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Today’s two words are: Canon Eyes and in this episode I ponder, “Where do we want our stories to sit amongst others like them?” More at https://taku.com.au/canon-eyes.See omnystudio.com/listener for privacy information.

Today’s two words are: Same Same and in this episode we explore, “How do we know when a story’s dead and it’s time to write a new one?” More at https://taku.com.au/same-same/.See omnystudio.com/listener for privacy information.

Today’s two words are: About Face and in this episode I ask, “What do we want the world to know about us?” More at www.taku.com.auSee omnystudio.com/listener for privacy information.

So, you call yourself a writer, huh? Where’ve you been published? Can we watch your films? What’s on your IMDB profile? Oh... you’ve self-published… on your blog? Oh, you’re just, sort of starting out? Oh, so are you even a real writer? Ignore all that. You are a writer. You love words. You find them delicious and eat them for breakfast. You love putting them together and tearing them apart. You love testing and teasing them. You. Love. Words. Except sometimes your own words terrify you. What do you actually do with them? This might be you. Seeing those other writers, crowding your timelines with their awards and ...and... joy, because they’ve finished something and shared it with the world. The whole world. Now you’re looking at your writing, thinking, “Screw it! It’s too hard to get these words out to the whole world!” You’re right. It is hard. Hi, I’m Taku Mbudzi, a writer like you. If I have to describe this podcast in two words, I’d say PIT STOP. Two Words with Taku is a show about writing, but unlike other shows about writing, only we are the pit stop for writers you’ve never heard of, giving them rest when they’re about to give up on their words and extra fuel for when they’re ready to keep writing. And why? The doors are slowly starting to open for unknown writers like you and me. Competitions, writer call outs, guest spots, magazine submissions — OMG so many new places to throw our words. But now we’re overwhelmed by how to write, package or present our writing in the best way, especially if we haven’t studied the industry, inherited legacy within the industry or just gone ‘viral’ around the world. I say come and rest your mind. It’s okay. The truth is our writing will need good time to make it good. We’re going to write a lot of shitty first drafts, but we’ll keep writing. We’re going to pitch here, and pitch there and hear back from nowhere, but we’ll keep writing. We’re even going to get tired of our own unfinished stories, but I don’t know about you, mine sit on my heart till they’re out. They come out eventually and the best feeling is when I can put my pen down. But beyond ‘keep writing’ is more work until you can finally put your pen down. What that looks like and who you collaborate with will look different – for me that’s TV producers, film directors and my book publisher. My stories are taking time. Your stories are going to take time. And that’s perfectly fine. Every word you write means something to you and you know it’s good not just for yourself but for the people in your world. Yes, in your world, not the whole world. And that changes everything. Now imagine writing from that perspective. Of course, you’re going to shout, “Screw it — I’ll keep writing!” because you’re just excited to write for your people. And that’s what this show is about. I’m a writer and I’ve got some other writers here with me. We see you, we hear you and we’re in this together. For more stories, subscribe to Two Words with Taku in your fave podcast app or visit https://taku.com.au.See omnystudio.com/listener for privacy information.

Episode 100! I finally took to Instagram LIVE to answer your burning questions about podcasting. Watch the whole video, complete with show-and-tell of my recording gear at https://www.instagram.com/takumbudzi. Thank you for listening and supporting Two Words with Taku since 2017 — here's to 100 more episodes!See omnystudio.com/listener for privacy information.

I've finally made it to Episode 99 of this podcast! Here's a quick update on what's happening with my TV stuff and what I'm planning for my 100th podcast episode. Thanks for listening and stay safe! xSee omnystudio.com/listener for privacy information.

