Greg Sutton, a fidgety young man who is a little too fixated on selling himself, sees his psychiatrist for the first time in months, hoping to find answers about his lost childhood and how to get back the woman he loves. But his own quick fix solution to his problems is not quite what the psychiatrist had in mind.
Greg Sutton, a fidgety young man who is a little too fixated on selling himself, sees his psychiatrist for the first time in months, hoping to find answers about his lost childhood and how to get back the woman he loves. But his own quick fix solution to his problems is not quite what the psychiatrist had in mind. (Running time: 5 minutes)
CAST: Greg: Charlie Harrington Emma: Colette Thomas
Edited by Edward Champion
Foley: Edward Champion
Art: id-iom (CC)
Special thanks to Sacha Arnold, Austin Beach, Jason Boog, Christopher Byrd, Claudia Berenice Garza, Jen Halbert, Gabriella Jiminez, Pete Lutz, John Osborne, Rina Patel, Michael Saldate, Paul Sating, Marc Stein, Georgette Thompson, Jack Ward, and many others I may have inadvertently forgotten for their invaluable help, feedback, kindness, inspiration, and support during the production of this episode.
A man wakes up in his apartment with a hazy memory of the night before. He’s greeted in bed by a mysterious woman who keeps saying, “Hello.” But she seems to know far more about his life than he ever could have told her in one night. And as the rats gnaw mercilessly from within the walls, she has a few bold and shocking answers as to why he’s so afraid.
A man wakes up in his apartment with a hazy memory of the night before. He’s greeted in bed by a mysterious woman who keeps saying, “Hello.” But she seems to know far more about his life than he ever could have told her in one night. And as the rats gnaw mercilessly from within the walls, she has a few bold and shocking answers as to why he’s so afraid. (Running time: 22 minutes)
CAST: He: Tim Torre She: Emily Carding Gordon: Michael Saldate
Edited by Edward Champion The Gray Area Theme by Alex Khaskin (licensed through NeoSounds)
Foley Sources: Edward Champion and erpe (CC license, slight changes).
Cover Image: Jason Lander (CC)
Special thanks to Sacha Arnold, Austin Beach, Jason Boog, Christopher Byrd, Chris Fletcher, Claudia Berenice Garza, Sarah Golding, Jen Halbert, Gabriella Jiminez, Pete Lutz, John Osborne, Rina Patel, Paul Sating, Marc Stein, Georgette Thompson, and many others I may have inadvertently forgotten for their invaluable help, feedback, kindness, inspiration, and support during the production of this emotionally revealing episode.
Virginia Gaskell, an underappreciated 66-year-old cult writer forced into a rest home, contends with mysterious voices summoned from her typewriter and an obscure literary interviewer named Ed Champion.
Virginia Gaskell, an underappreciated 66-year-old cult writer forced into a rest home, contends with mysterious voices summoned from her typewriter and an obscure literary interviewer named Ed Champion. (9 minutes)
Special thanks to Jonathan Ames, Sacha Arnold, Austin Beach, Erin Bennett, Matthew Boudreau, Jason Boog, Christopher Byrd, Emily Carding, Robert Cudmore, Devony DiMattia, Chris Fletcher, Claudia Berenice Garza, Sarah Golding, Daniel Handler, Jen Halbert, Gabriella Jiminez, Fred Kiesche, Matthew MacLean, John Osborne, Rina Patel, Michael Saldate, Paul Sating, Gary Shteyngart, Darin Strauss, Marc Stein, Scarlett Thomas, Georgette Thompson, Tim Torre, and many others I may have inadvertently forgotten for their invaluable help, feedback, kindness, inspiration, and support during the production of this episode.
It started when I was asked to write a script. I was in contact with two affable Scotsmen named Matthew MacLean and Robert Cudmore. These two gents, who I cannot express enough gratitude to, were putting together a fantasy series. I wrote a wild story in about two weeks, had more fun writing this script than I had any right to, and became hooked with the form. While the story itself was never produced (although a version of this script has since folded into my project), I’m terribly grateful to Matthew and Robert for leading me down this road, which has quite literally changed my life for the better. Matthew and Robert, simply by taking a chance on an eccentric Brooklynite, inspired me to go deeper than I ever had before. In late December 2015, I started writing more scripts with the idea that I could perhaps come up with enough stories for an anthology series. What I did not anticipate was such a colossal outpouring of pages over the course of four months that I ended up writing four seasons of material. It was almost as if these stories were caged within me. More important than this prolificity, however, was finally stifling that too clever bastard inside me who had gotten me into so much trouble over the years and writing from a very emotional place, something that I was starting to do in my essays. I finally got in touch of the man I truly was and dared myself to reveal aspects of myself that I had never had the courage to do before. I tapped into parts of me that I had feared. I went into areas that I had never written about before. I often cried as I spilled my heart into these stories. But I would also laugh uproariously. And I started to become calmer and more positive.
I’ve spent the last fourteen months working on what may be the most ambitious creative project I’ve ever attempted. There are close to two hundred characters and some of them are recurring. While each story can be listened to on its own terms, the careful listener will start to detect patterns that emerge over the course of the series. Someone who may appear in a minor role may become a major character later. There are huge storylines. There is fun genre. There are moral questions. I’ve stuck with the hard rule of never having a story exceed thirty minutes in length. The tone is both real and strange and I have absolutely no way of categorizing this. It is basically all genre. (Here is a list of inspiration points that I am aware of, but I am certain there are many more than I’m not coginzant about.) Because I didn’t want to pull a Damon Lindelof, there is a carefully planned ending. The hope is to produce all four seasons, rewriting and honing the drafts as I go. There’s been an improvisational feel that has cropped up in recording the actors and in editing that I’ve deliberately cultivated. I’ve been blessed to work with a calvacade of tremendously accomplished actors, most of them in New York but quite a few from far flung corners of the globe. I’m almost finished editing the first season, which I hope to premiere sometime next month.
Andrew Kaberline is one of the many affable figures behind the tremendously fun podcast, The Grayscale, a Twilight Zone-style anthology that captured my ears with an amusing over-the-top presenter sounding an awful lot like someone wanting to be Rod Serling known only as The Voice Inside Your Head (played by Nate Betancourt). I started from the beginning and listened to all of the episodes.
And then I heard “Jess Dempsey, First Woman on Mars,” a gripping and must listen tale written and directed by Kaberline that involves a woman living on the fourth planet in complete solitude who hears voices. It was this story, with an ace performance from Kristin Macomber and a devastating twist ending, that broke the back of The Grayscale‘s formula and turned me into a regular listener. The Grayscale, which is now in its second season, has won five Audio Verse Awards — largely for “Jess Dempsey.” I contacted Kaberline and he was tremendously gracious to become part of what is now apparently a regular Audio Drama Sunday interview series. (We’ll have another interview next Sunday.)
Many audio dramas seem to spring from enthusiastic genre geeks and sound engineers. But The Grayscale is somewhat unusual because it emerged from a nonprofit theatre called Critical Point that decided to experiment with a podcasting arm a few years ago. And while the show is clearly influenced by The Twilight Zone, there is something instructive in the way that Kaberline and company’s close copy of its source text resulted in something that was quite distinct. It’s not unlike the “missing tapes” genre that I discussed with The Bright Sessions‘s Lauren Shippen, whereby an audio drama takes on the form of a police procedural with a Serial-like approach. A radio producer or someone with a box of tapes often stands in for the detective and, instead of a crime, the investigation is directed towards something of a strange and supernatural nature.
While audio drama’s riffs on the “missing tapes” idea have spawned many magnificent programs (Archive 81 is a particular standout), The Grayscale demonstrates that radio doesn’t always have to tug at the same source to create something original and enthralling. Rather than mimic the most popular podcast of all time, why not try from a celebrated TV series, an obscure Swedish film, or a well-loved book? As I learned in talking with Kaberline, the form and creative logistics of audio drama result in inevitable transmutations during the production process. That may very well be why The Grayscale is such a wonderful program and why audio drama has a very ripe future.
EDWARD CHAMPION: As someone who watched many Memorial Day marathons of The Twilight Zone growing up, and who has held that series very close to his heart ever since, I was perhaps constitutionally incapable of not appreciating your own riff on the anthology format. You, good sir, have been quite candid about the influence! Not only do you include a “Companion Guide” pointing to the specific TZ episodes that informed The Grayscale, but you have also written an essay called “How I Justify Stealing,” in which you copped to stealing an idea from a production of Chekhov’s The Vagabond to find an ending for A List of Irrational Fears for Future Leaders of the World. Speaking as someone who once made a Super 8mm film of a woman trapped in a room filled with newspaper attempting to subsume her (which was a riff on a moment in Terry Glliam’s Brazil, in which Tuttle gets absorbed by newspaper), I’m no stranger to this conundrum myself. On one hand, your goal as an artist is to find your voice. On another hand, you need something to start from. I’d say that Season 2 does represent something a bit more “original,” departing from the overt Twilight Zone lifting into a more natural expression. What steps did you take between the seasons to get to this point? Or was the act of producing audio drama and putting several episodes behind you enough to get you to this place?
ANDREW KABERLINE: Firstly, I’m so happy that you mentioned that Tuttle scene in Brazil. I have said to my fellow ensemble members that if we get to do Fears again with a bigger budget, that we’re going to try to steal that moment for the ending this time!
As far as dropping bits of our Twilight Zone “tributing,” I would say that it was a natural progression, in that we never said, “Okay, this year, no references,” but it certainly has gone that way.
I do think getting more comfortable as podcast producers is the reason for that change. As a team we have got sharper at scheduling and recording with efficiency, and we gathered most of the scripts for this season before we ever premiered Season 2, which has let me avoid those situations where you go, “Oh crap, we need an episode next month. Which Twilight Zone premise can I riff on?”
The main team for The Grayscale (myself, showrunner Dylan Amick, and master sound engineer/editor/the voice inside the credits, Chelsea Rugg) did have a long talk about what was going to be different this season. We wanted it to feel like a step forward. We wanted to get different voices (you’ll notice Dylan and I have only penned one episode each so far). We wanted to explore new themes. We wanted to create a larger universe (as kicked off in our Twitter Fiction Story, which will really take shape in the second half of this season. Even the theme song was different! We built a nice little audience after Season One, and from the opening seconds of season 2 we wanted the listeners to instantly go, “Well, this is new.”
