octoberschildrenpodcast

[octoberschildrenpodcast]

Shelterwood: a follow-up and apology

someone reached out to me after publishing my Shelterwood crowdfunding post with some very valid stuff that I want to address. they mistakenly sent it non-anonymously (something I confirmed with them before just responding to the Ask), so in the spirit of keeping things unidentifiable around here I am going to screenshot the entire message (so you can know I'm not selectively cutting anything out) and then I'll respond to it in chunks:

A Genuine Apology

so let's start with the first chunk of text:

I'm going to be straight with you: while there were absolutely some points you made about the Shelterwood crowdfund that I agreed with, like how unreasonable the goal seemed for a show produced by a novice showrunner, something's really sticking out here. That thing is that Stephen Indrisano and Nigel McKeon are both young, white, non-binary novice showrunners who secured some high-billing talent and picked unreasonably high crowdfunding goals, but you treated one of them with a lot of grace and understanding... and then turned around and not only accused the other of essentially being the problem with the current state of podcasting, but also called them cis in the process despite having acknowledged their pronouns earlier in your write-up. That was... certainly something. It's almost like you had a specific point you wanted to make, so you just sort of conveniently forget that Stephen is non-binary to make it. That or you don't actually think Stephen is non-binary and were engaging in some passive-aggressive gatekeeping, which also sucks, just in a different way.

this is 100% something I fucked up on, I will readily admit that. my accidental erasure of Stephen's identity as a non-binary person is not okay, intentional or not.

I wrote the initial post gradually over the course of just over a week, top to bottom, and then did a quick skim of it at the end to make sure things were still up-to-date in accordance with any updates to the campaign itself. a result of this is that between when I started the post (where I included Stephen's pronouns of "he/they)" and when I was writing some of the later parts I had forgotten this. I think part of the reason is that the campaign is not really about Stephen, so it isn't like there are consistent references to him as an individual. in the few places there are, such as the intro section of the main text and the FAQ, "he" is used exclusively, which I think mistakenly put that in my mind as Stephen having a male gender identity because I hadn't seen a self-identification as being non-binary on their website or Twitter. but someone deciding to use a specific set of pronouns in the text of something like this (to avoid confusion or for any other reason) does NOT invalidate their use of other pronouns elsewhere. similarly you don't have to outwardly proclaim your gender identity for it to be respected and not assumed as cis.

I am genuinely very sorry about this, it was a mistake and I am in the process of editing the original post to reflect Stephen's proper gender identity.

now then.

let's talk about the difference between Nigel (Among the Stacks) and Stephen and the way I approached them, because you're right that there was a difference.

I think a key way that these two projects differ is that one of them was very clearly made by someone who didn't know what they were doing and was in over their head. Among the Stacks was a clear trainwreck from the moment they started revealing how bloated the cast and crew were. I had many conversations with other creators during that early time where we were all wondering how this thing could function with so many cooks in the kitchen, and how you could have a coherent story with that many characters. it was clearly a product of someone new and over-excited who didn't have a real idea of how to do what they were dreaming of.

in contrast, Shelterwood seems to be genuinely well-thought out and approached like it was created by someone who has done their research and been part of the community for a while. it has a full concept with a clearly outlined size and goals and is a very realistic sounding first project. if it weren't for the goal and the rewards we wouldn't be talking about it at all. as a pitch it is perfectly reasonable.

I went a bit easier on Nigel because just from looking a lot of us could tell that Among the Stacks was going to end in disaster. we didn't know when or how, just that there was no way a project like that could actually succeed. I also knew from interactions between Nigel and other people that she was not very good at taking critique or hearing other people out on stuff that they didn't agree with. I went into that post with the intention of being harsh but fair, because I wanted Nigel to hear what I had to say and LISTEN. not just brush it off as "someone is jealous of my amazing idea and so they are being mean". I was still a bit mean in that post at some parts, I will admit that. my tone can swing a bit far on the sarcastic side, especially the longer I spend on a given post digging into things.

Shelterwood is full of people who should know better, something that it makes a point to brag about. it isn't just one person's dream project that they don't know how to wrangle, Stephen is clearly a proficient showrunner to have pulled all of this together (and I do genuinely find the show's concept to be interesting, even if I didn't really communicate that in the post as much as I could have). Stephen has ALSO been around the block a few times in regards to working on audio dramas, whether or not they have helmed their own. this means that from the start my expectations for them were higher.

my goal was not to accuse Stephen of being "the problem", but I think that this campaign is INDICATIVE of a lot of the "the problems" going on right now with audio drama crowdfunding.

I did seriously think about pulling the last section into a completely separate post, but what I wrote applies to the context of this campaign and so I felt it was important to have that connection. if I had been able to fully communicate my thoughts on it before now, say for the Arden campaign, it would have been part of that post. but it took me a lot of time to get those words down in a way that actually communicated what I think the problem is.

I know having it as part of the Shelterwood post has an implication, and the implication is correct that this campaign is PART of the problem, but it isn't the whole problem.

It's also very weird that you lumped Shelterwood, Arden, Among the Stacks and Afflicted in with The Magnus Protocol, which was on an entirely different level. They're not comparable. Not a single one of those first four shows actually made their crowdfund goals. In Afflicted's case, the all or nothing state of the crowdfund means 100% of that money was returned to backers. The Among the Stacks crowdfund was cancelled. Which means that for 50% of your given examples, literally none of that money ended up tied up in those shows rather than being contributed to other, smaller shows. This is not comparable with The Magnus Protocol crowdfund situation, and I think you know that.

it's 100% true that The Magnus Protocol is on a whole other level than these other campaigns, I said as much in my write-up. it is not comparable and I wasn't attempting to compare nearly $1 million USD to $26,000.

what I was attempting (and may have failed) to do was to point out that what Rusty Quill did was change the playing field for the worse. when looking at those two numbers you can much more easily make attempts to justify the high goals being asked for here, because in comparison that's downright reasonable to what they raised.

as a note: TMP had a funding goal of £15,000 (approx. $19,500 USD). so they weren't actually asking for hundreds of thousands of dollars to make 3 seasons of a show. in fact, what they asked for is less than the campaigns I'm trying to call out here. that Kickstarter has a lot of things that were suspect about it and felt slimey and exploitative, but the asking price was not really one of them.

however.

just because they didn't ASK for that much money doesn't mean they didn't know it would happen (maybe not to that extent, but still). this still had the same impact, which from what I can tell is making some people think that audio drama crowdfunding is for making a profit.

as for the next point about none of the shows except for TMA 2 hitting their goals:

the amount they are walking away with isn't really the point.

at the end of the day, it's about the fact that the more stuff like this happens, the more it is NORMALIZED. and these kinds of goals getting normalized is harmful.

as an example, in the world of video games there is something called "microtransactions". for anyone who doesn't know, these are additional, small purchases you make in a game that you often have already paid upwards of $60-70 USD for. in the beginning, they were marketed as "just cosmetic" and not going to impact gameplay. and so people didn't fight back too hard when EVERY game started implementing them. but of course, what that did was move the bar. it normalized people paying extra money on top of their purchase for something that used to be included for free with a game. and so the companies started pushing the needle further. and further.

now, this isn't a direct parallel for a lot of reasons, but when greed is being put forward as normal again and again (even when it continues to result in failure) it starts to cement it as something "normal". something to be expected.

the larger problem here is that these are unsustainable amounts of money to be trying to get out of the community.

which connects to this next section:

Speaking of The Magnus Protocol, there's also an assumption being made here that someone deprived of the option of helping one of these shows reach their crowdfund goal is automatically going to donate to another show... and I need you to remember that The Magnus Protocol's final tally was something stupid like 4000% of their original goal. Lower crowdfunding goals don't stop people from contributing once that goal has been reached. People just keep donating to that project. None of those people were donating to make sure the thing got made- they were donating because they liked The Magnus Archives, and the hard to swallow pill here is that that doesn't mean they would've contributed to other crowdfunds otherwise. I have my own issues with The Magnus Protocol thing. But the statement that that crowdfund snatched money out of the pockets of smaller shows by having an unreasonably high goal just straight-up does not hold water. That's nothing. It's 4000% less than nothing. You're allowed to be mad that that campaign got such a ridiculous amount of funding when so many smaller shows are struggling. You don't need to couch it in pseudo-logic to justify feeling that way. We're all mad about it. It's okay.

this is definitely a good call-out, this person is right that someone not donating to one campaign does not mean that money will go to another. in a lot of cases, the only reason someone sees a campaign is because it is being promoted by the things they already like (in The Magnus Protocol's case that obviously being The Magnus Archives), and that means they probably aren't going to be choosing between every campaign that is out there and deciding where their $5 is going to go. they might just as easily pocket it and buy a nice coffee the next day.

and that absolutely sucks, because it would be nice for the love that some people have towards specific shows to be something that extends to the whole medium.

but I do think there's something to be said for feeling like even a small donation is making an impact. I would feel kind of bad to only be able to give $20 towards a $10k+ goal, it isn't even a drop in the bucket towards what is needed and if I care enough to donate to something I do want it to succeed. but that same $20 to a campaign only asking for $3000? that's a lot more tangible of an impact. enough so that I could feel good about splitting that $20 between two projects maybe.

that isn't 100% the point of what you were saying, I know that. the reality is that not everyone in this community has a general investment in the success of others.

I think where that becomes the biggest problem is when some people only seem to have an investment in themselves, and no one else. that's where these things become problems, when the larger needs of the community are ignored for the sake of a few who repeatedly succeed.

I'm kind of bleeding a bit into my response to the next part, so here that chunk is:

And do I agree that we as a community need to start talking about what is and is not realistic when it comes to crowdfunding? Yeah, absolutely. You have a point there. That's a valuable and timely observation and I'm glad somebody said it. Unfortunately, the value of that point was absolutely buried by the extremely obvious fact that this time, in this case, something about this project is personal for you. I don't know what it is specifically, but I do feel the need to ask: You are aware that Tal Minear is involved in the show as a graphic designer and minor actor, right? They have nothing to do with the crowdfund or the rest of production. Their name being attached doesn't mean they're secretly running the show. This is not Tal's show. They'd be credited as a producer if they were that involved. So why do you feel the need to keep bringing them up? Anyway, it's extremely difficult to take your analysis in good faith when it's so transparently motivated by some sort of personal distaste for somebody/the people in the project, and that's a shame, because some of the things you're saying have value.

I certainly didn't shy away from pointing a bit of a finger at Tal Minear for promoting this ideology, among others. their clear involvement in this project makes me immediately more suspicious, because Re: Dracula was a self-admitted cash grab. and that stain on their character is not going to go away for me.

it's less that it's "personal" for me, and more that this is a figure in the community that I have repeatedly seen presented as an expert that MUST be listened to. including by themself. ESPECIALLY when it comes to the matter of crowdfunding.

now, if I were friends with someone like that AND they were involved with my project that was about to have a campaign, would I not lean on that resource? even just for advice on how to put it together and what needs to be included. Tal just wrote a small little article for Descript that has some very generic crowdfunding tips, so they are arguably the most knowledgeable person involved in the campaign to go to for advice and feedback.