"Pitching is a verbal way of selling your story, and I like to leave something visual so they remember my pitch." — Sher-Li Tan I thought I was the Queen of Pitch Preparation until I met producer and filmmaker Sher-Li Tan. We first met at YouTube conference VidCon and she blew me away with how passionately she spruiked her projects. In this episode we talk about how she prepares for pitching her shows — everything from the documents she creates to how she researches her audience and the people she's pitching to. We also discuss how pitching can be a way to test the market for your ideas, and different ways to measure the success of your pitches. Sher-Li's full of great insights and stresses the importance of nurturing relationships with the people you pitch to along the way.  Podcast Guest Profile Sher-Li Tan is an early-career producer with an interest in storytelling and production excellence. She strongly believes in the power of the film to connect and engage. Raised in both Mauritius and Singapore, she aspires to use her exposure to different cultures and backgrounds to inform her filmmaking. She is also a trained speech pathologist and hence a vocal advocate for communities from various under-represented populations. Time Stamps 0:53 | How I've approached pitching my TV ideas 5:45 | Interview with Sher-Li Tan Interesting Links Sher-Li's website https://www.passport-productions.com/ Sher-Li's LinkedIn https://www.linkedin.com/in/sherlitan/ VidCon Australia https://vidconaustralia.com/ Screen Forever Conference https://www.screenforever.org.au/ Say Hello! I'm at taku.com.au, Instagram/Twitter: @takuspeaks or Facebook: @TakuTV.See omnystudio.com/listener for privacy information.

"Children's television is wonderful for people starting out in the industry because there tends to be more opportunity for people who don't have a long list of credits." — Wendy Gray I've fast-tracked a few skills after discovering the short courses offered by the Australian Film Television Radio School (AFTRS). In this episode, I chat to Wendy Gray from AFTRS about their courses and who they're designed for. We also chat about Wendy's career in the screen industry, including her extensive experience working in children's television.  Friendly manners: this is not a paid endorsement. Podcast Guest Profile Wendy Gray currently runs the short course and industry certificate programs at the Australian Film Television Radio School (AFTRS). Over the last seven years she has been Head of the Open Program, Head of the TV Unit and began life at AFTRS as the Industry Program Manager. In her current role she liaises with Industry through the Industry Advisory Panels, runs industry-related events and oversees the development and delivery of industry short courses and industry certificates. Wendy started her career in the media at ABC TV, where she worked for twelve years in a wide variety of production roles, across all genres. Her final years at the ABC saw her devising, producing and directing a number of children’s television series including AFI-award winning series The Ferals and forty episodes of Play School. Subsequently as a freelance producer Wendy worked on a wide range of television productions, including documentary series Greatest Cities of the World with Griff Rhys-Jones, and The Upside Down Show, an award-winning children’s series with The Umbilical Brothers, Nickelodeon US and the Children’s Television Workshop. She returned to the ABC joining the (then) New Media Division to work on the launch of ABC2, designing and executing channel branding and program development and production. Wendy has also worked on a number of online projects including working as Online Content Producer in the marketing department for Southern Cross and as a senior website producer for Gadfly Media, supervising website content for clients such as SOCOG and NRMA.She also worked for the Australian Film Commission (now Screen Australia) on a major online content project Australian Screen Online and taught production at SAE Byron Bay. She has a BA (Communications) from Macquarie University and a Grad Dip in Interactive Multimedia from UTS. Time Stamps 0:53 | Why I've been doing short courses through AFTRS 8:01 | Interview with Wendy Gray Interesting Links Australian Film Television Radio School https://www.aftrs.edu.au/; Telephone (Australia): 1300065 281 Australian Writers' Guild https://www.awg.com.au/ Film Victoria https://www.film.vic.gov.au/ Say Hello! I'm at taku.com.au, Instagram/Twitter: @takuspeaks or Facebook: @TakuTV.See omnystudio.com/listener for privacy information.

