Those familiar with nonfiction audio documentary maker Jess Shane, may know her as the producer of BBC 4 Lights Out: Accounts and Accountability which explored the ethics and monetary value of storytelling, so this is nothing new to Jess. In the five part series Radiotopia presents Shocking, Heartbreaking, Transformative, she takes it further

In its first episode Jess recalls making ‘Perfect Woman’ for CBC’s Love Me. Perfect Woman is the story of her reading her ex-boyfriend’s diary and changing herself depending on what he wrote. At the time, Jess found making it therapeutic because she got to tell the story to her own accord. Things started to get complex when she received an email from a Hollywood producer about adapting the story for a documentary.The producer promised this big platform to tell her story, even though she would have no editorial control. This interaction made Jess doubt the benefits of documentary making.

I sat down with Jess to discuss the process of making the show and what the aims for the series were.

This interview has been edited for brevity and clarity

JESS: My series is particularly engaged with the relationship between neoliberalism and personal storytelling because the documentary industry relies on the packaged morsel of the individual story in order to mass produce products. And it works because culturally we’ve been told that telling your story will be somehow cathartic, redemptive, brave, useful, et cetera. And so lots of people are talking about the importance of telling your story on an emotional level, but I’m trying to look at how personal storytelling operates in the world of trade and austerity.

You let us into your inner monologue and the many frustrations producers face. What was the aim of highlighting these issues?

JESS: Audiences are used to being handed the story on a silver platter. I wanted people to become hyper aware of the work and the choices that go into preparing said silver platter. A lot of people who’ve listened to the series have said, “can you stop navel gazing and telling us about the process and just give us the story? But this is the point I wanted to make you look behind the curtain whether you wanted to see it or not. And so I think that even if it creates discomfort, making audiences grapple with the fact that what they’re listening to is a construction, [that] is a useful way to make listeners feel less like audiences and more engaged, more like they are actually part of the mechanics of the sale and consumption of stories.

During their audition process to make one possible participant more comfortable, you say that they can ask you questions. What’s your advice to make sure the questions do not get too personal and make sure we divert back to the interviewee?

JESS: Well, I think that it’s okay for people to have personal questions. I think that to pretend that a purely business or a purely professional relationship is happening is dishonest. Obviously in this series I play with boundaries and push boundaries in a way that I think is irresponsible and that’s not an accident. I think depending on the relationship, there’s no one-size-fits-all. So I think, be open with people, but also be thoughtful about how much you want to share.

I think that in many ways the least you can do is to give people part of the benefit of being interviewed, which is arguably if the story isn’t going to lead to meaningful policy change or change that person’s life – which a majority of stories don’t do. Those are the outliers, not the norm – at the very least, you can give them a meaningful experience of recording.

But with that in mind, I think it’s important for people to be clear: I am doing a job. We’re acting like friends, but for the purpose of this interview, I’m doing a job and we’re not friends, and my job is to take what you say now and to turn it into something shorter, more concise. That’s ultimately what I want this piece to be about. I feel like being clear about making a distinction between the joys of the interview process and the horrors of having yourself vulnerable – your voice out in the world and no longer belonging to you in the same way, to coin a phrase by the TV producer featured in the episode.

That openness is evident through your relationship with one of the interviewees, Judy, an unhoused widow in her 70’s . We experience a blossoming friendship that has its conflicting moments, especially when Judy actually needs help regarding her personal situation. What did you learn from blurring the lines?

JESS: I was like, “I can’t promise that whatever I make about you is going to help you with your problems, but I have skills that might be helpful”. And there was a moment deep in the process where I realised that the methodology I thought would be helpful, actually it wasn’t, but could be harmful to her.

I also learned that in my attempt to help, I was not actually being a very good listener. I was thinking about what I thought was best for her as opposed to listening to what she thought was best for her. And that’s not even a lesson about journalism, that’s a lesson about life that can be applied across many spectrums. There was a moment where I just was like, “I don’t know what I’m doing here”. By totally throwing these boundaries that journalists normally have out the window, it was unknown waters and it was evident because I wasn’t necessarily being the most mindful. I don’t think I made anything worse, but I don’t know. I don’t think I improved anything and I realised I was out of my depth.

Away from the role of documentary maker, are there things that you learned personally about yourself?

JESS: I used to think that finding the perfect subject with a life story that was already shocking, heartbreaking, or transformative in some way was the kind of story that I had the power to make beautiful for them and for the world. I really am not interested in telling personal life stories. I’m not interested in turning people’s lives into products anymore and haven’t been for a long time. I’m interested in finding places where there are shared goals with potential subjects.

In the show there is a focus on the consequences of the Top Down approach where the audience gets to understand the power that the decision makers have and how little the subjects have. Going forward, what approach are you taking?

JESS: I’m interested in a framework of collaboration that is not “Top Down”. So in the series, I kind of show what not to do with collaboration. You can’t just call something collaboration and also still call all the shots. I think that I’m much more mindful of who I select as my collaborators and make sure that there’s a shared stake in these shared goals. And then we come up with a framework for collaboration together at the start.

That often relies on having a similar sense of media literacy. So [in Shocking, Heartbreaking, Transformative] there were huge power dynamics and that was intentional. Normally, I’m not trying to work with people where there are such big power dynamics. Maybe that will change over time as I become more experienced. But for now, I would rather work with people where I feel like we are operating with the same knowledge and in some ways privilege and power.

When talking about power dynamics and privilege I think about Ernesto’s story, the 20 year old model and recovering addict. In his episode, you admit that somebody else may have told his story better. What advice do you have for producers that struggle to navigate an interviewee’s story?

JESS: I was trying to make a point about how budgetary concerns and timelines dictate how ambitious a producer can be in the stories they tell. And in this case, what I realised about Ernesto’s story was that the story that he was sort of gesturing to, he wasn’t an appropriate central, sole subject. The story, actually, would need a much more systemic perspective, and that would require a timeline and a reporting budget and a scope that the project wasn’t really set up for.
I wanted to reveal why the personal story is often the fallback: because it’s actually cheaper and easier to make. But I do think that it’s always really important to acknowledge your positionality and ask – why am I the right person to tell this story? And if not, how can I make this work?

Something that I say in this series, and something I still stand by is if you are taking a not-Top-Down approach to collaboration, it doesn’t necessarily matter if you are the wrong person to tell the story. So long as you set yourself up in a collaborative framework where you are not being the expert on someone else’s life, you are letting your subjects truly lead. And that means factoring in a lot more time, making sure that you set up the collaborative process from the start, making sure that you are, and whoever’s funding you or distributing you, is also signed up for that. At the same time, I think it’s worthwhile to be wary that not everybody should tell every story.

There are rules stated in the first episode about journalism must nots and throughout the process you obviously bend them to make a point. I know this was an experiment, but are there any practices you’re taking for future projects?

