd really want people to.

1300
01:10:40,319 --> 01:10:44,199
Speaker 1: Listen to one thing, okay too, only one?

1301
01:10:45,640 --> 01:10:47,800
Speaker 5: Okay, If it's two, then I'd say Potion of Power

1302
01:10:48,439 --> 01:10:49,600
and Time Truck Chronicles.

1303
01:10:49,960 --> 01:10:51,840
Speaker 2: Okay, they're both linked up in the show notes, so

1304
01:10:51,880 --> 01:10:55,039
there's no excuse. Window Seat. You can get a free

1305
01:10:55,079 --> 01:10:57,720
trial if you're not already a member, so it won't

1306
01:10:57,720 --> 01:10:59,479
cost you any money to go check out Time Truck

1307
01:10:59,520 --> 01:11:02,279
Chronicles and Potional Power is available on the Heart Matters

1308
01:11:02,319 --> 01:11:05,520
app for free, so there's no barrier to entry on

1309
01:11:05,600 --> 01:11:06,079
either of those.

1310
01:11:06,600 --> 01:11:07,039
Speaker 1: Exactly.

1311
01:11:07,359 --> 01:11:10,760
Speaker 5: Go to Starbucks once one less time per month, and

1312
01:11:11,039 --> 01:11:13,760
you can get some great audio drama from Window C two.

1313
01:11:13,920 --> 01:11:17,800
Speaker 2: So that's true. All right, Thank you so much, Christopher, awesome.

1314
01:11:17,560 --> 01:11:21,399
Speaker 1: Thank you. Let's see what do we have in the mailbag?

1315
01:11:21,680 --> 01:11:23,000
Speaker 2: It looks like letters are something.

1316
01:11:24,319 --> 01:11:25,239
Speaker 1: Is that your phone?

1317
01:11:25,760 --> 01:11:25,800
Speaker 2: What?

1318
01:11:27,079 --> 01:11:31,479
Speaker 1: Yeah, hello, I just sent you a text. You've got

1319
01:11:31,600 --> 01:11:33,239
tons of comments on that entry.

1320
01:11:33,359 --> 01:11:36,520
Speaker 2: You're like famous, Oh, let me get to these comments.

1321
01:11:36,760 --> 01:11:38,760
Speaker 4: I'm sorry, what number are you calling?

1322
01:11:40,760 --> 01:11:42,439
Speaker 2: Well, if you would like to get in touch with us,

1323
01:11:42,720 --> 01:11:45,560
you can always send your emails to feedback at audiotheatercentral

1324
01:11:45,560 --> 01:11:48,359
dot com. You can comment on the show notes, or

1325
01:11:48,479 --> 01:11:49,960
you can give us a call or send a text

1326
01:11:50,000 --> 01:11:53,680
message to six two three six eight eight two seven

1327
01:11:54,000 --> 01:11:58,119
seven zero. Love to hear from you. Well. I mentioned

1328
01:11:58,159 --> 01:12:02,840
them earlier in the update segment and in the discussion

1329
01:12:02,960 --> 01:12:08,199
segment with Christopher, but average Romp released those two productions

1330
01:12:08,479 --> 01:12:12,159
right before Christmas, the Cricket on the Hearth and The

1331
01:12:12,239 --> 01:12:17,039
Haunted Man, and the producer for our Average Romp emailed us,

1332
01:12:17,239 --> 01:12:19,960
Jonathan Morris and said many thanks for taking the time

1333
01:12:20,039 --> 01:12:22,640
to review the release, and I'm very glad you enjoyed them,

1334
01:12:23,079 --> 01:12:26,560
So thank you for the feedback, Jonathan. And yes, as

1335
01:12:26,640 --> 01:12:29,439
I said earlier, one of my favorite releases of the year,

1336
01:12:29,640 --> 01:12:32,680
so really really good stuff. Looking forward to the next

1337
01:12:33,039 --> 01:12:38,000
projects from average Romp. Next up is a comment from

1338
01:12:38,279 --> 01:12:41,560
Nate Jones. If you're not familiar, he is a sound