"…without the proper documentation proving the ownership of the work, there’s no protection from legal action." The world of television is full of great ideas and magic...and contracts and legal agreements that underpin how all that magic comes together. In this episode, lawyer Dee Mbugua explains what 'chain of title' means and why it's so important in the media industry. She also gives useful tips for seeking legal advice, especially when it comes to the fineprint. If in doubt, don't make a wild guess and definitely don't sign anything! Podcast Guest Profile Dee Mbugua is the Deputy Director, Industrial, Advice and Advocacy at Media, Entertainment and Arts Alliance. She’s an experienced lawyer and writer with a demonstrated history of working in the alternative dispute resolution industry. Dee enjoys sharing her stories via social media, radio broadcasting, digital media, public speaking, and writing. Time Stamps 0:53 | Why I needed to find a lawyer 3:07 | Interview with Dee Mbugua Interesting Links Dee's Instagram https://www.instagram.com/thingsdeesays/ Media, Entertainment and Arts Alliance https://www.meaa.org/ Arts Law Centre of Australia https://www.artslaw.com.au/ Say Hello! I'm at taku.com.au, Instagram/Twitter: @takuspeaks or Facebook: @TakuTV.See omnystudio.com/listener for privacy information.

"The way that we can tell stories if we use audio, specifically fiction, is so interesting and diverse. Audio is such a freeing medium."  I joined the Australian Writers’ Guild (AWG) so I could meet inspiring young screenwriters like Evrim Şen. We met at an Animation Writing Workshop and hit it off instantly — we're both fired up about stories for and about young people. In this episode, Evrim shares how joining the AWG is helping her writing career and how things are different in real-life writers' rooms vs what she learnt at film school. We also chat about her fun podcast Script Roulette, where in each episode, she and her team produce an audio drama based on a random prompt, written by an emerging writer.  Podcast Guest Profile Evrim Şen is a podcast producer and screenwriter, working in creative and youth sector non-for-profits with a focus on social enterprise and social impact. She has a Masters in Screenwriting from the Victorian College of the Arts, and her passion is representing the perspectives of and writing for young people and children. She’s been part of the production of numerous podcasts including, the fiction / talked-based podcast Script Roulette, and radio play series Troll Foods. Time Stamps 0:53 | Why I joined the Australian Writers' Guild 8:08 | Interview with Evrim Şen Interesting Links Australian Writers' Guild https://www.awg.com.au/ Evrim's website https://www.evrimsen.com.au/ Script Roulette Podcast https://podcasts.apple.com/au/podcast/script-roulette-podcast Script Roulette Facebook https://www.facebook.com/scriptroulettepodcast/ Troll Foods Podcast http://syn.org.au/show/troll-foods/ Say Hello! I'm at taku.com.au, Instagram/Twitter: @takuspeaks or Facebook: @TakuTV.See omnystudio.com/listener for privacy information.

"I love that this younger generation is being more expressive and feeling their emotions, instead of trying to not feel things. " We keep hearing that we need more authentic voices telling their own stories. But what does that look like when you’re creating a TV show with different characters? How do you, as a writer, make their stories feel authentic, if you haven’t personally lived those experiences? In this episode, I chat candidly with YouTuber and content creator AJ Clementine about why she started sharing her stories online. We also discuss how young people in the LGBTQI+ community are representing themselves and supporting each other online. Podcast Guest Profile AJ Clementine is an Australian creator known for being an LGBTQI+ advocate for the community. She is also a vlogger who often shares life experiences about being transgender, while also covering lifestyle and fashion content. This year AJ was featured on the 'Barcroft TV' YouTube channel for the 'My Trans Life' series, and walked the Mardi Gras parade with Instagram in Sydney. She has been a Featured Creator at VidCon AU in 2017, 2018 and now 2019. Time Stamps 0:53 | Why I want to include authentic voices in my show 5:29 | Interview with AJ Clementine Interesting Links AJ Clementine LinkedIn https://au.linkedin.com/in/ajclementine AJ Clementine YouTube, Instagram Minus 18 https://www.minus18.org.au/ Kids Helpline https://kidshelpline.com.au/ Fazed web series https://www.instagram.com/fazed.series/ Euphoria starring Zendaya https://www.hbo.com/euphoria Say Hello! I'm at taku.com.au, Instagram/Twitter: @takuspeaks or Facebook: @TakuTV.See omnystudio.com/listener for privacy information.

