S2E6 - Progress! News! Scott Pitches To a Bunch of Filthy Enablers!

Sam. Jack. Mike. Is that good? Okay.

Okay.

Sounds good.

Awesome. All right. Hello and welcome to Behind Locked Doors, a podcast where sometimes there are planes overhead and I wonder if you can hear that. Anyway, I'm outside today. I am Scott Paladin. Outside boy. I am making a horny werewolf audio drama called It Takes a Wolf.

Hello, I'm Sam Stark. I'm working on as in West, a spinoff of Unspeakable Distance and another unnamed project because I can't do old two things at once.

Okay, well, you're gonna have to expound on that in a second, but in the meantime, I'm Jack. Hi. I'm also working on as in a spin off of Unspeakable Distance. I don't have anything else to say about myself.

Okay.

And I'm Mike, AKA Interiority, and I'm incredibly interested about what Sam's got, like, secret wise.

Oh, my God.

But I'm also. I'm also working on my own stuff, including my own audio drama called Sundered.

Awesome. Okay, so let's. Let's do check ins and then we're going to check in specifically with Zam, so.

Oh, my God.

So I think last week I said that I wanted to move ahead, like, to jump forward to the part that made me hoot and holler to get over the hump I was doing, which worked a treat because after, like, struggling to get like a couple thousand words over the course of like, two months, I wrote like four grand in two weeks and finished that episode.

Hey.

Yeah.

Well done. Yeah, that was impressive to see. That was. Yeah.

We'd also been talking a lot about, like, work setups and stuff. And so I just threw money at the problem and I bought the laptop I'm recording on now so I can, like, move around and do go in different places and write in bed and stuff. And I think that also made a big difference, so.

Hell yeah.

Yes. I feel. I feel good. All right.

Fantastic, Mike.

All right. I've had, like two weeks of essentially kind of racing to the finish line to get my first chunk of my scripts done for my show for Sundered. Did that, got that sent off and then like complete fatigue spiral. Just fell face first onto the couch and didn't really move for two weeks. I've done a little bit of work here and there, but, like, nothing significant. I've just been kind of waiting for my reader basically to get back to me, and they took two weeks to do, so I got the response back this morning, so.

Oh, my God.

So finally it's done. Yeah. Feedback good? Like, yeah, it's like, you know, like, not really anything in terms of revisions and stuff. So it is now been sent out to various other people that I want to work with, and hopefully ball is rolling. So cool.

So exciting.

Awesome. Okay. Jack.

Hi. I'm still, like, dealing with grandma medical stuff, so I didn't get, like, as far as I wished that I had this week, but I'm, like, probably 85% drafted through the second half of the pilot. Hopefully. I'm crossing my fingers.

That's good.

Yeah. That this coming week, I'll have something that you can actually look at with your eyeballs.

Cool.

All right.

All right, Sam.

I didn't do much this week regarding as in west, except I did get through maybe, like, half of Unspeakable Distance listening back to back of R. Oh, yeah, yeah, yeah. The three of our. The three of. Oh, I. I am only listening to the three of our things because it's just too much inf. Yeah, I'm going to go back. I'm going to go back later and listen to the Francesco one, because I think we'll need him too.

Yeah.

And I probably will go back and listen to all of it because I would love to have callbacks to all of the characters. But, yeah, I think. I think it's like. I think I'm, like, halfway through and I've made a bunch of notes like, as is call sign.

Thank you for doing that.

Yeah.

All right. If you. If you want to tell us about.

The new project, we are all out here, like, okay. So I can't actually. So I can't actually say too much about it because there's a bunch of other people working on it with me, but it is my thing. Cool. It's my thing. I have started my own production company, so I'm gonna have my own LLC for podcasting network. That's the word network. And we're going to. We have. We have two shows that are already sort of kind of scripted, kind of sort of ready maybe to be looked at by another person, by a couple of my friends. And then there's a huge project I'm doing with a bunch of my writer friends. We're starting an anthology. We're gonna do this. It's gonna be really cool. And the anthology is going to be not only released in an actual book form, but we're also going to do a podcast where me and a couple other people are going to narrate each of the stories. And then so there's gonna be, like, Two episodes. There'll be an episode of somebody reading the story, and then an episode of us interviewing the author. Me interviewing the author.

Cool.