JESS: Shared goals, much greater transparency, acknowledgement of the way in which documentary storytelling does operate as an exchange and clarifying the exchange, but in tandem with this idea of shared goals, and I also pay people whenever I can.

[NOTE: Paying subjects is one of the first rules that Jess throws out the window in the series, a subject she’s also written about. She expands on why this is important.]

JESS: I don’t think that paying people is more coercive than somebody promising to tell your story to the media already. I have no problem with splitting whatever I make with the people whose voices and work is featured in the projects. I come up with a split that feels right for the project based on the time and effort that’s put in and based on what I can afford and what we both can afford. I am very transparent about what I’m making with them, and we come up with a rate that feels good.

Listen to Shocking, Heartbreaking, Transformative on Apple Podcast, Spotify and other popular podcast apps >>

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Greg and Stuart both have music journalism backgrounds and an ingrained knowledge of the podcast world. Stuart explains how and why their journey with Franz Ferdinand began:

Stuart: Having worked together on independent music magazine Loud And Quiet for years, myself and Greg launched the production company New Allotment in 2020. We have learned how to make podcasts since 2016 and we wanted to set up a podcast production company that could make shows about artists away from Loud And Quiet editorial. We know Domino, Franz’s record label, really well, and they came to us with news that in 2022 they’d be releasing a greatest hits collection for Franz Ferdinand titled Hits To The Head. They told us about this idea to tell the story of the band in a podcast and asked if we’d be interested in making it. Of course we bit their hand off!

From concept to release, what was the process like? How much research, how much production work, and how did you find the whole process?

Stuart: First and foremost we worked out the format of the show – the best way to tell the story, in how many episodes, will it be narrated, will it feature the interviewer’s voice; big questions that would then inform everything.

We had a brilliant lead researcher in Fergal Kinney who mapped out the story of the band in a document informed by Domino’s press archive, and that then allowed us to work out who we’d interview. We then interviewed all the contributors throughout October, November and December. January was a month dedicated to editing, which was where the actual story telling started. We had 30 odd hours of audio to get down to around 2.5 hours over 4 episodes. We were also writing the narration script as we went, which we knew was going to be recorded by Rose Matafeo once we had everything in place and were happy with the edits.

It really was a mammoth job, which we realised most in the edit. Personally, I found that part really rewarding. It was like a giant puzzle, fitting together the audio we had (of course we had little idea what people were going to say on record beforehand) and making it come alive with the band’s music. Of course it helped that the story itself is so compelling, and that everyone we spoke to were so good at telling it. It was just a joy to be honest. Personally I didn’t stop to think how intimidating it was, which is probably for the best. It was all there for us to slot together, and I think a lot of that came from our early research and planning our episodes and interviews properly.

The response from the podcast world has been significant, how has the audience reaction been, and crucially, what has the band’s feedback been like?

Greg: It was really pleasing to see such an immediate, positive reaction from Franz’s huge energetic international fanbase. Even within the first couple of hours of release seeing comments and listens coming in from every corner of the world. That meant within the first couple of days of release the podcast made its way up the charts, reaching the top of the Apple Podcasts Music chart and featuring highly on others. It’s also been a thrill, a couple of months since release, that people are still coming across the podcast. Because of its evergreen nature we hope it’s a podcast people will come to discover and enjoy for years to come. Rightfully there’s lots of interest from the music community in making podcasts, but I think this was a great example of the right band, a compelling story and the ideal format. We hope to work with other collaborators to do more of it.

Why this podcast – what was it about Franz Ferdinand and their story?

Stuart: It felt like a perfect one for us. Greg and I were both at university when Franz broke, and they really did change British guitar music. Take Me Out charting at 3 after a long period of terrible nu metal and lots of straight up pop being in the charts was really exciting. That was 2003, and even since then not many bands have blown up in that way, so quickly. There’s a lot of appeal in that story alone – what’s it like to be in a band that goes from playing in a friend’s house to opening the Grammys in a year? But beyond that I’ve always been fascinated with what happens after that. How do you keep that going? What’s it like to constantly tour as much as Franz famously have? How does it feel when a member leaves?

I loved hearing about it all, and the band were very open about it, which we were really thankful for. We thought it was important to interview them all separately for that reason. It added to the production time of course, but meant that everyone could speak freely. While editing, I must have listened to the featured songs a thousand times, and yet I still really like them.

As a four part series, how does the podcast break down – with each episode what can we expect to hear and learn?

Stuart: We start in Glasgow with the band forming. Bob and Alex are trying to get a band together when they meet Nick at a party who lies to them in order to join. Nick says he’s a drummer but he really isn’t. There’s a highlight in this episode where Alex retells how he and Nick met having a fight over a bottle of vodka. We’ve also got some rare early recordings and demos in this first episode, as the band talk about their formation, playing gigs at art school house parties and getting interest from the music industry.

Episode two is all about the recording of their debut album, the impact of it and the single Take Me Out, what went into that unusual song and the extremely glamorous world it suddenly thrust the band into. Expect stories of meeting David Bowie and parties in Hollywood.

There was a lot to pack into episode three and the band reached breaking point, resulting in a punch up in Paris, and they recorded two more albums whilst barely taking a breath from world tours. Episode 4 is the band patching themselves up and reinventing themselves for what’s going to come next. Two members leave and three join. It’s a hell of a story really. Like I say, few bands have had the highs of Franz this century. And we hope that in hearing them tell the story people will get a real sense of that time in British music, and just how important Franz Ferdinand’s songs are. It helped, of course, that we had Rose narrating the series, who was the icing on the cake.

Words So Leisured – The Story of Franz Ferdinand can be found on Apple Podcasts, Spotify and all good podcast platforms.

Main photo credit Franz Ferdinand by David Edwards.

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Stak is the bold, irreverent podcast company that is serious about creating quality audio. We are the creators of some of the UK’s favourite shows and entertain millions of people across the world. Katie Baxter is a Senior Producer and Sound Designer at Stak. She’s the producer of JaackMaate’s Happy Hour, one of Spotify’s biggest shows and the most successful YouTube to podcast conversions in the UK, as well as Eureka! and UTOPIA Talks. She also works across Stak’s commercial audio.

WHAT IS YOUR FAVOURITE ASPECT OF YOUR WORK AT STAK?

I love the creative freedom I have and the range of projects I get to be a part of. Whether it’s comedy for JaackMaate’s Happy Hour, crazy sound design for Eureka! or thinking up music focused content for UTOPIA Talks, I feel like at Stak I get to try my hand at a lot of different things. I also really appreciate the amount of trust that’s put in me to deliver a good show.

WHAT WAS IT THAT INITIALLY GRABBED YOUR ATTENTION TO PODCASTING?

I’ve always loved music, so when I went to uni I got really involved with student radio and started producing, presenting and DJing, which really drove my love for audio to the next level and made me want to turn it into a career. I did a few internships in radio and one day in my third year I got an email from Stak inviting me to come and see their studio. I caught a coach down to London from Nottingham just before my final deadline and the rest is history!