"Read scripts from the shows you like and shows you don't like. Have a good look at how they lay things out. "  Wendy Hanna's episode is full of great tips about writing, finding other writers, growing your community of writers and even entering writing competitions. Hear how we first met at an Animation Writing Workshop and how the mock writers' room she created inspired me to re-think how I'd find writers for my show.  Podcast Guest Profile Wendy Hanna is an AWGie nominated screenwriter and creative development consultant with a passion for people, characters and big ideas. Her credits include iconic serial Neighbours, popular drama Love Child and docu-drama Dating the H-Bomb, as well as numerous children’s programs including Giggle & Hoot, Dumbotz and Sydney Sailboat. She is also is co-creator of factual teen format MY:24. A former Development Executive for Essential Media & Entertainment, she has extensive development experience across genres including kids, drama, animation and factual, and regularly works with creative teams to help concepts find their best form. In 2017, Wendy was nominated for an AWGie for her work on ABC’s Hoot Hoot Go! Time Stamps 0:53 | How I've set up my writers' room...so far 7:20 | Interview with Wendy Hanna Interesting Links Wendy's website https://wendylikesstories.com/ Wendy's Instagram https://www.instagram.com/wendylikesstories/ Australian Writers Guild https://www.awg.com.au/ Women In Film and TV Australia https://wiftaustralia.org.au/ NYC Midnight Competition http://www.nycmidnight.com/ Say Hello! I'm at taku.com.au, Instagram/Twitter: @takuspeaks or Facebook: @TakuTV.See omnystudio.com/listener for privacy information.

"The key thing is, these funding bodies want you to contact them. They'll give you the time to explain what's required because they want people to succeed as well. " How can you fund your creative projects whilst working a day job? Who do you need on your team to make your funding applications more competitive? How important is it to create a proof of concept to get more funding? In this episode I chat to filmmaker Hawanatu about how she's managed to get her films and web series made. We also discuss the importance of valuing time and talent — yours and that of the people you're working with. The numbers start to add up and that's when you can look at applying to screen agencies for support. Hawanatu's latest project Afro Sistahs recently received funding from Screen Australia's Generate initiative. Podcast Guest Profile Hawanatu Bangura is an Afro-Australian writer, director and producer. Born in Sierra Leone, she migrated to Australia in 2002 and as a teenager discovered her interest in filmmaking when she was involved in a youth film project. Since then, she has written and directed six short films in various genres including dance, experimental, drama, documentary and animation. Her films have been screened both in Australia and internationally at film festivals including the Legacy Film Festival (United Kingdom), Shaan-E-Awadh International Film Festival (India), Adelaide Kids Film Festival, African Film festival Australia and International Pan African Film Festival (Cannes), Toronto International Film Festival Kids. Her short animation film, ‘Money Tree’, about a boy who wants to become rich by planting a stolen coin was nominated for best animation at Montreal International Black Film Festival (Canada). Recently, she joined forces with a group of Afro-Australian female filmmakers to create a web series titled Afro Sistahs a short form narrative comedy/drama that explores the complex nature in which culture, gender, race, love and of course, hair, intersect. Hawanatu’s films are driven by her personal values – so themes of social justice, empowerment, identity, peace, hope and wisdom are strong in her work. The stories in her films are universal, resonating with audiences far and wide. Hawanatu is passionate about using her films as a platform to raise consciousness about social issues and social injustices. She was part of the prestigious Screen Producers Australia: One to Watch program in 2017. Time Stamps 0:53 | How I've sought funding for my project   4:45 | Interview with Hawanatu Bangura Interesting Links Hawanatu’s website https://www.hawanatu.com/ Afro Sistahs website https://www.afrosistahs.com Screen Australia funding page https://www.screenaustralia.gov.au/funding-and-support Say Hello! I'm at taku.com.au, Instagram/Twitter: @takuspeaks or Facebook: @TakuTV.See omnystudio.com/listener for privacy information.