And so it's that. And that is going to be a somewhat. We didn't mean it for it to be a horror thing, but everybody's themes are kind of horrorish with, like, a hopeful towards the end, like most of them are. And then the two other. The two other things that are being written are also just happen to be horror. And then we have. And then I have one kind of comedy thing that I'm doing with a friend, and then I have the project that I've been working on by myself all on my lonesome for, like, two and a half years, which is like, straight up just horror, nothing else.

Yeah. Yeah.

And so I think we have. I've lost count. 1, 2, 3, 4, 5. I think we have five shows that are gonna go on the network. We're gonna release them, like, a couple months apart from each other, and it's like all sort of just coming together. And I've. I've even made artwork like myself.

Oh, awesome.

For it. And so I have all this stuff that's, like, percolating. Some of it's almost ready to, like, actually do something with. And I'll be able to start casting pretty soon.

Awesome.

But I. But it's cool. But it's cool because most of the stuff that I'm doing is with people that have never been in podcasting before. So everybody is kind of learning, and I'm. And I'm like, I don't know, bringing more people into the fold. And it's been really, really fun because they. The other stuff that they do, most of them are just writers, and they've been doing prose and short stories and things like that. And they're so excited to just be able to put something out that people will listen to or people will be able to engage with. Because when you are a writer and you're just writing and you're trying to get published, yeah, it's like, yeah, your beta readers and your alpha readers get to see your stuff, and, like, your family members get to see your stuff and your writers group or whatever. But, like, to actually put it out there for people to read, you have to get in a. You have to get in a magazine or like an online thing, or you have to get literally published through a publisher. And so your stuff doesn't get seen very often. So they're all just sort of like, ah, people are going to hear my stuff that I Wrote, you know, and so they're. They're all so excited, and I'm like, I'm so happy that I've been able to, like, you know, help people sort of, you know, see their. Their work, like, get seen. And so I'm. I'm just super, super happy about that. And I realized that I just. I didn't really tell you guys anything about specific, but I will be able to give you guys probably. Probably in, like, July.

That. That was. But that, I mean, like, you've given us a lot of information nonetheless. You weren't being specific, but that's like. There was a lot of. There was a lot to say.

Yeah.

So that's cool. Awesome.

It's a lot of things. Yeah.

Congrats.

That's awesome. Yeah, thanks. That's so cool. Okay, wait, do you have a name for the network that you could share or is that still okay?

So it's called Llama Pen Productions.

Ah, of course. I should have guessed.

And the artwork is kind of very wholesomey, cartoony, and it's like a llama kind of close up behind a fence, and then there's another llama kind of in the background. It's very, very cutesy, very wholesome. But if you, like, give it a second look, they're both zombie llamas, so that's great.

I love that. That's so cool. Okay, so I. For the. For, rather than having a discussion in general, I need y'all's help. There's more dog hair. There's always dog hair. How? I need yalls help because I am starting my next episode, and I have two directions that I could go, and I want. I want input from y'all. So is that cool if I pitch y'all my two different versions?

Yes, please go.

Okay, cool. So we finished the contemporaneous section of the story, where all of the things that happen in real time, and now we've hit two flashback episodes, or at least backstory explaining episodes that are going to happen in a row. The first one that I'm going to do is for our protagonist. So the overall, I'm going to. This is specific spoilers. Now, we always have a spoilers warning on these stuff, but, like, this is specific stuff. So we have our main protagonist, who is. He's got the female lead. Who they are sort of will they, won't they? They've had their big fight, and now it is time for him to reveal to her who he actually is and to tell his backstory and thus also reveal it to the audience. I long ago decided that this was going to be done in flashback form. So we're going to have an entire episode explaining his backstory, like showing it, rather than him just sitting there talking and explaining.

Excellent. Good choice.

So I have two. I have two options for how I'm going to handle that. One is I thought I might just do like a straight up full cast audio drama style, like, you know, like we've done in the past with no narrator this time. So we drop the narrator. We just have characters talking to each other and explain. It goes through the story of the Misfits, which is his unit in the war, and specifically with their leader. 21. We see a little bit of the main character, but not very much. He'll be sort of background character. We get the establishing idea of who these people are. And then we have the hunter, Zev Malkhana, the person that the protagonist is pretending to be this entire time. He comes in, kills everybody except then gets killed by our protagonist. And the protagonist then takes on his identity and proceeds to be that guy for a while. Now he's coming back and getting his revenge on the people who ordered his unit killed. So that's a fairly straightforward way to do it where it's just like we're just going to present this as like. As if it was an episode of television. You know, we're just gonna, you know, start it out and let the. Let the audience figure it out. The other option is to try to tell it with presented as in universe articles or pieces of media or like after action reports. So we probably start with a, like a old timey news radio news reader voice where it's like 1914, the Great War rages on. You know, we go through a whole thing explaining that part, and then we probably go to interviews with the Misfits, explaining who they are talking to the main character, and then maybe an after action report for what happens when they're killed. And then, you know, sort of presenting it as materials that would exist in universe just in audio form. So those are my two big options. And I would love to know if you guys had thoughts on which sounded more appealing to y'all.