I know for a fact that Tal has given crowdfunding advice unsolicited to people running campaigns, usually in the form of asking why crew is not being paid appropriately (a valid question in most cases where actors tend to get a huge portion of the budget). so I can't imagine a world where they didn't give at least a little input to a friend for a show that they are actively involved in.

I don't think they are running anything behind the scenes, no, Tal is not part of some audio drama Illuminati. but I do recognize the high esteem to which they are held by MANY community members.

my goal was to call out the culture that has grown around audio drama crowdfunding, and the ways that I've seen it hurting most people who attempt to do it. I have noticed that Tal is a big part of what has normalized that.

as for the ways in which I brought them up, yeah I like to be a bit snide and I probably laid it on a bit thick. it's easy to get carried away in these things, especially towards someone that I am admittedly not a huge fan of.

that is the extent to which it could be considered "personal" for me, but I understand if you don't believe that or if that still had too much of an impact on taking the rest of what I said seriously. that is your choice and I respect it, it's just very difficult for me to separate out their involvement given what I know outside of this.

You're just completely undercutting that value by surrounding it with so much pointless nitpicking and snideness. What happened to "#but actually my intention is to be thoughtful and not mean"? You claim to be acting in the interest and defense of the community, but as the creator of a small podcast that nets me absolutely zero profit, I'm not feeling it. This feels like it's about you, not the rest of us.

this is absolutely fair.

I am just one person at the end of the day. I've talked to others, discussed the situation surrounding this campaign and others like it with them, but I am the one typing it down and inserting my voice and my take on it.

as such, I am not going to be a perfect mouthpiece for everyone's thoughts about this stuff.

I WANT to be one that is largely beneficial, however.

sometimes I lean a bit heavy into the snideness for the sake of keeping things interesting; these write-ups are LONG and as a writer I recognize you have to do something to keep people engaged so they actually absorb what you are saying.

is that the right approach? probably not for everyone, but it is part of a reflection of my own voice that it comes out like this.

"#but actually my intention is to be thoughtful and not mean" is something I wrote, something that I still want to keep in mind but sometimes I fail at that. in this case, I found it hard to stick to.

repeatedly seeing campaigns like this is disheartening to me, it wears me out. there is an amount of what a lot of people might see as "bitterness", but it's not really about any specific project or person.

I think my massive fucking rant at the end of that post about capitalism ruining audio dramas with the need to make money unsustainably says a lot about how I feel about the current financial state of the world. a lot of that "bitterness" is from this deep rage towards to the system, directed outwards where it can be. maybe the flow of it was a bit strong on this one, but it is still an accurate reflection of the way that I see things.

note, an accurate reflection to ME. it's okay if it isn't accurate to you, that's part of why the conversations need to happen.

part of why I do the math breakdowns for the budget is to help myself try and get a grasp on what those numbers mean. the human brain is not really formatted to understand large quantities of things, especially something that is usually intangible in those high amounts like money. I also do it because I want to give someone the opportunity to say "actually, you're wrong because this does add up. you are just missing part of the picture."

I know the way I approached this might come off as defensive, that's not my intention. I decided to break it down like this so that no one would think I'm trying to skip over feedback or ignore certain points that make me look bad.

everything that this person said to me is a valid response to what I wrote, including the things I pushed back on.

I am very grateful that they reached out to me, and I want to continue the conversation. ESPECIALLY if they feel that I did not hear them here.

my responses are just that. a response. they are not a claim of being right or these reactions being unjustified. we are all only in our own heads, and the conclusions we come to are usually based in rationality. my mind is open to being changed, I want to see as full a picture as possible.

if you disagree with what I've said, that is fine.

if you agree with what I've said, that is fine.

if you aren't sure, that is also fine.

we're talking about something complex and nuanced and just because I'm the one bringing these things up doesn't mean I have the RIGHT opinion or that I am the person who SHOULD be saying it.

there is a reason that I am anonymous here, and it's mostly because the conversation is more important than who is speaking.

as always, my inbox and Asks are open.

feedback welcome, I mean that.

[octoberschildrenpodcast]

crowdfund review: Shelterwood

Shelterwood has been on my radar for a while, since last year when they were casting (I think it was last year, but at this point we're over midway through this one so it may have been more recently). there have been rumblings about it for a while, lots of people intrigued by the initial pitch of "suburban gothic horror", so it's already gotten a bit of traction. I was unsurprised to see it announce a crowdfund. even more unsurprised to see certain aspects of it weren't up to snuff.

as usual, the link: https://www.indiegogo.com/projects/shelterwood-a-suburban-gothic

so let's start as we always do...

(Un)Realistic Goals

what is with this $26,000 number, I'm serious was there a memo that went around to all of you saying this was a magic number???

genuinely, I find it especially odd when you consider that this is the exact same amount that Arden season 3 was asking for, and that is a show that is very established with prior crowdfunding success to base it off of. and I still thought it was a lot to be asking for them as people who had proven to their fans the quality they would provide.

Shelterwood is a project helmed by Stephen Indrisano, sometimes known as Indrisano Audio. I believe this is his first project as a writer, but on his website you can find other credits for both acting and sound design. of note, he is part of the team for Re: Dracula. suddenly why they think that giant number is acceptable makes a lot more sense, doesn't it? has Tal advice written all over it.

you know we will come back to this number in the budget section, but once again I will say that a "flexible goal" is not a bad thing, but maybe it's a sign that you should set a more realistic goal and then have stretch goals on top. I went pretty in-depth on the reasoning behind that in the Arden crowdfund review (that none of you read), but again.

we'll come back to this number.

Video Time

exactly 1 minute long, a reasonable ask of any prospective backer's time. but it's not about the campaign. this is a teaser trailer that goes on the podcast feed with a video component. honestly, the video aspect is not bad, it's a live action attempt to show off the general vibe and energy with actual clips of the show playing. has the same amateur energy of a lot of short films I would say, but sometimes that's charming. and the clips used are good, they tell the story of what to expect and the framing of it.

but it's not about the campaign.

a brief mention at the end with a link is all you get, and honestly that should have just been saved for the text portion of the post. most ideally, that's the INTRO of your video and after that first minute you have a call to action that actually says more.

good information to include:

time frame of the campaign

amount looking for

mention the passion of the team working on it

you can even mention influences here, but like one or two. keep it brief if you're going to

technically the video never even asks you to support the campaign, just that it is "crowdfunding now" and you can follow the url for more details. not much of a call to action to actually get people to take a look.

the ideas they executed on in the video are done well, but you can tell it wasn't really thought about how to make this work for the crowdfund so much as it would for just making me follow the RSS feed ahead of launch.

The Story and People

What Is Shelterwood: A Suburban Gothic?

as stated in their description, Shelterwood: A Suburban Gothic is a 16-part "Docu-Horror Podcast" (not sure why they capitalize those words to be honest). up front this is really good important information that will be immediately helpful in telling someone whether they will be interested in the project. there are plenty of people in the community with strong feelings one way or the other on the "docu-series" style, and being this clear about it is a good thing. for some they'll be more excited, and others will know this isn't worth their time and be able to move on (which isn't really a loss because even if you got them to read further they wouldn't likely give money anyway).

also love to see the length of the series being stated clearly here. "a 16-part" length tells me the most important information I need about the scope of the campaign. in part because it implies that this money will cover the production of the ENTIRE series, rather than later having them come back and go "hey, we actually are doing two seasons of 8 episodes each so we need another $26k to finish the story". that better not be what fucking happens, I swear

moving on, we are introduced to the writer/producer I mentioned above, Stephen Indrisano (he/they) (along with a link to his website, thank you for showing that people can very easily add hyperlinks in these sections). this section doesn't say anymore about Stephen or his personal qualifications to be asking for this much money and trust, but if you follow through to the website you can see credits for things they've been involved with on the production side. it would be better to not have to go elsewhere or dig for this kind of thing, when you are asking for a sum this large in any setting there is an expectation of proving that you can be trusted with it. and that comes down to more than the people you bring on board to help, it matters specifically with regards to the showrunner themself.

so why should I trust that Stephen can create a product so professional it needs $26,000 USD? at this point there's no reason. but let's keep going.

very brief one sentence description of the plot, not a bad thing to have but it could be fleshed out a little more to have some of the interesting details that were alluded to in the video trailer. again, not everyone will watch your trailer, sometimes when I see a campaign I'm in public or otherwise unable to listen to something and so will skip something with sound. plus it's less accessible to not have a written component (though it does look like care was taken to make sure the youtube captions were accurate, something very easily overlooked by even full-time video creators), but that does still require someone hitting play on a video they might not be able to.

we get a short list of inspirations, including two other well-known podcasts and an iconic horror video game, and then a description of "one part Gothic, one part Found Footage, and one hundred percent terrifying." which is not a bad tagline, but I'm still thrown by the weird capitalization going on here, that might just be a me thing.

Who Is Involved With This?

here's where we get some cast and crew and the standard name dropping you might expect from this type of production. it isn't necessarily trying to coast on the people involved and their success, buuuuttttt kind of a little it is. honestly I don't blame campaigns for doing this to an extent, even fans of a thing don't always remember the names of the people behind it.

it is always a bit suspicious to see name drops without additional context however.

we all know you put The Magnus Archives first as an attention grab, even though you only have one actor from that show who did a very good job but wasn't at all responsible for it being so beloved. Alasdair is great, but people need to stop coasting on his willingness to do smaller projects as a way to make themselves look more important.

of the 8 people listed in the crew section (which when it comes to quality of the finished product is who tends to matter more), I recognize and can connect 3 of them to other projects, and only two of those in a significant aspect. now that doesn't have to mean anything, but for me it does make me ask questions and want to dig into what the rest have done before to get a sense of the quality of the final production.

a small thing: it is also weird that within the crew section Stephen is the only one not with a crew related credit. obviously we've already been told he wrote it, but I'm not sure why it isn't still included when two other people in that section have both a cast and crew role listed.

I will say that the graphic looks nice, but I've brought up before how IndieGoGo doesn't seem to have any kind of alt text feature and so when you have an image with a lot of information you should keep that in mind. all of these people are only listed on the image, not in the text. the only thing that gets the text with links out treatment is the shows that Shelterwood is bragging about their talent being from. just something I thought I'd point out.

as much as I would like to, I'm not gong to dig into each of the credentials of the people listed here, cast or crew. people deserve to be given chances even if they're new to the scene (every gig is someone's first gig), and my personal desire to know how "qualified" each of them is is ENTIRELY coming from the amount of money being asked for. for even a $10,000 goal I would not be asking all these questions, there is just a threshold after which I get really suspicious and feel that justification is necessary. which they try to do a bit in the budget section.

but let's move onto the next bit, I don't think there is all that much to comment on as far as actors except what I've already said about clout.