CHAMPION: Your talk of showrunners and engineers leads me to point out that The Grayscale is a bit different from other audio dramas, in that it emerged from Critical Point Theatre. I don’t know of any other theatre that is doing quite what you’re doing and, indeed, I wasn’t aware that you were producing any other podcasts until your “State of the Podcasts” address cropped up on the feed. I had initially anticipated some satirical spinoff story, with The Voice Inside Your Head announcing a podcastocratic government, only to be quite pleasantly astonished at your bona-fide commitment! Why did your theatre company feel that audio drama was the best step forward? Has it had any impact on your theatrical productions? And let me get this straight: you were writing, producing, and editing each show one at a time rather than getting the scripts for a season ready in advance? My goodness! You folks are troopers! How did you manage that insane production process? Were there scripts written in one or two nights when you knew you needed an episode? Also, since you have a new musical theme, how did music gradually encroach its way into what seems to me a pretty arduous on-the-job training process during the first season?
KABERLNE: Tiny spoiler, you will be seeing The Voice Inside Your Head getting into hot water with a strange government later this season!
I’m actually kind of shocked that more theatre companies aren’t taking this same approach. All of our work is original and we create our stage productions through weekly rehearsals and a laboratory process. It leads to great work, but the one downside is that it takes a lot of time. We were worried about staying active while slowly building this content, so the emergence of a podcast wing allows us to put out work more frequently and in different disciplines.
Audio storytelling has worked its way into our theatrical storytelling too. The show that we are working on now, Phreaking, is a sort of psychological hacker melodrama, that explores the state of masculinity on the Internet, and has a forum theatre element to it, so the audience is in control. We’re creating an expanded universe for the characters in the play, that will include some blogs, videos, and even a spin-off podcast limited series. Who knows? You might even see one of the characters in the play end up being judged by The Grayscale. Time will tell. But we are having fun using our audio skills to open up our plays past the edge of the stage.
And yes, for a little while we were doing Grayscale episodes one at time, meaning that we only were a month ahead with our ideas. But it wasn’t as bad as that sentence just made it sound (except for Chelsea; rule number one of audio storytelling: don’t abuse your editors). Critical Point kinda jumped into the podcast game before we were as capable as we are now. With just one show it takes a few months to get your groove and really find the best way to do that show, but we launched five shows simultaneously. It was too much to handle, and not every show survived.
The Grayscale idea was thought up by myself and Matthew Schott during an infamous “pizza meeting,” where we created what the feeling of the show would be, and worked through five or six ideas for episodes. So while we were flying by the seat of our pants there at the beginning, we had those ideas in our back pocket at least. Four of those pizza episodes ended up running in Season One, including “Jess Dempsey.”
But yes, there was a lot of quick writing for a while. When it comes to the Rod Serling half hour formula, I’m a very speedy writer. When I’m writing full length plays… not so much.
As an ensemble we cover a lot of skills. Music composition is not one of them. We started with a theme by Sammy Pisano that I like very much. We were lucky to find Sammy through a co-worker of Chelsea’s, and he was on board very quickly. We started asking him to score the episodes themselves with that quick turnaround, and I don’t think we realized that was impossible and, quite frankly, kind of rude to ask of someone. We had to tell the stories with less music and more silence out of necessity, but I think we really prefer it now. Silence is dramatic over the radio. You’re only using one sense listening to our show and we’re taking it away. It inherently makes you feel like something is going wrong, which is great, because usually things are going wrong for our characters!
We got better at sound design too. We’re so lucky to have Chelsea Rugg. She holds the show together and is an expert at finding and making soundscapes and effects from various free and paid sound subscriptions that we have. It’s also forced Dylan and I as the primary writers to be more specific when we write sounds into the margins, and it’s only made our world of the show more specific. We learned quick. The best example of this is in “Jess Dempsey.” Chelsea had learned how to add mass and direction to something while it moved, and it allowed me to then write that effect into a major plot line. Throwing on the headphones and hearing the monster circle Jess Dempsey’s compound is still my favorite moment of the show.
We do have a new theme for the show by Isaac Aaron Jones, a friend of Dylan’s, that I love as well. We were going to do different things this season and felt a new theme was appropriate. We will likely do the same each season hereon out. My advice to audio drama makers out there is that if you don’t have the skill yourself to write music, start making friends with anyone and everyone who does.
CHAMPION: I’m keen to know more about your sound design. My feeling is that every audio drama should try to sound as distinct as possible. Certainly The Voice Inside Your Head — somewhere between a Rod Serling knockoff and a booming grandiloquent presence who, despite his alleged omniscience, may not know as much as he thinks! — is a fun and a very distinct way to steer a listener into your program and helped to land me on board for the entire run. To what extent have you employed more foley work over preexisting sounds? And I’m glad you brought up “Jess Dempsey, First Woman on Mars.” To my mind, that was the the first episode in which The Grayscale really threw off the shackles of its Twilight Zone roots and became its own separate beast. I’m wondering if you were at a “Do or Die” moment while coming up with that script, where you asked yourself the hard question, “Okay, do I want to keep on making a Twilight Zone knockoff or do I want to make something that can stand on its own?” Perhaps one inevitably resists the wiseacres offering a “tracer” argument through constant production! Also, how did you get used to directing audio drama knowing quite well that the audience wouldn’t be able to see the actors other than within the confines of their imagination?
KABERLINE: You hit the nail on the head with TVIYH. He is not as smart and powerful as he presents himself to be. He’s like if someone who loved The Twilight Zone, like you or me, answered a personal ad looking for a spooky narrator, and then was troubled to find out it was all too real once he got the job. There are much larger strings pulling TVIYH. He’s a pretty lowly company man.
We have been hit or miss with our foley. Sometimes when we want a simple sound effect, and all of our resource sounds are trying too hard, we will just do it ourselves. These don’t stand out too much in the actual episodes, because they are sounds that are supposed to just blend anyway.
Our first episode was a monster episode, and we had this idea to have the monster noises come from the sounds our cat makes when you accidentally lock him in a room. He was known to make some terrible noises, so we tried to replicate the conditions, and turns out he didn’t want to make those noises when we wanted him to. So that kind of soured us on foley for the complex sounds. For that episode, Matthew Schott (the writer/star) actually made about 90% of the monster noises himself, without a lot of manipulation from us in editing, and that worked great!
Another technique we like to employ is taking sounds from one thing and using it to represent something else. There is a lot of this in our recent episode “Nasty Things, Anachronisms.” A character spontaneously combusts and that sound is made up of a jet turbine, a trash bag ripping, a tea kettle screaming, and a few other things.
I don’t believe that we intended for Jess Dempsey to be the defining go-to episode that it became for the series. We want all the episodes to be that way, of course, but that one was a nice surprise. When we were producing Jess, we were also doing a lot of pre-production work on the next two episodes “Penelope Loves You” and “A Jitter In The Life Of Danny Wampler.” We knew those two were going to be production heavy. So the idea was for me to write one that would be simple and quick. One character alone talking to herself. That turned out to be “Jess.”
I wrote “Jess” while on an overnight shift working the front desk at a hotel, which can be as lonely and terrifying as the version of Mars in our episode. I really hated the first draft. So much so that I didn’t want to do the episode. I showed it to Dylan and Chelsea and they were like, “Are you stupid? Of course we’re doing this episode!” They understood the potential better than I did.
I don’t think we were consciously trying to move away from The Twilight Zone with that episode. In fact, I remember wanting to really go after something as issue-based as a Rod Serling script. I think part of the reason that it felt so different from our normal formula might be chalked up to tricks that were unavailable to Rod, like that kind of found footage style. And the episode was very easy to direct. One of our quickest recording sessions. Kristin Macomber came into the room knowing exactly who Jess was. She made our jobs easy.
That leads nicely into your directing question! Dylan and I do most of the directing, and we couldn’t be more different. Dylan comes in with a million ideas, and has a director’s playbook of ways to get the actor to say a line better. I can hear the greatest performance ever and seem like I’d want to be anywhere else. Both of these approaches have worked for us so far.
I think directing audio drama can be a really frustrating venture at first, especially for those with film or theatre backgrounds. A lot of those techniques simply do not work here. It hurts to have to tell some actors to fight against their good acting impulses to jump on the ends of lines or do physical work. It hurts to say, “That conservatory you paid all that money for really did teach you to act! We can control the jumping of lines better in editing than you can do in person. And when you get all physical, we can hear you hitting your lap with your hands. So here’s a pillow for you to put there so it doesn’t happen again.”
It’s a different art and it should be treated as such. The best piece of advice I can give to a new audio director is simply not to look at the actor while they’re performing. Close your eyes. They might be doing great work, making lots of choices, but then when you listen back you say, “Huh, that performance didn’t end up as good as I remembered.” Well yeah, because you were looking at the performance instead of listening to it. It is audio drama after all.
CHAMPION: I’ve also found that asking animals to convey interesting sounds on cue is indeed a challenging proposition. Sure, they’re more than happy to claim allegiance when you have food, but is a well-timed roar too much to ask from time to time? Nevertheless, I greatly admire your quixotic efforts to introduce your cat to such strange human philosophies as hitting your mark! So it sounds as if The Grayscale‘s success very much revolves around insane deadlines! I’m now very curious how fast you write those first drafts, how you revise the scripts, and whether writing for the ear represents a greater challenge for you than writing a short play. Do you often have an actor in mind during revision? And is this of help in figuring out what a story is about? Do the actors have any input upon the scripts? I won’t be uncouth enough to ask Dylan to reveal how he extracts the rabbits out of his hat, but can you divulge one or two of his most effective techniques? What do you do to make the actors feel comfortable, given that you and Dylan are spending quite a lot of time pretending to be in a witness relocation program?
KABERLINE: I write those drafts lightning fast, like two to three hours. To be fair though, most of the time I have spent a lot of my daily daydreams thinking through these episodes. So by the time I sit at my desk, it’s just about execution.
There tend to be two or three drafts total for each episode. I have become the script doctor for the show. So when I write an episode I do draft one, sleep on it, then do a revision usually the next day. When it is someone else’s script, it’s a different process.
They pitch us an outline, then Dylan, Chelsea, and I give notes. Then they give a first draft and we do another round of notes. Then they return with a second draft. And at that point, I get a final pass to punch it up and we have the final script.
Most of the time, my role in that final punch-up is to make judicious line cuts so that the episode fits in the time frame that we would like. It felt rude at first, but it has made me a much better writer across the board.