WHAT’S A PODCAST YOU’RE LOVING AT THE MOMENT?

The Log Books is an amazing LGBTQ+ history podcast. I also always come back to Song Exploder and I listen to Today in Focus a lot!

WHAT DO YOU THINK ARE THE ESSENTIAL INGREDIENTS TO MAKE A SUCCESSFUL PODCAST?

That is the golden question! In my experience it’s taking pride in the content you create, being consistent, working well as a team and trying to give whatever you’re making its own unique spin!

Listen to Katie’s work on JaackMaate’s Happy Hour, Eureka! and UTOPIA Talks wherever you get your podcasts.

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Acast: How did Nothing Is Real come to be?

AC: I come from a background of working as a TV producer and have also been producing podcasts and audio content for 12 years. My cousin, Jason Carty and a friend Steven Cockcroft are immense Beatles fans and are The Beatles Brains of Ireland. They are both massive music fans with a considerable and encyclopaedic knowledge of The Beatles. They had been wondering about doing a podcast for a while about The Beatles. I suggested coming into the studio, do a demo episode, see how it goes. That was almost 4 years ago so it clearly went well and continues to grow.

Can you tell us about some of the highlights of the last six seasons?

For my part, I love producing and recording the show, and being a reluctant contributor from time to time and seeing how its grown and taken on a life of its own. For Jason and Steven, getting to interview the foremost Beatles historian Mark Lewison in studio was incredible. Working with Disney+ and getting exclusive pre-release access to the Beatles ‘Get Back’ documentary, and then doing podcasts around the release was quite something. We’ve created and produced over 100 episodes covering topics as diverse as individual songs, people, & places. A live recording of an episode inside Abbey Road. The only Beatles podcast to have watched every movie made by Ringo Starr. Selling out Dublin’s The Workman’s club for a live episode. And of course, the friends we made along the way. So many highlights.

Why do you think niche music podcasts work so well?

Niche works in any podcast capacity. Niche is best. Narrowing your focus while speaking to individuals with a common interest, is a great way to build a community. It allows you to develop a relationship with your audience. With music, the history, legacy and discography of bands and singer songwriters is so rich and fertile. Interpretations of songs, albums, band breakups, management interference, the individual personalities, music has all the drama you could wish for. The Beatles, for example, did so much in such a short space of time, you sometimes forget what they managed to achieve. We are still finding new things out about them. You only need to look at the Disney+ series, ‘Get Back’. That was over 50 years ago, and it has thrown up so much, we could be discussing that for years to come, guaranteeing your podcast will be completely unique, because there is only one you. Also, don’t hesitate to explore topics you’re passionate about on your podcast. I think listeners can tell and engage way more when a podcaster is diving into topics and conversations that really interest them.

What do you love about podcasting?

The intimacy and immediacy of the media and medium still fascinates and excites me. It’s a malleable form of engagement and entertainment in the way that radio is not. The immersive, on demand, conversational nature of the mode. You can produce evergreen content, it can be ephemeral, it can be free form, work in several genres. I love storytelling and what some individuals and companies have done with podcasting and audio in the last few years transcends the practice. There are existing commercial and creative opportunities available but so much that can be done and developed. Best of all, podcasting is open to anyone. The barrier for entry are non-existent. The content needs to be interesting and output needs to be consistent. One of the first podcasts I ever heard was Arsecast from my good friend Andrew Mangan. His style and flair blew my mind and opened my mind to what was possible with podcasts. That led me to listening to Comedy Bang Bang, which at the start was called Comedy Death Ray Radio. That show and WTF with Marc Maron was an aurally illustrative example of improv comedy and long form interviews respectively and you could do anything you wanted. I was hooked.

What attracted you to releasing additional episodes via Acast+?

Building an audience and a community is difficult in any form of entertainment. With podcasts, it’s not passive. People are making a concentrated effort to voluntarily listen to your show instead of doing anything else. Acast+ offered an opportunity to further engage with our community, reward their loyalty. We can produce even more shows, bonus content, early access and ad free content. For us, it was a no brainer to experiment further with the form and with Acast who we’ve had a great relationship from the beginning of the show.

What can listeners expect to hear on your Acast+ episodes that they wouldn’t normally hear?

We have put up interviews with special guests. We have done extensive deep dives into topics that the fair-weather Beatles fan may find a little too intricate and in the weeds. Back to the niche aspect of podcasts, there is an audience out there for anything. Some people think that these types of things are a cash grab exercise, but I can tell you, from feedback of our subscribers and we know this ourselves, our production, content, and output levels are consistent every time. Any good podcaster will tell you; you must respect your listener’s time. Again, if they take the time, effort, and money to listen and engage with your show, you must value that and respond in kind in a consistent, proactive, and reactive way.

Has Acast+ allowed you to better interact with your listeners?

Absolutely. It’s almost like another parallel world on Acast+. We have huge followings on Facebook (currently 7,000+ on our members page) and Twitter (currently 6,000+ followers). Conversations and comments are always going on regarding shows on Acast+ which leads people to see what they are missing. I know that Acast are developing further ways to engage with Acast+ subscribers which we are really look forward to seeing.

Follow Nothing Is Real on Twitter and Instagram @BeatlesPod. Listen to Nothing Is Real now on Apple Podcasts, Spotify and other popular podcast apps.

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Want to join the UK’s BIGGEST podcast network, alongside Dane Baptiste, Jessie Ware and Adam Buxton? Start podcasting with Acast today! Use the code ACAST-POD-BIBLE for three months of their “Influencer” plan free at acast.com/start-podcasting. 

Do you love Nothing Is Real? Check out these other Beatles podcasts!

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City of Ghosts is a supernatural audio drama that does just that. Set in 1990s NYC, it’s a neo-noir about corruption, murder, and the things that haunt us, and one of the elements that stands out (beyond the quality of the story and the audio) is their beautiful cover art by artist Emilee Graverson. As well as captivating cover art, each episode has its own image, characters are visualised and the scene is set through bonus artwork on their website.

I caught up with Emilee, alongside producer Ryan Patch, and writer Carina Green, to talk about the hidden value of podcast artwork.

Episode 3: The sisters. The artwork draws on 1990s New York.

Why did you decide it was important to illustrate each episode differently?

Ryan: To be honest, for me it was mostly a marketing decision. The internet and social media, where we knew many listeners would be discovering us, is such a visual medium – even text articles need images. Because we’re a podcast, we don’t have a lot of great visual collateral already – and especially because we recorded in quarantine, we didn’t even have great stills of actors in the studio (they were all zoom frame grabs) and we knew we needed something visual. Having Emilee create more content was a perfect solution to help us with this, and we were blessed with having someone like Emilee who was a font of inspiration and great perspectives who could develop new ways to visualize the themes in each episode.

Emilee Graverson: As a listener, I think it’s really fun to have something visually to look at each new episode. Because of that, I was excited the team wanted to do a new artwork for each episode. It also meant that I got to listen to the entirety of the show, and really immerse myself in the whole plot before working on even the main hero artwork.

