Make Your First Podcast On Your iPad

I LOVE listening to podcasts—I think it's fair to say that, apart from reading and writing, podcasts are my primary form of entertainment. Podcasts on nature, science, technology and, of course, writing. I've flirted with the idea of creating a podcast of my own, but how does one start? It seems there is SO MUCH one needs to know and do.

So, in an effort to educate myself about how to go about creating that first podcast, I've begun this blog series. Today we'll skim over what one needs to do to create a podcast—all the steps—and then, in this and future blog posts, we'll do a deep dive into each one. Today we'll talk about what recording software you might want to use as well as what your intro might look like.

 If I haven't covered something and you'd like me to, please do leave a comment.

Elements of a Podcast

I'll be going over each of these points in more detail, later.

• Recording software: One has to choose a software package (or packages) for editing audio files that both fits your budget and does what you need it to. Then one has to install it and get comfortable using it.
• Home studio: It's also a good idea to set up—even temporarily—a home recording studio. Obviously, if you buy professional equipment the resulting audio will sound best, but there are inexpensive improvisations that can make a marked difference in sound quality.
• Music/sound effects: The key is to be sure that the music you use isn't in any way pirated. The rule of thumb I use for art is this: If it's not clear how the item is licensed then I don't use it. Happily, it turns out there are quite a few places on the web where one can find public domain music and sound effects. I'll list the links to the ones I've found.
• Podcast format: Every podcast has what is called an intro and an outro. What information should they contain?
• Hosting: After you finally have your finished audio file you need somewhere to host it. There are a number of different solutions and we'll go over the most popular.
• Create your finished audio: You'll want to make sure that the sound is uniform throughout the podcast. You don't want your voice to be soft—encouraging your listeners to turn up the volume—and then blast them.

Recording Software

About the matter of sound quality, certain podcasts are created in recording studios—for instance, This American Life, Freakonomics, Nature—and the audio quality is, as expected, top notch.

Other podcasts, especially in the early days before the creators knew their efforts would be profitable, were recorded in carefully constructed home studios. Inevitably, the quality isn't as good but still okay. The question is: Is "okay" good enough?

 I think it depends on your audience. If care is taken in setting up a home studio, chances are most folks won't notice unless they stop and think about it. Hopefully, they'll be too engrossed by what you're saying to focus on the quality of the audio. Second, I don't think folks expect as much from a podcast as they do from an audiobook.

 I could be wrong, though. What do you think? Let me know in the comments!

GarageBand

Let's face it, there are a LOT of choices. Just google "podcast recording software." If I was doing the recording on my iMac I would just use Audacity. It has a lot of features, is easy to use, has been maintained over the years and—this is important, especially in the beginning—it's free. Also, the manual is actually helpful. I've used it for years and will continue to use it. Highly recommended. 

That said, we're interested in recording on the iPad (or iPhone), and unfortunately Audacity doesn't have a version for the iOS.

 I've experimented with several apps and, honestly, the only one I can unreservedly recommend is GarageBand. It's not free, but it is relatively inexpensive at $6.99. I have no doubt that there is better software but chances are it costs a lot more money. My goal here is to help those who—like myself!—have never podcasted before to get up and running relatively inexpensively.

Using GarageBand

Not being musically inclined, when I first launched GarageBand I was a bit bewildered. Fortunately, I came across an excellent YouTube tutorial entitled, "Recording a Podcast with GarageBand for iPad" by Skip Via. I've embedded it below.

 

 I worked through the video and ended up with a recording that wasn't completely terrible.

 A couple of things:

• Turn off the metronome: Settings > Metronome Sound > Visual Only. I also set "Metronome Level" to 0.
• Start/Stop Recording: Press the round red button.
• Set "Song Sections" to automatic: There's a small "+" in the upper right hand corner, under the "?". Tap it and then select "Section A." Set it to automatic. This will let you record for as long as you have space to record.

Here's the recording I made (see below). Keep in mind that I recorded this on my iPad Air without using an external microphone. I think if I used a microphone the sound quality could be improved.
 

By the way, the quotation I read is: "Talent is cheaper than table salt. What separates the talented individual from the successful one is a lot of hard work," by Stephen King.

 If you would like to edit the audio (and chances are you will) you could edit on your iPad using an app like iMovie or you could use, as I did, Audacity on your Mac.

