Since 2007, I have dreamed of making a radio drama. While I spent more than a decade of my life making radio and podcasts, I didn’t know how to approach its fictional equivalent. But last year, I began discovering that a number of incredibly talented audio drama producers were actively at work rethinking the medium for the podcasting age (and offering plentiful innovations). And I began listening. The work of people like Return Home‘s Jeff Heimbuch (who recently celebrated the one year anniversary of his fun and often hilarious audio drama), The Bright Sessions‘s Lauren Shippen (who I interviewed here), Small Town Horror‘s Jon Grilz (who I interviewed for the Audio Drama Production Podcast) — to say nothing of the incredible kindness of formidably skilled people like Pete Lutz, Steve Schneider, Jack Ward, Lauren Nelson, Paul Sating, Todd Faulkner, Austin Beach, Matthew Boudreau, Fred Greenhalgh, the entire gang over at the Audio Drama Production Podcast (Fiona, Sarah, Robert, and Matthew are all radio treasures), and really far too many people to list — emboldened me to take a huge plunge.
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.
The show is called The Gray Area. There is a Twitter account and a Facebook page. There is also a Libsyn page.
And I now have a 90 second trailer for the first season, which you can listen to below.
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I want to again thank the many beta listeners and supportive people who believed in me and my project, especially the ones who knew what I really had in me (and didn’t know).