Writing for the ear has a very specific set of challenges. You can’t write in anything visual unless you want your character to state it aloud. It’s actually easier than when I sit down to write my full length plays, which tend to become abstract and don’t have abide to these rules! When I write for the ear, I already know what I can’t do. So I don’t even bother to go down those roads. What’s really rewarding is succeeding at the challenge of having clear action without dialogue. In the second episode of this season, a woman falls to the center of the Earth after the ground opens beneath her. She doesn’t say, “Oh man! I’m falling through the ground!” or anything like that. But I’m proud of how clear the action of that moment, and the action right after it, is.
I’d say that we rarely have an actor in mind when writing a Grayscale script. I certainly do it for my stage plays, but again for that you have to consider visuals. We are really really lucky to have a large pool of actors available to us who seem to enjoy working on the show. Our goal every episode is to get a new voice that has never appeared on the show, and thus far we’ve been successful. The actors don’t get any input on the creation of the script, though, in the room while recording we will often tweak lines or let them play around. Those ramblings from Becky Granger and Matthew Schott at the end of scenes from our recent episode about time travel were 100% unscripted.
Dylan won’t even tell me some of those tricks because he directs me sometimes! A magician can never reveal his secrets. But I can tell you that Dylan is really strong at giving notes to a struggling actor, without letting them know that they are struggling. I have witnessed him do this thing where an actor struggles with a line. So Dylan gives a direction that is wrong, which leads to an even worse read. Then Dylan is able to shift the cause of it not working onto him, which takes the pressure off the actor. Then Dylan gives them the actual direction/note that he wants to give them, and they are out of their head and able to take it confidently because they know whatever they do will be better than that last take. It’s really impressive.
Actor’s comfort is a large thing for us. I think what we are most conscious of is not wasting people’s time. We don’t like having people sitting around waiting for their scene, so we spend extra time on making scheduling air tight. A lot of our actors are stage actors who have never done voice-only stuff before. So, we like to let them do a first run of the scene without much direction, let them do everything their training has taught them. We react positively to that run, which isn’t hard because it’s usually compelling live theatre, and then give them the parameters of only being heard. If you try to throw all of that at an actor before they even say a word, you guarantee yourself a performer who will be entirely in their own head.
CHAMPION: One of the things I appreciate about The Grayscale is its willingness to go very big — not unlike the mysterious New Zealanders who run The Witching Hours — another anthology series for the ear operating out of a theatre! “Who Sins Most?” is almost a cousin to broad comedy in its depiction of a cruel and uptight priest (who is often quite casual about his callousness) who arrives in heaven. I’m also strangely fond of the over-the-top ending of “Applaud My Friends, The Comedy is Over,” which works to a crescendo that is absurd (albeit in an increasingly absurd age of a reality TV show host as presidential candidate) but that finds its own particular tone in the telling. Some audio drama producers are quite committed to keeping their shows steeped in the real. Do you feel that there are inherent limits on how over-the-top an audio drama can go? What concerns do you have for keeping The Grayscale grounded in reality? Have there ever been vociferous arguments within Critical Point on this point?
KABERLINE: Yeah, we got really absurd at the end of Season One with those last two episodes.
My advice to anyone making audio stories is to go as over the top as you want to be, unless your being over the top makes the listening experience exhausting. We certainly go over the top on occasion. It is a sci-fi show, you know?
Our thing is that, while our stories involve magical elements, we rarely tell the actors to play against the truth. “Applaud My Friends” is a great example. The ending is really absurd and unsettling (Dylan and I were trying to match “The Obsolete Man”), but as actors we played it really honestly. I don’t think it would’ve worked if we were just as weird or goofy as the premise.
In our comedies we tend to have the actors go more broad, but i would contest that they are still acting truthfully. Our comedy characters tend to be closer to Marty McFly than The Three Stooges.
Something has to stay true to make the episodes relatable. For us, that’s usually the acting. This is the big thing that bad anthologies seem to miss.
I don’t think we’ve ever had a conservation about making sure the show is realistic enough. What we do aim for is variety. If this month we do a dark realistic found footage horror, then next month we will probably do a sitcom-like comedy of errors with a robot that makes quiches. It’s all about switching up the tone. If you’re going to do anthology, you have to be flexible.
The stuff I write that isn’t The Grayscale is so much more off the walls that Critical Point never tends to have a problem with what I turn in for this show.
CHAMPION:“The Effect of Fog at the Overlook” features a very large performance from Tyler Ward, especially when he channels his angst. And there’s something about Matthew Schott’s sniveling doormat character in “The Best Version of Myself” (as well as his alter ego through the wormhole) that comes across as both grandiose and true. Do you feel that genre and anthology naturally leads to performances veering more towards melodrama? Or is this generally the Critical Point m.o.? I have noticed more of a mix-up of real and hyperreal in the Season 2 performances (such as “A Peck of Dirt Before You Die”). How many variations on large can one have? This doesn’t seem to be a problem at this stage in The Grayscale‘s existence, but, performance and story-wise, what are you doing to mix up the tones so that you don’t find yourself repeating tropes?
KABERLINE: I think there is some truth to anthology leading to melodrama. I would say that’s not the Critical Point m.o though. Dylan has this idea that when you take away visuals in storytelling, that you should absolutely try to start with as high of stakes as possible, which I think in turn does lead to some melodrama, or those big acting moments.
I don’t think we are worrying about having too many moments of someone going big. Conflict will lead to big moments more often than not, and when you change the laws of science in your show as well, then it’s only going to get bigger.
We are hyper-aware of not trying to recycle the same story elements as far as premises or the “magic” of the episode. I had an idea that was going to be a sort of woman vs her GPS story this season, but we had already done an aware robot in “Now Back To Your Scheduled Programming.” So we went another direction. Now that we have our episodes figured out before the start of the season, we are able to order them in a way where you have different tones and styles continuously. You’re not going to see two alien episodes in a row on The Grayscale.
CHAMPION: What was your biggest mistake on Season One? What would you now not do? How much time does it take for you and the Critical Point gang to produce a typical episode? What kind of system have you worked out so that none of your crew gets burned out or too creatively taxed?
KABERLINE: Our biggest mistake was in “Fog” when we switched the room halfway through recording. Never do that. Wherever you decide to record, stick to it!
I want to say our big mistake was jumping into something really difficult with very little specific knowledge of the medium, but I’d also say this forced us to learn quickly. What we absolutely wouldn’t do now, that we did a lot of in Season One, was over-record. It might feel nice to really explore a scene and get fifteen takes, but you’re only making your editor’s job harder.
We treated the whole process and show very precious in Season One. Now we happily attack the show.
I would say that from pre-production to the episode airing, it takes a little more than a month. Of course, the writing is now done far in advance, but we try to cast and schedule recordings about a month and half before the episode comes out. Then, we record an entire episode in one day (sometimes two). And then editing can last between 1-3 weeks. We get our scripts to Jackie Mullen about a month out, and she takes that time to give us our artwork that accompanies our posts.
We get burned out. All the time. That’s the thing, is beyond Grayscale, we are working on other podcasts, and also doing weekly rehearsals to devise our theatrical pieces. We’re always doing too much. Like right now, I’m answering these questions on a plane leaving San Francisco where we just did a theatre festival. Burnout is real and sometimes unavoidable.
How we try to curb this, is by having a condensed work flow. Generally, I take care of a lot of preproduction as far as gathering and editing scripts, Dylan takes care of production (casting/scheduling), and Chelsea engineers and then takes over in post-production as the editor. We will move these roles around on occasion, but locking in to a system where we know exactly what is expected has worked well for us. The more specific you can be early on in assigning roles, the less energy you will exert filling in cracks. This year, we are taking a break in the month of July and I think that will become permanent. You gotta take care of your own mental fatigue, and making good audio drama is very, very exhausting.
Wooden Overcoats may be one of the best British comedies in years. But you won’t find it on the BBC or Netflix and you won’t find it in theaters. To celebrate Audio Drama Sunday, we conducted a lengthy chat with head writer David K. Barnes and his nimble co-conspirator Felix Trench to find out how this hilarious and independent production was put together.
Wooden Overcoats is one of the best British comedies in years. But it doesn’t involve Simon Pegg and Edgar Wright. You won’t find it playing in a movie theater or streaming through Netflix. This is distinguished, sometimes eccentric, and frequently hilarious comedy carefully honed for the ear, a production that is both of our podcasting age and that naturally jumps off from Spike Mulligan and Peter Sellers’s goofy radio experimentation.
Telling the tale of two rival funeral homes competing for business on a mile-wide island of Piffling (a forgotten strip in the Channel Islands), with embittered local Rudyard Funn (“displaying the athleticism that comes only to a man whose entire fortunes rest on burying a seagull before six o’clock”) brushing up against a dashing new mortuary upstart named Eric Chapman, the listener is immediately struck by how fresh, original, ambitious, and committed this show feels. The story is narrated by a memoir-writing mouse, for one thing, voiced by veteran actor Belinda Lang. Amazingly, the show was produced entirely independent. The scripts were so good that the crew behind this massive operation not only persuaded veteran actors and nimble newcomers alike to work for nearly nothing. They even assembled a small orchestra to record the show’s theme.
Last September, Wooden Overcoats unveiled its first season of eight episodes. While this seemingly out of nowhere release earned deservedly rapturous praise from many in the audio drama community, it remains a great mystery why this wonderful and truly sui generis production hasn’t been more passionately endorsed by those who profess to know all culture. In addition to being terribly funny, Wooden Overcoats is also highly accomplished audio drama with energetic voice work and nimble effects and a meticulously timed pace. It is the kind of program that might never have found support within the limited ambitions of current media institutions.
Within minutes of listening to Wooden Overcoats‘s first episode, I suspected that the program had been put together with a great deal of thought, care, and attention. After I plunged into this magnificent show, discovering that I could not stop listening, I contacted head writer David K. Barnes and actor Felix Trench (who plays Rudyard) to find out just how this show was made. These two affable gents responded to my many questions. And we fell into a two week frenzy of perspicacious banter, which has been presented below.