"Don't settle for a relationship with your accountant or bookkeeper that isn't working for you. " I know too many artists and creative people who don't feel comfortable talking about money — how much to charge, how to get more of it, how to manage it, how to grow it etc. I've finally had to confront my own fears and insecurities about money because my creative projects need proper funding to happen. In this episode I share how I manage the finances in my production company and how I unexpectedly scored my first investor. I've also invited Amanda Newton from Xero Australia to explain the difference between an accountant and a bookkeeper, and how to know which one is best for you. Amanda's very friendly and also shares tips about working with people who can handle your finances and tax obligations. Friendly manners: I've been using Xero for a couple of years and genuinely find that it helps me in my business. This episode is not a paid endorsement for Xero; I invited Amanda on the show because I wanted to interview an expert about accounting. Podcast Guest Profile Amanda Newton is Xero Australia’s Head of Community where she works closely alongside their valued community of bookkeepers and accountants on a daily basis to create, foster and nurture safe and engaging spaces for these partners to meaningfully connect. In addition to serving as a liaison for Xero's accountant and bookkeeping partners, Amanda is a passionate advocate for the industry - presenting at industry conferences and events, and maintaining an active voice on social media. Combining a Masters of Accounting with undergraduate studies in Marketing and Communications, Amanda's career currently spans two decades and has included leadership roles in small business, politics, large enterprise and non-profit sectors. Amanda featured in the Top 50 Women in Accounting in 2018. Time Stamps 0:53 | Managing money in my business and how I got my first investor 14:06 | Interview with Amanda Newton Interesting Links Amanda on LinkedIn https://au.linkedin.com/in/amandajnewton Xero website https://www.xero.com/au and Xero's Instagram https://www.instagram.com/xero/ Xero Advisor Directory https://www.xero.com/au/advisors/ Small Business Mentoring Services Victoria https://www.business.gov.au/advisory-services/small-business-mentoring-service-sbms-victoria Small Business Development Corporation Western Australia https://www.smallbusiness.wa.gov.au/ Say Hello! I'm at taku.com.au, Instagram/Twitter: @takuspeaks or Facebook: @TakuTV.See omnystudio.com/listener for privacy information.

"You keep the ship afloat by making sure everyone feels heard and happy." I met Meg O'Connell last year at Screen Forever, a conference hosted by Screen Producers Australia. When I found out she'd worked on Doodles, a kids' show I'd been following, I asked if I could pick her brain about 'producer stuff'. She agreed! In this episode, Meg shares how she went from studying law to working in the screen industry. We also discuss what it's really like being a TV producer and her fun experiences working with young actors.  Podcast Guest Profile Meg O’Connell is an International Emmy® Award award winning producer. In the past year she produced two digital series: Robbie Hood for SBS On Demand and Content for ABC iview; both series have been nominated for AACTA® Awards. Content is a digital series set entirely on a mobile phone and is the first of its kind to be made in Australia. Meg also produced the International Emmy® Award, SPA Award winning and AACTA® nominated ABC ME show Doodles for Ludo Studio, and was the development manager on Ludo’s series Bluey. Time Stamps 0:53 | Why I decided to become a producer 6:37 | Interview with Meg O'Connell Interesting Links Meg on Twitter https://twitter.com/megmegmehg Australian Writers' Guild https://www.awg.com.au/ Screen Forever Conference https://www.screenforever.org.au/ Content Series https://iview.abc.net.au/show/content #contenttvshow Robbie Hood Series https://www.sbs.com.au/ondemand/program/robbie-hood #robbiehoodshow Say Hello! I'm at taku.com.au, Instagram/Twitter: @takuspeaks or Facebook: @TakuTV.See omnystudio.com/listener for privacy information.

