ENTERTAINMENT INDUSTRY NEWS, AUDIO EDITION – 10/10/19

by Bob Tinsley

Why should you as a visitor to TVWriter™ be interested in making audio fiction? Why should you be interested in making podcasts? Discoverability, that’s why.

The meaning of the word podcast is evolving to include any episodic, audio-only production whether nonfiction or fiction. Agents and major studios have started trawling through podcasts and their creators for new content and talent. 

So here’s the latest news to help you and your podcast get discovered.


Music from https://filmmusic.io
“The Builder” by Kevin MacLeod (https://incompetech.com)
License: CC BY (http://creativecommons.org/licenses/by/4.0/)


  • I TOLD YOU SO.

Law And Order: SVU Has A Podcast.

The show celebrates the TV program’s 21 years of innovative storytelling with interviews with the cast and crew.  The really interesting part? They promise that they’ll be putting out “radio-style episodes.” I’m excited! 

https://podcasts.apple.com/us/podcast/the-law-order-svu-podcast/id1480917617

  • STRUCTURE

Stepping Through the Narrative Door: An Essay on Contemporary Audio Fiction.

Ella Watts, Executive Producer of the podcast, The Orphans, turns out one of the best examinations of the structure of successful audio fiction that I have yet read. Last year about this same time she wrote a more general analysis of audio fiction. Both are must reads. By the way, visit The Orphans website for an outstanding example of how to do it right.

https://www.internationalpodcastmonth.com/blog/stepping-through-the-narrative-door-an-essay-on-contemporary-audio-fiction?fbclid=IwAR3RaPWOrl6s_uAJ3iFC2VS5dRjBQVTgAwfpP0QvAm9LDZTQevhu4Ci_90Y&utm_campaign=Fiction%20Podcast%20Weekly&utm_medium=email&utm_source=Revue%20newsletter

https://www.internationalpodcastmonth.com/blog/the-art-of-the-invisible-wall

https://www.orphanspod.com/

  • LISTENERS, WE NEED MORE LISTENERS.

Podcast Promotion: 8 Ways to Grow Your Audience.

This article provides the deepest dive into podcast promotion that your humble correspondent has seen yet. Don’t let the constant reference to nonfiction throw you. These points apply just as well to fiction. You want to gain listeners who aren’t currently podcast consumers? Instead of saying “subscribe to my podcast,” say “listen to my show.” All of the links in this article are well worth clicking.

https://comealivecreative.com/podcast-promotion/

  • LISTENERS, WE NEED MORE LISTENERS, PART 2.

You Must Be Everywhere – Offline Too!

Despite the rather hyperbolic title, this article contains some good advice, Number Two being the most important of the seven ideas. You don’t need thousands of downloads to give a presentation at libraries, churches, senior citizen centers, just a recording of your show and talk about the process. You WILL have anecdotes to share.

https://podcastbusinessjournal.com/you-must-be-everywhere-offline-too/

  • IF YOU WANNA WRITE, YOU GOTTA LISTEN.

Cryptids: A Science Fiction/Horror Podcast

Releasing weekly episodes from September 29 through October. From the Google Podcasts listing: “Cryptids tells the story of a conspiracy radio show host and an avid listener who go in search of an afterlife. Instead they find a truth beyond their wildest nightmares. In this female driven, scripted, sci-fi audio drama, you’ll meet monsters, aliens… and the ultimate grim reaper.”

Worth a listen.

https://podcasts.google.com/?feed=aHR0cHM6Ly9jcnlwdGlkc3BvZGNhc3QucG9kYmVhbi5jb20vZmVlZC54bWw=

  • OPPORTUNITY.

Forever Dog Unveils New Slate.

Forever Dog, an alternative comedy podcasting network, announced its new season with six shows including two all-new scripted comedies and four returning shows.This will make scripted content half of their total new season. If they added two new scripted shows this year, it’s time to start pitching for next year.

https://podcastbusinessjournal.com/forever-dog-unveils-new-slate/

  • RESOURCES.

Visit the BBC Writer’s Room.

The number of resources here are mind-boggling, not the least of which is a script library where you can download scripts from the BBC’s most popular radio and TV series. The Writer’s Room deserves a permanent place in your browser tabs.

https://www.bbc.co.uk/writersroom/

So, until next week, same Pod-time, same Pod-channel, keep listening and keep creating.