Campaign Rewards and Goodies

let's talk tiers and perks.

the Shelterwood campaign has a total of 9 tiers, ranging from $5 at the lowest up to $1,000. you already know what's coming when we hit that one

so first of all, I think the sidebar tier scroll is REALLY good. the images for each level are unique and eye-catching, and help add to the general feel that the show is going for. scrolling through them really helps paint the picture for the Stepford energy to expect from this fictional neighborhood. each image also good theming, relating to the different aspects of being part of a neighborhood, from "Architect" to "Licensed Realtor". very good job on that, it adds to the fun of the experience and telling your friends about the level you backed at. especially if you want to make jokes about this being the only homeowner adjacent status you can afford.

the tier descriptions are a little more verbose when you are actually looking at the options for selection, so I'm going to be referring to what is written there. I will point out if there is any substantial difference between that and the main text of the campaign, but for the most part it seems to just be an additional sentence and small wording tweaks.

NOTE: every tier includes all the rewards that are part of the prior tiers, I will not be pointing this out for all of them because that just gets repetitive and makes this even longer than it needs to be.

$5 PROSPECTIVE BUYER - a reasonable intro tier, and honestly anything lower doesn't seem to get many people on board anyway. a tip jar type $1-3 tier always seems like a good idea, but I doubt it's making up enough of the funding to justify itself when it comes down to it. but let's look at what's in this first bit of goods:

a pack of digital wallpapers - could be interesting based on the types of images we've been shown so far in relation to the campaign, and honestly it's a nice extra at this basic tier that a lot of campaigns will reserve for $20+

supporter updates through development - this is very vague and will probably come down to the way that all crowdfunding campaigns post updates. something that can usually be seen by people whether or not they backed your campaign, so I don't actually think this an exclusive anything for being a supporter. but at this tier price that's fine enough honestly.

supporter exclusive discord - perfectly reasonable to place here, helps even the backers who can't give much to feel like they are able to be part of and support the project as it becomes reality.

$15 NEW NEIGHBOR - the jump from $5 to $15 is a little odd to me, but I guess if you are trying to keep the number of tiers lower and already know your high point it is okay. personally the difference between offering $5 and $10 is a much easier choice to bump up as a supporter than going all the way to $15.

personalized shout-out on Twitter and/or Tumblr - to be fair, this was before the latest Twitter meltdown, so offering that was not quite as pathetic a couple weeks ago. BUT this is still a pretty sad upgrade for tripling your pledge?

$30 LONG-TIME RESIDENT - this has the same price increase issue as the last, there's just something about going up to $30 versus $25 that feels odd? harder to justify, sometimes numbers don't feel linear when it comes to money

curated recommendations - "everything you need to understand who we are and why" is a very vague description of what this might contain. I'm assuming we're talking books, movies, tv-shows, video games, other podcasts, and music that helped inspire the show. which honestly is fun, I don't mind that, it's just being extremely vague about it. $50 says House of Leaves is on there (no hate, it's a very important piece of architectural horror).

Haunted House micro-zine - UH OH. we all remember what this means, right? we all saw the absolutely PITIFUL micro-zine that went out to Re: Dracula supporters and with many of the same people involved here that is definitely the level of quality to expect (shoddy folding, clip art ass looking artwork, copy-pasted stuff from the web vs original content, misaligned printing, etc). granted, I think this is a PDF version (not that it specifies that itself, just based on the full tier description that says "a printable first step into the neighborhood"), but still. that zine was also at the $30 level and there were people really disappointed with it. I am not going to link to the Twitter thread in which one of the people involved with the campaign actively searched for and found a post with no hashtags or tags and proceeded to put them on blast to their own thousands of followers. but I want you all to know that I remember that happening, and it IS going to become relevant again at some point in the future.

UPDATE: right has I was doing my final checks of the campaign to make sure my images were up to date for this and things were still as I expected, an update was posted. an update that in part pertains to the micro-zine. I think everything I wrote above (and below about the physical version) is still relevant, BUT specifics of that will be revealed and discussed right before the end of this post if you want to jump down there and take a look at what I have to say now.

$50 LICENSED REALTOR - jumping up another $20 so that they can print out two sheets of paper and add 3 random stickers to send you

printed versions of the curated recommendations and micro-zine - you know what, they did at least learn that a printed copy of their zine was NOT worth going at the $100 tier. so they did make one improvement.

3 random stickers - stickers are nice and easy and can be sent worldwide for pretty cheap. a good thing to have, I just also usually like to see what these stickers might look like. in this case, that would be especially helpful because you are only getting 3 of the 5 designs, and it might actually help a backer decide to up their tier level because they really want to make sure they get the ones they want.

$100 DEVELOPMENT INVESTOR - for adding $50 to your pledge (doubling it) you can get some really boring shit:

all 5 stickers - adds the other two stickers! wow, thanks. totally worth it...

a signed, printed script page - a.... single page? for $50??? I'm sorry, but what the fuck are you doing. this is an INSULTING reward for someone giving you $100. that may not be a lot of money to some people, but especially right now during a huge economic downturn? that's just pathetic.

UPDATE: while it isn't listed here (which should be updated by them when they see this), as part of Campaign Update #2 (which I cover near the bottom of this behemoth post) there was an additional perk added to this tier and above: "a unique page of blackout poetry from a book that influenced the show" - I have no strong opinions on blackout poetry. I still don't think that this makes this tier worth it, but at least they recognize how pathetic it is that it needs a little more of a boost to look appealing.

as an aside: here's some examples of $100 backer rewards that I've seen on campaigns and think ARE worth it:

Syntax - both an annotated full script AND a personalized voice message from any cast member AND credit shout-out (not even counting the earlier included rewards such as an exclusive enamel pin and AMA)

Red Valley - a signed and bound FULL SCRIPT

Two Flat Earthers Kidnap a Freemason - an autographed FULL episode script AND a t-shirt

juuussssttttt some food for thought.

but let's continue on, I'm sure nothing else will be questionable here. can you feel the sarcasm coming off of me in waves, even across an ocean I hope you can sense it

$150 HOMEOWNER'S ASSOCIATION MEMBER - add another $50 for an exclusive poster (which honestly seems pretty reasonable especially when you consider how much international shipping is and production costs of a nice print. assuming the print is high quality, but you never know with this stuff until someone gets it)

an exclusive poster - again, would love to see a design. and maybe measurement details would be nice? I am really glad to see that the artist is named and linked to. the lack of credit I've seen on some campaigns for things they've hired out for is a really disappointing thing, so I am genuinely very happy to see a link to the artist's gallery. it gives a good idea of the style without giving away the mystery (if we want to give the benefit of the doubt that it is supposed to be a fun "mystery" what you will receive) as well as introducing people to an artist who may have other work they would enjoy and like to support. big A+ for that, seriously. the bar is really low on some of this shit.

$250 ARCHITECT - fucking hell, we're jumping up a full $100 now, time for the big leagues benefits

limited edition t-shirt - honestly I can't believe that they decided to put the t-shirt behind a $250 paywall. absolutely absurd, especially after I pointed out that it was included at the $100 tier for a campaign like Two Flat Earthers. I'm serious, do you know how cheap it is to print on demand a t-shirt? it's not dirt cheap, but it is NOT $250 tier level. I am unsurprised that at this point only one person has backed at this tier.

personalized thank you note from writer/creator - this is a nice reward, but again why do you think it is worth enough to be a $250 tier perk? especially when we all know that a "thank you note" can just be a one sentence thing with your name plugged into it. doesn't even say anything about being an exclusive postcard design or anything else that might make it worth it. Stephen might just go to Sam's Club or Costco and bulk buy a box of generic thank you cards to fill out.

$500 CHAIRPERSON OF THE ASSOCIATION - here's where things get a little more interesting

name a character or location in the show - this kind of thing is fine, my one hang up is just that sometimes these things are so fleeting or hidden that they barely qualify as a fun easter egg? we all know that this isn't going to be naming something important, and that's okay, I just hope that it's going to be naming something that is actually audible and noticeable at some point in the show.

one-of-a-kind "production ephemera" - this is a very neat perk that could also be really fucking disappointing. I think to make something like this appropriately exciting you need to give a specific example, more than saying "such as a prop from the video". especially when you use a term like "ephemera" there is an implication of it being something really neat and unusual and you should want to be selling that idea more explicitly. I do genuinely like this reward though, I think it IS relatively appropriate for this level of contribution and could be something really special. could be.

NOTE: this is the first tier where I feel the need to bring up that there are no limits on the number of backers at each level. I think for most physical goods that can get produced it isn't a huge deal to leave it open because a lot of that stuff is going to be made to whatever number is needed without much issue. but when you get into the territory of a "one-of-a-kind" good, there are going to be limitations on what is classified as being good enough to give away. if you get 30 backers at this level, but only 10 of the items are really worth it, you are doing a huge disservice. capping these numbers can also entice people to jump on them for fear of missing out on the one-time opportunity, so it can in fact be beneficial. for example, the Red Valley campaign I posted earlier capped their 3 highest tiers (10, 10, and 5) and sold out of ALL of them. granted, their highest tier was $328 USD (£250 GBP) and not $1000, but still.

$1000 TOWN FOUNDER - who could have guessed that the big $1k tier was once again a vanity Executive Producer credit.

Executive Producer credit - wow. I'm so shocked by this. truly this is the fallback reward of so many campaigns and is so fundamentally USELESS. stop trying to sell people a vanity title, it's gross and doesn't mean shit, and muddies the waters when it comes to the actual creatives who are involved. stop making me point this out. the fact that some people are willing to pay for this does not make it less of a skeezy scam.

[listed] in all show notes and transcripts - there is a typo here that says "listen" instead of "listed", not a huge deal it just made me do a double-take and wonder if I was in fact correctly understanding this reward. initially I read it as "oh cool, they actually get to listen in on some production stuff maybe?" only to realize that no. it's just more shit for the vanity title.

verbal thank you at end of all episodes - generally this is a nice tier reward, but again is it worth $1000? I also pointed out above that the Syntax campaign had this as a $100+ reward, which feels much more reasonable. this does again also bring back the thought of putting limits on the number of backers, because do you really want to potentially be reading dozens of names at the end of every episode? granted at this high of a tier that was never likely, but I did point this out for my Arden write-up which had it included at a tier far too low to leave open.

notably missing things:

any images - literally anything to show off potential rewards. I pointed it out at those tiers, but having a reward for 3 out of 5 random stickers and not showing ANY of the stickers? why would I even think about backing higher to get all of them when I have no idea what I'm missing out on.

any mentions of ad-free episodes - maybe they aren't planning to put ads on the podcast anyway, but worth pointing out that it isn't mentioned anywhere

early access to episodes - this one is usually a staple, weird to find it absent when it's such an easy draw

behind the scenes content - currently there is no indication that they have any kind of platform where they might share behind the scenes stuff, and it isn't a required thing. but I know a lot of people ARE interested in this stuff so I would think that maybe it could have a place. if there is supposed to be an implication that these things will be in the supporter-exclusive Discord server, then that should be clearly said because it is something that could convince people to support.

no add-on rewards - this isn't a super common one and I kind of get why they didn't include this, but when you have some of your physical rewards like a t-shirt locked behind these hugely expensive tiers no one is going to have them. but if you add a $30-50 t-shirt add-on people will buy it. and that's publicity when they wear it, when they post about receiving it, and when they see it in their own closet and think about your show. the ongoing Tell No Tales crowdfund has an add-on option for their very cute mug design, something I personally know people have added to their contributions

some general thoughts on these rewards:

mostly unenticing and overpriced, with nothing that really is selling them as a worthwhile investment. for all the money that they are asking, none of these tiers (particularly the high ones with the possible exception of the $500 one) have anything that would make me pledge above $15. things are either too far out of reach and expensive like the t-shirt or just plain not enticing like the micro-zine.

now that THAT is dealt with, let's move onto the imaginary world of how this money would be parsed out if the campaign were fully funded.