We're all making thinking faces right now.

Yeah, I am very. Yeah, yeah, yeah.

I can cut. I can cut. Silence. That's okay. Okay, good.

Damn. Okay, wait, so.

Or if you have questions, I can answer questions too. If you need more info, I'll be happy to, because I'm also sort of like figuring stuff out. So.

Okay, so option two I get is the like found materials option. What was option one again?

Like, as opposed audio drama. Right.

Like. Yeah, just full on flashback.

Okay.

Yeah, we just. We just. Both of them are going to. Neither of them are going to have like a lead in. They're both going to cold open on these ideas. One of them is that we. We present it because, like, the. The main thrust of the story has a narrator talking over everything. So it's all very first person personal. The second, this would be switching to just in media's res. We are already in with the misfits. We're going to be showing characters. We're not going to have a narrator talking about it. We just do it as a thing. It would be. But again, it's an omni. Not omni. Yeah, Omniscient. Camera. Microphone. Camera's a weird word to use in.

No, but I see what you're saying.

Yeah, it's just there watching the action as it unfolds. Or we do this sort of multiple materials telling a story from different formats.

So either way you're really going for like a complete format switch up at this point.

Yes.

Okay.

Yeah. One of my hopes is that we get. We end up on. We end episode six and then episode seven comes out next week. And at least some people will be like, did they switch podcasts? Like, what's going on? There should be a moment. There should be a degree of, oh, I figured this out. Oh, wait, they mentioned the misfits earlier. Oh, they mentioned 21 earlier. Oh, this is part of the same universe. Oh, there's werewolves. Okay, I'm. And then sort of like figure out, oh, we're in the past. And then eventually we're like, oh, that character in the back there background there, that's my guy, our protagonist. And that's our guy. And then we get the reveal of, like, who he is.

Oh, that's so sick.

Yeah, that's the plan. Both, Both. Both ideas use that format. I'm just trying to come at them from different, like, you know, ways to present that idea.

Do. Do you have anywhere else in this entire podcast, do you have other flashbacks or is this like the sole flashback thing?

This. That's the question. The answer to that question is that I don't know what episode eight looks like yet. And it might also.

Okay, but you don't. You don't already have a flashback format prior to that.

Was.

That was. That's the biggest thing I was thinking about because, like, you don't want to confuse the audience by having a flashback done this way. And then in this new section, it's done a different. Because flashbacks are already so hard to do. Like, because you got to get your audience on board with switching timelines and stuff.

Yeah, yeah. And you can't like throw a title card 10 years earlier.

Exactly. Exactly.

Yeah.

I, I am a huge sucker and I'm trying to not be like super biased, but like, I'm a huge sucker for the found audio format, especially since you can like really, really hit hard with that kind of stuff. Because there's a thing that I think it's. Who does. Oh God. Not. Wow. I'm just gonna fumble for a second. You can cut me out. Because I'm just searching for the word.

You're good.

What's the book with Kvothe?

Oh, Kingkiller Chronicles.

Yes. Okay. So in Kingkiller Chronicles, one of the things that really hit me really, really hard with his style of writing was it's all him telling a story about when he was younger, you know, and he starts out the really super painful, hard hitting moments with the end. So like when his parents die, he starts it out with like. And you know, if I had known that was the last moment that I would ever spend with him, you know, he like starts it with the really hard hitting shit and you're like, no. And then you have to like watch it unfold. And I think that's such a good tactic because if you, if you did where you started with the after action report, that's. That would be kind of interesting because you get. I wouldn't. It would. You'd have to switch it up, obviously. But if you start with an after action, you get like, oh, some really bad went down and then you can go back and kind of tell it how it went. And then that would also really kind of just drop the audience in. This is a flashback. This is like some. That went down. And then you could go into interviews. You could even like go back and forth. But that's the kind of style that I really love is that found footage quote unquote thing. But that's just kind of my vote. Like, that's kind of like what I like to hear and listen to.

