I'm a creative who likes to come up with an idea and immediately start working on it.  In 2011, I decided to launch my first podcast, and I wasted no time recording, editing and uploading my first episode.  However, as Timothy Failure says - mistakes were made.  These mistakes were worthy of some face-paIms, but I learned from them.  Plus, they helped me develop strategies to share with new podcasters.

Here are some lessons I learned while producing my first podcast:

Give yourself time to tweak your concept before launch
The Critic Show was the name of my first podcast.  The idea was to theme it around guests and listeners discussing all things entertainment.  We're all critics, and we share opinions about the things we hear and watch.

Ideally, I wanted celebrity guests on the show.  However, this was going to be a brand new podcast, and guests weren't going to know who I am.  I figured I would be lucky to book a guest every few months.  Nonetheless, I started recording the episodes.

As the first seven shows were produced:

​So, I did something painful but necessary.  I deleted the first six episodes from my feed.

Later, I heard a podcast expert suggest recording and editing your first shows without uploading them.  That way, you can make the necessary tweaks before sharing your content with the public.

He said episodes 7-10 would likely sound a lot different from episodes 1 -6. 

​I was living proof he was right.

Optimize your frequency
The release dates for The Critic Show was the 15th and the last day of the month.  On the one hand, it was a perfect fit for me.  It generally took two weeks to find, book and record guest interviews.  However, it wasn't an ideal set of dates for potential subscribers.

Later, I attended a podcast session at Social Media Marketing World that emphasized the importance of optimized frequency.  The speaker strongly recommended that podcasts upload weekly episodes, but an every other week system worked as well. 

The key is to upload shows on the same day.  That way, listeners can make your show part of their subscription routines.

The idea of trying to get a show out every week terrified me.   However, I would later develop a successful plan for weekly podcast uploads.

Don't create an intro that sounds like it lasts forever
Calling my first show opening "too long" is an understatement.  It might be easier to say, "Yikes!" and move on.  The original intro for The Critic Show went like this:

These days, I try to keep my intros under 30-60 seconds.  The only reason they would last that long is I'm still using some creativity to explain the concept of the show.  After all, you never know which episode will be someone's first to hear.  However, it's not uncommon for me to make a tighter version of the intro after the show has been out for several weeks.

Still, nothing has been as long as that first Critic Show open. From an audio standpoint, it was giving In A Gadda Da Vida a run for its money.

I tell new podcasters to make sure they develop a concept that produces a consistent amount of episodes each year.  In other words, don't create a podcast that might run out of topics.

Also, if you can create a podcast with a specific target audience, you're more likely to generate strong subscription numbers.  For example, a podcast solely focused on a television series generates a very specific listener base.

Even though The Critic Show established a good format, two problems remained:

1. There was so much variety in my guests that it created a lot of ups and downs in listenership.  People would listen to guests that interested them.  However, interviewing has always been one of my strengths.  If people love the way you conduct interviews, they might listen despite a lack of interest in a guest.​
2. As my podcast unexpectedly evolved into a celebrity interview show, the title no longer made sense.  In fact, I'm surprised the name didn't scare more people.  Imagine being an actor and getting an invitation to be on The CRITIC Show.

When the podcast started its second year, it was renamed Beyond the Screens.  This definitely fit the description, but now my feed had two sets of the same show with different names.

So, get that title right the first time!

I started podcasting in 2011.  Today, podcasts are a lot more mainstream, and that comes with better access to advice.  So, it's easier not to make some of these mistakes. 

However, I would finally recommend that you maintain a willingness to learn new things.  If you can avoid not learning lessons the hard way, that's even better.

Throughout my career, I've always embraced the value of continued learning.  No matter how much experience you have, there's never a reason to think you've learned enough.  I especially love learning opportunities that expand into other areas of work.

For example, I took Robert McKee's Story Seminar over 15 years ago.  Back then, it was about learning screenwriting and storytelling.  I had no idea that storytelling would later become a vital part of my content marketing strategies.  

In 2007, I entered a brand new world - audio and radio production. I spent 3.5 years writing and producing live and pre-recorded content for KERA 90.1's (The North Texas NPR affiliate) on-air fundraising drives.  As a podcast host and producer, I continue to use many of the content values I gained from my Public Radio work experience.

Here are some examples:

Make the listener part of your conversations

During a long pledge break, there would generally be 2-3 people talking and asking for donations.  I made it a priority for talent to approach their break as if they were speaking to ONE person.

Don't speak to the entire listening audience...just one person.  As they talked, they needed to act like the listener was in the room or just always listening.

During a pledge break, talent can establish the listener as part of the conversation by greeting them.  If talent starts the break by only greeting one another, it creates an instant disconnect.