Where Will My Money Go? AKA The Budget

NOTE: because this is a flexible goal campaign, for calculations I am going to use the $26,000 USD being asked for to demonstrate the cost breakdown of the provided budget. this is reasonable given that by asking for this much they are claiming that this is the amount it would take to produce this audio drama. whether or not they receive that, that is the implicit claim.

here you can see the budget pie chart provided by the campaign (I would like to say that visually I am a fan of this weird kind of tv psychedelic thing they have going on in the background of their images). it is... a thing. not a good thing.

Before the Dive

but let's start with what the campaign says in this section because that is also very interesting for other reasons. let's highlight what I think are the most important things:

270 page script

3 years of development already

"we are striving for nothing less than fair wages for all parties involved"

this breakdown applies AFTER crowdfund and reward expenses are accounted for

that last one is particularly important, because my first reaction to this chart was wondering if they were rolling the crowdfunding fees and reward expenses into "production" since they definitely didn't fit anywhere else. this does also slightly complicate the math because I do not know what those expenses will come out to apart from the standard 5% fee that these platforms usually take.

I do also think that the 3 years of development is really important to consider, especially when you combine it with the claim of "fair wages for all parties involved". as it stands, this budget breakdown does NOT do this, because it does not take into account those 3 years of writing and development and pre-production in terms of compensation. this problem of not paying the writers is something I keep seeing, and I think it keeps happening because the writing has already been done and it feels weird to some people to ask for retrospective payment. but if you pitch a script to a director and a studio picks it up, you get paid for that time! you get compensated for the thing you wrote that was a gamble, and if this campaign is making money off of that 3 years of work, why should that not be compensated to an extent?

in a lot of cases this would be the most important thing for me to call out here, that discrepancy between claiming to want fair wages for everyone, but that only seeming to apply when it comes to the production and post-production stages.

now, 270 pages is not nothing. that's a lot of script to write. but it's also not that much script to write if we're being honest. there are shows I listen to that have hour long episodes and their transcripts are 80-90 pages EACH. so comparing that to Shelterwood could have you thinking this is only going to come out to about 3 hours of content.

I actually had to come back to this section and make some adjustments because it's only in the FAQ (where most people forget to look) that episode length is mentioned.

now then.

Let's Get Into the Numbers

it's time to crunch some numbers.

it's going to be a bit difficult to divide based on anything except the cast/crew list and the number of episodes that will be produced, but I will try my best to break it down like that.

there is also a bit of really useful information hidden a little further down in the stretch goals section of the campaign (which I am glad I made note of before doing all of my math).

in the "How Much Do You Need to Raise?" section is the following:

For this project to get off the ground, we need to raise $26,000, with a green light to start production at $20,800. But don’t worry, we’ve got some exciting milestones to hit before then! For every $5,000 of our total goal raised, we’ll be releasing a micro-sode in the world of Shelterwood

this has some VITAL information for our calculations, namely that the ACTUAL goal to start production is $20,800 USD, not $26,000 USD.

there is a slight problem with this however, in that a "green light to start" can mean a few things. because the campaign is still a flexible goal, even if they don't hit this number they will get the money, so I am assuming it does NOT mean that they have to hit it to start production at all. I think what it is meaning to say is that it's either hitting that number or the campaign ending that will be the green light.

however, there is an alternative.

this is a group of podcasters with some significant pull and connections, something we've seen some of them deploy for other projects. namely, Re: Dracula.

yeah, we're back at this one apparently.

the reason I bring it up at all, is because that was a project that IN ADDITION to their crowdfund had a $10,000 investment from Seed & Spark. now why might that be relevant? there is a chance that when Shelterwood says it needs $20,800 to green light the production, that is an absolute statement. but that they have plans to try and find other investors to help them hit it if the crowdfunding doesn't get them there. I don't have any real reason to believe this would be the case, Re: Dracula was very upfront about their outside investment. but it does feel like something to point out with regards to how this is worded.

either way, I am going to be doing the calculations for 1. reaching the full goal, 2. reaching the "green light" goal, and 3. as a per episode cost. hopefully these three ways will give a good insight into the actual budget being proposed here.

there is also something in this text about promised "micro-sodes" at each $5,000 hit. that isn't about stretch goals, it's about the whole campaign. so we need to factor it in somehow. luckily there is already the first one up on the Someone Dies In This Elevator feed (another perk of having Tal on your campaign is getting some of the promotion they only seem to reserve for friends) and so I can see that it is 7.5 minutes long (which, side note, it's kind of weird that Shelterwood isn't referenced in the name of this one? it's in the show notes, but I scrolled past it without realizing and then had to take a closer look as I was going through again to figure out which it was).

most of this feed seems to be populated by a variety of micro-sodes, lengths ranging from as low as 4 minutes to as high as 11 minutes. so this one is actual bang on the money for average length. unfortunately, without any kind of concrete number for the actual episode lengths to expect from Shelterwood, that doesn't do us a huge amount of good? but it does tell us a little bit, which I will use in the next section.

as a side note, before we get into it: I really appreciate it when campaigns do some of this for me and include their own actual numbers along with the percentages. maybe you don't want to make my life easier, I am in fact largely writing about campaigns that I think are not good, but still. even as a prospective backer it's nice to see the 1 to 1 of "oh if I give $100 that is paying for half of an episodes acting!"

so let's break it down with first the big percentages as numbers:

here's where that little bit of info about the micro-sodes is useful. I was going to use my calculations to basically guess at how comparable all of these were compared to a full episode. but then I realized that the phrasing of these goals is that they are already completed and just waiting to be published, about 37.5 minutes of content based on the one we currently have access to. only the stretch goal mini-sodes have NOT been written and produced. so I am actually NOT going to factor them into the costs, because I've already pointed out that we are seemingly ignoring work that has already been completed before the campaign went live, and this is definitely that. so thank you for making my math a bit easier I guess by not having to factor those in.

additionally, I did point out how the campaign says that the percentages will be applied to the number leftover after campaign related costs, but that is an impossible amount of money to guess. so for ease I will be ignoring it entirely.

(I actually just forgot to calculate what 5% of the total goal removed would change the numbers to, and I really don't want to redo all my math now that I've realized this. sorry if that makes me seem less professional with my breakdown, but I can only do so much and don't have all the time in the world to make this perfect. an impossible task as-is.)

so. let's see these numbers in full (in USD):

PRODUCTION - 10% - $2,600 (at the $26k goal) or $2,080 (at $20,800) - $162.50 or $130/episode

so first of all, "production" is a very vague term. to some creators this may or may not include sound design and other aspects of editing, but since sound design is accounted for separately it makes it less clear what this bucket means.

I think that we can get a better idea by looking at the involved crew, but there will still be some guesswork involved.

first up, I think we can assume that this does NOT include payment for writing the script. we've already covered that I think, but I just to explicitly address that since in my mind that would be in the "production" bucket for this categorization of budget.

next we have the producer. again, this is fucking vague as hell in terms of titles, means different stuff to different people. I do however think it is part of this section of payment, given the name, so there is one person.

we also have 2 directors for this project. now, I think a case could be made that the directors are getting paid from the actor pool, but what it really is is part of the production side of things so I am going to assume it is here. that brings us up to 3 people.

lastly we have the graphic designer, a role that definitely falls into production as it almost certainly entails stuff like promotional material, marketing, and unique cover art for episodes (if they go that way, plenty of shows don't).

so we have a total of 4 people to split this money, though not all of these roles are equal. but as an average payment, we're looking at about $650 or $520 per person. I do think that the rate for the directors compared to the graphic design work is not going to paid the same, though I don't really have a clear idea how either of those costs will compare to the role of the producer here.

however.

even if we were to divide this in a way that was VERY generous to the co-directors, up to $1000 each even, that is really fucking low.

if both are taking part in directing all episodes, at 16 total that is $62.50 pay each.

if they are splitting the directing work and each taking 8, that is $125 for the episode in question.

either way, it comes out to the same amount overall, which is not really fair compensation for what will come out to what I would guess is around 25+ hours of work.

that estimation could be really off, but based on my own experiences I think I'm even being a bit conservative on that point. maybe not everything is being directed, some of the smaller parts might be recorded asynchronously, but still.

for a budget this massive, to only be setting aside less than $3000 is kind of ridiculous.

moving on.

MUSIC - 10% - $2,600 (at the $26k goal) or $2,080 (at $20,800) - $162.50 or $130/episode

again, I'm a little confused by the crew list here. we have listed both a "composer" AND someone doing "in-show music". given the context of the framing device as a docu-series, I'm still left pretty confused? this designation of "in-show" kind of implies that there will be a separation between the more professional production investigative documentary-esque side and some other place that music would be. the only things I can think that that would exclude are intro and outro music, which is not hugely significant compared to the main content of the show that will be given original music as background.

it makes it a little harder to distinguish these roles, though I do believe that the "in-show music" is going to be a larger portion of the production, so will likely get a larger chunk of the funds allocated here.

but let's assume for a moment that these are equivalent roles, and look at how much each will be paid:

for the full project, that comes out to $1,300 or $1,040 each (or approximately $81.25 or $65/episode.

now I don't think that the per episode cost here is that valuable, considering music is most often something that is paid a flat fee for. additionally, it's unlikely that every episode is going to have unique music; a certain number of compositions will be done to cover the broad themes needed (i.e. music for action moments, for investigative moments, for emotional moments) and then reused throughout the series. it's not really possible to make a guess at the amount of music that is going to be produced, so whether or not this is a fair pay rate is unclear. I will point out that there is a stretch goal involving an album, so we're probably talking about more than 10 distinct compositions.

even so, let's remember that this is the same amount allocated as for Production, but only split between 2 people. which is interesting. as I said, music can have re-use, but things like direction and production usually cannot, so I would expect those things to take up more time overall. and yet the same amount of money is being split more ways too.

again, this is all educated guesswork. it isn't super common for podcasts to have entirely original music and it's also very nebulous in how many tracks are required to keep things from feeling repetitive and to match the varying tones in a story. this leaves us to kind of just take this section of the budget as a gut check, one that I wouldn't really think much about if not for the fact it is being valued at the same price as "production".

I do think it's also worth asking a question about the need for original music. for a theme and credits track I definitely get it, having something that is 100% solely identifiable with YOUR production is big and helps it feel special. but when we're talking about background music, these are things that are arguably not that important in terms of being completely original?