EDWARD CHAMPION: Aside from the sheer fun I had binge-listening to the entire first season in less than 24 hours, there were a number of curious qualities that I noticed about Wooden Overcoats. There’s a certain cultural history of narratives set on islands, ranging from Daniel DeFoe’s Robinson Crusoe to Muriel Spark’s woefully underrated novel Robinson (of which Wooden Overcoats suggested close associations!), to the islands that populate David Mitchell’s novels, to Gilligan’s Island and Lost and the beautifully nutty 1973 film The Wicker Man. In all of these examples (and even Sherwood Schwartz populated his island with an eccentric ensemble!), the island’s geographical limitations somehow provided their creators with a kind of license to go big, whether it meant a labyrinthine plot or an allegory or an exploration of strange behavior. I’m wondering how your own island came about. Did you consider other island narratives before making this? Why did you feel that radio was the best way to tell this story?
DAVID K. BARNES: We started with the basic premise of two competing funeral directors and knew that they’d have to be in a small community for the comedy to work. I decided very early on whilst plotting the first episode that it’d be best if Rudyard had lived in this community all his life and that Eric was brand new, arriving in that episode, and that the power struggle would be essentially one-sided. A village on the mainland seemed to me to provide too many avenues of escape — Rudyard could essentially move, if his pride would let him — and so we thought setting the series on an island would isolate everybody and raise the stakes.
Though I’ve read Robinson Crusoe and seen The Wicker Man and so on, I can’t say I was inspired by any of them, though I am generally very interested in the history of tiny islands and countries. Small communities developing their own traditions and taking whatever they want from the culture of the outside world… I was also born and raised in Portsmouth, UK, which is an island steeped in naval history. Quite honestly, however, very little of all this is reflected in Wooden Overcoats!
FELIX TRENCH: I’ve listened to radio comedy since I was a teenager; I suspect that’s the same for a lot of us who get into it. I grew up in mainland Europe and an abiding memory is staticy BBC Radio 4 LW fading Dead Ringers in and out as we waited for the lights to turn green.
I began Audioscribble with a couple of other actors in 2012 (in a graveyard weirdly) as a way to make work for ourselves in a medium we love but has few openings. There’s a long tradition in comedy of starting out on the radio and coming back to it (like Mitchell and Webb did recently or Stephen Fry’s series on etymology). Having a state broadcaster like the BBC who run much of the most listened to/watched radio and TV and make their own content probably has something to do with that. It never occurred to me that we’d do it another way.
CHAMPION: What accounts for some of the unusual mathematical factors (a mouse tells the story — a very small being; two competing funeral parlors)? Do you feel that scope inevitability arises from creative limitations?
BARNES: It’s usually a function of storytelling. There are two competing funeral parlours because three would dilute the impact of the narratives and characters. The island has one of everything because then you can keep going back to those locations and develop recurring characters. The narrator being a mouse arose from the fact that when writing the first episode I wanted to tie the narrator into the action, and felt that the episode needed to end on a twist that would intrigue the audience enough to listen to Episode 2. I’d early on established that Rudyard’s only friend was a mouse and then thought, well, why not make the mouse narrate the show? A mouse can observe everything without being observed itself! And she’s writing a memoir for commercial gain, which explains why she’s (a) telling us all this, and (b) telling us only the “good bits”. Almost everything that happens in WO is a result of a carefully decided plan on how best to tell the story in an involving and entertaining way.
TRENCH: Limits are amazing. They force you to focus on story which is the most important thing. In Season 1, David purposefully looked for writers for the team who had a background in playwrighting knowing that he could add the jokes later if needed. Giving yourself a limit (or even better having someone give it to you) pulls you out of the patterns you’re comfortable with and makes you think in ways that you wouldn’t have before. I’ve worked as an actor both on roles I’ve written and roles I haven’t and I vastly prefer the latter – it’s more satisfying to look for a way into someone else’s mind than roll around in your own. The pitching process to the usual radio channels in this country recently became a lot harder to break into which is what ultimately forced us to gamble on podcasting.
CHAMPION: Did such a mantra extend to some off the writing (such as many of the seaside adventures)? Also, just how in the sam hill did you two goofy fellows hook up for this?
BARNES: There’s certainly a lot you can do with audio. There are huge sequences in some of our episodes which would be very expensive to film as television, and tricky to do on stage (the flooded mortuary swimming in corpses, Rudyard’s clifftop excursion…). So, as long as we can effectively communicate what’s happening to the audience, we like to try out a few big set pieces. Also, the idea that the island is a mile wide and yet has all these things on it is conceptually very interesting and ridiculous in a way I think is best suited for audio. You couldn’t visualise it on TV, and in written prose you’d probably notice how improbable it was. On audio you kind of go along with it. I told my writers to establish whatever they wanted on the island because Piffling could certainly accommodate it.
TRENCH: David and I have known each other since 2006. We were both studying at Edinburgh, along with our production manager, Liz. I graduated the year before them and moved to London and, long story short, we all ended up living together. I met Tom Crowley on a playwrighting course in 2012 and he and I have worked on projects together ever since. We’ve often noted how our careers tend to parallel each other’s and we’ve ended up in the same spot from different performance backgrounds. I initially pitched to him a short film about rival undertakers for us both to work on/be in and we made some plans but never followed through. Six months later, we revived the idea as an audio sitcom and brought it to David as a concept. He disappeared for twenty minutes then came back with a treatment for episode 1, I had a quiet word with Tom, and we asked if he’d like to run the show. I’d worked with David on a couple of other projects before — including an audio comedy — and knew that whatever he’d do, it would be good.
CHAMPION:Wooden Overcoats has this interesting tension between a bustling cadre of characters and the inherent limitations of a small community. Given the intimacy of the medium, how ambitious do you think audio drama can be in sustaining an epic scope? As you point out, you can certainly stage epic incidents, such as flooded mortuaries.
TRENCH: Radio 4 adapted Neverwhere recently, Naxos gave us a Michael Sheen-led Sophocles cycle, there was a big Lord of the Rings adaptation in the early 80s, Hitchhiker’s crossed the axes of time, space and probability, and just last year we had all the John Le Carré Smiley books so… pretty ambitious. I think the size is in the storytelling choices. Radio is well-suited, as you say, to intimate because you’re talking in somebody’s ear. You’ve got a different set of toys at the IMAX, different again at the theatre. There’s a truism in acting that goes something like “play the size of the room, not the size you want to play”. Radio is to an audience of one which is strange in any other medium (I think, I can’t think of any examples right now) so it’s up to us as creators to create that sense of the epic, if that’s what we’re going for, for a single audience. I think who that audience of one is is changing though. There is a difference between listening to the Afternoon Play while chopping vegetables and listening to Night Vale while curled up in bed or on the tube. If I tell you a story from three feet away, it’s different to if I tell it in your ear. The current wave of podcast dramas are even more direct than what we’re used to — probably more so than ours which takes a very traditional approach but adds in the Madeleine narration to tie us to the podcasting world.
CHAMPION: During the writing, the pragmatics of production, or the jarring discoveries in post-production, have you run into any hurdles that have caused you to scale back in any way?
TRENCH: Not yet! David’s a good enough writer not to demand the impossible and the producers are good enough producers to provide the impossible anyway. We were constantly surprised listening to Season 1 how much detail they’d put in. There’s a moment in Episode 4 where Madeleine is chased by a clockwork toy which you only catch if you listen carefully, Antigone’s survival suit became a full on 60s cosmonaut’s outfit, and our composer provided specific background music for the big set pieces.
CHAMPION: I also noticed that, in your Kickstarter campaign, you’ve invited your supporters to devise a creative form of death. To what degree are you beholden to entertaining an audience? In what creative ways do you diverge from this?
BARNES: I’d say that we’re entirely beholden to entertaining our audiences. However, the best way of doing that is to create what we personally believe is an entertaining programme and hope that our audiences enjoy it too. I tend to write my scripts with a view to thinking up a dramatic and/or amusing situation, and then going, “If I were in the audience, what would I want to see?” And then once I’ve come up with a few scenes on that principle, I finish with, “How can I put a twist on this that they wouldn’t have imagined themselves?” I think that’s the way to satisfy your audience, hold their attention, and keep them wanting more.
I have known writers who entirely disregard their audiences, which I think is arrogant and foolish. Your audience buys tickets to your shows — or downloads your podcast — and recommends you to their family and friends. You’ve got to provide them with something worth their while, or they’ll find it elsewhere. But equally, the old maxim that “people don’t know what they want until they’ve got it” holds true. We all enjoy getting some more of the same but we tire of it very quickly. It’s why I like having guest writers on the series: not only does it take some of the pressure off me, but they also come up with fresh ideas and perspectives that I’d never have come up with by myself, which reinvigorates the series.
I think it’s the dramatic qualities of the show which keep our audiences listening and re-listening. When I delivered the “Bane of Rudyard” script to my directors and was asked to produce another seven, they said they wanted to do this show in the studio rather than in front of a live audience. They wanted me to explore the dramatic potential of the characters and situations without having to flood the series with one-liner gags (which can make a comedy sound superficial unless the writing is exceptionally sharp).
As Felix mentioned above, I tend to approach writers from theatrical backgrounds like myself. Not all of them had even written comedy before but they all had superb instincts for creating dramatic situations. I said to them, “Don’t concentrate on being funny, whatever you do. Let your imagination run free, and focus on being interesting.” It doesn’t take a great deal of work to take something serious and make it amusing (or the other way around). My favourite episode to write in the first season was “Georgina and the Waves,” in which one of the silliest situations of the series evoked some of the most wrenching character drama, and still managed to be — I think — very funny. In this respect, I’m heavily influenced by Alan Ayckbourn’s The Crafty Art of Playmaking, an essential read for any writer.
From the feedback I’ve read, our audiences have really taken our characters to heart, and I believe that’s because whilst Rudyard and Antigone etc. are ridiculous, they’re also based in something very real. They’re hurt and ennobled and motivated by the same things we are. They never do anything just to make the audience laugh, yet I think they’re very funny characters all the same.
CHAMPION: Since we’re on the subject of ambition, I am curious if the large cast was always part of the plan. Was your approach simply to create a fun story and figure out how to attract high caliber talent (along with figuring out their schedules) in the act of production?
TRENCH: We always knew we could get highly talented writers and actors because London is brimming with them. There’s a real problem here, like in other big creative cities, of the opportunities being scarcer than the workforce. We owe a lot to Max Tyler, Sarah Burton, Peter Wicks, Pip Gladwin, and Holly Campbell who play many of our islanders and smaller roles throughout the series, or help out at live shows when the series actors can’t make it, and are all brilliant.
Bringing in producers Andy [Goddard] and John [Wakefield] gave the project bigger scope than we had originally thought about. They introduced the ideas of full scoring and live instruments, episode guests on top of the regular company, and approaching a few household names.
