Very early in my rediscovery of movement, someone said: What was once your workout, will one day be your warmup. It’s both motivating (simply do what you can, today, and the changes will come) and inspiring (it implies that the people far ahead, at one time, were here, where I am today). I can now see in hindsight that it is an expansive perspective: One will expand their capabilities as one expands one’s practice to bigger and better things.
Years later I realised that the answer to this question is: everything. There can be more articulation of the toes; rotation can be made more extreme; even that ineffable quality of artistry can be developed. It’s often thought that the greater your prowess, the easier your performance becomes. However, as I progressed upward through the ranks of the ballet world, I saw that this wasn’t the case.
Clear cut and plant. Clear cut and plant. I’m not sure, but this doesn’t feel like a great idea. I started reading this article thinking it wasn’t going to be that interesting. I was wrong. I’ve moved through forest where there are no trails: doing boundary monitoring and corridor maintenance for the Appalachian Trail Council, and bush–whacking towards rock climbing. It’s type-2 fun. But reading about what these super-humans do to move through clear-cut “blocks”… *shudders* that’s definitely type-3 fun.
Up in the sparsely populated wildernesses of the north, meanwhile, logging companies work 24/7 to fell trees for lumber, leaving behind ‘cut blocks’ – bleak fields of stumps, mulch, roots and detritus covering thousands of hectares. Following in their wake come hordes of seasonal tree planters, who drive for miles up dangerous roads to enter these remote areas. Staying in basic bush camps, off the grid and armed only with shovels and bags of saplings, they set about creating new forests from scratch.
“Fun” comes in 3 types: Type-1 fun is fun in the moment. Type-2 fun isn’t fun now, but we’re really going to enjoy this once we get past this sucky part, even more so as soon as we’re done, and especially years from now when we retell this story. Type-3 fun isn’t fun now, mistakes have been made, life choices need reconsidering and this is actually going to be a cautionary tale when retold.
Preparation—getting everything just so, the right desk, the right software and computer, the right room, the right beverage, the right time, the right mindset—is really simply a form of hiding. Sometimes it’s only a few moments, sometimes it’s days, but I always hide before writing every single one of these blog posts. I definitely don’t enjoy the hiding. I mildly enjoy the writing. I love the reading and thinking parts that this 13-year labor of insanity requires. But some people are not only good at the writing, they absolutely love the craft of writing itself.
While you or I may respond with a counter-argument, Tolkien went home and wrote 148 lines of heroic couplet […]
This seemed insane. Who would take an idea for a counter-argument, from a conversation, and rush off to go write for what must have been hours? And then I realized that I do that sort of thing all the time. I run with an idea down some rabbit hole, forming it into something real in the world. It’s only that I don’t it with writing.
In the most recent months I’ve been waking up with this strange sensation. In the Fall I started deleting things; I started changing projects to require less input, simplifying where I could, and in some cases outright eliminating. Whereas in recent years I’ve generally awakened with a sense of “should”—I should do this, I should have yesterday done that—in the most recent months I’ve awakened with this strange sensation. It’s not optimism per se, but it’s close. What do I want to do today? …do that.
Hovering before me as I wake is the work I know I need to do that day. Inevitably, that labor is daunting. Inescapably, it brings up fear. I don’t want to do it. This fear and this avoidance combine to create the witch’s brew that boils and bubbles in the cauldron of my brain.
In the Age of Fire I continuously expanded what I wanted to do, beyond the bounds of possibility and reason. Lately, having realized that nothing I do actually matters, I’m free—I’ve always been free—to pick a few nice things upon which to apply myself.
What are the creative and technical challenges in adapting stage plays into audio dramas, and how does the medium of podcasting influence storytelling approaches?
Lean into the world of audio drama with Scott Edward Smith, as he transforms historical figures into compelling stories, revealing how he reshaped his approach to storytelling to bring theater to the radio.
As a writer, as a producer, and quite often as the director, I’m taking material that is meant to be seen. And being told you have to make this work in audio—nobody’s going to see what you think— and having to transform… it wasn’t story, it was words. So that the words were more specific. […] It changed how I wrote and also how I spoke, because I had to learn this medium, which gives you no visuals. You have nothing to work with. You just can’t say the things that you do in a play, or a movie or, a television show.
~ Scott Edward Smith (4:20)
Scott Edward Smith and Craig Constantine dig into the world of audio drama and its resurgence in the era of COVID-19. Scott shares his journey from writing for television, movies, and theater to embracing audio dramas due to the pandemic’s impact on traditional media outlets. He highlights how it forced him into the realm of audio storytelling, transforming his approach to narratives and character development.
With historical figures as his subjects, Scott crafts one-person plays that bring these personalities to life, emphasizing the shift from visual to auditory storytelling. This transition, he notes, required a nuanced understanding of how to convey stories solely through sound, making every word and effect crucial in painting vivid pictures for the audience.
Scott discusses several of his works, including audio dramas about Wallace Simpson, Marilyn Monroe, and James Dean, explaining how each project adapted to the audio format’s unique demands. He reflects on the creative process, from the initial concept to the detailed execution, integrating sound effects and music to enhance the listener’s experience.
The conversation also touches on the technical aspects of producing audio dramas, such as segmenting stories for listener convenience and the strategic use of sound to evoke specific settings and emotions. Through these discussions, Scott illustrates the power of audio drama to captivate and engage audiences, offering a theater-like experience through the intimate medium of podcasting.
Takeaways
Adapting to new mediums—how a seasoned writer transitions from traditional stage and screenwriting to audio dramas due to the constraints posed by the COVID-19 pandemic.
The power of sound in storytelling—exploring the use of audio effects and music to create vivid, immersive experiences in the absence of visual cues.
Evolution of narrative techniques—reflecting on how the necessity to focus purely on audio has refined writing and directing approaches, emphasizing the importance of every word and sound.
Future of audio dramas—speculating on the ongoing role and potential growth of audio dramas in the broader landscape of entertainment and storytelling.
Historical figures as subjects—the creative process behind transforming the lives of iconic personalities into compelling one-person audio dramas.
Technical aspects of audio production—discussing the challenges and strategies involved in segmenting stories for an audio format, catering to listener habits and preferences.
Resources
Intimate Fame Podcast — An audio drama discussed in this episode, focusing on the stories of historical figures of Wallace Simpson, Marilyn Monroe, and James Dean.
Edinburgh Festival — Mentioned in the context of one of the audio dramas having been performed there, the Edinburgh Festival is a collective term for several arts and cultural festivals that take place in Edinburgh, Scotland, every summer.
If I had influence with the good fairy who is supposed to preside over the christening of all children I should ask that her gift to each child in the world be a sense of wonder so indestructible that it would last throughout life, as an unfailing antidote against the boredom and disenchantments of later years, the sterile preoccupation with things that are artificial, the alienation from the sources of our strength.
I can go for walks with others, with music, or with podcasts, and those things usually crowd out my frenzied thoughts and internal monolog. But it’s much better when I manage to leave enough space for my thoughts to settle. Wrestling with my own thinking just gets both of us riled up.
This practice teaches you that you don’t need to address every instance of mental talk you have. In fact, your thoughts will never leave you alone if you try to resolve every train of thought that arises. Instead, you can just enjoy the world as it reveals itself before you.