I do think this isn't that much of an issue here, the music budget is still very tiny compared to the rest of the proposed costs, but it is still over $1000 for something that could be achieved by using a more cost effective solution like a sound library. as an example, Epidemic Sound is $239.88/year for a commercial license, and you could possibly get away with the personal subscription at just $119.88/year (I don't endorse this service, it is just seems to be the one most commonly used). there are a huge number of tracks, more than enough to tackle sound design for a documentary-style horror podcast.

let me be clear: I love music, I love musicians, I think people should have opportunities to get paid for their talent.

but I think it says something about how highly that this production sees itself that they are pursuing costs that are arguably not NECESSARY (we will get back to this, have faith). the more the cost of the campaign climbs, the more you should be evaluating what is most important. if the music isn't integral to the story, how are you justifying that additional cost?

like I said, I don't think it necessarily applies here in the context of the percentage of the budget, but $1,040-1,300 is still a LOT for most campaigns.

but let's keep going, we're about to look at the majority of where the budget is going.

CAST - 40% - $10,400 ($26k) or $8,320 ($20,800) - $1,625 ($26k) or $1,300 ($20,800)/episode

from these numbers we can also break down approximate actor pay.

what we know for sure from the cast announcement is that there are a total of 27 actors (3 of whom are also crew). obviously there are going to be varying levels of supporting vs main, but at this point there isn't anything I can say about the breakdown of that besides a guess (in a cast this size I would personally guess that probably 5ish roles are considered main characters, with 5-10ish as supporting and the rest as flavor characters).

but let's just look at breakdown as though every role were somehow equal in terms of compensation:

that gives us about $385 or $308 per voice actor across all episodes, or an average of $24 or $19.25 per actor per episode.

again, I don't think this is an accurate breakdown, obviously our perspective character is going to be speaking for most of every episode and just from looking at character names in the cast list you can tell quite a few will only appear once or twice.

but when you factor in that over half of these actors are likely doing minor characters and getting paid probably around $25 for their entire contribution, that leaves a lot of money left.

as a quick guesstimation, let's say 15 of the actors are in this group, accounting for only $375 of this budget. that leaves over $10,000 on the table to be split among 12 people, most of whom will not be main characters and probably only make $100-250 each. even if I were to be generous with these numbers, there is still a lot of money left on the table going to the main actors in the group. more than there needs to be for it to be fair compensation.

I want to reiterate that it's difficult to do anything definitive with the information we have, but I think it is somewhat useful to do this exercise as there are some somewhat standard rates of pay within audio drama, at least for smaller sized roles.

I believe in fair pay, but there is a difference between what that means in audio drama and what that means in other voice acting career spaces. I think there is a larger conversation to be had about that, particularly as we keep seeing crowdfunding campaigns of this size that seem to be trying to make their project something that provides a "living wage" to the actors. this is not really a sustainable or reasonable expectation given the amount of work being done, especially when compared to the value that is being given to other aspects of the production process (again, why are the directors getting paid from a bucket that is so much smaller than this one?).

what this seems to be doing is trying to fit a wage mold that isn't really applicable. these are not union actors getting paid industry rates, these are just not those kinds of professional productions. there is something very off about the amount of money being asked here for a project that is not even that large.

but let's move on before I go on an even larger tangent about this side topic.

SOUND DESIGN - 40% - $10,400 ($26k) or $8,320 ($20,800) - $1,625 ($26k) or $1,300 ($20,800)/episode

finally let's address the elephant in the room.

Shelterwood is a project with 1 sound designer. just the one.

Brad Colbroock will be receiving around $10,000 just for this 16-episode project. which is a ridiculous amount.

the claim here is that Brad is worth 27 actors, and 4x the musicians and rest of production team.

oh, but what's this interesting note here at the bottom of this section?

look at that, there is an amount of recognition at the ridiculousness of putting 40% of their budget towards a single sound designer. let's dive into it.

okay, so first of all. this is an extremely unimpressive list of events. I know SEVERAL sound designers who are capable of delivering these specific scenarios in a couple hours each, MAX. if this is meant to show the justification by being the most impressive examples (excluding stuff that would be too spoilery obviously), then I am not very excited for the intensity and weirdness of the show's sound design.

this feels really basic for stuff you are trying to say justifies this high of a price.

I'm serious, this in no way convinces me that his work is going to be worth this much money.

standard sound design rates in audio drama are nowhere near $1,300-1,625 per episode, that is RIDICULOUSLY high. the most I've heard is probably around $500, and that was for an actual play which is significantly more work than your average audio drama episode.

I would like to know how on earth this is a justifiable number.

I would ALSO like to know if "sound design" includes as much as you might think it does.

there are a lot of shows where things like doing the dialogue cut is separated from the sound design aspect. I don't know if that's the case here, but as I'm still struggling to determine what the Producer is going to be in charge of if not the editing, all I can do is try and guess at what tasks are being left on the table.

"sound design" does not necessarily imply all parts of the editing process, and at a price this high that is majorly concerning.

THIS was the reason I decided to do a write-up.

there are a lot of things in this campaign that I think are suspect or just outright bad, but this was the moment that I went "holy fucking shit, these people have completely passed the point of being reasonable in their crowdfunding goals."

I am SO tired of seeing goals placed this high, the only thing it does is take away community funds and resources that could be better spread to a variety of diverse projects.

I'm not saying that Shelterwood doesn't deserve funding and to be made, I AM saying that Shelterwood asking for $26,000 when other campaigns struggle to raise even $2,000 is a big part of the fucking problem with audio drama crowdfunding right now.

this is a form of resource hoarding.

and it's the same people who keep perpetrating and benefitting from it.

I'm just really fucking tired of seeing so many interesting and diverse voices not be given the benefit of the doubt the way that people like this with connections to more established names do.

RANT OVER.

before we move on to stretch goals, just a couple small things:

I find it insulting that this team is justifying some of these expenses while still not compensating the writing. I know I've already brought it up, but having crunched through all those numbers and had to see just how much more they are valuing the sound designer than the person who created the damn thing (which likely included already thought through notes about what the sound design should be), it is a spit in the face of all of the writers in the community. sound designers are very important, yes. but so are the actual minds and writers behind these stories.

Shelterwood is an interesting project because of its concept, NOT because of the promise of the sound design. I would listen to a low budget show with this concept and pitch because it sounds interesting, even if the production quality were barebones. because the actual value is in the story, not the presentation. I think these people have forgotten that.

I would also like to say that as part of a good budget section for a flexible goal campaign, I would expect to see something addressing if there will be changes to the breakdown if that goal is NOT met. before you address stretch goals you really need to talk about this.

now, it IS addressed, but not right here where it should be. it is in the FAQ section (where no one ever looks), so we will be dealing with it there.

I'm not doing a great job at holding back the salt and disdain, am I. out of practice forcing professionalism I guess, it's been a bit since I did one of these.

Stretch Goals

I briefly touched on this earlier during the budget section as there was information revealed here that was important for that.

but now let's take a look at it in full and talk about what's left.

Shelterwood has outlined 5 stretch goals:

at $28,000 is promised "off-week micro-sodes with extra scares added to the release schedule". this is an odd one to unpack, but it does reveal a small interesting tidbit in that Shelterwood will not be releasing weekly, most likely every other week. not hugely relevant, just good to know.

what I think IS relevant is that there isn't really a claim to how many of these bonus micro-sodes will be made? the use of the term "off-week" could imply that it is filling every gap in the schedule (i.e. there will be 15 micro-sodes added, one for between each major release and not counting the 6 that would already be out in the world as a side effect of hitting this level of funding).

in conjunction with that, this is only $2k above the fully funded goal, the implication there being that this is enough additional money to cover the cost of what is being promised. which seems pretty impossible at the prices we have been led to believe are needed by the budget section, the math just seem like it would work out to cover that.

at $30,000 the 7th micro-sode is written and released. I would hope that this work includes paying Stephen for his time writing, but the rest of this campaign has made me suspicious that he is not in fact paying himself for that work so I won't hold my breathe on that point. especially since we know that the mini-sodes will require sound design, and that the sound designer is very expensive.

at $32,000 we see "actor payscales increased!"

hm. well that's interesting. there are people involved in this campaign who have been VERY outspoken about how actors should NOT be paid more than sound designers and other parts of production. and yet here we are with a stretch goal that is only going to apply to actors getting paid more?

at $34,000 there is a Shelterwood Album. that's all it says, no clue if that means anything specific as it relates to campaign supporters? might just mean uploaded to Bandcamp for you to purchase if you'd like. to be clear, this isn't a bad stretch goal, I'm just unsure if it's actually going to be something that people get to enjoy "for free" after they've paid enough to the campaign to unlock it.

and finally,

at $35,000 the 8th micro-sode is written and released. I don't have anything to say about that that I didn't say about the $30k stretch goal.

moving on, I promise we're nearly done and all the hard stuff is out of the way now.

Other Ways To Help

always a good thing to have, though to be honest I don't know if it actually ever does anything? I think people are more likely to retweet or reblog a post they see naturally on social media, rather than getting to the bottom of a campaign spiel and deciding to write something up fresh.

giving some examples is a nice touch that makes it much easier, I hope that it is intentionally that they are all somewhat cringey (cringe can be a good thing).

I also this it's really great that there are already crossover episodes lined up with a few other podcasts (though I can't say I'm familiar with any of them apart from Someone Dies In This Elevator, and several seem to be non-audio drama and even nonfiction in aspects, which is an interesting choice for this project?)

I would also like to say that I genuinely LOVE the "more uncanny way to help" section. it is honestly the best part of the campaign and is a model for creative and interesting marketing. I don't know how effective it will be, but this is the kind of fun interesting shit that makes a campaign stand out. it's also a great opportunity for spreading the word if people actually do it. not because I really think people will go to a url on a random flier (I think if you want actual throughput that way you need to add a QR code instead of just the typed web address though, much easier for people to follow through), but because those people will post on social media which will get attention and then you can reblog with some in-universe type response and get free marketing that is engaging.

FAQ

we're done looking at the main bit of the campaign, let's jump over for a look at the FAQ, aka the most frequently ignored part of a campaign.

How long will the show be?

here is the only place that there is mention of the length of the episodes, which gives us a good idea of the full length of the finished product. we are told 40-50 minutes per episode (not including any micro-sodes) so if on average it's going to be 45 minutes each we can math that out to around 12 hours of content. pretty solid amount, I'm not sure why that is buried here though? to me this is important information, I would have expected it to be proudly presented at the top of the campaign when the 16 episodes was first stated.

What makes Shelterwood different from other horror podcasts out there?

honestly this is a good pitch, so good that it shouldn't be hidden away here. move this to your introduction, you want to be sure that people read this when deciding whether to give you money. there are a LOT of horror podcasts, and it's really important to set yourself apart from the get-go. talking about being horror and Gothic in passing isn't going to be enough, you need to really emphasize it.

this is ALSO important in that it is the justification given for the music budget that I was looking for earlier. granted, the necessity of this as being vital to the show will remain to be seen, but "in-universe songs that haunt the whole show" is the kind of thing that would make me more excited to give. highlight that in the main body of the campaign, make a point of clearly calling out why these things are so necessary to the fabric of the show. it helps you stand out and it helps you communicate their importance.

How scary will the show really be?

I honestly don't think this is really a provable thing, people will know if it's scary once they hear it. usually I would lean on the creator's previous work, but we have nothing here to look at for that. so like all things, it will come down to personal taste whether listeners find it scary. hard to quantify something like that, honestly I think the only reason this is here is to try and bolster Stephen Indrisano's experience and why you should trust him to make a good horror show.

the problem being that this isn't being put where we as a prospective backer are introduced to him, but somewhere most will never look.