1339
01:12:41,600 --> 01:12:46,359
designer for Adventures in Odyssey and for other projects like

1340
01:12:46,960 --> 01:12:50,159
Welcome to Hope, springs, which we talked about with Paul

1341
01:12:50,239 --> 01:12:54,079
McCusker in the last episode, and he commented on our

1342
01:12:54,119 --> 01:12:58,199
post about that interview with Paul and said referring to

1343
01:12:58,760 --> 01:13:04,199
our discussion about creating audio drama with intentionality and hoping

1344
01:13:04,279 --> 01:13:07,880
that the listeners will listen with intentionality, and Nate said,

1345
01:13:08,479 --> 01:13:11,680
we do mix with intentionality. Thank you for posting this

1346
01:13:11,800 --> 01:13:16,359
from Paul. So I really enjoyed that conversation with Paul,

1347
01:13:16,479 --> 01:13:20,279
and of course getting that confirmation from Nate Jones because

1348
01:13:20,279 --> 01:13:23,880
we did mention how that is the goal to mix

1349
01:13:24,479 --> 01:13:27,960
and do just overall, create audio drama with intentionality. I mean,

1350
01:13:28,439 --> 01:13:32,439
we should be doing everything with intentionality, whatever that might be,

1351
01:13:32,800 --> 01:13:37,720
but particularly when you're making art. That's what this stuff is.

1352
01:13:37,880 --> 01:13:40,720
We're making art. We're not just creating stuff for the

1353
01:13:40,760 --> 01:13:44,920
sake of creating stuff. We're doing it with intentionality and

1354
01:13:45,039 --> 01:13:49,039
so being aware of all the details that go into

1355
01:13:49,239 --> 01:13:53,000
every single aspect of making good audio drama, like I

1356
01:13:53,079 --> 01:13:56,640
talked about earlier with Christopher, making every single second of

1357
01:13:56,720 --> 01:14:01,079
your show count. It's so great to know that there

1358
01:14:01,119 --> 01:14:05,760
are creators out there like Paul and Nate and Todd

1359
01:14:05,800 --> 01:14:07,680
Busteed and all those people who work on the air,

1360
01:14:07,760 --> 01:14:11,880
theater productions and Odyssey. They're thinking about the little things,

1361
01:14:11,920 --> 01:14:15,840
the details matter. So thank you Nate for that feedback.

1362
01:14:15,920 --> 01:14:20,479
Really appreciate it. And speaking of that interview with Paul McCusker,

1363
01:14:20,560 --> 01:14:23,119
we had a comment from Austin Peachey. He said, what

1364
01:14:23,279 --> 01:14:26,279
a great interview. I seem to always learn something new

1365
01:14:26,319 --> 01:14:29,159
when I hear Paul doing a talk or interview. Loved

1366
01:14:29,239 --> 01:14:32,840
every minute of it. Thank you Austin for the comment.

1367
01:14:33,079 --> 01:14:36,760
Definitely agree. It is a joy to speak with Paul.

1368
01:14:37,079 --> 01:14:40,600
He is such an intelligent man and you can tell.

1369
01:14:40,520 --> 01:14:43,680
Speaker 4: That he really does love the work that he's doing,

1370
01:14:44,319 --> 01:14:47,520
and it shows in what he says and in what

1371
01:14:47,640 --> 01:14:50,159
he does because he, as I said just a moment ago,

1372
01:14:50,560 --> 01:14:53,319
he cares about the little things, the details matter, and

1373
01:14:53,560 --> 01:14:56,399
he always does his best to put out a high

1374
01:14:56,479 --> 01:14:57,279
quality product.