CHAMPION: Did you have any narrow production scheduling confines that you had to meet (either out of necessity or self-imposed)?
TRENCH: Once the studio’s booked, those are your dates. It’s difficult to rearrange when you have a big team.
CHAMPION: it is my understanding that many of your actors worked for free. This leads me to wonder whether you forewent rehearsal and simply recorded the sides in the time slots that the actors available. (Obviously, any working actor is going to have to say yes to paid work first.) Is a quality script enough of an incentive for a talent to commit time and energy for a long-form production?
TRENCH: All of our actors worked for expenses in Season 1 — we covered food and travel for the initial readthroughs and the recording. There was a lot of pizza. Rehearsals are unusual in radio, at least here they are. You’ll have the readthrough, maybe a few readthroughs if the script’s in development, and then perhaps a rehearsal before the take which will include a bit of blocking but it’s not like theatre. The whole process is closer to TV. We had a bit of flexibility with the recording process which gave us the luxury to record in sequence — which we did over four days. A couple of scenes had to be done out of order when guest’s schedules changed but not much. From an actor’s perspective, in sequence is amazing because you know exactly were you are in your mind at any one point and it’s easier to play the moment. As to the script, depends on the actor! The people who came on board with us did so because of the scripts.
CHAMPION: What deals did you have to cut to get people on board beyond this?
TRENCH: None that I know of. Maybe Andy secretly makes breakfast for the actors every morning. If he does, I want in.
CHAMPION: How many of the principals have pledged to return to the second season?
TRENCH: We haven’t yet reached the stage where an actor’s unavailability has led to re-writes, though I must always remain prepared for that being a potential issue until recording takes place.
BARNES: The scripts are still being written and cast requirements being drawn up, though those actors to whom we’ve already spoken about returning to Season Two have stated how keen they are to do it. Our four principals – Felix, Beth, Tom ,and Ciara – are certainly on board.
CHAMPION: Has actor availability forced you to alter any of the scripts (in either season)? I was also hoping to learn more about how David works with the other writers. What replaces a writer’s room in radio drama? Lots of Skype sessions? Emails? Dropbox and Facebook groups?
BARNES: All of my writers live in London, so it’s always feasible to meet them in person. However, they’re also all very busy, so it’s rare that I can get them into the same room at once. The pattern for Season One, which I repeated for Season Two, was to meet each writer individually to discuss the series, its characters, and any ideas they had. Then there’d be a meeting of the whole writing team — which, because of availability, is probably the only time we’ll be together in one place — during which everybody gives the broad outline of a few episode ideas. These are bounced around, discussed, and by the end of the meeting every writer has an idea that everybody is excited about. From then on, I keep in contact with each writer individually by e-mail or telephone.
My feedback on breakdowns and drafts is often extensive because I tend to know what I want from each episode once the writer has devised their idea. But the flip side is that I want to allow writers a lot of room to work by themselves the rest of the time; nobody likes somebody breathing down their neck when they’re trying to create!
CHAMPION: How much revision do you think is enough?
BARNES: Most problems with a story can be solved very early on at the scene-by-scene breakdown stage. That’s when you know if things don’t make sense, or an episode isn’t likely to be paced properly, or lead characters don’t have enough to do. If necessary, I’ll rework a writer’s breakdown myself and suggest that it’s probably a good compromise between their original idea and how it might be best deployed within the context of the show.
After that, the writers will do a first and then a second draft. I then take over, doing any necessary edits and re-writes. If the writer is happy with those, it goes to my producers for their opinion, and I may carry out additional edits based on their feedback. Then it goes to a full reading with available actors, with the writers and producers present, and a discussion will ensue. Any additional edits (usually very small by this stage) will occur before we get into studio to record. For Season One, I could count the number of lines that needed alteration in the studio on one hand, really. We really knock them into shape and ensure that everybody is happy.
Generally, the more work put in earlier at the planning stage, the fewer headaches later on. When we did our Season One readthrough, it was a case of, “This particular line doesn’t work,” rather than, “This plot doesn’t work.”
CHAMPION: What mistakes do you feel you made during the first season? How do you keep the door open for continued “on the job” learning?
BARNES: Everybody was, as you say, learning on the job, so I’m sure everybody can point to things they’d do differently the next time round. The trick is to carry on doing the things that worked and to experiment to make them work even better! From a writing perspective, I’ve never been entirely happy with how the last episode devotes a considerable amount of the climax to the machinations of a secondary character; that was me trying to tie up as many plot threads as possible in too short a space of time. The production certainly pulls it off, but I should have found a more elegant solution at the time. I’m trying to pace things slightly better in Season 2, with the final episode placing the leads front and centre. Otherwise, for my first attempt at head writing and script editing an entire series, the whole thing went much more smoothly than I’d imagined!
CHAMPION: Audio drama is a free and liberating medium with many very cool, exuberant, and passionate people forming a magnificent community. But do you foresee any dangers to the inevitable professionalization of audio drama?
TRENCH: Bigger companies coming in with bigger budgets will make it harder for smaller outfits to be heard. We’re in a time of opportunity where nobody quite knows the rules and we’re all working out how we fit together and that’s lovely. But I agree. It won’t necessarily last. My hope is that if something’s good, the democracy of the internet will give it coverage to flourish. This is a really great medium for new creative voices everywhere to make themselves heard and reach a wide audience without too much outlay. I’m looking forward to finding out who else is out there and what stories they want to tell. The downloadable podcast drama I’m aware of is based mostly in North America … and us. Even if we stick to the English-speaking world, where’s everyone else? I want to hear a really great Australian or New Zealander or Irish or South African podcast drama. There’s one being put together in South Korea but recorded all over I’m very excited about, because of how it’s being made as much as the story – that’s a product that just couldn’t have existed until recently.
CHAMPION: In describing how Wooden Overcoats came into fruition and the way in which the second season is being put together, it seems to me that the creative/production process is very much about reacting to concepts and working out the expression of these reactions through revision and readthroughs. But you can’t calculate everything. I’m wondering the degree to which you two agonize over this and how you contend with any perfectionist streaks.
BARNES: I have deadlines I need to meet: it’s as simple as that. At the moment, I’m several months away and the writing is still pretty slow. I’m agonising over every line, every syllable, revising as I go, pacing the room and pondering if this is the best way to go about constructing a scene. I’ve just spent three hours deliberating over whether Georgie should be having a certain conversation with the Mayor or Madeleine. Pretty soon, however, I won’t have the luxury of time, and I’ll just have to fly by impulse, which is when I tend to do my best writing on the whole (so long as I’ve got my stories planned in advance, which I’m happy to say is the case). I need adrenalin, I need to stop second-guessing everything. But then again, I do dedicate a lot of time to ensuring that my dialogue is going to sound right in the mouths of my actors, and a single misplaced syllable can ruin the comic flow of an entire scene, so my perfectionism certainly comes in handy. Just so long as I meet my deadlines.
TRENCH: I’m not involved in the writing decisions and deliberately keep myself separate. I’ve bounced a few ideas around and suggested things when asked at readthroughs but David has written extensively within the genre, studied at a respected institution, takes an active interest in his craft and is continually analysing and learning from other people’s work, working out and refining his own opinions and pallet. Throw me into that mix and I’m just a nuisance. I’ve only got the vaguest idea what’s planned for Season 2; I’ll find out at the first readthrough and I’ll really enjoy doing that and picking up the reigns with the things I do. From an actor’s perspective, as far as agonizing and perfectionism goes, I put as much prep and scriptwork in as I would for any other part then trust to that. The lion’s share of my work happens in the time leading up to recording. But I don’t really get retake envy on listening because that way madness lies and anyway that’s what directors are for. I always try to learn from listening to the finished episodes and look for room to make whatever the next thing I do is better. My only frustration is that the nature of audio work, unlike film or stage, means it’s inherently on-script. When you’re recording eight episodes back-to-back over four days, there’s not enough time to learn it securely and this isn’t the kind of material that takes paraphrasing kindly, nor is that particularly fair on the others with you in the studio. I try to do a loose learn and put the script aside as much as possible because the sound of someone reading is very different to the sound of someone in the moment, you can usually tell. That’s something I’ll be working on getting better at.
CHAMPION: The trio of mini-episodes that you recently released — especially the poignant “Casebook of Dr. Edgware” — reminded me that Wooden Overcoats has somehow found a distinct style that allows for occasional tonal shifts. The humor can often be conceptual (I think of the tape recorder in the newsroom), committed to cheesy puns (Random Mouse), farcical (Antigone’s romantic pursuits), and adventurous (the later episodes set more around the sea). Did you gravitate towards any particular comic strain in the beginning? At what point were you aware of a particular Wooden Overcoats house style?
BARNES: My original conception of the series was to infuse it with Gothic horror leanings, drawing upon some of my literary interests, but as I developed the characters in the pilot script – and as the other writers brought their ideas to the table – it was the humour that came to the forefront. Essentially, I just wrote what I personally thought was funny: obsessives who cause their own problems and can’t see it, being repressed when everyone else is a libertine, a touch of mild surrealism and perversity. There’s a dark thread running through it all, of course, which arises from the subject matter, but I try not to push it too much. It’s meant to be inherently enjoyable, not gross people out. I also like to avoid vulgarity and swearing, partly to increase the potential listenership but also because it forces more interesting uses of character, language and rhythm.
I’ve seen the series compared to Fawlty Towers, Blackadder, Father Ted, Keeping Up Appearances, and so on, mainly as it’s a British sitcom and those are some of the closest references (especially to an American listenership), which is immensely flattering. My own radio / TV influences are in fact somewhat older – Hancock’s Half Hour and Steptoe and Son are the ones I mention most – though also take in literature (Wodehouse) and theatre (Alan Ayckbourn). Ayckbourn in particular wrote tremendous roles for women and his great work in that regard always goes under-reported. But the other writers for Season One –- and now for Season Two -– will bring their own influences to bear, and then my directors and the actors will shape it all themselves and provide a consistent tone.
TRENCH: The readthroughs. I’ve worked with David and I’m familiar with his work and Overcoats is very him. He knows the rhythms needed in a scene to build up to a joke. I remember in early drafts he’d talk about putting in a placeholder joke until he came up with something better while he retooled the actual story around it but he knew instinctively where the joke had to be and the scene scaffolding that needed to go around it. I did a play with David once that had a gag in it that required someone overfilling a cup of tea. He spent hours experimenting with cups and muttering lines to himself to find the exact length of line that would work after putting in the stage direction. That’s the Barnes touch.