What happens if the goal isn't reached?

now as I said earlier, I really feel like this should be addressed in the main body of the campaign because most people won't look here.

but here it is, and here we are. so let's talk about what this says:

If we cannot reach our goal, we will have to go back to our budget and start making tough decisions about pay scales, characters, and whether the show can be made at all while still fairly compensating our team. If we cannot raise the funds, there will be large delays in production until we can determine outside funding. We are dedicated to paying our cast and crew what they deserve for high-quality work.

overall, the way this is worded and framed is kind of vague? yes, there's no reason to get into details here about what would need to change, but it feels like a dangling threat that you are meant to fill in with your own worst case scenario "what-ifs". it's also a bit concerning in some aspects, because which pay scales are we talking about here?

while going through the budget earlier, it was very clear what work was valued most of all: the sound designer. now, it's also important to note that he is probably being paid a fixed rate that will be non-negotiable, most sound designers have a per hour rate they give and you don't really haggle that. so I don't believe any of that shortfall would come from his budget.

the next obvious pool is actors, which makes sense given it also calls out whether characters will need to be cut. this is kind of shitty, as all of these people are already promoting this project they got cast in and might get removed from without warning. this is a FLEXIBLE GOAL, so to get cut after putting in time and effort to help get more money means that you just did that labor for free that you would have been compensated for in some way before. just because you aren't paying cast and crew to do promotion doesn't mean that their actual pay isn't in some part FOR that. this is true in any job, if you were organizing a money-making event and then got fired right before it happened, the money that the company made off of the thing you planned is not benefiting you.

I think in a lot of these cases, it's production that takes the brunt of these cutbacks first. these are the people who feel the most investment in making the project happen, and the most willing to undercut themselves to try and make sure it does.

now then. the most egregious part.

we will have to go back to our budget and start making tough decisions about pay scales, characters, and whether the show can be made at all

"whether the show can be made at all".

this is a "flexible goal" campaign. that means that any money they raise is going to be kept by them, whether or not they decide they can actually make the show "at all".

a charitable reading of this would be that in that case they will refund all the donations and not keep any money.

but it's weird not to say it outright because all that does is make you look like someone who will try to get away with keeping the money, even if the project falls apart.

there's also something else I think we should talk about with regards to this:

I think that by creating a flexible goal, you are implicitly saying "we don't think we'll reach the full goal, and we'd still like to get some money if we don't."

if this is the case, then why aren't you creating the initial budget with that in mind?

I think I touched on this in the Arden post, but you should be presenting your "minimum viable product". what this means is that you are stating that for the project to exist it MUST have at least this. and I don't mean in terms of money, I mean in terms of cast and crew and episodes and time that can be given to create the most bare version of the thing that will get to the goal.

that might mean no original music, that might mean fewer side characters, that might mean half as many episodes.

whatever it means, THAT is what you need to be thinking about when you start asking for money. especially if you are already approaching it from the stance of "we will take whatever we can get", you need to know going in what that looks like. it is NOT something to be decide later if you don't hit the goal, it is something that needs to be known upfront and used as the basis for your decision-making.

doing anything else is irresponsible to all parties involved, including those trusting you to put their money to good use.

Campaign Updates

you thought we were done?

so did I, god fucking dammit why are we not done yet.

since campaign launch there have been 3 updates.

the first is from about 2 weeks ago, just sharing that the first bonus micro-sode was released with a link and reminder that at every $5k another one will be released.

the second was posted at the end of the first week of crowdfunding (just over a week ago as of right now).

this update actually has something interesting that I pointed out earlier. at this point, the campaign decided to add another reward at the $100 tier and above, a unique page of blackout poetry. which is fine, except that again this is hidden away where most people won't see it, and the actual tiers and body of the campaign need to be updated to reflect this additional perk for it to do any good in convincing supporters to give money at that level. right now it's basically just a hidden easter egg reward.

however this post also alludes to something in the 3rd update. something I fucking hate.

can I just say how much this reminds me of those Instagram "follow and tag 2 of your friends!" contests? I can't be the only one.

but let's actually look at what this is:

We are pleased to announce that, effective immediately, we will be running a referral contest. What does that mean? In a nutshell, we will be offering one of three very special, unique perks to the top three individuals who can gather new pledges through referral links: 1. A walk-on part in the show, to be recorded when production starts 2. A personalised list of horror recommendations from the cast and crew 3. A character named after you, who will die spectacularly in Shetlerwood The rules of our contest are simple: whoever gets first place gets first pick of the rewards. 2nd place gets 2nd pick, and 3rd place gets 3rd pick.

so there is a lot about this that I think is bad, some of which might just come down to personal ethics and what I would be willing to do as part of a fundraiser?

I hope it's at least clear why I find this kind of thing gross and exploitative. in a way you are dangling rewards that are reliant on someone having a relative position of privilege. referrals only count if the person follows through and donates, which means that you need to be friends with people who can afford to do that.

I will say that I am VERY thankful it seems to be based on the number of referrals and not the AMOUNT that is garnered by them, but there is still something very gross feeling about this that I can't shake.

part of it might be that these feel like backer rewards that were withheld for the sake of this contest. like they were going to do this no matter what and they looked at the things they could offer and went "let's hold back these enticing things specifically for that". especially when the actual campaign rewards are really lackluster, to hold these back and have fans compete to try and get them is gross to me.

I fully accept this might just be a "me thing" that I find this to be icky, but none of us are original so at least one other person is going to agree with me. that doesn't make it the right opinion, it just reinforces that it is a valid one.

I don't think that contests are a bad thing, there is just something about a "referral contest" that makes me think of MLMs and other financially exploitative systems.

but now let's talk about the fun part of this update, which is the reveal of the "Haunt-Your-Own-House Micro-Zine".

I am happy to report being right about the quality of this "micro-zine". allow me to draw your attention to the fact that the printed "shingles" are not oriented correctly. you cannot convince me this was a design choice, I'm pretty positive it's just sloppiness as I would expect.

would just like to point out that this is not a zine of any kind, this is just papercraft. which is fine, but that's a REALLY different thing. I don't want a bit of papercraft taking up space, a small zine that can slip onto a little bookshelf is much more desirable to me.

as an idea, it's not a bad one though. like this is a fun little thing for you to put together and maybe customize, but you should advertise it for what it is, which is NOT a zine of any kind.

but also, the ghost shown in the image is NOT part of it. I thought that was another bit of papercraft when I was writing the image description above, but no apparently it isn't even part of it, they just stuck it in there to make the thing look less boring. if it can't look impressive as the thing you are giving, maybe that's a sign it isn't a good reward.

before we move on from this, they also say the following:

The PDF for these will be sent out to all backers at the $30 level and above within the next 48 hours, so be on the lookout for that!

now I might be wrong, but I'm pretty sure that backers haven't actually given money yet. they can still cancel their pledge, but you are already looking to fulfill the reward?

I can understand this as a marketing move, get the thing in people's hands so they can make it and post on social media to help the campaign gain traction. but you are jumping the gun and if I wanted to I could back, get the PDF, and then fucking bounce now that I have it. just thought I should point that out.

no, I will not be doing that, I don't need this kind of clutter on my desk and I don't even own a working printer.

okay, one last part of this update: "even more bonus audio!"

here we get an acknowledgment that the campaign is not really on track to hit full funding, so they are adjusting their goals in terms of releasing additional content to try and attract more support.

Unfortunately, our funding has been a bit too slow to reach many of those [$5,000 micro-sode] goals... which is why we're lowering the bar and releasing new audio on our YouTube channel every $1000 instead! This will include exclusive micro-interviews with some of our iconic cast and crew about all things horror podcasting, as well as other terrifying glimpses into the world of Shelterwood

can we stop using "micro" as a prefix on everything?

so I am a little confused by the working here, in the sense that "lowering the bar" is a phrase usually used to talk about a change to something, rather than the addition of new things? so I'm a bit unsure of whether this is going to impact the existing every $5k micro-sode goal, or if this is something entirely separate that is being introduced to try and get more excitement.

I think it's fine either way, I was just a bit confused by the wording and curious if they are considering adjustments to the micro-sode goals to ensure they will get to release all of them (since I think it's pretty clear the first 6 are completely produced and ready to go).

as for the actual content being promised here, it seems fine enough? I'm assuming that they are having to dig into some stuff they were hoping to save for later, and I hope that the "micro-interviews" are at least somewhat substantial enough to justify their existence.

as a note, it's weird that they hyperlinked to the first micro-sode, but not to their YouTube channel where these new things are going to be posted? there's nothing up yet (unless you could some Shorts) so I'm assuming they mean every additional $1k after the update was posted.

that is all for the updates because I am determined to publish this before they can put another one out. I need this to be done, and we are NEARLY there.

please bear with me, the last section is extremely important.

The Catch-All Section

here's just random stuff that I noticed or thought of but didn't have a real place anywhere else:

in the Cast and Crew graphic, why is Karim Kronfli the only person who's name is at the bottom of the image rather than the top? just a weirdly random inconsistency that bothers the perfectionist in me

please more images and pictures, they don't need to be much (especially since as I stated before we unfortunately don't have any kind of alt text feature for campaigns to utilize) but they keep people from getting bored staring at a massive wall of unbroken text

there were more than a few typos across the campaign (the show's name on one occassion). it's a good idea to put all your text in a word processor first to catch these things, you just aren't going to see it yourself the 5th time you are re-reading the campaign before publishing. let a computer check your work.

it would be nice generally to see more creativity when it comes to rewards. things don't have to be expensive or extravagant to be interesting, even at lower tiers. think about the world you are creating, think about what works within it. as an example, the WOE.BEGONE patreon has a tier at which the creator writes in-character postcards to patrons that when put together reveal a larger story (this is an example of something that I find really creative and like, I know it's not a crowdfunding campaign but whenever I think about rewarding listeners for their support I think about this). and he does this every month. that is an incredibly clever use of the world that show has built and connecting the fans to it in a unique way. you only have to figure out something like that once for your campaign, I believe in you.

Conclusion and a Larger Conversation

so why am I once again talking about a high profile campaign that is asking for a lot of money?

I think there needs to be a recognition of the importance of the context surrounding when you launch a campaign as well. because the financial situation right now is very different from the financial situation a year ago is very different from the financial situation of 2019.

as an example, let's look at the Afflicted Season 2 crowdfunding campaign that just ended in failure.

this was a FIXED GOAL campaign. they were asking for $23,500 USD and they only made it to $13,283, just over 50% of the way there. so they got none of it. it was all or nothing and the result this time was nothing.

and that really sucks for a lot of reasons.

I had some criticisms about that campaign that I kept to myself at the time, in part because diverse voices in audio drama is really important. Afflicted provided a lot of opportunities for marginalized creators to get established and share their unique voices. so often the campaigns that are getting met are the ones that continue to prop up the same types of voices and experiences as we've all heard before.

I am much more interested in the unique horror that a show like Afflicted is bringing to the table than another cis white male podcaster joining the space. we have a lot of that, and there's a lot that is good, but that's why we need to make sure we are getting opportunities to the people who don't have the natural leg up or connections.

this is a personal opinion, not one everyone will agree with. but we are better as a community when we do extra work to make sure that diversity is highlighted and supported.