1375
01:14:57,439 --> 01:15:02,800
Speaker 2: So thank you Austin for the feedback. Now, lastly, this

1376
01:15:02,960 --> 01:15:06,239
is just something that I wanted to ask you if

1377
01:15:06,279 --> 01:15:10,279
you want me to address in more detail. A few

1378
01:15:10,319 --> 01:15:14,800
people have asked me about the adventures of Odyssey art

1379
01:15:15,119 --> 01:15:18,560
and logo change or updates, whatever you want to call it,

1380
01:15:18,640 --> 01:15:22,840
however you want to term that, and I thought about

1381
01:15:22,880 --> 01:15:25,800
doing a segment on that, but I wanted to see

1382
01:15:26,039 --> 01:15:27,800
from you if that is something you want to hear

1383
01:15:27,920 --> 01:15:30,520
me talk about in a little bit more detail. If

1384
01:15:30,560 --> 01:15:33,800
your unfamiliar Adventures Odyssey has recently updated all of the

1385
01:15:33,920 --> 01:15:38,560
character designs and they changed or updated the show logo,

1386
01:15:39,319 --> 01:15:41,479
and there's been a lot of discussion all over the

1387
01:15:41,560 --> 01:15:45,239
fandom about it, both pros and cons and all over

1388
01:15:45,319 --> 01:15:47,560
the place. So if that's something you want to hear

1389
01:15:47,600 --> 01:15:50,479
me talk about a little bit more in detail, definitely

1390
01:15:50,600 --> 01:15:53,520
let me know. Well, that's going to wrap it up

1391
01:15:53,600 --> 01:15:56,399
for this first episode of twenty twenty six. Thank you

1392
01:15:56,560 --> 01:15:58,840
so much for listening. If you'd like to get in

1393
01:15:58,920 --> 01:16:02,359
touch with us, head our audiotheatercentral dot com slash contact

1394
01:16:03,199 --> 01:16:06,479
and the show notes are at audio theatercentral dot com

1395
01:16:06,600 --> 01:16:09,840
slash two two four. Links to everything we talked about

1396
01:16:09,880 --> 01:16:12,760
are listed there. And also I wanted to real briefly

1397
01:16:12,880 --> 01:16:17,800
mention that the quote that Christopher mentioned about writing a

1398
01:16:17,880 --> 01:16:19,720
long letter because you didn't have time to write a

1399
01:16:19,760 --> 01:16:23,520
shorter one, I did look that up and it has

1400
01:16:23,600 --> 01:16:26,000
been attributed to Mark Twain, but it seems like it

1401
01:16:26,119 --> 01:16:28,640
is much much older than that, and there have been

1402
01:16:28,720 --> 01:16:31,960
lots of people throughout history who have said some sort

1403
01:16:32,000 --> 01:16:35,760
of sentiment along those lines. So it didn't originate with

1404
01:16:35,840 --> 01:16:39,640
Mark Twain, but he definitely said something similar. So the

1405
01:16:39,800 --> 01:16:42,079
in the show notes is a link to an article

1406
01:16:42,560 --> 01:16:44,479
kind of diving into that. I found it really interesting,

1407
01:16:44,760 --> 01:16:47,840
and I thought you might be wondering about that too,

1408
01:16:47,920 --> 01:16:50,159
because it was niggling at my brain trying to figure

1409
01:16:50,159 --> 01:16:55,000
out where I'd first heard that saying before too. So anyway,

1410
01:16:55,159 --> 01:16:58,159
that's linked in the show notes as well. But again,

1411
01:16:58,359 --> 01:17:00,880
thank you for listening, looking forward to what's coming in

1412
01:17:00,960 --> 01:17:03,520
twenty twenty six. I will see you next time.

1413
01:17:07,920 --> 01:17:10,680
Speaker 3: Hey everybody, this is William Chad Newsom. I played Joseph

1414
01:17:10,880 --> 01:17:15,039
in The Surround Bible by John Fornoff, and we are

1415
01:17:15,159 --> 01:17:19,159
here at the Audio Drama Institute in Beautiful Colorado Springs.

1416
01:17:19,800 --> 01:17:22,960
Audio Theater Central is a production of Porch Light Family Media.

1417
01:17:23,319 --> 01:17:26,880
The theme music was composed by Sam Avandanio. The show

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was produced and edited by the Great JD.

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Speaker 2: Sutter.

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Speaker 3: Find the website at Audiotheatercentral dot com.

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Speaker 5: Sports Light Familymedia your source for family centered content. Pornlightfamilymedia

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dot com