Carina Green: Echoing what Ryan said, I think it was a good way to help each episode stand out and provide it with a visual for potential listeners, since social media marketing depends highly on visuals. Emilee did a fantastic job capturing the essence of each episode in a single piece of art.

The 90s aesthetic and technology was a big influence on the artwork.

Emilee, why were you drawn to this project?

EG: I was immediately drawn to the era it took place in. I thought it would be super fun to play around with and draw from technology from the late 90s, and I also love drawing spooky environments and atmospheres. It was a match made in heaven!

Is this first time you’ve done artwork for a podcast? How does it differ to other artwork you’ve done?

EG: It’s my first time doing the main artwork for a podcast! Although I’ve worked with my friends at Lunatics Radio Hour Podcast for many years many doing illustrations and merch. I think podcast art is interesting because it’s kind of a secondary medium, after the more important audio medium. It’s like a fun treat to be able to visualize and see elements of the story as you hear them. Its almost like illustrating for a children’s book or comic, because you have a set script or plot and you get to then riff off of it in your own style.

Mr Orange character card. Each character in the drama was given an illustration.

Ryan and Carina, you both have a strong background in drama/film/theatre before starting a podcast. Do you think that influenced your want for very distinctive visuals?

RP: I wouldn’t actually say that it affected my desire for visuals, but I will say that it certainly helped me listen to my gut more when Emilee came to us with stuff that’s really visually arresting. The show art, for example, is brilliant, and it was one of the first concepts that Emilee brought to us (see concept sketch here). It was weird. But it had something about it that made me stop and say “wow, I don’t know why but this is really impactful.” This wasn’t necessarily the design that made the most SENSE for the show, but it was by far the most ARRESTING design, and years of working in film I think has taught me to listen to my gut in situations like this.

CG: I echo Ryan that I don’t think it really influenced my desire for visuals, but I do think it helped form my idea of the kind of art I really envisioned for the podcast. Part of writing is to paint pictures with words, even for film and theater since you always start with just the words in your script. But for podcasts, especially, you are trying to help someone visualize a world. So as I was writing, I was paying a lot of attention to what kind of atmosphere we wanted to evoke with the show. And I think that’s part of why I felt that Emilee’s art could line up so well for it.

What were your influences for the artwork?

RP: First and foremost, the haunted nature of New York City, of course! I was really excited when we interviewed Emilee to do the art to learn that she lived in the city for several years – this was important for me. The character cards (in this folder) – which I’m really proud of – were influenced by tarot cards, so the Rider-Waite aesthetic I would say figures heavily into what I was hoping to achieve. Also, the bold, solid colors of screenprinting were a bit reference point. However, we hired Emilee for her style, as opposed to having her try to emulate someone else, so I’d say that Emilee is our largest influence!

EG: Style-wise, my illustration work is heavily influenced by screen printing, which is an art form that I love doing! I find that the graphic, limited color palette style of my digital work always stems from my work in that medium! For CoG specifically, though, I was super influenced by my memories of living in NYC, riding the train late at night, and the liminal spaces haunting the city. As Ryan said, tarot snuck in as an influence, which ended up being cool because I have experience illustrating my own tarot deck.

CG: I really love the tarot influence that we all landed on because I think it brings forward the more supernatural aspect of the show. For me, personally, other inspirations and influences came from the NYC I was picturing as I was writing the show, which similar to Emliee was influenced by my time in the city and all the ways it can feel strange and haunted at certain times of night or in certain places. I wanted our art to capture that same feeling of a world that is recognizable as our own, but has a darker, more stylized feel to it and I think Emilee did an amazing job at capturing that.

Were there any images that you wish you were able to use but just couldn’t find a place for?

RP: Yes, there is. This one. Its just so evocative. Since we used this vibe for the cover art and having a large title was very important to us, we lost the opportunity to use the phone in this setup – but I love it so much. It says so much about the character and the era.

Are there any other podcasts whose artwork you really admire?

RP: I love Wolverine, both The Long Night and Lost Trail – how they give you the setting of the show, but keep the characters in silhouette. The redacted visuals of the Homecoming art is simple and effective. Even something as simple as LORE, where its only the handwritten title are great, because simply the typography tells you what you need to know. Cover art is so small, you really need to have it read very simply upfront. What I love about ours is that I think it reads very simply upfront, but has layers as you start at it for longer.

EG: I always think of the original Welcome To Nightvale artwork. I love a limited color palette (as you can see from CoG) and I think it was so cool how the aesthetic from that really led the rest of the show’s aesthetic and color and vibes. It was also the first time I’d seen something illustrative for podcast artwork.

CG: I really love the artwork of The Black Tapes, which I think is simple but incredibly evocative with its muted colors except for the red of the protagonist’s jacket. Similarly, the artwork of Old Gods of Appalachia is really arresting and has many layers to it the longer you look at it.

Where can readers find more of your work?/Where can readers find out more about you all?

RP: People can read more about me at ryanpatch.me, or follow me at @ryanpatch in IG and @d_ryan_patch on twitter. Don’t forget to follow @cityofghostspod on twitter and @cityofghostspodcast on IG as well!

EG: I am on Instagram @emileehere and my original tarot deck that I illustrated can be found at: personalspacepress.com, along with more of my artwork.

CB: I’m working at having more of an internet presence but folks are welcome to follow me on twitter @cagreenwrites. I’m also writing an online novel for Tapas Media, Return of the Keeper, which will be launching on the 21st of March, so you’ll be able to find me on their website, tapas.io, as well.

Listen to City of Ghosts on Apple Podcasts, Spotify, and other podcast players.

The post Discussing the value of podcast art with City of Ghosts appeared first on POD BIBLE.

So, tell us the origins of Stripped Media – how did it all begin?

I was hosting on our aftershow / TV Companion Podcast for HBO’s The Wire, called The Wire Stripped with my co-host Dave Corkery (The Cinemile) and esteemed editor Tom Whalley (aka “T-Bone” from Huey Morgan’s BBC 6 Music Show, Kermode on Film… the list is endless!). We all worked really hard on The Wire Stripped as we didn’t want it to be the standard format for these shows where two guys recap each episode of a show scene by scene from a cupboard.

We hustled hard to get key actors and experts to show who could add the kind of depth and flavour that would make our show stand out. It really worked and meant that we got lots of amazing “wait how did you put this together?” feedback! We thought that we could apply this to other shows and set up Stripped Media to do just that. Not long after we were commissioned by Spotify to produce His Darker Materials a companion podcast to the BBC/HBO His Dark Materials TV show.

We also wanted to build out a network and help other pop culture podcasts grow so invited ace shows like Song By Song and 90 Minutes or Less Film Fest to join us.

What do you consider when taking on a new podcast?