‘You’re selling the sizzle, not the steak.” My first guest in Season 2 of the podcast is screenwriter, script producer and script editor John Armstrong. We first met at a screenwriters’ pitch event in Sydney in 2017 and have since co-created a teen drama series which is in early stage development. In this episode we discuss what goes into different story bibles from the pitch ones used to sell a television show, to the more detailed series or writers’ bible used to help writers before and during production. We also discuss the US showrunner model of creating shows versus Australia’s producer-created model and how that informs how TV pitch/series bibles are compiled. Podcast Guest Profile John Armstrong is a screenwriter, script editor and script producer with over 20 years’ experience in creating television for younger audiences. Most recently he was the script producer and writer for the Netflix animated series Beat Bugs (featuring the music of The Beatles) which won the 2017 Emmy Award for Outstanding Writing in Preschool Animation, and the 2016 AACTA Award for Best Children’s Series. John has also won three Australian Writers’ Guild Awards (AWGIES) and been nominated seven times. Time Stamps 0:51 | Why I’m making a kids’ TV show in Australia 9:11 | Interview with John Armstrong Interesting Links Australian Writers' Guild https://www.awg.com.au/ Examples of successful TV series bibles on Carol Kirschner’s website https://www.carolekirschner.com/blog/series-bible Stranger Things Series Bible http://www.zen134237.zen.co.uk/Stranger_Things/Stranger_Things_-_Bible.pdf Beat Bugs on Netflix https://www.netflix.com/au/title/80057611 Motown Magic on Netflix https://www.netflix.com/au/title/80134440 Say Hello! I'm at taku.com.au, Instagram/Twitter: @takuspeaks or Facebook: @TakuTV.See omnystudio.com/listener for privacy information.

Last November I applied for PRX‘s Google Podcasts Creator program, pitching the second season of Two Words with Taku. My pitch made it to the semi-finalist round out of 1000s of applications from around the world (OMG!), but I didn’t end up getting in. This trailer’s the audio sample I submitted to them and LOTS has happened since then. You’ll have to tune in this September to find out! Excerpts from my Google Podcasts creator applicationI’ve talked about pitching podcasts before, and I really love PRX’S heart for helping people learn about podcasting. You can also sign up for PRX’s Podcasting 101 videos which are dropping soon at https://googlecp.prx.org/. In the meantime, I don’t know if it’ll help you in any way with your own writing and pitching, but here’s some of what I wrote in my submission. My podcast elevator pitch The step-by-step story of how, against the odds, I’m making my first live action kids’ TV show in Australia.Extended podcast pitchFour years after publishing my first kids’ picture book, I’m finally developing it into a live action teenage drama series about six fast and fresh characters who just want to tell their stories. I’ll break down exactly why and how I went from quitting my high-paying engineering job to starting my own independent production company to then receiving development funding and support from The Australian Children’s Television Foundation for my show. I’ll be podcasting behind the scenes throughout the whole production process – (including but not limited to screenwriting, pitching, legal stuff, casting, crew – so many topics!) until the kids’ show is live on TV screens. The key to my successes so far has been my love of writing, learning how to write well and being willing to share what I’m learning and to help others. I’ve been podcasting about writing for the last year or so, and now it’s time to move onto the next chapter – making TV!Intended podcast audience Primarily writers and storytellers who want to do more with their words and potentially see them on TV and film. People who may not have gone to film school but still feel they have great stories to tell. People from under-represented communities who want to learn the more practical and technical requirements for getting through some of the barriers in the [Australian] media landscape. Definitely keen to target young creative people who have stories to tell and aren’t yet exposed to podcasting and video production opportunities. Ultimately I’m targeting people willing to explore unconventional ways of creating ownership and agency for the projects and issues they are passionate about, no matter where they are.Audio sample descriptionAfter 87 self-produced and self-edited episodes on my podcast, I was getting sick of my old theme tune so I asked my friend P-Major to compose a funky new one for me. This is my first very rough take with the new tune playing underneath and I’m ad-libbing the description of my show idea. I recorded this way before I decided to apply for this program, and it feels weird to re-record something new because this is how I’m currently feeling about what I’d like to do and this is my real voice and vibe as I normally speak.See omnystudio.com/listener for privacy information.