Beth, Ciara and I found during recordings that a house style emerged in performance. When we’re outside Funn Funerals or outsiders come in, the focus is on the characters who don’t work for the business. Every character is big and funny and ours become vehicles for their comedy. Any time the Mayor steps in, for instance, everyone becomes the straight man to him because he has the absolute highest status (and his insecurity in that status brings the comedy). But when it was just the three of us in the parlour, we found a sort of manic energy — like being constantly at Red Alert on the Enterprise — that worked for us. We really love doing those scenes. The character who breaks that boundary is Eric. Because he’s the antagonist, he can never quite be one of us but on the other hand he’s frequently the sensible audience lens for us so becomes the straight man against the Funns. A lot of the comedy comes from us assuming the higher status against Eric then being undermined by reality — except for in the Eric/Georgie storyline which has its own dynamic that gives Eric the punchlines.
CHAMPION: Are these mini-episodes your effort to show the audience where you intend to shift towards?
BARNES: Not really. They’re opportunities to experiment with form and expand upon our secondary characters, which helps us to develop their role in the main series. Rosie Fletcher’s “Random Mouse” was written to be an entertaining way to essentially trail Season Two; “Agatha Doyle and the Honey Trap” is a lighthearted Christie-style mystery by Tom Crowley; and “The Casebook of Dr. Edgware” by Tom and myself provides a new perspective on Season One from the viewpoint of a character who only originally had one line of dialogue. The ones we have coming up are entirely different too. But Season Two will continue the style and tone that we created in Season One, whilst taking the stories in a new direction.
CHAMPION: What input have the actors had on where you’re moving towards stylistically? Or is this really something that comes about naturally when you assemble a large cast of characters?
TRENCH: David has suggested I answer this one because he’s being even handed about breaking up the questions. Which is very lovely of him and I haven’t a clue. He told me the other day he now writes Rudyard with my voice in mind so with any luck I’ll be considered for the part if we do Season 2.
CHAMPION: Also, I listened to an Audio Drama Production Podcast interview with David and John Wakefield where the two of you described being very committed to homemade foley. How early in the production did you have the FX in place? I’m especially curious about the timing of Madeleine’s squeaks, which always seem to punctuate the right moments and remind us that we are in a comic environment. The squeaks also tend to soften some of the more unusual premises, weirdly rooting the narrative into something that’s real. The squeaks almost feel like something on a score sheet. At the risk of outing myself as a sonic obsessive type, I have to ask about the squeaks! How many do you have? Did you time them in the script? To what degree did you mess with the squeaks in post? Did the squeaks ever save your ass on a flub?
BARNES: They are indeed all script; Madeleine insisted on that. She’s a true professional, providing us with vocals that could run the full emotional gamut that a mouse can reach. It’s very difficult to find talent like that. After lengthy negotiation, she’s agreed to come back for Season Two, and the production team is immensely grateful. We wouldn’t know what to do without her.
CHAMPION: Well, David may be a fair-minded gentleman, but I’m not going to let him get away from unpacking this point! Does the concern for status, which I feel is a staple of good drama, emerge as much in the act of production as in the writing, even when you have a large character such as the Mayor? Or is this as rigorously planned as David’s inherent fixation upon timing? David’s placeholder jokes remind me of how Paul McCartney had “Scrambled Eggs” in place of “Yesterday” as he was still working out the lyrics for that now classic song (with the “Scrambled Eggs” version later performed decades later in a newly enhanced form with Jimmy Fallon). This may simply be the approach of a highly obsessive mind, for which I have nothing less than the most heartfelt appreciation for, but I am very curious how David contends with the vast unknown story element, perhaps an invisible territory of pages going well beyond overfilling a cup of tea! David, do you feel that story sorts itself out easier than specific lines?
BARNES: There’s the old story about [Billy] Wilder and [I.A.L.] Diamond spending ages trying to come up with a decent last line for Some Like It Hot and ultimately going with their placeholder gag because they couldn’t think of anything better, and now of course that line is one of the most famous in movie history. But of course it’s not a line that sings out of context; entire plot threads have been leading up to it, and it’s an immensely satisfying — and very, very funny =- capstone.
On the other side, writers can come up with an absolute zinger of a line and then tie themselves into knots trying to make their story support it, and typically that line will be one of the first to get cut by a decent editor. The best dialogue is the dialogue that fits the situation you’ve created.
Every writer has sat down at some point and just started writing dialogue without an actual purpose, and it’ll typically go nowhere and not be very good. It’s easier to sort out dialogue than a story, because plotting is torturous, but I think it’s nearly impossible to sort out good dialogue if you haven’t sorted out the story first. And then your story might change in the writing of the dialogue, which is great too. Switching destinations is fine, but you ought to have at least one in mind when you set out.
CHAMPION: Might this also account for the island’s vast tableau? Do the other writers serve as relief pitchers for your vivacious baseball game on this front?
BARNES: I feared when I wrote “The Bane of Rudyard” that we might exhaust the story potential within a few episodes, but then the other writers showed me that, yes, there was much more you could do with this set-up. I took a lot of inspiration during that first writers’ meeting, where my job was essentially to ask “What excites you about all this?” and then decide which answers inspired me the most. For both seasons, I’ve found it easiest to help the other writers develop their stories first and then formulate my own in response, but I begin with some firm ideas about what I want the series to do, to say and to explore, and I’m OK with telling a writer, “I’m not wild about this idea, can we do something else?” But then, all of the writers have come to the table with at least one idea I’ve adored instantly, and those ideas get developed into full episodes.
CHAMPION: What’s the biggest mistake you made in Season 1?
BARNES: Owing to busy schedules. the episodes were edited concurrently with release dates, which led to a lot of pressure and sleepless nights for all involved. The sound design is very involved and Andy and John require a lot of time to do their magic. We’ve sorted this out for Season Two. But remember: always allow for more time than you think you need.
CHAMPION: What’s the most extraordinary thing that you had to do to get an actor on board Wooden Overcoats?
BARNES: Character comedian and attractive man Kieran Hodgson was lured to the studio with the promise of sparkling dialogue. Instead he was placed before a microphone and told to moan orgasmically in French whilst we scrutinised him thoroughly for about forty-five minutes. He’s since gone on in other productions to speak whole lines of actual dialogue, albeit for far more disreputable companies such as the BBC.
CHAMPION: What’s the greatest piece of advice you could offer to any emerging audio drama producer?
TRENCH: Be professional. Be original. Be ambitious. Sorry, that’s three but I think they’re all very important.
Professional means treating every aspect of your production with equal importance. Strive to work with new people and strive to create opportunities. As soon as you position yourself as someone making a thing, you enter a world with thousands of unheard voices who maybe don’t have the luxury of your ear so make it easy for them to find you and work with you. It also means learning about what came before and positioning yourself within that. Listen to as much as you can, not just drama podcasts, from as many different countries.
I say original because I’m seeing a lot of very good audio drama coming out in similar areas of storytelling. There’s a leaning towards genre and faux-documentary — maybe the Night Vale and Serial influences. I think a canny producer would ask themselves what they can do to separate themselves from the trend. A police procedural? A period piece? I’d listen to a Western. It also means thinking about what you can do with the medium. Beef & Dairy Network and The Bright Sessions are great examples of being playful with the fact that, at the end of the day, a podcast is just a sound file. Two examples from recent(ish) years on the radio: have a listen to Continuity, which was Alistair McGowan as a radio continuity announcer having a breakdown on air between fake trailers parodying Radio 4 formats, and Warhorses of Letters by Marie Phillips and Robert Hudson which was an exchange of love letters between Napoleon and Wellington’s horses.
And ambitious is the fun one. We can do anything in audio drama so… do. Submarine scrap yard? Two enzymes chatting while they ferment grapes? The parliament of the birds? I want to hear these worlds. What can you do that would require a massive time and money budget on telly? And what can you do that’s not been done in other media? Equally, be ambitious in how you make it. Look for great studios, look for unusual recording spaces, see how many countries you can get people involved in one project… there’s more (and more immediate) scope for us in this medium than any other I can think of so use that advantage to the full.
To celebrate Audio Drama Sunday, we chat with Lauren Shippen, creator and producer of The Bright Sessions, in a wide-ranging conversation about how Los Angeles traffic can be inspirational, YA, therapy dialogue, genre, the 1985 movie Clue, and neck snapping.
A few weeks ago, I stumbled onto an extraordinary audio drama called The Bright Sessions and listened to every episode with a speed and an enthusiasm rivaling a ravenous rabbit discovering a carrot field. The podcast is ostensibly a psychotherapist secretly recording her therapy sessions with young people, with each tape labeled with a mysterious taxonomic nomenclature. We come to learn that not only do these young people have special powers (the ability to jump through time, the capacity to read other people’s thoughts, et al.). But what makes The Bright Sessions so compelling is its more intimate approach. You won’t hear New York City destroyed in grandiloquent fashion after a superhero battle. But you will delve deep into the hearts and souls of the show’s characters.
I contacted the show’s creator Lauren Shippen (she also voices one of the patients, Sam) to express my appreciation and soon found myself in a fun and lengthy email volley about how Shippen came to create The Bright Sessions, thoughts on what radio drama can do for genre that other forms can’t, and some discussion of the 1985 film Clue. In tribute to the hashtag #audiodramasunday, which has recently taken Twitter by storm, I’m hoping this will be the first in a series of Audio Drama Sunday interviews with radio drama creators and their programs to help listeners and producers alike get a sense of the marvelous offerings out there.
If you want to listen to The Bright Sessions, go the website. You can also chip into The Bright Sessions‘s Patreon fund, which greatly helps this show stay afloat.
EDWARD CHAMPION: In audio drama, we have quite a number of wonderful podcasts being made that deal with investigations — what I call the “missing tapes” genre (The Black Tapes, Tanis, Limetown, et al.). These shows have responded, perhaps knowingly or unknowingly, to Serial‘s great success. It’s almost as if audio drama needed its own spin on the “fake documentary” style pioneered by such television shows as The Office, Parks & Recreation, and the like. But somehow your hook, which involves a psychologist taping the sessions of her clients, manages to transcend the tropes. I’m very curious to know how much you researched the audio drama climate before you started creating this show and if you learned any lessons on how to build an audience from your potential investigation. Also, I’m not sure how steeped you are in Dr. Jacob L. Moreno‘s notion of drama therapy, but where did your interest in psychotherapy come from? Why did you feel psychotherapy would be a great format for radio? (I’m also wondering if you’ve ever listened to the podcast, The Psychology of Eating, an often inexplicably fascinating show that deals with patients talking about their eating habits.)