We’re positioned as “Forward Thinking Pop Culture Podcasts” so we’re championing Diversity and Inclusion from the creators of the shows that we bring into the network and those that we produce ourselves. Most of the time it’s an easy choice, such as being invited to work on Equal Too a podcast from Proctor and Gamble and HTYT, the production team behind Netflix Documentary Rising Phoenix that champions disability rights alongside and beyond the Paralympics.

Do you like to have constant input throughout the process of producing a podcast, or do you prefer your role to be siloed?

It depends on the show completely. I work closely with Twiggy to produce her show Tea With Twiggy and my co-host Helen Sadler on one of the podcasts I host Flixwatcher. A lot of the time I just connect the team, provide input at ideation and comment on first drafts of show. The shows that we bring fully formed onto the network don’t need me sticking my oar in!

What is the most valuable lesson you have learned from podcasting?

Be excellent to everyone and work with excellent passionate people. It makes what you do way easier and the final project so much better as a result. The team that we put together for Equal Too for example was just astonishing. It was important here that the team included a high proportion of people with disabilities to ensure the stories were told properly and insightfully. I’m super proud of what we accomplished with that show. It’s a gazillion times better because of the people we worked with! We’re still working with the Equal Too team where we can with, and we’re not waiting for podcasts relaying stories about disabled peopled to do so.

What is something you haven’t managed to do yet, but you would really like to work on?

I’d really love to work with HBO, Netflix, BBC, Amazon Prime or one of these amazing TV networks to produce the official companion to one of their shows. We’ve had discussions with a few of them but nothing has materialised – yet…

We do try to give people a ‘point of entry’ to help them discover new things. If readers haven’t managed to catch any Stripped Media shows yet, would you say there is one episode or show they should start absolutely with?

Sure! I’m going to be cheeky and mention three! A new show to Stripped Media is First Film Club where Film Critic Hanna Flint speaks to actors, producers and directors about their first feature films. Another new Stripped Media Podcast is The Simple Politics Podcast based on the @SimplePolitics Instagram account with nearly 800, 000 followers. Finally an episode of Flixwatcher, one of the oldest Stripped Media Podcasts, to listen to would be Episode 192 “Bugsy Malone” as we were joined by Adam Buxton and Joe Cornish, aka podcasting GOATs Adam and Joe.

The post Kobi Omenaka: Host and producer at Stripped Media appeared first on POD BIBLE.

What does Crowd Network consider when taking on a new podcast?

This could take a while, but to distil it right down: is it a unique idea (which can sometimes be hard to find in the podcast world)? What are the resources needed to make it? If it is a partnership, do we want to work with the creator, personality or media company? How committed will they be to the podcast?

At some stage we also look at sponsorship and the revenue potential, but that isn’t always the deciding factor. Essentially, we want each title that Crowd produces to add value to our company and reputation.

Do you like to have constant input throughout the process of producing a podcast, or do you prefer your role to be siloed?

Nothing at Crowd is siloed, everyone has a say and all opinions are valued and considered. From my point of view, I am a creative at heart and the best part of my job as CEO is being involved in idea generation, commissioning and launching. However, the three other founding members of Crowd, Louise Gwilliam, Steve Jones, and Tom Fordyce, are the best content creators and producers in the industry, and they’re supported by a growing team of brilliant talent. I trust them implicitly, so I am happy to take a back seat and get involved when they ask for my advice or input.

What is the most valuable lesson you have learned in the past year?

Patience is key. It takes time to grow an audience for most podcasts. At Crowd, we are very much focused on creating long term projects and building that loyal community around the show or personality. We took this approach with The Joe Marler Show and The Geraint Thomas Cycling Club, both of which have been very successful. Part of that success is down to Joe and Geraint themselves being fully committed to the long-term vision of the project, and their listeners.

What is something you haven’t managed to do yet, but you would really like to work on?

I would love to make a podcast with Roy Keane. We had a route in to him and pitched an idea. Apparently, the response was short and to the point, so I’m not sure that will happen…

Steve [Jones] and Tom [Fordyce] created That Peter Crouch Podcast, and I reckon a Keane podcast, with the right treatment, could grow even bigger.

Crowd Network’s shows have spanned the Atlantic – from The Geraint Thomas Cycling Club podcast to looking at the American law system in Unaccountable. Have you found there are differences in the way you approach shows – and how they approach you?

We are increasingly making content targeted to the US market. This includes American Vigilante (launched September 13th ) and Anthrax (launching in October), which is based on the Anthrax attacks that followed 9/11. These opportunities arose through the success and quality of Murder in House Two, which charted a 15-year investigation into the Haditha Massacre at the hands of US Marines. It was our first show to win an award, and has opened a lot of doors for us. Every approach is different, and every business model is different. Crowd are not a production house, so the business model must involve shared ownership and revenue. The US market is much more used to this than the UK, which can sometimes be dominated by the commissioning strategy of the BBC.

With our personality shows, with Alan Cumming, Geraint, Joe, and Jamie Redknapp (coming soon) it is about going to them and their team with a compelling idea, a long-term vision, and a way of working which suits their busy careers. Plus, they are all competitive people, so they want it to be the best it can be.

Shows such as The Mentor and Unaccountable were projects we believe could make a difference to people’s lives. Podcasting can be an effective tool to instigate change or at least get people thinking and talking. From the very start, Crowd has been committed to using our platform as a force for good, reflected in many of the series we create.

We try to give people a ‘point of entry’ to help them discover new things. If readers haven’t managed to catch your shows yet, would you say there is one they should absolutely start with?

I am going to give you two, as at Crowd we focus on producing both personality pods and trail blazing documentaries. The Joe Marler Show – presented by rugby player Joe Marler, but no mention of rugby. Joe’s joined by Tom, and each week they speak to a new guest who has a fascinating background or career. Believe me when I say it takes them to completely new places each week – from chatting to a woman who worked on Death Row, hearing from someone who grew up in a cult, to talking to a real-life clown. Joe is an amazing person and was the first person we approached when we launched Crowd. Authentic, funny, and complex. An absolute star. American Vigilante – just go and listen, I promise you will be enthralled by it. It has taken us most of this year to get this show launched. If you want a strap line, it is about the real-life A-Team, but it is so much more than that.

The post Mike Carr: CEO of podcast production company Crowd Network appeared first on POD BIBLE.

Who are you and what’s your podcast about?

I’m Adam Read, I’m the co-creator of the production company The Chancer Collective and the podcast Podcaster.

Podcaster came about when we wanted to make a show that wasn’t reliant on having to work around the schedule of a main host. So we had the idea to create a character called V-The Voice of Pod, who asks the guests all sorts of random and simple questions that they might never have thought about before, whilst also promoting the podcast they host.

There are a LOT of podcasts out there, which means the potential for a show to run and run, and not struggle to find guests that fit a certain criteria.

What was the first podcast you ever listened to?

This American Life back in 2013. An old co-worker told me about it and as soon as I listened to my first episode, I binged on others. Around that time, like everyone else, I also got hooked on Serial and a show called Film Junk.