​
Another way to keep the listener engaged was not to suddenly veer off topic and get into a conversational groove about other subjects.  When that happens, the listener feels like their eavesdropping on a conversation instead of being part of it.

Keep this in mind while podcasting.  Conduct your conversations as if the listener is there with you.  When it comes to your discussions, conduct them in a way that respect's a listener's time.

After all, the goal is for them to listen and subscribe, right?  Good!  Then make them feel important.  Let them know that everything you do is with them in mind.

Planning ahead makes a big difference

Before I started my work at the station, many breaks involved a lot of spontaneous talking and conversational improvising.  For the listener, this could make a four-minute break feel like eight minutes.  That means an eight-minute break could be unbearable as talent would be filling the time with some unfocused talk.

Another issue with a loosely-formatted break is that improvisation created unintentional statements that were counter-productive.  For example, the goal was to raise money for the station and its mission. 


​However, it wasn't uncommon for talent to make off-the-cuff pitches using words like, "support us."  Even though they didn't mean for it to sound negative, it came off like the talent (not the station) needed financial support.

​Creating a podcast with a focused format is never going to hurt your show, and your listeners can tell you took the time to care.  You should also take your audience-centered strategy a step further by optimizing your editing process.

Approach interviews with preparation and conversation

I really want to wave this flag because most podcasters fail to maximize the potential of their interviews.  Too many follow an inflexible Q&A list of questions that make interviews sound one-dimensional.  Others improvise and ask the same predictable questions that listeners and guests hear all of the time.

I was fortunate to produce content around Fresh Air with Terry Gross, The Diane Rehm Show and Think with Krys Boyd.  Listen to a improvised podcast interview with typical questions that start with, "What was it like.." and "How did you get started...", then compare them with the conversations heard on those public radio shows.

Listeners value their approach to interviews.  I know this because I witnessed people all over the country giving money to support those shows.

Here are two significant factors in the gap between good and bad/mediocre interviews:

1. Following a question list with no listening-based follow-ups or adjustments vs. asking questions, listening and building a value-filled discussion

2. Making it obvious you didn't prepare (no research, didn't read an author's book, no insights on what your audience would want to know, etc.) vs. showcasing your professional preparation and making sure the listener gets value and/or takeaways while listening.

My first point was about audience, but you could actually make the argument that all of these points are rooted in the listener experience:

1. As you talk, don't forget the listener should be a valuable part of every conversation
2. Structure a format for your show that optimizes your offerings and respects the listener's time
3. Prep for an interview by conducting research, reading a book and/or listening to previous interviews 
4. Use your question list as a flexible guide and not as a strict set of talking points

If you want subscribers, these production values will go a long way.  Don't forget that many shows on Public Radio are also podcasts.

Plus, Public Radio programs have to provide enough value to inspire people to support them with their money.  In the podcast space, you don't have to be raking in big bucks on Patreon to know your value.  However, you need to ask yourself if your episodes provide the listener with value and takeaways that give them a reason to come back. 

​Make your NPR stand for Necessary Podcast Resource.

The last nine years of podcasting are filled with memorable experiences, including conducting interviews, meeting people, building relationships and much more.  However, when I take a step back, there is actually one podcast that counts as its own amazing, fun and memorable experience:

The Peggy Carter Podcast.

It only lasted for two seasons of Agent Carter, but I’m so pleased that we got them both.

The Random Decision
I came up with the idea to produce an Agent Carter show while producing the Assembly of Geeks podcast.  Before this moment, I never thought about spin-off podcasts or doing a show exclusively focused on one television series.  However, it was hard to ignore how excited we were to discuss any news surrounding Agent Carter on our current podcast.  

At one point, I thought we could dedicate a segment to our Agent Carter reactions, but I thought that would take away from the free-flowing variety of Assembly of Geeks.  So, I decided to host and produce a standalone podcast.  Then, I had to figure out how to piece it together.

Picking the Co-hosts
I knew I wanted to be a host on this show, and it only made sense to ask AoG co-hosts Tricia Barr and Jeff McGee if they would be interested in being part of it.  However, time was an issue for them, and that meant I needed to expand my co-host search.

Fortunately, I was already talking to Lauren Galloway and Amy Hypnarowski about getting involved with Assembly of Geeks, and it turned out they were both very interested Agent Carter.  It all fell into place, and we had instant chemistry.​

I knew the theme needed an old school secret agent vibe, and I found the perfect opening theme track on Pond5.  Then, I started to think about the intro and bumpers.  At first, I considered the sound of Peggy going into the office and pulling a file (which would contain the breakdown of the day's episode), but that would be tough to convey with audio sounds.