I get it. And I. And specifically that is something to put in the prose Colin column for the found footage version is that you can present things non chronologically.

Yeah.

And it's easier to provide the information that people will need to parse out what's going on.

Exactly.

Right. Like a flashing back.

And I'm not saying you should do it like in the way that I Just said, I'm just saying I like how you can, like you said, I like how you, you can switch up how exactly you tell the story because you can just drop these pieces of information and really kind of get the audience like, oh, okay, we're here.

Okay. Yeah, that is something to very much consider on that.

Okay. So I also want to say I think doing it that way will be the most difficult way to do it for you, the human person who's writing the story. But I think it will be fucking sick if it ends up working.

Okay. Yes. That is also weirdly, that is a pro in the column. That's in the pro column. Feel slightly more like the more ambitious way to do it.

Yeah, unfortunately Scott, I think both you and I are try hards and so I, I always, I always go the harder direction.

Well, I, I guess I'll chime in and say like, you should definitely do the easier thing. Like, you know, just a, just, just, just, just like half, just, just, just, you know, like, don't, don't even bother thinking about it. Just autopilot, you know.

You say that. I'm going to interrupt you. You say that, but like trying to be bad on purpose is a really good way to trick your brain into actually working on something when you're trying to, like when you're stuck. That's not what we're talking about here, but it is something to keep in mind.

Yes.

General writing tip. Just do it bad and then fix it later.

No, I think conveniently, I think I will probably agree with my fellows. We know the first option is going to be effective. We've all done it before. You can drop it in and it'll work. The second is going to be a challenge, but I think it's really like 100% the more interesting choice to do.

Okay.

I think the thing you will have to probably bear in mind and will probably be the biggest challenges is the texture of what it is you're presenting to the listener within that space. Because obviously you're doing it through various mediums. You talk about after action reports, interviews, things like that, making sure that you're giving listener a variety of different kind of like styles of things that you're getting. Because like stuff like an after action report done at length is going to be very, very dry and it's going to kind of really draw people in. But as Sam said, it'd be great counterpoint to something which then either like beforehand or after, depending on which way you approach it chronologically. Like something which is a lot More kind of character focused, which is a lot more kind of like drawing the listener in. Like, you know, I would say kind of like you definitely going to need some sort of letters or something like that in there. You're going to need the characters or something. Yeah, exactly. Like somewhat something. You know, like it's essentially taking the place of them taking over being the narrator for a little bit, obviously through a certain frame. But so we can kind of see that their interiority as it's such name. Yeah, like that. That needs to be in that. Because if it's all just after action reports, external interviews, war reports and stuff like that, it's. There's going to be a lot of distance between the listener and what's going on. And I think that's going to be harder to get them invested in the actual end results and things like that.

Yeah, yeah, yeah, that. And when I. When I had approached this. I've been thinking about this particular episode for a year now. I think you can go back into this podcast and look for like when Scott started talking about this thing, because I knew it was going to be hard. I had been thinking about, yeah, diary entries, journals, letters, home, you know, stuff like that. And I've got versions of those in the. In the. In the swap file full of disregarded things. So. Yeah, I'm with you.

You go full Ken Burns with this and kind of have people kind of like doing kind of like really kind of emotional readings of diary entries and letters and stuff over period. Appropriate music which kind of like which, you know, keys in the listener immediately. This person is going to be declared dead by the end of this diary entry.

Yes.

Oh, yeah. For sure. For sure. It also a thing that I have been. That has warded me off from option one, which we kind of agree is kind of the easier version of it, except in one regard is action on audio. Drama is so difficult to get right.

Yeah.

When that. When you have a scene and. Because I. Because the sort of climax of this episode is that, you know, this one particular dude comes in and kills a bunch of people and then gets killed himself by one of them. That is not a hard. That is not an easy thing to do with just audio.

Yeah.

That's not even production difficulty. For sure.

That's just a straight up thing. Hard. I can think like this is slightly off topic, but this is one of the reasons why horror and audio drama work so well together is because that ambiguity about exactly what you're hearing and what that's happening works in something like horror or Thriller, stuff like that. When the emotion you're trying to evoke is scared, then the lack of information is a bonus. And. But when you're trying to do just like straight action, if you're trying to do like a swashbuckling adventure or something like that, or a western, like we did previously, like that ambiguity is now a hindrance. It now works against you. So. But that's something I can work around if I have the ability to suddenly switch to an after action report or to somebody describing to somebody else what had happened or something like that. So that, okay, this has been very clarifying because it's. I had been feeling, oh, man, should I do the thing? And hearing all three of you be like, oh, no, do that.