Cats or dogs?

A Podcaster classic question. I’d go for a dog. I’ve been asked by neighbours to feed their cats whilst they’re away, and recently I dog-sat for a few days. The dog was a lot more fun.

Which podcasts do you take inspiration from?

There isn’t really a podcast we took inspiration from. I was a producer on Big Brother years ago and there was always something interesting in calling a housemate to the diary room, asking them a question, then just sit a listen to them answer with no interruptions.

We wanted to create an experience for our guest’s that was different to being on any other podcast. Some of them assume that it would be me asking the questions and we drop V’s voice in later, but we don’t. The guests are left alone to answer her questions, and we love seeing how each of them reacts to filling a quiet space by basically thinking aloud.

Who’s your dream guest for the podcast?

Can I have two? If not, then Fearne Cotton. Happy Place is a really nice show, something we all need right now and I think she’d have fun in the Podcaster chair.

If I can have two, Chris Gethard. His show Beautiful / Anonymous is so simple, yet the random conversations he has with his guests are always really captivating and he handles them brilliantly.

What’s the biggest lesson you’ve learnt so far as a podcaster?

No matter how much time you prep for a series or schedule guests, have a plan B in case something unexpected comes up. The beauty of making podcasts is that they can be relatively easy to set up and record, so if a guest pulls out last minute and the show is due to drop in a couple of days, what have you got in your back pocket that can be turned around quickly? If you rely on guests, can the show change slightly for an episode to just feature you?

What are you too afraid to try?

Another Podcaster question we ask our guests. Easy, skydiving. I don’t trust having a bit of fabric rolled up in a backpack to stop me falling to my death. No way.

Where can the Pod Bible readers find out more about you?

The podcast is available at Acast as well as the usual other platforms. Or you can find us on Twitter at @podcasterpod and Instagram at @podcasterpod.

We hope any new listeners out there will not only enjoy our podcast, but also then go on to enjoy the shows that our guests make.

Listen to Podcast on ACAST, SPOTIFY and all other popular podcast apps.

The post Podcaster: Fun interviews with ‘The Voice of Pod’ appeared first on POD BIBLE.

Let’s kick things off – how did your podcast come about?

I started Rusty Quill, the production company that makes The Magnus Archives, in 2015 — but Magnus didn’t really begin until 2016, by which time I was already running our first podcast (Rusty Quill Gaming).

With one show up and running, I was looking to find some creative allies to work with on a new show, while simultaneously working on a number of freelance gigs in addition to full-time night work. So, as you can expect, it was tricky to find the time.

At the night job I met Jonathan Sims, the writer and lead performer of Magnus. We spent a few unprofessionally long coffee breaks discussing fiction, and he eventually invited me to attend a gig he was running that year at the Edinburgh Festival.

I was already going to work on other projects, so while I was there I decided to take him up on his invite. That’s how I found myself watching a bunch of elaborately clad space-pirates singing about drunken sailors and dying mega-cities. The group was called The Mechanisms and it was a Sci-Fi Musical Cabaret led by Jonny that was exactly as elaborate as you’re imagining.

I hadn’t seen anything like it, and the nuances of the storytelling really piqued my interest — so I made a point of contacting Jonny to discuss whether we could collaborate on something. We met in a quiet coffee shop basement off The Royal Mile, and that was when he first pitched me The Magnus Archives.

The original pitch was significantly different from the finished project we now know and fear. For one thing, it was first conceived as a pure anthology of original Creepypasta written and narrated by Jonny. I pushed for a broader overarching narrative with an ensemble cast that would run throughout the podcast, connecting all the stories, and that was when Jonny suggested The Fears as a concept (I can’t say any more on them without spoilers).

We talked for way longer than either of us had planned, and by the end of that first meeting we already had the shape of the show. Looking back, that’s pretty much the ideal pitch scenario, isn’t it?

What do you love about making a podcast?

The fact that the sky’s the limit. Anyone can make anything of any scale.

Right now, podcasting is at that interesting pivot point between the passion projects of pure innovation that characterises a new artistic medium, and accelerating external interest from major players — which means there are lots of resources flying around for weird and wonderful projects that could never be realised at any other time.

Speaking to audio fiction specifically, you can make an enormous epic from the ground up with a relatively modest budget compared to Film or TV, meaning there’s space for smaller independent organisations such as ours. That in turn means there’s more competition, so projects don’t end up as homogenised as in other media. Projects get to be weirder. In a good way.

Of course, I wouldn’t go so far as to say there’s no price of entry. It still requires technical expertise, equipment and hard work, but the barrier on the first two is dropping ever lower, as new technology allows people to use their phones as a one-stop-shop for near-professional-grade audio recording, editing and distribution. So, if you’re an over ambitious creative like me, there isn’t really a better medium to get stuck into and let your imagination run wild.

What’s the process for creating an audio drama podcast? How do you write and plan an episode?

First we’ll have an initial story workshop where the showrunner, lead writer and the rest of the writing team will hash out the main story points for the season: what happens, when, and why. All these juicy story secrets are then added to a ‘series. Once this overarching structure is in place the writers go away and each write a few episodes with the lead writer overseeing things and ensuring everything holds together.

While all that is going on, the showrunner (the creative lead on the project) will be consulting with the writers and the producers to build the direction and style of the show. That again is added to the series bible, along with work from our sensitivity team and marketing, so everyone’s on the same page.

The showrunner will then work with the producer on a casting call, which is where we allocate performers for roles. As you’d expect, this has been particularly difficult during a pandemic because we don’t just need to make sure everyone’s a good actor and available for recordings — we also need to provide every single performer with their own remote recording kit and schedule video calls so they can perform scenes together. It’s been a huge logistical challenge which has taken massive amounts of coordination, and I’m immensely proud of our team for doing such a good job.

Once all that’s done, and everyone is equipped and scheduled, and you have your finished scripts and Series Bible, you can finally start recording.

Once it’s recorded, what’s the process for getting it out to your listeners?

First we back up all of our recordings to an encrypted, remote computer server, because there’s nothing as frustrating as losing original recordings.

Once that’s done, our vocal editor goes through the raw audio and cuts it into shape according to the notes provided by the showrunner, before the vocal cuts are passed to a soundscape editor who adds all of the background ambience and sound effects — passing traffic; opening drawers; massive, fire-breathing dragons. It then passes to the music editor who, depending on the project, will either compose original music to accompany the episode or insert pre-made tracks from an original collection we keep for each series.

The last stage of the editing process is through an audio master, who assembles the project and makes sure all the different elements are working together as intended, under the direction of the showrunner.

After that we do a final set of checks for sensitivity then pass it to distribution, who make sure it’s made available on everybody’s podcatcher of choice.

How do you connect with and engage with your listeners?

We use a broad range of ways to engage, and it’s always evolving. When we first set up Rusty Quill in 2015, I personally set up the most retro forum you could possibly imagine — but we moved on from that pretty quickly.