Then I started to think in old school and 1940s radio terms.  At one point, Amy joked about us dressing up in 1940s clothes and turning it into a radio production of that time. 

That idea jump-started my concept - The opening theme would transition to the sound of a tuning radio.  Then, an old-school radio announcer would set the stage through a dramatic read.

I was lucky to find voiceover artistRon Chavis to be the newsman.  His first words were always, "This is SSR radio."

As I wrote his first script, I knew I wanted his last line to be something over-dramatic.  So, he closed with a dire warning about Peggy's mission by saying, "If she fails, the consequences could be severe...both for her...and the world as we know it."

When I was writing the intro for the second episode, I struggled to come up with a line that had an equally cool and cheese-tastic ring to it.  Then it hit me - the "world as we know it line" should be the close for every episode's introduction. 

​If it wasn't broken, why try to fix it?  That closing line became very synonymous with the show.

Audio: The Peggy Carter Podcast Season Premiere Episode

Along with the fun introduction, each "break" in the podcast featured 1940s music (including tracks heard in the series) and 1940s radio commercials.

The Hayley Atwell Interview
​It wasn't long into the first season that we learned that some writers from Agent Carter were listening to the show.  The download stats were solid as the podcast grew into something unexpectedly great.

Yet, there wasn't a guarantee that Agent Carter would get renewed for a second season.  When the renewal came, I started to think about starting our second season with a special guest.

In May of 2015, I made plans to attend a comic convention in Houston.  Hayley Atwell was a guest, and she was the main reason for my attendance.  Having conducted several convention interviews, I wondered if it was possible to talk to Hayley while I was there.  Thanks to Lauren's social media connections with people at Marvel, she was able to find out who I should contact about this idea.

It was the Executive Director of Television Communications.

When I reached out, I learned Marvel wasn't in control of Hayley's schedule at the convention.  So, any interviews would have to be controlled by their staff.  However, I was told that Marvel did not have any problems with her being on the show. 

​I knew it was too late to organize something like that, and I asked if we could arrange something after the convention.  He asked me to touch base with him when the new season went into production in the fall.​

​At the convention, I paid for an autograph and photo op with Hayley.  While she was signing my picture, I asked if she'd heard of our Peggy Carter show.

She looked up, thought for a second and said, "Yes! In fact, I've listened to it in my trailer." She said she loved the amount of enthusiasm we had for the show. 
​
That was an unforgettable moment.

Before I reached out to Marvel about an interview with her, I wanted to establish some rapport and demonstrate my professional approach to interviews.  So, I booked an interview with Clark Gregg for the Assembly of Geeks Podcast, and we had a fantastic discussion about a variety of topics.

As production of Agent Carter was close to wrapping, I reached out and booked the interview with Hayley.  I learned that she would talk to me from her trailer during a break.  I would have a 15-minute window.

​That day, I couldn't think of anything else.  I wasn't nervous about interviewing her, it just needed to go smoothly.  After all, this interview took six months to book, and the call was coming from a trailer on set.  It was a tight window, and rescheduling may not be possible if something went wrong.

Finally, it was time to record the interview.

Then, we got delayed. 

That wasn't surprising since she was on a production set, and it meant I was going to have to wait a little longer.  A couple more delays came and went, and they told me would call when they're ready.

This extra time allowed me to calm my nerves and wait for everything to fall into place.  The phone rang, and it was time to make this happen. 

I was already a bit worried about this.

Luckily, she was able to put on a headset.  Once plugged in, she came through loud and clear. 

She was a wonderful guest.  She was totally engaged in our conversation, and we had a great 15-minute talk about Season One, the extended story of her character and the themes of Season Two. 

​Everything came together and worked out perfectly.

Even though I wouldn't upload the interview for another month, I decided to promote it on Twitter.  It ended up being the perfect time to share it.

Hayley retweeted it, and later that day, she decided not return to Twitter.  Our interview was the last thing she shared on her account before leaving social media.

It was almost fitting since everything about this podcast experience was about good decisions and timing:
​

• The random decision to create a Peggy Carter Podcast
• Perfect timing to add the perfect co-hosts
• The decision to infuse the show with 1940s creativity
• The decision to try and get Hayley on the show in Season Two (because there wasn't a Season Three)
• The decision to promote it early on Twitter 
  ​
  

Even though the show is over and the podcast ended, I still have these great memories. 

I also have that unforgettable interview with the star of the show.

In 2011,  I picked up my first video scriptwriting job.  The client was a multi-service software company whose website featured a lot of text.  Several paragraphs filled pages with explanations, descriptions and examples tied to the functionality of their products.  Then, they realized something:

People were not going to read all of this text. 