No, do that.

It's like, okay, okay, cool, that helps me. I have one more thing I want to get your input on. This I'm very, very unsure about because it's. It could be considered a little bit mean to the audience. So.

Oh, do it, do it. Let me hear what it is.

It's not emote. It's not necessarily emotionally mean. That's the thing. This is why I need input. So because I'm looking for this, the reveal, this is a thing I thought about a lot. If I want to kill as a darling, I need to kill. But I think it's really good where it's like you don't understand what's going on for a long time and then towards the middle or end of the episode, you finally click and go, oh, this is the protagonist. This is what's happened. We're going to start moving. I want that period of confusion where stuff is going on. But it's in. One of the ways that I could confuse people is that I can screw with voices and who's been cast with stuff. So up to this point, my voice will have always been the narrator and the beast. And I will be using this accent that you're hearing now. I've got a slight. I've been working on it. It's going to be like a slightly lower, but it's going to be this, this voice. I could have me voice another character. And I'm thinking in a certain specific, it might be the sort of main character of the Misfits. And I could do a different voice. I could do, you know, Scott Pat, you know, the cowboy classics voice or something like that. Or I could throw myself in somewhere else. That would be an option as a red herring to anybody who's good with voices and go, hey, there's Scott. I hear Scott.

There's a second Scott here somewhere.

That must be the protagonist. That could be related somehow. That can be a really good red flag to throw at people. But that's the kind of thing that also is just a little bit mean to people who are looking out for it. It's like, I knew you were gonna think that, and I've specifically thrown you off the trail, so I'm interested to hear what y'all. If you thought I should. That's something I should keep in my back pocket or not. Or if it seems a little too out there.

So. Okay, I guess I'm confused a little bit. So you're. You are the beast, which is the inner, like, narrator voice.

Yeah.

And then so the.

The. Over the course of this series, all up every episode up until now, whenever narrator is talking and describing action, it's me doing, like, this voice. And then when the beast. When. When we switch places, the person, the protagonist's external voice switches to the narrator, and I become the external voice, which.

Okay.

And you talking in the universe, and.

I remember you saying that you wanted to maybe have the. The external voice be a trans voice. Like you were playing with that something.

I'm absolute. That's something I'm really, really open to and very excited about the idea of that. I'm not, like, married to it. We're gonna see when we get to casting, but that's something that I'm really thinking about.

Okay. So if you potentially have a trans person playing the Out. The outside voice, you could play potentially with having that voice be different too. Yeah. Okay. That's a really.

So that's a really interesting option.

Yeah. So, like, you have. You have your. Like when you cast your person, it will depend on, like, the person, but, like, you could potentially have a before transition voice, you know? Yeah. As the. Because it's been a long time ago. Like, this is back. This is like the Howling. Howling. Howling Commandos time period type thing. We're going.

Yeah, it's like 10, 15 years.

Yeah. Go and go in Captain America here. So, like, you could have a pre transition voice being the outer protagonist. And.

Yeah, that's really cool.

And so then you have a different voice entirely. And then you could voice somebody else in the platoon or whatever. Yeah. And you could really, really fuck with the audience. But that would be with you either with you there or without. I think you should have a different voice because that would be very interesting. It would play.

That's really cool.

A lot of the themes that you've.

Been working on yeah, yeah, yeah. Well. And it does. It also says something a lot about the protagonist, that they internalized someone else's voice.

Exactly.

Like, If I play 21, who's sort of the mentor, leader figure, and then that character dies, and then you go back and you look, you're like, oh, shit, 2ne1's voice has been the whole point of this. And, like, that says a thing that's got some layers onto it, which is really interesting. I'm not like. So it's there. Okay.

So that's making me.

Y'all.

You should do that.

Okay. Yeah. Okay. Okay. Okay. All right, then. All right. I'm not. I'm not married to that idea. I'm not committing to it. But I am absolutely gonna keep that still in mind as we go forward and see what my options are and stuff, because that's all, like, I'm trying not to get too locked in on, other than the fact that I am playing this one character, this one other character. And then I've asked a couple. I've asked at least one other person. Hey, you're going to be this guy. I'm trying not to be too. Like, this is what we're doing with the voices, and this is what I'm listening to. So. But that's. That's really cool that y'all are all are sort of sound excited about that, too. Okay, cool, Cool, cool, cool.