Now we maintain the standard social medias you’d expect, like Twitter (@TheRustyQuill) and Facebook, which people use to contact us. We also maintain an official Discord server with more than 11,000 members, which allows fans a space to discuss our content with the creators and each other in more depth. Beyond that, our fandom has been terrifyingly organised in setting up Reddit communities such as R/TheMagnusArchives and R/RustyQuill.

We also stream video content via Twitch (twitch.tv/rusty_quill), which often features performers and employees from the company, and that allows fans to directly engage via live chat.

Weirdly enough, I think one of the biggest forms of engagement we see from fans is thanks to our licensing. We use a type of Creative Commons licence that allows people to generate fan-made content and, although that stuff can’t be sold or anything, it’s allowed a massive community of fan artists to grow in spaces such as Tumblr — which happened entirely organically.

What’s one hot tip for the budding podcaster out there?

There’s no “secret sauce.” Sorry that’s a bit blunt — I should probably explain.

I often encounter people looking to start podcasting, who feel that they can’t succeed without some secret industry knowledge — some technical wizardry or business flair that will guarantee a hit — but truthfully there isn’t one. As I said before, podcasting is a younger creative medium that is still defining itself, and that means diligent work is still the magic ingredient. All the tips and tricks in the world won’t make up for focused creativity, professionalism and perseverance.

That said, I would say most people underestimate the conception part of the process. If you get that aspect right, instead of just diving in with no real plan, you’ll have a much easier project. You want to take some time before you start creating your masterpiece and really try to pick out the core reasons you want to make it. What is it you’re trying to achieve? Who does it serve? What does success look like? What does failure look like?

Ideally, you’ll want a clear answer to all these questions before you even start work. If you do, you can use that knowledge to guide you to a finished product you can be happy with. Trust me, it’s much easier to make a decision on some complicated production problem if you already have that roadmap to refer to, especially if you’re aiming high.

The Magnus Archives is a weekly horror fiction podcast examining what lurks in the archives of the Magnus Institute, an organisation dedicated to researching the esoteric and the weird. Join Jonathan Sims as he explores the archive, but be warned, as he looks into its depths something starts to look back… The final episode of the story was released on March 25th 2021, but you can tune in for behind-the-scenes chats. Listen now >>

The post Talking podcasts with Alexander J. Newall and Acast appeared first on POD BIBLE.

With inspiration taken from the work and stories that have come from Switchboard, an LGBT+ helpline that’s been in operation since 1974, The Log Books podcast has had quite an auspicious start. Natasha Walker, co-chair at Switchboard and producer of The Log Books, chats to us once again about re-opening the Logbooks for season 2 of the show.

So, what’s it been like making the podcast?

We absolutely loved working on The Log Books podcast. It was a rollercoaster of emotions, reading and listening to all these amazing stories and memories. We have all learnt so much about LGBTQ+ history, which is of course our history with all three of us (Producers – Tash, Adam and Shivani) identifying as LGBTQ+. I think it would be fair to say that this is one of the best things we have ever worked on and Season Two has been even better! We started as colleagues but are now the best of friends!

From left to right, Shivani Dave, Tash Walker and Adam Smith from The Log Books podcast celebrating their British Podcast Awards win.

It may not have been a surprise to many of us – but it did prove to be a shock for the team – The Log Books won Best New Podcast at the British Podcast Awards.

It was so amazing! We were completely overwhelmed and not expecting it at all, when they announced we had won and then the doorbell rang we just didn’t know what to do. It felt so amazing to win the Best New Podcast 2020 award not only because we are all independent podcasters and freelancers, but also because we are sharing LGBTQ+ history, which is so often ignored and untold. To have the podcast recognised as the Best New Podcast of 2020 meant so much to us and shows a really positive shift in society – this isn’t just Britain’s LGBTQ+ history, it’s Britain’s history full stop.

Can you give us a bit of a recap of what the podcast is about and what’s in the first season?

The Log Books is a podcast all about the history of LGBTQ+ life in Britain as noted by volunteers at the helpline Switchboard. Each episode centres around log book entries made by the volunteers who staffed the phones from the charity’s very first day. As a helpline for anyone who wants to talk about gender identity and sexuality, Switchboard has been hearing about, and helping, queer life since 1974. We have spoken to over 50 contributors for the podcast, who have memories and lived experiences of the themes we cover. Season One covered 1974 to 1982, with stories ranging from police entrapping gay men meeting for sex in toilets, to women losing custody of their children for being lesbians, to people kicked out of pubs for wearing pro-gay badges and those struggling with their gender identity before anyone had the right language to help them.

The log books laugh and cry with the real lives of runaways and disco-dancers, with isolated fishermen phoning to chat and people unsure about how to have sex.

The first Switchboard log book – photo by Imogen Forte, Switchboard’s Archive at Bishopsgate Institute

Given the subject matter, there may have been an inevitability to a second season. Thankfully we do have one! What can we hear in this much awaited second season?

Season Two runs through the years 1983 to 1991 and takes up eleven episodes, including a three-part series focusing on the HIV/AIDS crisis. As the country was gripped by growing HIV infections, calls to Switchboard reached unprecedented volumes and intensity. The log books at Switchboard are a unique chronicle of this major health crisis — containing stories from those years that have never been told before.

In this season you hear interviews with patients and healthcare professionals, such as Leigh, a young gay man who began caring for people with AIDS-defining illnesses as soon as he started to work as a nurse.

Also, long-term survivors with difficult but uplifting stories, such as the life-affirming wisdom of George who has spent 35 years trying to keep his infection at bay by calling it ‘sleeping dragon’.

A Switchboard volunteer on a call – photo courtesy of Switchboard’s Archive at Bishopsgate Institute

We also have memories of Switchboard volunteers who took the hardest calls and faced down people who did not want to step into the Switchboard offices for fear of ‘catching AIDS’.

But so much more than a health crisis happened from 1983 to 1991. Britain’s LGBTQ+ communities felt more and more under attack from tabloids and social hostility, with Margaret Thatcher’s government capitalising on this by passing legislation that banned the “promotion of homosexuality”. We’ll hear from a young lesbian teacher, Catherine, whose students scratched insults into her car, and others who were watching the Six O’Clock News when lesbian activists invaded the BBC studio to call for an end to persecution. Other stories in the season include migration to the UK of people fleeing more homophobic countries, state clampdowns on obscenity including a Customs raid on a bookshop, and how Switchboard volunteers used humour to get through these dark times.

Adam Smith, Shivani Dave, Tash Walker, producers of The Log Book – photo by Imogen Forte

What’s the reaction been like to the podcast, both from audiences and also from you all who work on the show?

It’s been so positive, which means so much to us and it’s wonderful to hear people’s thoughts, see their reviews online and read their messages. We felt a real responsibility to not only share this LGBTQ+ history, but also do justice to all the wonderful contributors we interviewed who shared their memories and all those who have called and volunteered for Switchboard. We wouldn’t be here today because of them, their lives and stories live on in the log books and now in the podcast too.