Afflicted planted their foot saying "this much or nothing" and took the gamble that most of these high number campaigns are unwilling to do. a gamble that they succeeded in last year to fund the first season.

the difference is partly that the economy looked really different last year. disposable income, rent prices, general cost of living. it wasn't great, but it was better than it is now and that MATTERS. we all know how fucking bad it is right now, especially in the US, so to be asking these massive amounts of money is tone deaf. in this case, Afflicted was even asking for MORE than they raised for season 1. you could argue some of that is because they already managed to prove themselves as creators who were good for the money and deserved that kind of chance.

but the fact of the matter is that people just don't have that kind of cash to give over and over.

which leads into my main point.

every time I see a campaign with this high of a goal I think one thing:

"this is hurting the community."

now, that may not sound reasonable to some of you, especially if you are one of the people who believes that numbers this high are justifiable.

when we talk about supporting each other from a audio drama creator standpoint, it is done so freely and with an understanding that new listeners isn't really a thing we're going to run out of. if I recommend 10 podcasts I like, that doesn't hurt MY show. it just helps the community by sharing things we generally enjoy and care about it. this is how you end up with the networks of support that we've seen in newer places like the Audio Drama Lab.

unfortunately, money is not the same.

the amount of money that each of us has to give to support the things we like is limited based on our individual situations. anyone recommending a specific crowdfunding campaign to give money to DOES have an impact on the amount of money left in the pool for others.

so when something like Shelterwood or Arden or Afflicted or Among the Stacks or The Magnus fucking Protocol asks for these amounts, this is ACTIVELY impacting whether other campaigns will succeed.

while The Magnus Protocol raised over £700,000 (or about $940,000 USD), DOZENS (probably more) of smaller projects were struggling to get less than half a percent of that.

that was money that could have done a lot more community good than supporting a blatant RQ cash grab.

we're looking at a different scale here, obviously. I do not think that the absolutely disgusting amount raised for one of the most beloved audio drama's sequels is directly comparable to what these campaigns are asking.

but it certainly did help them when trying to legitimize those numbers.

$26,000 is a LOT of money.

there are a lot of people who would be able to change their lives on even just 20% of that, be able to create new and interesting things if given just a little bit of support. and most of them are not asking for much.

but repeatedly having these large projects that position themselves as more worthy and better is hurting us all.

I think we also need to talk about what it means to pay "fair wages"? because a lot of people don't even make that at their day jobs. a "fair wage" is a capitalist idea that most don't benefit from, and it isn't necessarily applicable to every industry.

most voice actors do not get by doing projects they care about, they get by doing commercials and audio books and training videos for random corporations. because a "fair wage" in voice acting is not necessarily a set thing where hours and effort given always corresponds to money received.

all creative industries have trouble supporting that, this is a capitalism problem that you are trying to fix with more capitalism. you can't force the concept of "fair wages" into a space that monetarily cannot support it.

because what you are doing is creating an ecosystem where only YOUR cast and crew will get fair wages for their work. everyone else will have to do the compromise for YOUR sake.

there's that phrase, "a rising tide lifts all boats". I think people cling to this when they see these kinds of things, especially when they are successful. "isn't that good for all of us? doesn't that mean everyone will get more?"

again, no. money is a resource that is limited (for us as non-rich oligarchs).

the "rising tide" is not the ocean that freely gives and takes water in cycles. where we actually are is a dam, where water levels are carefully controlled and directed and distributed during times of drought. campaigns like this are part of that, they direct the water towards the richer and more privileged neighborhoods, the people who already have connections and opportunities.

there is less water left for everyone else.

THAT is what these campaigns do, THAT is why it is important to really assess what is necessary.

I don't think think that people shouldn't be able to make a living off of what they love, but I think that there are exploitative ways to do it and non-exploitative ways. these campaigns are exploitation in a way. crowdfunding in theory shouldn't be that, but it becomes that. especially when you start to enter the territory of these numbers, both in what is being asked for and what tiers are being presented as "normal and reasonable amounts for a single person to be giving".

we need to fucking stop this before we let these kinds of campaigns empty the dam completely.

that's it. that's all I have to say on this.

this is a conversation, one that I want us to have. I am tired of watching people who are already privileged continue to hoard the resources.

we can do better.

anyway, I think this campaign is a product of a larger issue. one that you are making a statement about in deciding to give or withhold money. it's not in my hands, it's in yours.

just keep what I said in mind, and maybe search the terms "audio drama" on whatever crowdfunder you like best.

take note of all the other projects you see, projects that have promise and talent and don't have connections that make them feel like they deserve to take half the pie home.

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This playlist of every song used in October's Children

Updating as I remember what the songs are!

open.spotify.com/playlist/593CP…

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Why leave anything to chance