That's it for today! Sorry for the long post. I've been working on this one for awhile. I hope you find it useful. If you do (or even if you don't!), please let me know! I would be interested to learn what worked for you and what didn't.

The next article in this series on how to make your own podcast:

Ever been curious about the structure of a podcast? Read on! Make Your First Podcast: Intro and Outro.

Other articles you might find useful:

Write That Story! Don’t Let Fear Win
Don’t Write, Bleed
Getting Motivated To Write

Aaron Sorkin On How To Write A Gripping Monologue

Today I want to talk about how to write a gripping monologue. And who better to turn to than Aaron Sorkin, master of the monologue.

Aaron Sorkin

Sorkin's resume includes “A Few Good Men,” “Malice,” “The American President,” “The West Wing,” and “The Newsroom.” One of the things Sorkin is known for is his terrific, fantastic, get-out-of-your-seat-and-cheer, monologues.

Which seems like nothing short of a magic trick since monologues are often boring. They tempt a writer to dump a bunch of not-necessarily-wanted facts on her audience. Then readers become bored and irritated and meander away in search of something more gripping.

An Example of a Gripping Monologue

The first time I saw one of Aaron Sorkin's monologues I was watching “A Few Good Men.” At the time I had no idea who Sorkin was, but was captivated by Jack Nicholson’s performance—he played Colonel Nathan R. Jessup—when he took the stand at the end of the movie.

Tom Cruise’s character, Kaffee, attempts to get Colonel Jessup to admit he ordered a code red. This is what the entire movie has been leading up to:

Kaffee: *Colonel Jessep, did you order the Code Red?*
Judge Randolph: You *don't* have to answer that question!
Col. Jessep: I'll answer the question!
[to Kaffee]
Col. Jessep: You want answers?
Kaffee: I think I'm entitled to.
Col. Jessep: *You want answers?*
Kaffee: *I want the truth!*
Col. Jessep: *You can't handle the truth!*
(From: Quotes for Col. Nathan R. Jessup )

It’s a great scene. So, how did Aaron Sorkin do it?

Aaron Sorkin’s Tips For Writing A Gripping Monologue

1. Make Your Audience Want The Information.

Sorkin writes:

“A song in a musical works best when a character has to sing—when words won’t do the trick anymore. The same idea applies to a long speech in a play or a movie or on television. You want to force the character out of a conversational pattern.” (How to Write an Aaron Sorkin Script, by Aaron Sorkin)

The idea is to make your audience want the information the protagonist uses in his rant. In Jessup’s case, this was the information that he did in fact order the code red. It’s the information we’ve been waiting for all movie long. It’s the information that will save Kaffee’s hide.

2. Have The Monologue Reveal That The Character Is Exceptional

Chances are, your character has hidden depths. He can do things that none of your other characters can do. Jessup says:

“Son, we live in a world that has walls, and those walls have to be guarded by men with guns. Who's gonna do it? You? You, Lt. Weinburg? I have a greater responsibility than you could possibly fathom.”

Whatever you might think of him, Colonel Jessup is, in his own way, an extraordinary individual.

3. Have The Monologue Reveal That The Character Is Human

Yes, Colonel Jessup made mistakes. Big mistakes. But he is also, in his way, honorable. He is committed to defending his fellow Americans. Jessup’s monologue brings out aspects of the man that humanize him. For example, here’s a line from Jessup’s speech:

“We use words like honor, code, loyalty. We use these words as the backbone of a life spent defending something. You use them as a punchline. I have neither the time nor the inclination to explain myself to a man who rises and sleeps under the blanket of the very freedom that I provide, and then questions the manner in which I provide it.”

And that’s it!

I’ll talk to you again on Monday. Till then, good writing!

Other articles you might like:

What Writers Can Learn From Aaron Sorkin
The Key To Being A Productive Writer: Prioritize
12 Tips On How To Write Antagonists Your Readers Will Love To Hate

Stephen King’s Best Advice For Writers

Today I continue my previous discussion of Stephen King’s book, On Writing. (see: The 5 Best Books on Writing)

At the end of my last post I promised I would talk about Stephen King’s best advice for writers. Let’s do this as a countdown. Starting us off, here’s number five:

5. Fear Is The Muse-Killer

“I’m convinced that fear is at the root of most bad writing. If one is writing for one’s own pleasure, that fear may be mild.... If, however, one is working under deadline … that fear may be intense.” “Good writing is often about letting go of fear and affectation. Affectation itself, beginning with the need to define some sorts of writing as “good” and other sorts as “bad,” is fearful behavior.”