Like any cause and podcast with a social conscience, finding new audiences is key, so why do we all need to listen and take part in this conversation?

As a society we all have to strive to be better allies, to not make the same mistakes that we have made in the past, to learn to evolve so that we move towards a more equal society for all. Looking back through the log books, we learn so much about how the LGBTQ+ communities have got to where we are today, the discrimination, the victimisation, the love, the support, the strength – it’s all part of who we are today, as queer people, as allies, as people. You have to learn from the past, to understand what community, allyship and support really mean. The stories will make you laugh, cry and some… from sex, to police raids, to censorship – it’s all there!

Find season one and two of The Log Books on Acast, Spotify and wherever you get your podcasts from.

The post Re-opening The Log Books with Natasha Walker appeared first on POD BIBLE.

Who are you and what’s your podcast about? 

I am Hannah Rankine and my podcast is called The Han Jan Ran Show (Han Jan Ran being the first three letters of my three names!). The podcast is a celebration of audacity and defying the status quo to create positive change within or for the greater good.

What was the first podcast you ever listened to? 

It’s hard to think that far back as I am a certified pod-oholic but I think it must be Guys We F****d, which I was put on to by a fabulously audacious friend of mine.

Why did you decide to start podcasting in the first place? 

My primary school report called me a ‘motor-mouth’ so maybe I was always destined to podcast! Truthfully though, I started because of two reasons. Firstly, because it was a creative solution to calm me after a health scare. I’ve had a number of chronic illnesses sadly. The first one led me to do a Masters of Fine Art. This year I was diagnosed with Epilepsy after having Covid-19. Taking time off work to recover is when I launched the pod. I have found that creativity cures a lot of ailments. Secondly, because powerful conversations leave me feeling so incredibly driven, creative and ambitious and that is such a wonderful effect that can come from impactful communication. I wanted to use that transaction of ideas and experiences to offer that feeling up to others.

Which podcasts do you take inspiration from? 

I have a running joke with my family and best friend that I keep comparing my show to Michelle Obama’s. I only mean that we both navigate serious and emotional topics with a friendly and fun spirit, NOT that I am as poised, eloquent or as knowledgeable as the former First Lady… but you know… one day. (I can feel my brother eye-rolling right now).

The Echo Chamber Podcast by Jade and Ez. They give an honest take on contemporary issues and share the reality of their experiences as Black British women in a largely problematic society. I respect their authenticity deeply.

Race and Gender Unfiltered by Daniel Edmund. Daniel is an exquisitely, beautiful soul and his tender perspective on the human experience is inspiring to me.

Who’s your dream guest for the podcast? 

Can I say Michelle?

What’s the biggest lesson you’ve learnt so far as a podcaster? 

I will resist talking about learning how to produce a show and say that everything great that I have learnt has been from my guests and my listeners. And that is to question everything and that self-love is the most radical and punk thing a person can do.

Which episode would you say is the perfect introduction to your podcast? 

Ah! You’re making me choose between my babies! 

Episode 3 with Ciaran Thapar really moved me and gives a good idea of the range of topics the show covers. I am told that Episode 14 & 20 with my mum and Evelyn Willing will make you laugh and cry but I also think they are a good way to get to know me, your doting host!

I just launched Season Two and am very proud of the second episode with Aleks Trkulja, a sex therapist and mental health counsellor. So… take your pick?!

Where can the Pod Bible readers find out more about you? 

You can start at Episode 1… I’m only joking. Come find me on Instagram @hanjanran and @thehanjanranshow. I’m pretty active and (annoyingly) verbose so you’ll find plenty out. I try on Twitter but forget it exists for the most part…

Listen to The Han Jan Ran Show on Spotify, or all other platforms.

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The post Introduction to The Han Jan Ran Show podcast appeared first on POD BIBLE.

Who are you and what’s your podcast about? 

I’m Vickie Donoghue. Natalie Mitchell and I are playwrights from either side of the Thames estuary who also write for screen and radio. Our podcast drama is a thriller set in Kent about The Pied Piper returning to contemporary Britain. It’s about a detective and her daughter uncovering a terrifying force and their battle to discover the truth. It’s an unnerving, spooky story enhanced by an incredible soundtrack by Bat For Lashes’ Natasha Khan.

What was the first podcast you ever listened to? 

I’m still a bit of a podcast novice (having two small children has helped that!) but the first one I listened to was by Simon Stephens for The Royal Court Theatre in which he interviews a different playwright in each episode. I absolutely love it as I am such a nosy person and I adore hearing how each writer works, their process, and even how they set out their working day. It’s the little secrets that come out that is so engaging and the rapport that Simon has with each fellow writer. It’s very inspiring.

As a writer, why did you decide to write for the podcast format?

With both of us having previously written drama for Radio moving to tell stories in a podcast format seemed very natural. The story of The Piper and it’s connection to music leant itself to the audio form. In fact, music was absolutely key for us. We always knew we didn’t want a physical embodiment of The Piper, and wanted a haunting motif. Getting someone of Natasha Khan’s calibre who totally got and nailed the brief was amazing. The music is a character in it’s self. We were also really excited to get stuck into long form storytelling because as a writer opportunities like that don’t come up very often.

Tell us about the process of writing and producing your podcast?

The Piper was produced by Somethin’ Else and directed by Kate Rowland who has years of experience in producing and directing Radio and was previously Head of Radio Drama for the BBC. The idea for The Piper came to us quite a few years ago but once Kate had successfully pitched it to Something Else, Natalie and I only had a few months to write it before we went into an intense week of recording it. Kate likes to record on location rather than creating soundscape and atmosphere in a studio so it was a cold week in December 2019 that we got the series completed (my god the actors were incredible!). Kate and Steve Bond (our Sound Designer) then got the first edit done, but then the first lockdown happened. The process was then slowed up, however, on reflection, coming out in the Autumn of 2020 was perfect as it’s a Halloweeny, spooky thriller and a podcast that you definitely want to snuggle up and close the curtains for!

Which podcasts do you take inspiration from?

As I said, I’m nosy, so any podcast where I can hear about an artist’s process is a winner for me. I love learning from other creatives. I’m also a bit of news junkie so love the BBC’s Newscast. It’s really interesting watching journalists that have very serious roles on our televised news programmes being a bit looser and a bit more honest about what’s going on politically in the world. Hearing them actually laughing is so weird! I also love supporting my mates and their fantastic podcasts – Funny Mummies, Hardcore Listing, Hoovering and I love anything by Fearne Cotton – Happy Place or even Sounds of the 90’s (where I can relive my youth!).

Where can the Pod Bible readers find out more about your podcast?

Head to BBC Radio 4 or BBC Sounds and search The Piper, where the trailer and all episodes are now available to download and listen to. Enjoy!

The post Introduction to The Piper podcast appeared first on POD BIBLE.