SPEAKING OF AUDIO FICTION…

Did you know that all audio fiction entries in TVWriter™’s PEOPLE’S PILOT 2019 pilot script competition are eligible for the two major category prizes plus special prizes and a reduced entry fee?

Learn all about it at: https://peoplespilot.com

Starting A Career in Comics

Mark Evanier, one of TVWriter™s favorite creative forces, is the possessor of more writing knowledge than just about every textbook except LB’s. Here he is answering one of the first questions every pro writer is always asked because – yes, it’s true – to this very day he’s still participating in his first life – writing comics!

by Mark Evanier

Richard Gagnon writes…

I have a nephew that wants to be a comic book writer/artist. He’s a little rough around the edges, but he’s at an age where his work is going to improve tremendously in the next few years. He has the potential to be a professional comic book artist. From everything I’ve read, being a comic book pro is more a labor of love than something that will be financially rewarding. I’d be interested in your insights on pursuing a career in comics. I’d imagine that the pay you get for writing comics is the least lucrative writing that you do (although it must be a sheer pleasure to see what Sergio draws from your scripts).

Well, first of all, most of what I do with Sergio is co-written, not always in the same ratio, so I never think of him drawing my scripts. I think of it all as what we produce together. That said, I often find great joy in writing comics because (a), I grew up loving comic books and (b), because of how few collaborators you have. On a TV show, live or animated, there are contributions by dozens and dozens…sometimes hundreds of others. You don’t even meet a large percentage of them and on a cartoon show, many of them may be located in another country and speaking a different language so what you do gets handled by a lot of strangers.

And their sheer number guarantees that some of them will not be very competent or on the same wavelength. On a comic book, three or four people are involved so there’s a real good chance that you’ll all be in contact, you’ll all be in sync and they’ll all be good at what they do. I loved it when I was working with Will Meugniot or Dan Spiegle or Scott Shaw! or…well, most of my co-conspirators. And yeah, the money was less than some other jobs but you have to factor in the stress and the time spent in meetings and arguments and such. Compare making $1000 on a job that’s fun and easy and quick with one that pays ten times that but has 20+ times the tsuris.

Personally, I’ve had good and bad experiences in each work area and there have been many non-monetary perks in each. I worked briefly as a story editor on a network adventure series and I probably made less per hour on that job than I made writing Scooby Doo comic books. And I had a lot less fun….

Read it all at Mark Evanier’s outstanding blog

“Shia LaBeouf” Live

NOTE FROM LB: I’ve never in my life seen a film starring Shia LaBeouf, but I will now because this oldish- first posted to YouTube five years ago? OMG! – video is funny as hell and I’m looking forward to discovering who it is I’ve been laughing at.

“SHIA LABEOUF” is a song by Rob Cantor.

Learn more here: http://www.robcantor.com
Purchase the song on Bandcamp: http://bit.ly/1zjiH5Z
Behind-the-scenes: http://www.facebook.com/robcantormusic
Tweets: http://www.twitter.com/robcantor

FEATURING: The Gay Men’s Chorus of Los Angeles — Dr. Joseph Nadeau, Artistic Director
The West Los Angeles Children’s Choir — Barbara Klaskin Silburg
Artistic Director The Argus Quartet

Directed by Scott Uhlfelder
Produced by Erica Harrell
Arranged by Greg Nicolett
Mixed by Gregtronic
Choreographer: Stacey Tookey
Asst Choreographer: Bruce Weber
Director of Photography: Scott Uhlfelder
Editor: Randall Maxwell
First Asst Director: Tyler Reynolds
Second Asst Director: Chandra Anna Marie
Second Second Assistant Director: Daniel Erikson
Camera Operators: Marco Cordero, Jonpaul Douglas & Andy Melo
Asst Camera: Seth Smigelski
Data Management: Ben Piety
Gaffer: Brian Sorbo
Electric: Lucas Pitassi
Production Designer: Sara Kugelmass
Rigger: Bobby C. King
Art Assts: Tamara Gurevich & Shannon Malone
Costume Designer: Alison Uhlfelder
Asst Costumers: Nicole Gemma & Mary Russell
Makeup Artist: Jenn Rose
Asst Makeup: Samantha Ward, Sheila Curtis
Technical Effects Supervisor: Jeff Barber
Asst Effects: Amanda Barber

There are more credits. Many, many more, HERE

Speaking of the credits, I keep asking myself, “How much did this fucking thing cost?” Or to put it another way: “Did all these people really work for nothing?” and, “Wow!”

