Beth Hope (she/her)
Currently helping create gothic fiction podcast Wallpaper (pilot episode was made for 2026 PodJam!)
This blog is created on Aboriginal land with acknowledgment & respect to
Aboriginal and Torres Strait Islander elders. Also sending my respect to you if youâre an Indigenous person from any Country across australia or anywhere in the world
How does a fiction podcast get written? Will it just happen if I start? How do I not completely restart every time I attempt it? = getting nowhere.
Also how do you write (or outline) a series? Is that a second-draft-consideration? Do you just think about it as one big story initially then break it up into episodes later? Or is that making too much work for future you?
Iâve learnt stuff about writing previously (no clue whether my brain has retained any of it haha), and I have access to so many resources, but I haven't written anything in a million years
If anyone has any advice, experiences, successes, failures, process/timeline examples, etc. to share I'd be very interested to hear them :)
someone put out the bat signal for me (thank you so much @zazujoy!!!)
hello! I'm Lauren! I have advice! as zazu mentioned, I do a monthly office hour livestream so I can answer anyone's questions about how to make audio drama - the best way to keep up with when that is is the @atypicalartists patreon (sign up for free and get a newsletter/post a few times a month!) but you can also just go to this page for all the different links. the next one is tomorrow, 1/28, at 3pm PT.
also if you scroll down on that page there are links to a bunch of free resources we provide, including a development and scripting handbook. it's in dire need of an update (the production handbook is much more robust) but hopefully there's still a few helpful tidbits in there.
but, ANYWAY, not to just come on and hawk my wares (for insight - I've been pushing the free patreon a lot recently because I'm desperately trying to spend less money on squarespace but there's no way to automatically move a newsetter to Patreon, so here we are), I DO have thoughts about the questions in your post.
apologies if I'm reading this wrong, but it seems like the two big questions are: "how to start and keep going?" and "what's the best approach?"
this is entirely how I do things, but I've been writing audio drama for over 10 years and, when push comes to shove, I can take script from a blank page to a polished draft in a week with this approach. but of course ymmv!
this got, uh, long (can I ever be succinct?) so putting the rest under the cut!
how to start and keep going? find the routine that works for you, but do make a routine. maybe you write for 10 minutes every day before work. maybe you write for two hours on the weekend. there's no right way to create a writing practice, but you do have to make sure to set aside time for it. then, it's so crucial to write a bad first draft. and I mean bad. use placeholders, skip transitions, leave out sfx, etc. just keep going. don't edit as you go, just get through the basic layout of the script first. this is what I call a rough-rough. my drafts usually go:
rough-rough
rough
v1 - this is the first version of a script I would actually ever share with anyone
v2 - this is the version that will probably initially go to actors
v3
polish - there's very little difference between v3 and polish, just, well, polishing!
for additional insight, this is what a rough-rough can look like:
as you can see, there's just a whole paragraph where I'm like... "whatever, I'll write this later". that's probably two pages minimum I'm skipping over, but I'm just sketching out an episode!
and this is a rough:
there are no huge chunks missing, but I'm still using placeholder dialogue and action - I have to figure out what specific ghost stuff is happening, for this show in particular, I need to talk to my composer and sound designer about terminology and also what's going to be logistically feasible. but the basic approach applies to all kinds of things and is something I learned from Shonda Rhimes' Masterclass that I've carried with me ever since.
(p.s. the show I'm currently scripting is @phantompulseband, so that's what these are from)
I share all this to show that, even if there's a temptation to restart every time you sit down to write, I really recommend pushing forward, even if things are incredibly messy. that said, sometimes you do have to restart - the pilot script for this show is completely different than when I started. the queer western romance novel I have out on submission went through two full drafts before I started over completely. knowing when you need to start fresh is going to take time, but I think newer writers, or writers getting back into a practice, are more inclined to be hard on their writing, when really what they need to do is push forward!
which brings us to...
what's the best approach? this is so so variable and depends hugely on what your story is and what you want it to be. the wonderful thing about audio fiction is that you can do whatever - episode length, season length, etc. can all be whatever you want! though, of course, that amount of freedom can also be overwhelming.
something that I found helpful in making @thebrightsessions was breaking things into smaller chunks. for example, let's say a season was 16 episodes - I'd think about what the story arc was over those 16 episodes, then break it down into two smaller arcs taking place over 8 episodes, then 4, then 2, then the individual episode arcs. that's how a lot of TV story breaking goes and I find it helpful.
I come initially from an acting background, so I think often of Stanislavski's objective and super-objective. what's the objective of the episode or smaller run of episodes and what's the super-objective of the season? what's the best way to get there? every episode and season needs a beginning, middle, and end - you can start with the season and work down into the episode-level or vice versa.
in terms of outlining...oof. I'm the wrong person to give advice on this because I do not outline as I "should". really my rough-rough drafts are my outlines. but I very rarely do full season outlines. here is the extent of how I outlined every season of TBS:
these days, I mostly have a google doc where I just write down ideas as they come! again, this is something you'll find your own process for as you go - it's a lot of trial and error.
okay, I've rambled on long enough. I hope that there's a little glimpse of something useful in all of this or, at the very least, the encouragement to just start and keep going! I'm so excited anytime anyone joins this medium and I can't wait to hear what you come up with!