LAUREN SHIPPEN: I actually wrote the first episode of The Bright Sessions in June of 2014 — before even Serial had been released. While I love the faux-documentary format of those podcasts (and of course, adore Serial), that trope didn’t yet exist when I first came up with the concept of The Bright Sessions. Instead, it was somewhat inspired by two very different radio shows: Welcome to Night Vale and BBC’s Cabin Pressure.
I was listening to these shows while stuck in the famed LA traffic and fell in love with the idea of audio drama. These shows showed two very distinct, very different paths to take: Welcome to Night Vale is mostly one man speaking into a microphone and Cabin Pressure is a whole cast with a large production budget performing in front of a live audience. As much as I enjoy Cabin Pressure, I don’t have the same resources as the BBC; the WTNV route seemed more manageable — I had a nice microphone and a vague idea of editing. But I ultimately realized I couldn’t pull off what WTNV does. I think WTNV works as a largely one person show because of three things: Cecil Baldwin’s performance, the beautifully surreal but funny writing, and the music by Disparition. Without a similarly magical combination of things, one person talking can get boring fast.
I wish I could say the therapy concept came out of some deep, clever thought process but – if memory serves – I was sitting in the aforementioned traffic, talking out loud to myself as the character of Sam (this is a weird but important part of my writing process) when I realized I needed to give her someone to talk to. The first thing that popped into my head was “therapist” and from there, the floodgates opened and everything started to fall into place.
I wrote that pilot episode in essentially one sitting. Then I got swept up in other things and didn’t touch it for a year. By the time I came back to it, I had become more familiar with the audio drama landscape as a whole. I had binged Serial, Limetown, and The Message. But my format was already determined. That being said, I did look to these and other shows to see how and where they existed online and how they promoted themselves.
I’m tangentially familiar with Moreno’s work, but The Bright Sessions was not particularly influenced by any one psychological theory. I used my sister — an actual psychologist — as a resource for how a therapist would talk or what methods they might use and did online research when necessary. I think my interest in psychotherapy actually comes from my background as an actor. The conversations you hear in the podcast are very similar to internal conversations I will have when developing a character – you have to figure out all their baggage, what makes them tick. Bizarrely, a lot of acting techniques are pretty similar to therapeutic ones, so it was easy to connect the dots.
I think the therapy format works especially well on radio for two reasons. One: it’s straightforward and easy to follow. It can be hard to pull off convincing action in an audio format, but it’s very easy to put together two people having a conversation. Two: there’s a voyeuristic element to it that I think is intriguing to people. Even though our patients are extraordinary, they are still dealing with very real, human problems. I think there’s a lot of entertainment to be mined out of that and a lot to relate to. And because it’s an audio recording and not a video, I think it gives the listener the feeling that they are really there, listening in.
And no, I have not listened to The Psychology of Eating, though it sounds like something I need to put in my feed!
CHAMPION: On the subject of psychotherapists, I think one of the reasons your audio drama works so well is because Julia Morizawa is tremendously believable as Dr. Bright. We often hear an annoyed edge in her voice, a vague artificiality often vacillating with something real, with the slight pause just before she has to enter into that professional therapeutic mode. I’m so glad that your audio drama is paying attention to these minute cadences, whether deliberately or organically. It’s one of the aspects of therapy that can be irksome when you’re on the couch! And it leads me to wonder what work you did with Julia to hit these very precise notes and what prep you’ve done with your actors in general. Of course, what I’m detecting here may very well be the natural intimacy of radio! After all, if you listen to any of Anna Sale’s interviews on Death, Sex & Money, it often sounds like a therapy session. Why do you think the radio format lends itself more to a therapeutic vibe? Should audio drama be hitting this sweet spot if it expects to win over larger audiences? Also, how did these conversations with yourself in traffic contribute to the writing process you worked out?
SHIPPEN: Julia is a magical superhuman and The Bright Sessions would not be a tenth of what it is without her. That sounds like hyperbole; it isn’t. I’ve known Julia for about two years – we met in acting class at the BGB Studio in North Hollywood. That same studio is where I met Briggon Snow (Caleb) and Charlie Ian (Damien) — it’s a studio full of crazy talented people and I take as much advantage of that as possible. The moment I realized I didn’t want to play Dr. Bright myself (and yes, that was something I briefly flirted with), my mind immediately went to Julia.
I wish I could take credit for all the nuances that Julia brings to the role but all the layers and subtle shifts you hear are a testament to Julia’s talent as an actor. We certainly discuss the character and the story; I give my impressions and Julia always comes prepared with insightful questions and ideas. The first time we recorded, she lugged this enormous binder with her — it had the scripts, her own personal character biography, and pages of notes. Her dedication and attention to detail has made Dr. Bright an incredibly interesting and complex character and really changed the way I approached the writing her. No one, including myself, knows Dr. Bright better than Julia and I think that shines through.
On the whole, I don’t do much prep with my actors. I honestly don’t even give them that much direction when we record. They are all very talented people that I have worked with before and I trust their instincts. I’m still amazed I was able to convince these brilliant people into doing this little project — I really feel like I have an embarrassment of riches when it comes to our cast.
Our especially dedicated listeners (of which we have more than I could have dreamed — another embarrassment of riches) will be familiar with the music playlists I made for each character. While these have been very fun to share with our audience as bonus features, I made them for myself as a writing tool and for my actors as a way to round out the characters for them. While we were recording the first season, I shared these playlists as well as Pinterest boards. While not directly related to the plot, these were used to express some of the less tangible aspects of the characters.
I think the phrase you used, “the natural intimacy of radio”, is exactly why it lends itself to the therapeutic feeling. With radio, the listener can imagine whatever they want about how the person looks, what the setting is like, etc. This engagement of the imagination engages us emotionally as well and creates this atmosphere of intimacy. I think this is furthered by the fact that most people listen to podcasts alone, with headphones on. It feels personal in a way that TV or film doesn’t. As for an audio drama sweet spot, I’m still trying to find that myself.
The traffic conversations have been a big part of my life in LA and I’m sure have gotten me a few strange looks at stoplights. When I’m working on a character — whether it’s one I’m auditioning for or one I’m creating from the bottom up — I have to determine some things about how they talk. Where in my voice does their dialogue sit? What’s their cadence? What filler words do they use? This can all be worked out on paper or in a script, but I find it’s much easier to work through this process out loud.
So, when I’m doing a task that is taking up most of my focus — driving, cooking, doing dishes — I’ll pass the time by having imaginary conversations with these characters. Some of these conversations simply help me get into the mindset, but some end up in the final product. I think I was able to write that first episode in one sitting because I had worked out most of it in the car when driving back from Santa Monica during rush hour (never do this).
CHAMPION: I’m tremendously fascinated with the work you’re doing with the actors to establish these characters and very curious how, in this case, Julia’s notes altered the writing. How much of this story do you have planned out? And how much of the story has been dictated by the notes from the actors? What did these music playlists reveal about these characters that, say, unpacking a history and a backstory didn’t? Your filler description reminds me very much of how David Mamet layers his scripts with underlined emphasis and includes all these filler words or how someone like Kevin Smith is especially demanding of inflection points. My own feeling is that there’s a certain futility in this process. Because there isn’t a single writer, no matter how talented, who can completely transcribe human speech without the final artistic output sounding deliberately stylized. This can often take us away from the reality of what we’re experiencing — unless, of course, one is deliberately striving for a heightened reality. But it does raise some questions. Because no matter what the art, one does have to find a balance between reality and fiction. If we’re reading transcribed speech from Mark Twain or Emma Bovary’s inflections, our minds can fill in the details. But radio is more explicit about speech, even if we’re still using our minds to imagine what’s happening before us. How do your conversations in the car help you to find a compromise between some “authentic” blueprint and the organic nature of conversation that you end up recording?
SHIPPEN: I had written the first nine episodes (which make up the first season) before we all sat down for the first table read. I had a clear idea of who these characters were and where I wanted the story to go. And then I heard it out loud, as interpreted by smart, talented people, and things shifted. I don’t want to go too much into what the initial overarching plot of The Bright Sessions was for fear of changing people’s perceptions of what it is now, but hearing Julia interpret the character of Joan Bright changed the way I thought of the character. She became more real, more human, and her motivations changed somewhat as a result. This shift changed a lot of other characters as well.
Similarly, our production meeting before season two provided a lot of inspiration. I shared the first few scripts and told the actors what I had in store. And then they shared their ideas about the characters and how they wanted them to grow. A lot of the plot for season two grew out of that. The finale episode of this season is a direct result of that production meeting and a few ideas that Charlie Ian floated around. A lot of The AM has been influenced by ideas that Julia has had. So, while I do all the actual writing, my actors absolutely deserve a lot of story credit for the second season.
I don’t know what the music playlists revealed to the actors — that’s probably something I should ask them. For me, the mixes provide the general mood of the character; an energy. I listen to the mixes before writing the characters to get me in that mindset. It can also help me zero in on an overall theme within the character. For example, I built Sam’s whole playlist pretty quickly (she’s the character I voice so I know her very well) and afterwards I realized how much of the content had to do with the idea of “home.” That discovery told me a lot about the character and what was important to her.
I think you’re absolutely right — no writer can ever perfectly mimic natural speech. My use of filler speech, aborted starts to sentences, stutters, etc. function more as goal posts for the general speech pattern of the characters. Caleb says “like” a lot — he’s a teenager, he doesn’t always know how to express himself so he uses this filler word and doesn’t finish sentences sometimes. Sam has a lot of ellipses in her speech. She’s a nervous person so she stops to think of the right…word. I’ll write these kinds of things into the script and then the actors will adopt them and put them in the natural places, even when they aren’t written in. Then it becomes a volley between me and the actor — I write something, they improv and ad lib, I adopt those natural inclinations into writing the next time, so on and so forth.