100 Common Publishing Terms

Every industry has its own language that gives everyday words a special meaning to the in, hip, and working their butts off crowd. For our visitors who write for publication as well as (or – sob – instead of) TV or film, here are publishing terms you’ll need to know if you’re going to communicate with publishers, editors, et al.

And they’re especially important for keeping up your end of lunch table talk with other writers in the field as well!

Not your father’s printing press!

by Robert Lee Brewer

Advance. A sum of money a publisher pays a writer prior to the publication of a book usually paid in installments, such as one-half on signing contract; one-half on delivery of a complete and satisfactory manuscript.

Agent. A liaison between a writer and editor or publisher who advocates for his or her client (writer). Agents usually take a 10-15% commission from the advance and royalties.

All rights. Situation in which an author sells all rights to a work. Not recommended for writing that could have reprint potential.

ARC. Advance reader copy—an early version of the book sent out to media outlets for possible reviews and interviews.

Assignment. Editor asks a writer to produce a specific article for an agreed-upon fee.

Auction. Publishers sometimes bid for the acquisition of a book manuscript that has excellent sales prospects. The bids are for the amount of the author’s advance, advertising and promotional expenses, royalty percentages, and more. Auctions are conducted by agents.

Backlist. A publisher’s list of its books that were not published during the current season, but that are still in print.

Bimonthly. Every two months.

Bio. A sentence or brief paragraph about the writer; can include education and work experience.

Biweekly. Every two weeks.

Blurb. The copy on book covers or book dust jackets, promoting the book and the author or featuring testimonials from book reviewers or well-known people in the book’s field. Also called flap copy or jacket copy.

Boilerplate. A standardized contract.

Bound galleys. Prepublication edition of book of final galley proofs, also known as “bound proofs.”

Byline. Name of the author appearing with the published piece.

Category Fiction. A term used to include all genres of fiction.

Chapbook. A small print or digital book of poetry or fiction—usually fewer than 40 pages.

Circulation. The number of subscribers to a magazine….

Read it all at writersdigest.com

Only 3-and-a-Half Weeks Left to Enter PEOPLE’S PILOT 2019 Writing Contest

Over $20,000 in prizes & entry bonuses!

FREE FEEDBACK! 

FREE STORYTELLING PATTERNS E-BOOK!

SPECIAL DISCOUNT for Web Series & Audio Fiction Series Pilots – See ‘Enter’ Page for Details!

SPECIAL BONUS PRIZES for Web Series & Audio Fiction Series Pilots – See ‘Prizes’ Page for Details

“INFINITE REVISIONS!” Replace Entry Draft With Rev Version Any Time till Final Closing! 

Winners, Finalists, & Semi-Finalists of TVWriter™’s contests are or recently have been on the staffs of:

STRANGER THINGS
WESTWORLD
MOM
STATION 19
NARCOS
TIME AFTER TIME
GREY’S ANATOMY
THE LEFTOVERS
BASTARD EXECUTIONER
ANIMAL PRACTICE
KILLER WOMEN
NTSF:SD:SUV
GIRLFRIENDS
FILTHY PREPPY TEENS
MELROSE PLACE

THE GOOD DOCTOR
THE WALKING DEAD
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CHICAGO FIRE
LETHAL WEAPON
SNEAKY PETE
PERSON OF INTEREST
RIZZOLI AND ISLES
COLONY
ONCE UPON A TIME
THE SARAH CONNOR CHRONICLES
SMALLVILLE
ROME
PRIVATE PRACTICE
SNOWFALL

Plus various TV movies & other one-offs!

You’ve got from now until the 10 p.m. November 1, 2019 to pay the entry fee of $40 (20% lower than last year!) and upload your pilot script for your own original series, of any length and in any genre, intended for electronic media – broadcast TV, cable or satellite TV, the internet, you name it.

Find out more about our prizes, rules, and all aspects of PEOPLE’S PILOT 2019 HERE

Have questions? Send them HERE