And consider this, like, for further fuckery.

Yeah.

You could also do is instead of using your own voice, like, cast a talented impressionist, maybe one who's already been featured on this.

Yeah, true.

So people like, oh, that's Scott, pal. And when they look at the credits, it's like, what?

It wasn't even Scott Palace.

Yeah.

It's just, you know, just someone whose voice is imperceptible to yours.

I will absolutely control that. It's not.

Excellent. Excellent.

Yeah. Yeah. Okay. Yeah. It's been. It's been so hard not to be. Like, I want this person for this part. Like, this whole time, I've, like, other than, like, one or two, like, people in my back pocket, I'm like, I know you're gonna be here for this. But, like, most of the time, I'm like, okay, I need to keep my options open. You never know who's gonna show up. Don't get married to stuff. You never knew who's gonna be around. But, yeah, it is very difficult to not, like, already have every cast, everything.

You are a. You're a better person than me. Because every time I write in A new character for anything. I'm like, oh, this person's gonna play. Like, if I have a person already in mind that can play them, I'm not gonna cast. That's a lot of work.

Well, the. The. One of the reasons why I'm trying to maintain that openness is that when you have somebody in mind, there's two. There's two paths. Like, the one. The route you're going is absolutely great. I don't. I don't want to deride it, because when you write to somebody's voice that, you know, you, You, You. They help form that character, and you end up with this really great meshing of character. And an actor that's a. That's an absolutely 100% real thing from which you gain a lot of value. The thing I am leaving myself open towards is a. I just, for practical reasons, didn't want to have people online for, like, however long this thing's taking. You know, we've been at this for a year and a half, two years now. So I didn't want to have people being, like, waiting in the wings. But also, I have found a lot of joy in previously with discovering new things about a character when somebody comes in and plays them and somebody who I didn't expect and like, oh, my God, like this. The accent's different. The voice is different. Their take on it is different. They brought, you know, they. You know, like. And so to that end, I am. I. And a lot of that comes from. You know it. You can hear it immediately in a casting. You go, oh, my God. You know, people who I never would have expected to be perfect for a role. Absolutely, yes. Killed it.

Yes.

So I am leaving. Like, I don't want to. I am doing that on purpose, but it's. But I want to say that what you're doing is also really good. Like, there is. There's value to both versions of how.

You proceed on it. And I do. I meant what I said. I wish I was. I mean, you are a better person than me because I. I have. I have now written so many characters for, like, you know, two or three different shows, and it is. It does kind of put you in sort of like a. Like a tunnel. Because if you've already got your. Your actor and you know them, you're like, I really like it when the actor does this, because this particular actor is really good at this. And when I have something that I actually don't know anybody that would really do this character justice, that that character is able to sort of Flourish and sort of go wherever. But I. I just. I have a really horrible habit of casting when I've only put a couple lines on the page, and I need to stop that probably.

I mean, sometimes you. Sometimes you hear a character in your head and you're just like, it's just somebody's voice and you're like, I can't. I just got to go with it. Yeah.

My.

There's no way around it.

Yeah. My sort of. Sort of main antagonist for Azan West, I cast it a long time ago, and I'm absolutely just writing him to like, how I know him. Oh, dear.

Okay. Well, then let's go ahead and set some goals for the next two weeks, and then we'll. We'll wrap up. What do I want? I should have been thinking about this, I guess the. Because y'all have helped me a lot with figuring out where this next episode's gonna go. So I'm worked. The Brawl version is. I'm working on that.

We've assigned you. Holla. Homework. Sorry.

Yes. Yeah. So I think specifically what I need to do is rather than just dumping into writing, I probably want to. The next thing specifically is to outline for myself a more concrete timeline of what actually happens for the story. You need note comments and then identify. Yeah, and then identify in there what media I can create and. And the story beats that it needs to hit and how I can represent those so that I can. Rather than just jumping into it and starting to write, you know, blah, blah, blah. I should come out this with a slightly more. Because it is the ambitious idea. So it needs to have a slightly more structured approach. I think. So. Yeah. That's. My next goal is to have a, Like, a proper outline and who have identified. I don't. Even if I haven't gotten any actual writing done, if I've gotten the, like, the plan of what found media I'm going to be creating and what's to hit the particular story points that I need. That's my. That's my goal. Okay, let's start. Let's go with Jack next. No, wait. Yeah. You know, because. Yeah. You're just going to continue working.