The car conversations are vital in the early stages of developing a character. I can try and write out their speech patterns but it won’t solidify until I start saying it out loud. There are things that will look good on paper but sound stilted or unnatural when spoken aloud. And then there are questions that need to be answered. Does the speech go up at the end — if so, how would that affect the way they structure their sentences? Where do they pause? Why do they pause? Do they have to fill the pause with speech or can they sit in silence? All of these questions need to be answered and are easiest when worked through out loud. I don’t often return to these car conversations after I’ve gotten used to writing a character. Thought they can be helpful for figuring out how two characters who have never met talk to each other because each character relates to every other character in a unique way and that is going to change their speech.
CHAMPION: Aha! So as I suspected, your actors almost serve as “editors” for your scripts! This leads me to ask how you manage all the very helpful input you get from your talent. This may be tangentially related to the issue of natural vs. stylized speech, but have you ever faced a situation where your vision for the storyline gets disrupted by all the ideas from others? If so, how do you manage all the notes? How locked is the script when you eventually record it? Also, how and where are you recording it? Given that the patients are teenagers, I’m wondering if you ever considered using actual teenagers for the part. Aside from the car conversations and your work with the actors, do you talk to a lot of high schoolers to get a sense of their angst? (I’m thinking especially of Caleb and the adept way you handle his sexuality.) Given that you seem to be responding to what you have previously established with each episode, what steps have you taken to ensure that you never get caught up in tropes or predictable storylines? Do you have a natural end point in mind for The Bright Sessions?
SHIPPEN: The input from actors never feels too overwhelming or disruptive because it comes in bits and pieces. I’ll send out a script and get some questions and comments back and then I’ll make small adjustments to the script. A lot of the larger ideas come from “wouldn’t it be cool if” conversations about the overarching plot or character development. An actor will make a suggestion or float an idea about what could potentially happen in a season or in an episode and, if it works, I’ll take that suggestion and work it into the existing structure. As the sole writer of the podcast, all the details and specifics are up to me.
When we record, the script is 98% locked in, I’d say. It’s a final draft (that never seems to stop it from having typos) but occasionally an actor will ad lib or ask to say a line a slightly different way. But, beyond from a few minor line changes or improvs, the scripts tend to be consistent from page to episode. Editing also sometimes happens in post-production – I’ve cut out lines in the past that worked on the page but didn’t in the editing bay.
With a few exceptions, we record the episodes with both actors sitting across from each other, with individual mics on them. We go through the episode in it’s entirety a few times as I give notes. It’s a lot like acting in a class — we’re not crammed into a sound booth recording each line one-by-one — instead we’re recording the episode pretty much as it would happen in real life: two people sitting in a room together (my bedroom in this case — we’re very high tech).
Technically, only one of the patients is a teenager: Caleb. Adam is also in his teens, though not a patient, and Chloe is 20 when the series begins, so only just over that period in her life. But no, I never considered using actual teenagers. Firstly, there would be a lot of logistical and practical issues recording with someone under 18 and secondly, I never considered anyone other than Briggon for the role of Caleb. And he has nailed the high school voice, as I knew he would.
I honestly can’t remember the last time I talked to a teenager — I wish I could say I’ve done in-person research, but most of Caleb’s plot line is directly inspired by all the YA novels I read. Yes, I do still read Young Adult fiction. I’ve met my fair share of adults who don’t consider that a good use of time, but I politely disagree. YA fiction is consistently growing and changing and there are some real gems to be found. I read a lot, and in a lot of different genres, and one of the best things I’ve read in the past few years is I’ll Give You the Sun by Jandy Nelson. It is a book that I couldn’t put down and it has lingered in my mind ever since. I think it has had a lot of influence on the writing of both Caleb and Chloe and I can’t recommend it enough.
I also spend a lot of time on Tumblr, a website that definitely skews towards a younger audience. There’s actually quite a bit of linguistic discussion that happens on the site and I think I’ve absorbed a lot about how teenagers speak and interact. On top of that, I read fan fiction — not of The Bright Sessions, but of other things. Fan fiction is written about and by many different people, but a good portion of it either explores the lives of teenagers or is written by teenagers. Reading teenage dialogue written by a teenager will give you a pretty good idea of what teenagers sound like. So I think my ability to write compelling high school dialogue is a combination of reading YA fiction, reading fan fiction, and observing teenagers on social media.
This actually transitions well into your question about tropes. A lot of fandom conversation and fan fiction is centered around the idea of tropes — either leaning into them or breaking them. In order to avoid tropes, you have to know what they are. And yes, you can watch a lot of film and television, listen to a lot of audio drama, and read a lot of books to get an idea of what the cliches are but it is helpful to have tropes distilled for you. That’s what happens in fandom discussion.
All that said, I don’t spend a lot of time thinking about making things unpredictable. I focus on what stories I want to tell and sometimes that means taking a hard left and sometimes that means jumping directly into a trope – after all, cliches are cliches for a reason. But, to keep things engaging, it’s important to make a slight tweak when engaging with tropes. The Bright Sessions is built on this idea. A mysterious time traveler shows up! But…she can’t control her ability. A high school football player is having trouble expressing his emotions! But…not for the usual reasons. I think it’s really fun to lean into story beats that are familiar but give them a different flavor.
As for keeping the plot from getting predictable, I think it’s a delicate balancing act. A certain amount of predictability is a good thing, in my opinion. When I see a listener comment with a prediction about the plot, I’m pleased if that prediction is very close to correct. That tells me that I’m on the right path, that I’m not going to jump the shark. However, you don’t want your audience to be able to predict everything. And that’s where the red herring comes in (Clue is one of my all-time favorite movies and I’ve had to delete an entire paragraph explanation of why because this isn’t my chance to write a dissertation of Clue). Currently, I’m seeing a lot of predictions about the end of season two that could be correct. The predictions make sense in the context of what has happened so far but they are largely in response to something that is a bit of a red herring. As a result, I think the end of the season is going to be unexpected at the time and make complete sense looking back (that’s my hope anyway).
As for a natural end point for The Bright Sessions…no, I don’t have one. I’ve heard a lot of other audio drama creators say “I know exactly what the last episode/last line/last season of my podcast is” – I am not that person. I had no idea how this season was going to end when I started it. I know where I would like characters to end up emotionally but I’m really just letting this thing organically develop on its own terms. We’ll see where that takes us.
CHAMPION: Your method of scouring for youthful banter reminds me of how the great novelist Megan Abbott conducts research. She also writes about young people very well and scours many online forums to get the tone right for her last few books. But I’ve detected a bit of Alfred Bester and Theodore Sturgeon in The Bright Sessions. I’m curious to know more about The Bright Sessions‘s literary influences (including YA, of which, being a wide reader myself, I’m certainly not going to pull a Ruth Graham here!). Also, we’re living in a time in which we are saturated by endless superhero movies, Hugo Awards ballot stuffing by frightened white middle-aged libertarians, Comic-Con as a publicity machine, fan entitlement, and numerous other intrusions into genre storytelling. But the many genre audio drama podcasts I listen to — such as yours, Ars Paradoxica, Atheist Apocalypse, Tanis, Lily Beacon, Wolf 359, Eos 10, The Cleansed, far too many wonderful shows to list here — seem relatively insulated from these developments. It’s almost as if audio drama is operating in its own hermetic corner, relatively safe from any General Zod neck-snapping controversies. Do you think audio drama runs the risk of getting co-opted? Or capitulating to the audience too much? What do you feel you owe the audience? Do you think audio drama is enough of its own animal to beat the odds? And why (or why not) do you think that is?
SHIPPEN: I think it’s hard to say what’s not a literary influence on The Bright Sessions — everything I’ve written could probably be traced back to something I read once. I am an avid reader and I feel like every book I read becomes a part of my brain. YA has definitely had a big influence, David Mitchell is always in the back of my mind when I’m thinking about world-building (especially on top of existing reality — he’s a master at that), and Philip Pullman (an all-time favorite of mine) has definitely had a roundabout influence on the last few episodes of this season (and on my brain in general).
I think audio drama is excelling in genre storytelling for a few reasons. Firstly, genre film and TV can often fall into the trap of focusing too much on the “smashy-smashy” (as NPR’s Glen Weldon calls it). While people, myself included, go to these films for action, it is sometimes given attention to the detriment of character or plot. Unless the action is innovative and exciting enough to hold up a film (as it is in Mad Max: Fury Road, though that movie has pretty much everything going for it, in my opinion), you can’t just blow up buildings (or have Superman snapping necks) and hope people will be satisfied.
Audio drama is truly incapable of making that specific mistake. Action can happen in audio form – the audio montage in Wolf 359‘s “Mayday” is a stellar example of this — but action isn’t the go-to. Instead, the focus goes to the characters and the worlds. When you can’t distract the audience with shiny effects or crazy stunts, you have to work twice as hard to give them something to chew on. I think that motivates audio drama to innovate a lot more than other mediums.
Secondly, I think audio drama benefits from being independently produced. It costs money to make a podcast, but not Mad Max $150 million kind of money. There’s no studio to appease, no execs to give notes, no 20 person marketing team ready to merchandise your idea. Having audio drama be entirely in the hands of its creators provides the kind of freedom you can’t find in big genre movies. As a result, you see a lot more risk-taking and a lot more diversity in audio drama. Half of the podcasts you mentioned have female protagonists; Marvel has yet to make a female-led movie. There have been numerous news stories recently about how female characters in genre films were changed to male for fear that a female character wouldn’t sell toys. Even when genre creators try their best to widen the pool of main characters — and I really do believe that they are trying — there is a larger machine at work that can stall progress. To my knowledge, that machine has yet to exist in audio drama.
I couldn’t presume to predict where the audio drama world is headed — I’m still a newcomer but I feel like things have shifted in the year I’ve been working on The Bright Sessions. There’s more content than ever and the quality of said content seems to be getting better and better. I think there will certainly be attempts to co-opt audio drama — after all, it is a rapidly growing entertainment sector with low overheads and excellent advertising potential — but I don’t know what form that will take or how successful those attempts will be. But, whatever happens, I think audio drama will continue to find new and exciting ways to tell stories, whether independently or under a larger umbrella. Bigger is sometimes better.
As for what I feel I owe our audience: I want to continue to entertain and surprise them. I want to keep things unpredictable without making them ever feel like they’ve been misled or cheated. I don’t think I owe rainbows and sunshine — the audience doesn’t have to like every plot point or character — but I owe thoughtful writing, even when it’s painful. I owe them continued and respectful character development, enthusiasm to rival their own, and a satisfying conclusion to a story they’ve invested in.
As to when that conclusion will come is anybody’s guess.