So you’ve got an idea for a killer article you’d like to see in your favourite magazine? Sophie Kalagas, editor at frankie magazine shares some simple tips about how to get your submissions noticed. We recorded this episode in her lovely home and Woody, her friendly puppy,  is the happy addition you’ll sometimes hear in the background.Find frankie’s contributor guidelines at https://www.frankie.com.au/submissions and see Sophie’s world at https://www.instagram.com/skalagas.And lastly, a big thank you to amazing musician P-Major for composing the theme tune in this episode.Things to consider before you submit to magazines Do you read the magazine and do you know what they’re really about? Write a strong subject heading that invites them to open your email. It should be more enticing than just “Submission” or “I want to write for your magazine”. Show your personality in the body of the email. Don’t be too formal when introducing yourself, unless that publication has that vibe already. Consider sending through a succinct pitch or outline of your story rather than the whole thing. You’re still welcome to submit the whole thing but if it’s about grabbing attention quickly, then a short summary might do the trick. Be clear about the tone and format of your article and think about where you imagine it sits within the publication. Be aware of the magazine’s lead times so you can submit in time if you’re aiming for a particular season or important date. Think about how your article will invite the reader in. Is your topic broader, universal and/or relatable? You can definitely infuse your personal experience and perspective, but try not to make it a rant. Don’t be afraid to submit articles and ideas you shelved a long time ago – just edit them with fresh eyes and make sure they flow well. Stick to the word count limits if you can e.g. frankie’s single page articles are generally 650 words and the double page spreads are about 1400. Keep the story tight! Always check the contributor rates because you could get paid if your article is published. FYI, some publications pay per word and others just have set fees. Just stick to writing as yourself and write about the things that you’re  interested in, rather than writing what you think the publication wants to see. Don't despair if you don’t hear back straight away – sometimes your submission is great but it’s not quite the right time for it. If it’s good though, they will call you, even if it’s a few months later. P.s. Why not enter the frankie Good Stuff Awards?Enter at https://www.frankie.com.au/goodstuffAnother podcast episode you might enjoy…Episode 69 – frankie, do you remember the good stuff?See omnystudio.com/listener for privacy information.

Facing fear. Writing.More fear. Standup comedy. Zimbo politics. Aussie politics. Jokes about my Mama. Feminism. Typos in sexts. Working with kids. Developing TV characters. Running a company. Story. Creative freedom. And laughter…lots of laughter! Yep, this and more in my hearty chat with Claire for her podcast Just Make the Thing.The original episode first aired on Just Make the Thing on 28 August. It’s played in its entirety in this episode and I’d like to thank Claire for generously sharing the audio files with me. Thank you to RAW Collings for his great editing skills too!For more of her podcasts visit www.planetbroadcasting.com and you can follow her on Instagram @clairetonti or on Twitter @mrssundaymovies.See omnystudio.com/listener for privacy information.

Look Ma – I’m producing! The Youth Affairs Council of Western Australia (YACWA) invited me to train 15 young people in public speaking and I suggested we also make a podcast with their short speeches. In this episode I share what I learnt from creating the Shout Out Youth Speakers podcast. I’d like to thank all the young speakers, YACWA, audio engineer Percy Kalino and sound editor Josh Martin for all their magic. Special note: I play Habiba’s speech at the end of this episode. You’ll also hear vocal cameos from Cody, Margaret, Patrick and Collin. More stories coming soon!9 Lessons Learnt…1. Clearly define your role as the producer —Whoever you’re working with needs to know what creative and technical role you’ll play to make the idea come to life. 2. Listen to a podcast with them — If they don’t even know what a podcast is, ask them to listen to episodes that are similar to what you have in mind. (It’s even better if you can be there listening with them so you can watch their reactions!) 3. Invite them to write their own stories, not yours. Enough said. 4. Give them time to hear themselves — Most people don’t like the sound of their own voice when they first hear it. Be playful with the microphones and record some fun stuff before you record the final pieces. Definitely helps everyone feel more comfortable. 5. Aim for one-take wonders — Everyone brings their A-game if they know there’s only one take. And most importantly, this saves you from editing hundreds of files in post-production! 6. Ease their minds about the technical stuff – The speakers can focus on writing and performing when they know you’re taking care of recording, editing, software and website stuff. 7. Streamline production and editing* Be realistic with editing deadlines for your audio engineers and editors* Have your graphic design assets e.g. cover art, audio file images ready and good to go* Have your top and tail scripts ready8. Thank your collaborators and crew — it’s only manners.9. Listen and learn for the next time — Enjoy the whole process and let go of too much perfectionism!See omnystudio.com/listener for privacy information.