why keep your hands on the wheel

why not pick up the phone and let M̶̵̡̛͉̜͔͖̜̩̬͔̰̰̩̯̠̯̼͍͋̿̏̈́̿̔̔̓̽̅̇̀̊̀̒͊͂̎͗̆̆̋͋̽͊͗̓̈́͘͘͘̚̕͜͝ͅ͏̸̵̸̷̨̧̧̢̝͓͉̟̬̺̮͓͇͓̹̠̖̝̺͔͇̼̼̯̭̤̳̺̘̯̞̤̭͇̟̋̑̂̒̍̂̇̆̔̒̑̋͑̽̏͗͗̓̄͐̇̇́̓̌̿́̒͒̉̋̊̈́̊̈́̒̒̇̀̇̈̀̊͘̕͠͝ͅͅͅä̵̵̴̷̶̸̸̶̵̸̧̡̡̨̧̨̨̡̡̨̡̧̛̛̛̛̬͓͍̬̩̬͎͈̜͈͕͇͔̦̟͕̙̮̮͚͉̠͕̝̺̙͖̘̤̭̮̙̺̹̘͓̙͙͕͚̹̬̭̟͖̟̤̺͎͔̞̙̞͔̤̪̣̠̖͙͚̩̳͍̲͕͈̰̥͉̭̮̰̭͔̗̰̮̩̰̹̰̠͓͇̹̠̦̬́͒̽̾̀̔̍͒̈́͑͆̆̃̅́̋͛̎͗͋̍̋̈́̈́́̈̄̈́͐̇̿̋ͥ̊̄̆́̓͛͌̎̀̌̽͌͛̇̄͋͒̅̔͊̍̿̈́̀̒̏̈́͑͊͌̿̎̂̂̃̈̽̊̃͐̄̽̇̈́͐͂̈͌̍̃̌̄̀̽̌̀̇͊̅̋̾̾͌͆̏͐̕̕͘͘̕̚̕͘̚̕͘͜͜͟͜͜͝͠͠͝͝͠͠͝͝ͅͅͅr̸̶̴̴̸̴̷̸̸̷̶̵̢̢̢̧̡̧̡̡̧̨̧̢̛̛̛̗̪̺̮̣̹͍̻̹̭̼̝͈̩͎̰̬͙͚̳̟̩̖̳̱̻̬͍̖̖̜̩̬̼̦̥͈̠̮̥͚̫̪̯̩͖̠͚͎̣̦̱͔͉̭̥͔͇͙̺̟̼͚͓̙̙͉̜̟͔͈̠̩̩̥̯̺̖̤̖͖̦̫͈̲͉͇̞̙̤̼̞͙̹͔͇̩̗͇͇͈̘̗̜̖̟̀̿͋͐̂̎̾̓͆̑̄ͬ͐͗͌͋̐̏̀̈́̐̐̀͛͂̈̌̈́̊́̀̄̌͒̋͋̂̀̏̓̈̌̄͒̊̆͌̓̿̈̐͊̓̓̆̅́̓͊̏̿͋̇́̆̿̈́̓͊̉́͋̎̌͌̍̈́͌̒̍̎̎̿̃͑͗̎̔̃̃̅͐̈́͑̌̌̌̊̎̓̒̂̈̔͌̅́̂͂̃̆̍̔̉̂́̏͊̒̈́́̽̈́̇̉̿̏̀̒͋͌̚̕̚̕̕̚̚̚̕͜͜͜͝͠͝͠͠͝͠ͅͅͅͅc̵̶̷̵̶̸̸̵̷̵̵̴̡̨̧̢̛̛̣̠̝̤͈̗͚̝̺̘̹̤̫͎̜͉̺̱͓̙͇͍̤̮̯̟̼̤͙̟͈̹̯̫͇͈͚̺̻͈̖̱̫͖̫̳̦̤̲̻̖̤̰̯͈̫̮͇̯͔͈̳̹͓͕̹̘͓͕̭̭̻̤͓̺̤̜͎̤̘̩̫͖̳̖̳̥̭̳̙̼̺͕̩̩̹̤̙̪͔̭͙̟̙͙̖̤̱̯͉͖̬̗̯̲̖̼͎͗̋̈́̐̄̾̓́̿̀̈́̊̽͛̋̒̍̍̅̽̽̀̀͒͐̌͌̒͑͒͛̏̾ͬ͛̂̏̋̂̽̔̈̊͒̒͒̀̐̉̒͊̊̃̐̂̓̈́̄̍͌̏̓͊̅̿̌̐͑̒̉̔̀́͌̈̎́̑͆̄̎̀͒́̅̐̓̈́̎̀̾̈́̏͂͆̿̃̽͂̀̽͐̒̽̓̾̚̕͘̚̕̕̚͜͜͝͠͡͠͝͝͝ͅͅh̵̴̨̼̣̼̪͎̙̩̳͖̦̲͍͉͔͓͈̦̫̘̣̤͔͖̓̋̌́̔͆́͗͌͆̇̀́͆̂̈́͋͆͏̵̴̴̴̴̵̵̵̨̢̢̢̧̡̢̡̢̧̛̛̣͎̥̗͈͓̩̠͎̗̲̥͈̙̝͉̟͔̰̤̮̦͎̝̱̯̼̲̻̲̺̪̤̗͙͚̮͕̟̪͇̮̰̺̗͕̞͖̳͖̯̱̞͓̫͓̘̜͖̥̯̙̮͚̲͕͙̞̫̥͚̥̯̫̜̜̺͗̐͊̒̒̀̑͂̀̅́̃̉͑̿̀͐̓̆͐͗̔̏̃̃̈́̈̊̀̃̓͒͗̌̅̀̈͋̈́͊̅́͌͊͊̒͊̏͛̍̋̃̅̒̀̊͋̿̈́̒̋͒͊̀̃́̄͊̄̽̕͘͘̚͘̕͘̚͘̕̕̚͜͜͠͝͝͠͝͝͠͝ͅͅ/̵̴̸̴̶̵̸̸̶̵̡̨̡̢̢̧̡̨̨̨̧̢̡̧̨̨̛̛̛͓̪̜̬̮͔̖͔͍̹̯̣̮̻̝̬͉̳͕͍̮̪̻̼͉̟̯̳̤͖͉̬͚̯͙͔͎̣̲̘̦̪͖̟̦̻̪͓̝̗̦̼̯͙̼͚̣̗̣͔͚̮̙͎̠̻̰̯̭͔̩̱̣̪̫͉̙̖̞̗͈̫̙͙͔̙̬̣̭̤̺͈̱͎͙̳̘̗̝̫͚͍̮͙̻̬̥̝̦͚̦̖̬͕̹̫̇̋̉̂̀̈́̾̀̿̈́̽͂̂ͤ̆̈̑͒̋̊̓́̎͒̎̓̄̂ͩ̂̈́̋̽̋̃̂͋̄̈́́̀̈́̍̋͑̊́̀̑͗̇̋̔̅̀́͋͂͋̊́͂̀̿͌̓̈̈́̒͌̽̿̀̄͒͑̔̀͊̐̽̒͊̒́̃̕̚͘̕͘͘͘̕͜͜͜͜͠͠͝͠͠͠ͅͅͅͅ1̸̷̶̶̶̴̶̡̨̨̧̡̛̛͇̲̦̻̝̭̥̤̙̻̘̫̱̗͔͚̞͈̝͎̮͓͚͚̣͇͙̙̪̼̹̪̱̬̝͙͈̞̻̲̥͙͕̪͚̩̲̥͉͓̗͇͈̠̱̹̱̠̮̣̭̜̪͚̖̞̥̬̩̤̟̞̺̄͗͗̍̾̒̋̿͌̐͌͒̆̃̉̽̅̍͑̇̆̑̃̒̓̀͂̍̄̉̐̔̉̊̉͊̐̀͑̈́̓̉͒͗̐͋͒̏͂͋̉́͐̎̀̔͑̏̇̔͐̃́̔̋̒͑̌͐̆̑͂̾͋̈́̃̓͒̇̆̂͑̉̊̄̅͋́̓̚̚͘̕̕̚̕͜͜͜͜͜͜͠͝͝͠͠͝͝͠͠͠ͅͅ0̶̴̨̢̛̱͎͇̥̖̦͕̯̙̖̟͔̘̦͍͍̃̀̍̉̌̒̾̽͌̒̎͒̉͒̃͌́̎͆̀̄͂͂̃̓̀̒̚͘̚̚̚̕͜͜͜͜͝͝҉̵̷̷̸̵̨̡̨̧̛̛̛̛̛̲̠̬̺̱̳̼̺̝̘͕̺̗̝̜͔͉̜͓͈͔̻̣̯̭̯̳͚͇̩̣̖̬̤͍̹̩̼̘̉͑͒̽́̽͋̆̔̓͊͂́̈́̅͛͌̿̓̀̑͑̓͗͊͌͌̃̾́̓̆͗̒͂̂̿́͆̽͊̏̓̔̀̑̋̄̒̈́̑͊͐̀́̆͘͘͘̕̚͜͝͝͝͝/̷̴̵̴̸̸̷̷̵̷̸̧̨̧̧̨̢̛̛̛̛̛̬̟̙̘͔͓͉͔̳̝͇͍͖̠̭̖͎͇͔̯͖͇̩̘͈̺̫̞͉̞̯͚̭̮̝̙͙̭͔̺̞͕̪̗̹̮͓͍̗̼̳͈̻̥͚̼̻͚͕̻͇̗̟̝̰͚̭̺͎̥͓̜͈̮͖͓͓̘̱̩̬̲̱͍̻̟̭̼̥̘̹̥̖̠̦̝̩̥̖͇̖̦̗͈̺̺̤̰̙̤̠̰͙̦͓̖̠͇̹̫̬̠͚͙̣̩̤̖̇͊̊̄̊͛͗̂͋̓͐̉̅̒͂̏͗̌͋̍͆̆̉͂ͧ̐̄̂̔̒̾̒̏̋̎̈́̀͗̓͑͗̀̽̾͆̈́̉̋̅̈̑̂̾̈́͌̐́͗̊̌̀̅͂̓̆̏̈̾͐̊́̄̋̑̊́̓̎̀̓̑̿̌͊̆̔̆̽͊͂̍̊͐̔͘͘̕͘̚͘͜͜͜͜͝͠͝ͅͅͅͅͅ2̸̷̸̴̸̵̷̴̨̡̡̨̛̛̛̛̯̯͓̭̯͇̫͕̠̬̱͇̟͙̥̜͔̯̹̯̝̘̮̭̘͇̰͔̩̟̯̼̻̹̼̮̖̝͎̩̹̬̙̺̳̗̺̱̗̯͇̮͓͓̙̱̤̝̳̼̼̳͎͉̃̓̿̈́̈́͒̀̉̍̾̈́́͊̂̌̑̈́̅́̆̈̐̈́̍̑͒̐̏͑̾̊̈́̏͒̀̈̋̿͆͆̈́̽̐̀̑̓̅͂͒̈͗ͪ͒̅̄̊̑̀́͗̉̎̎̅̿̚͘̕̚͘͝͝͠͝͠0̷̷̶̷̵̷̴̸̴̸̢̡̢̡̨̨̢̧̢̨̧̨̢̡̡̢̛̛̦̹̲͖̩͉̠̲̹̖͇̻̮̤͔̻̠͈̤̮̬̗̗̮̯̦͎̥̹̘̜̰̱͙͕̹̲̰̜̺̩̤̥̥̠̙͙͇͉̝̹̪͕̯͙̜͕̗̞̪̺̪̜̭̠̩͇͇̥̳̣͔̻͉̰̩̘̘̞͍̥͓͍̈́ͪ̒̂̈̍̌̒̽̂̄̓͌͒̋̀̿̍̀̋͆̄͊̔͌̏̄̅̑͑͛́̏͌͌͂̔̓́͛͐̎͐̌̓̽̿̆̃̓̿̑̆́͛̊̀͆͊͐̀͐̈́̔̐̋́̇̊̎̑̍̽̔̒̅̈́̀͌̂̈̋̔̾̈́̈͘͘͘͘͘͘͜͝͠͠͠͝͝͝ͅͅͅ2̷̸̸̶̵̴̸̡̢̧̧̢̨̡̢̛̛̛͇͕̺̬̟̮̞̞͍̟̤̮̜̭̤̙̺̲̟̻̜̮̪̲̟̘̜͚̙̪̳͓͚͚̻͚̹̟̘̣̹̻̤̬̫͖̱̟̯̩̦͔̙̝̜̦̘͔̙͙̭͉̤̹̞̖͕̙̫̗̩͔̹̜̘̬̦̬̭̮̙͖̜͗̒̏̄̓̈́̏̔̄̇ͥ̊͂̄̅͋̔͒̓̒̉̄̾̉̑̎͂́͂̾̍͊̈́̀̏͋̉̈́̀͑̔̌̈́̿̇̉̽̌̔̊̂̽̓̓̀̐͌̔͋̊́̀̌͘̚̕̚͘͜͝͝͠͠͝͝͝͝͠ͅͅͅ3̷̴̷̵̶̵̶̵̷̷̴̡̧̨̡̢̡̡̡̢̢̛̛̛̘̜͎̻͖̭̭͎̻̝̗̯͔̟̺̟̗͔̳̤̩̼͈̩͍̖̺̺̗̘̫̖̰͕͙̖̘̫͕̭̥̘̱͓̘̥̤̜̜̻̞͎̟͉͈̳̜̼̱̤̥̰̬͚̝͇̞͚̘͓͔͈͇̠̹͔̦̤̫̠͚̥̠̼͍̼̹̩̙̻̲͍͖͍͈̟͍̱̘̦̜͙̱̩̹̲̻̩͙̰̘̘͋̇̔͊̑͗̇͆̓̓̏́͛̆͑̐̀̈͂̑͌͑̿̾͛̔̈́̆̓̇͒͌̂̇̇̋̃̉̌͆̊͋̒̄̓̃̿̄̿̿̀̽̑̓́͛̏̅̑̾͆̐̈́̈́̉̍̌̓͑̂̑͒̉̐̀̋̒̈̓̈́͛͒̃̅̀͆̀͘͘͘̕̚̕̕͜͢͜͜͜͝͝͝͝͝͝͠ͅͅ help you

[octoberschildrenpodcast]

Do you know that October's Children now has a Ko-Fi?

Yup

Some stranger on the internet yelled about it so

HERE YOU ARE

(and thank you for the support)

https://ko-fi.com/octoberschildrenpodcast

[octoberschildrenpodcast]

A reminder that when people vaguely complain about "politics" in a show they really are just complaining about queer representation.

This message brought to you by a ⭐⭐⭐ from someone who goes by "poopstick"

[octoberschildrenpodcast]

Does anyone else just live their life in a constant state of paying attention to how everything sounds so you can try and use those sounds to make other different sounds for audio drama?

or is it just me

[octoberschildrenpodcast]

I'm a sucker for enamel pins

We're amazed by how much we've raised for our Season 2 crowdfunding already, but with only 13 days left, we're aiming for the stars! Please consider backing (or sharing!) to reach our goal -- we have so much to show you! Find us here: https://igg.me/at/syntax2

[octoberschildrenpodcast]

Syntax Sunday

My #audiodramasunday is re-listening to Syntax (@twinstrangersp) A sci-fi horror that's so fun you'll forget that it's also horror. go on, get EMOTIONALLY INVESTED in crack squad that's tasked with exploring new worlds under the (ever helpful) corporate eye of VINCULA

Syntax is also currently crowdfunding for season 2

with 16 days left to back the campaign you can get stickers, pins, or if you're feeling generous even some lines in the show as an extra for the BREACHER team.

Syntax is a show that works hard on production value and strives to fully flesh out the fantastical world it takes place in. So if you have the time and are able please consider making a donation to an indie show that needs it. if you can't donate please spread the word!

[octoberschildrenpodcast]

Do you ever sit down to write something dramatic and meaningful

but like....nah who cares?

[octoberschildrenpodcast]

Love audio drama?

Also: secrets and spreading positivity?? 

Send your favourite indie audio drama a secret confession of love this valentines! 💌

See below for an example of what I’m hoping to send out to some of the best and most beloved podcasters on 14th Feb! 

[octoberschildrenpodcast]

Because you all deserve it

here is a little sneak peak at that episode 8. "Should Old Acquaintance Be Forgot"

[octoberschildrenpodcast]

[octoberschildrenpodcast]

Ashley Slate was on to something

...maybe...was she?

well, she thought she was. What was it she was on to exactly?

now that was the mystery. She planted her head on her desk and ran over all the stories she'd heard today

A barn that took you to another world, men with terrible fashion choices in the 1940s, Alien-Bugs, A missing brain and a stranger with no breath,

the only thing Ashley Slake had learned today was that she needed to keep booze and smokes in her desk.

At least Mrs. Castellanos's cookies were pretty good. Peanut-Butter-Blossom was it? yum

She just had one more story for the day. Then she could go home and maybe rethink her life choices and maybe that town that smelled like mushrooms would have been the better choice.

it would have been safer anyway.

The door opened as Ashley's last appointment arrived. Sitting slowly and deliberately across from her. She was not expecting this and could think of nothing to say for the longest time. Remembering she was a real-adult-investigative-reporter and honestly, this couldn't be weirder than any other story she'd had today she pressed record "Please state your name?"

...

"John Walters, The Third"