Yeah.

That should be straightforward. I need to turn. I need to clean up the last little bit on this second half of the pilot and pass it to Sam to look at. And then Sam, if you want to give me like, an editable or at least commentable version of the first half so that I can make, like, notes on it, and that would be helpful as well.

Excellent. I can do that. So I guess my homework is get. Yeah. Oh, that was the other thing that we were supposed to talk about was we got to figure out a platform or some sort of software so we can. Yeah. Share the scripts.

Let's talk about that after we do goals because I have more info on.

Excellent. Okay. So that's.

It's not good. It's just.

It's not good.

So that's one of the things that we need to work on as homework is figuring out something we can use to share scripts. I need to finish my listen of as in West. I actually am going to be in an audiobook workshop in the beginning of April, so I'm actually going to be out of the country. Sick. But I have a. A long plane ride and so I'm. I've downloaded all of the episodes so I'm actually going to save it for on the plane so I can take notes when I'm on the plane and yay. It'll be nice. So the rest of the listen for Azen west, the. The software and actually relaxing for a little bit because it's also a vacation. That's. That's my whole.

Yeah. All right, Mike.

Well, I'm going to be stealing the goals of Scott Paladin this particular week. Much like most of my audio drama career up to this point, it's just basically been aping and trying, just. Just trying to steal kind of the ineffable Scott.

No, that's a mood, you know, like.

The Scottness of things and just kind of like appropriate it as my own. Yeah. No, yeah. Now that this first chunk of stuff is done and I think I'm pretty happy with it, I am going to have to revisit my outlining and can get a really clearer picture about kind of like what the next two kind of like chunks, the arcs within the story are going to be, but actually get the fine detail down and get to the point of actually start writing it. So my goal is to get that done, get the next episode at least begun the process of the vomit draft on it. And then also I want to get the art brief for my podcast completed because I have an artist friend who I've been mean to work with for a long time and she's very interested in helping out. So I'm putting together a proper brief and hopefully we can sit down and work something together because it'd be nice to actually have the artwork and stuff ready for it.

Fantastic.

Awesome. Okay, let's circle back real quick on collaborative script writing stuff because I said Last week, one of my homework things was to check out Fade In's collaborative stuff. And I'm going to say that I don't. Specifically for what y'all two were doing. I'm pointing at. On my screen, pointing at the two other. I have no idea if that matches up anywhere else specifically for what y'all are doing. I don't think that Fade in may be a good option for you. It absolutely works for the, like, if you were just gonna put that stuff essentially on a Dropbox or Google Drive or whatever, and then, like, both of you sync it to your computers and you could. You could type, type, type local. However, if both of you jumped into a document at the same time, it doesn't natively know how to handle that, which is not great. And also, as far as I can tell, and maybe I'm. Maybe I'm just a noob at this, but it's difficult to know. Like, if you log into a document and stuff has been changed, it can. It cannot. It's not immediately easy to figure out what got changed and by who. Like, it doesn't keep track of things like the way that a more collaborative system would. It does have a system whereby you can do a live collaboration, specifically with an editor. Like, you open up your program, they open up theirs, you share a link, and then it acts more like a Google Docs thing where you can, like, as you're typing, you can see their little cursor and as they type. But that would be something you'd have to arrange. You can't just, like, jump into it. You can with do Google Docs because you have to, like, set up a time. You have to, like, know that this was happening. So. So it's kind of fundamentally from the ground up, not built to be the thing that you need it to be. So that's my report on that one. So I know that Orc Studio Pro was the one that you had used previously, Mike. So I'm. I'm. I'm also just curious about this. So I'm going to be looking at that as well, but that might be what you guys want to look at next to as well. Okay.

Okay. $.

Yay.

All right, well, that's. That's it, I guess. Unless there's anything else that I missed. I think I covered everything.

No, we did the thing.

Yeah, okay. We did the thing. We. We have done a bucket. Okay, great. Well, then, see y'all in two weeks.

Bye, everyone.

Bye. Bye. Okay, y'all know the drills, like, website, Patreon Library, of curse, knowledge, you know, library, horse, all that stuff. And we'll catch you later.