4. The Magic Is In You

“I’m often asked if I think the beginning writer of fiction can benefit from writing classes or seminars. The people who ask are, all too often, looking for a magic bullet or a secret ingredient or possibly Dumbo’s magic feather, none of which can be found in classrooms or at writing retreats, no matter how enticing the brochures may be.” King uses Dumbo’s magic feather also as an analogy for the illusory appeal of adverbs (and quick fixes of all kinds) and a writer’s desperate clutching at them. At the base of this clutching is—as we’ve just seen—fear. Stephen King admonishes us to remember that Dumbo didn’t need the feather to fly. And neither do we.

3. Have An Ideal Reader (I.R.)

“When I write a scene that strikes me as funny (like the pie-eating contest in “The Body” or the execution rehearsal in The Green Mile), I am also imagining my I.R. finding it funny. I love it when Tabby [King's ideal reader] laughs out of control—she puts her hands up as if to say I surrender and these big tears go rolling down her cheeks. I love it, that’s all, fucking adore it, and when I get hold of something with that potential, I twist it as hard as I can. During the actual writing of such a scene (door closed), the thought of making her laugh—or cry—is in the back of my mind. During the rewrite (door open), the question—is it funny enough yet? scary enough?—is right up front. I try to watch her when she gets to a particular scene, hoping for at least a smile or—jackpot, baby!—that big belly-laugh with the hands up, waving in the air.” When you write your first draft, write it for yourself. But stories are meant to be told. They are crafted with an audience in mind, even an audience of one. On the first draft—door closed to the world—write for yourself, write imagining your ideal reader. Would he/she laugh? Cry? Be bored? Scared? Irritated? When you rewrite you are no longer writing just for yourself and your ideal reader, now you are writing for the world (door open). Now you want to do two things. First, remove everything that doesn’t serve the story and, second, twist it as hard as you can. If you’re going for a laugh, make it the biggest laugh you can. If you want to scare your reader, terrify them.

2. Writing Is Seduction

“Language,” King writes, “does not always have to wear a tie and lace-up shoes. The object of fiction isn’t grammatical correctness but to make the reader welcome and then tell a story …, [it is] to make him/her forget, whenever possible, that he/she is reading a story at all.” Yes! That. Of course King doesn’t mean that anything goes. He explains: “It is possible to overuse the well-turned fragment … but frags can also work beautifully to streamline narration, create clear images, and create tension as well as to vary the prose-line. A series of grammatically proper sentences can stiffen that line, make it less pliable. Purists hate to hear that and will deny it to their dying breath, but it’s true. … The single-sentence paragraph more closely resembles talk than writing, and that’s good. Writing is seduction. Good talk is part of seduction.” Okay, we’ve reached it! Stephen King’s best advice for writers:

1. Write To Make Yourself Happy

Stephen King writes not because it makes him millions of dollars—I’m sure he would continue to write even if he flipped burgers for a living. He writes because it makes him happy. “Writing isn’t about making money, getting famous, getting dates, getting laid, or making friends. In the end, it’s about enriching the lives of those who will read your work, and enriching your own life, as well. It’s about getting up, getting well, and getting over. Getting happy, okay? Getting happy. Some of this book—perhaps too much—has been about how I learned to do it. Much of it has been about how you can do it better. The rest of it—and perhaps the best of it—is a permission slip: you can, you should, and if you’re brave enough to start, you will. Writing is magic, as much the water of life as any other creative art. The water is free. So drink.” If you haven’t read Stephen King’s, On Writing, I would encourage you to. If I could point to any one thing that made me a better writer, it would be King’s advice in this book. In the end, that’s all we can shoot for, not to be as good as the writers we admire, but simply to be better than we are.

Other articles you might like:

The Magic Of Stephen King: How To Write Compelling Characters & Great Openings
Stephen King: How His Novel "Carrie" Changed His Life
My Analysis of 16 books: Stephen King is correct, the adverb is not your friend.