When you're a screenwriter moving to TV or a novelist moving to screenwriting or even a comedy writer moving to drama, you'll have questions about how this new territory differs from what you're used to. Questions like... how does breaking a script work? Or... how do I write character development over the course of a two hour film rather than over a full TV season?
Questions are normal. But typically, there are at least some factors that are givens – things that have been established over the course of decades. Problem is, since podcasts are new territory for pretty much everyone, those sorts of rules and standards about the most basic issues don't exist yet. There's no consensus about how to format a podcast script, let alone any popular beliefs about things like whether you need a writer's room.
To find answers for some of these questions, we spoke to writers and producers who have made a name for themselves in the scripted podcast industry – some who are just starting out, and some whose podcasts have gone on to become TV shows.
In Part One, we heard from LIMETOWN co-creator Zack Akers, HOMECOMING producer Alicia Van Couvering, and WGA East executive director Lowell Peterson about the industry's business side: what the market looks like, how to break in, and how to protect yourself once you're there.
Now, in Part Two, we'll take a deep dive – with the help of Zack and Alicia, as well as Danielle Trussoni (CRYPTO-Z), and River Donaghey (AMERICAN AFTERLIFE) – into the creative side of the industry – from recruiting talent, to necessary skillsets, to creative satisfactions and beyond.
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The OnWriting Guide to Scripted Podcasting, Part Two was written & produced by Molly Beer; hosted by Kaitlin Fontana; sound design, mixing, and tech production by Stock Boy Creative; with special thanks to River Donaghey, Danielle Trussoni, Zack Akers, Skip Bronkie, Alicia Van Couvering, Lowell Peterson, Jason Gordon, and Marsha Seeman.
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