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IT'S PRIDE, BITCH and drag queen HERAcles is absolutely overbooked for Pride Weekend! Follow her whirlwind adventures as she frantically tries to slay every single event on her schedule and learns just how strong a girl can be!
This podcast is surprisingly emotional! Imagine the comedic pacing of Wooden Overcoats but with the protagonist in a different situation each episode like Peri in The Far Meridian. Each episode is a standalone story (and part of a larger season arc) about one of the 12 events HERAcles has been booked for over one weekend in June. It is a very clever show, I now want to learn more about so many modern and ancient cultures because of it. I really loved the episode where a young woman approaches HERAcles (aka Timmey out of drag) after the bingo game to talk about how some terms and things can feel a bit disrespectful, and then she ends up taking her along as a spectator to watch a ballroom vogue event - which of course Timmey was familiar, but it was really nice the way the creators showed the kind of community and confidence Ballroom culture can create for young people, and how much that kind of authenticity and expression can be celebrated. Also loved the episode at the convention where her standup slowly drifts from observational/conversational comedy into a discussion about Amatonormativity. That episode also has some of the best jokes Iâve heard.
Iâve only listened to the first three episodes and so far theyâre saying there are 10 events booked but there are 13 episodes total, and the word âtwelveâ is in the title, so Iâm very curious to know how the next 10 episodes will unfold. Iâm really enjoying the way things are snowballing so far and how many callbacks and foreshadowing moments there are. HERAcles/Timmey is so much more stressed/vulnerable than I would have realised, and I love how much they care about creating positive experiences for people despite their sass and sarcasm.
In this cyberpunk reimagining of the 1970s, we find ourselves in the night time world of disco. Philippa Partridge & Petunia Presley plot an ominous plan on the dance floor. Weapons pressed against their bodies under their tight-fitting âfits and concealed below their flares. Their evening begins in The Flair & Flourish, one of many underground lesbian disco joints in the sprawling city. With the Queer Disco Scene under threat from law enforcement (who hunt through the night on a fleet of giant wasps), Partridge & Presleyâs evening may begin with a boogie but it will end in victorious bloodshed.
(Something like this probably already exists somewhere but)
Rainbow Connection
âRainbow Connection, where a group of queer friends answer queer questions from queer people! Send in your weird/random or LGBTQ+ questions about anything and everything, we (Thomas (she/he), Suuz (they/she), and Sapphire (it/they)) will answer them to the best of our abilities! For the lovers, dreamers, and you!â
What seems like a normal talk show, slowly turns more sinister as the questions the hosts receive turn out to be part of a bigger picture. Can they figure out what is happening to the color in everyoneâs life?
love this audio drama! It really feels like iâve gotten a pot of gold at the end of this rainbow.
The way everything unfolds in such a carefully planned out way! I still canât believe that Suuzâs storyline played out that way - it was so good and so sad. Loved the aroace representation, truly covered such a wide range of identities in such a rich and colourful way
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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During a search for the sea-going tug Conestoga (AT-54) in May 1921. R-14 (SS-91) ran out of fuel southeast of Hawaii. Sails were made from blankets and mattresses, and the submarine arrived at Hilo on 15 May after 5 days under sail.
Polls will be queued and posted within the next day or so. In the meantime, if you have any submissions for our fictional ships bracket please feel free to send me submissions! There are still a few spots left.
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
â Live Streamingâ Interactive Chatâ Private Showsâ HD Quality
Anya is LIVE right now
FREE
Free to watch ⢠No registration required ⢠HD streaming
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
â Live Streamingâ Interactive Chatâ Private Showsâ HD Quality
Anya is LIVE right now
FREE
Free to watch ⢠No registration required ⢠HD streaming
You know how this goes, you were born knowing how this goes, the knowledge of how this goes was beaming into your brain at birth by aliens, but just in case, here's how it goes:
Leave a fake audio drama here.
Leave a review for someone else's fake audio drama.
Shattered skies is a podcast about rebuilding from the apocalypse, 50 years ago, the skies split open, portal like great maws tore the world apart and rebuilt it. Now, the landscape is stitched together, climate zones somehow retain hard barriers even when a neighborhood of Cairo finds itself bordering a tundra, buildings cut in half crumble along the edges, and some regions seem like they were never on earth to begin with. Roving zones riddled with smaller portals that donât tear the land apart still exist, bringing horrors from beyond and voices of things not mortal speaking through them, when a portal rolls over you either find shelter or you fight for your life.
We follow the residents of Union Foundry, one of the few industrial compounds lucky enough to come out unscathed, with the experts still alive, and in a position to trade for raw materials for those nearby. Those experts quickly reorganized along lines where authority is derived from experience with the task at hand.
Our main cast our Lu, an engineer trained by the foundry, Avery, a scrapper who goes into ruined urban zones to find supplies and has a lot of experience outside the safety of Union Foundry and other surviving settlements, and Johanna, a researcher who is trying to find a pattern as to what wound up where. The trio are sent out by Union foundry from the furthest settlement their trains reach to find either an uncontacted settlement willing to trade or a suitable spot for a new outpost. Along the way, theyâll encounter strange landscapes, surprisingly polite bandit gangs, monsters from beyond and more.