​So, they wanted to turn some of those textwalls into short videos.  They knew most people would rather watch or listen to the explanations.  Even in 2011, there was a lot of truth to that.

In 2020, we've learned a lot more about customer behavior in a consumer-driven marketplace.  It's not enough to have a written explanation anymore; you have to consider other factors.  For example:

• In 2017, Chris Brogan said that people spend 19 minutes a day reading (that includes text and emails)
• Mark Schaefer's warning about content shock
• ​The the SEO and Google algorithm landscapes

It was all just too much for copywriting to bear.  Now, it's dead.

​Sort of.  

Taking copy and bringing it to life
Considering the high volume of written content and limited attention spans, it's not enough to write copy.  Now it has to quickly hook people, keep them engaged and generate the right response.  This is especially true if you're in an incredibly competitive space.

Healthcare is a perfect example.  I've written and produced content in the healthcare space for 15 years.  I don't need to tell you it's a competitive space.  If you're searching for a specific type of medical provider, you're likely going to get bombarded by one word - CARE.

• You'll read how much the staff cares
• You'll read about their approach to care
• You'll read why they care more than others
  
  

This type of content will overlap with all of the other "caring" providers.  So, it may not be enough to say you care.  Your copy will have to cut through the clutter and desensitized terminology to stand out.  At one time, this might apply to  certain industries, but now everyone has to do more to stand out.

Make it personal and less "salesy"
I cannot express enough how much I love hearing a client say they want content that is more personal and less salesy.  If it's a marketing director, it means they haven't lost their consumer mindset.  Sometimes, marketers can be so sales-focused that the consumer believes the content is designed to only benefit the seller.  We're all consumers, and if marketers remember that while writing copy, they'll probably predict the likely response to their content.

Re-thinking copywriting isn't beneficial just because your content won't read like a TV commercial script.  It can connect to your audience in a way that feels more like person-to-person commutation.  

• That's how you stand out.
• That's how you start to build trust.
• That's how you generate a response. 

Recently, I edited and re-wrote content for a client who needed their online degree program copy to feel more human and less copy-and-paste.  Specifically, these were chatbot responses to common questions.  After looking at the copy, it was clear that changes were needed.

When I say gigantic changes, I'm not necessarily talking about the amount of words used in the copy.  That can also mean a major change in expression.  Sometimes that's needed.  Other times, it can cause more problems.

For example, when ad agencies attempt to infuse life into into copywriting, it's not uncommon for them to produce a clever set of words with some pop.  If that's what you get, remember to look at it from a consumer point-of-view.  As Donald Miller points out - Marketing that is too cute or clever is a waste of money.

Concise,  clear and credible
You can have clever copy all over your website, but if the message isn't clear to the user, it might as well read, "We mambo dogface in the banana patch."  (Steve Martin reference)

As I said, it is comforting to meet people who want to adjust to the death of old copywriting habits.  However, I am absolutely stunned at the number of companies who are not keeping an eye on copy that represents them as an organization.  Specifically, I'm talking about blogs, web copy, press releases, print materials and sales pieces that are:

• Loaded with grammatical errors
• Written in a way that sounds great if you SAY it, but it doesn't READ well
• Showcasing how great they are without a direct appeal to the audience's needs
  
  

If your copy doesn't read well or features several glaring grammar/punctuation/sentence errors, your credibility takes an unnecessary and avoidable hit.​  Plus there are free tools like Grammarly that are very helpful.

So, when I say copywriting is dead, it's more about how old school copywriting strategies have died.  However, that's true of several "old school" marketing strategies.  The truth is, many marketers still cling to old strategies, some are struggling to adapt and others have made the transition.

So, maybe it's better to say copywriting entered a cocoon, and some people have turned it into a butterfly.

Back in 2007, I was hired at the Dallas NPR affiliate to improve their on-air fundraising drives.  If you've listened to public radio or watched public television, you've probably experienced program interruptions that ask for donations. It has never been the audience's favorite part of a show.

At KERA 90.1, drives were dragging, and they weren't achieving their goals.  Listeners were also expressing frustrations by calling the station.  Meanwhile, this was my first job in radio and non-profit fundraising, but it was my responsibility to develop new messaging, strategy and content to address these problems.

When it came to developing a strategy to inspire listeners to give, I came across a set of challenging roadblocks:

Addressing the first two required a variety of strategies using messaging, urgency and content.

The third?  That was a challenge since most of the drive is filled with the station's staff asking for listener support.

Then I realized we had contact information from people who were sustaining members (monthly drafts from bank accounts) and people who donated throughout the year.  I decided to reach out to them and ask for their help.

Some of them came to the station to record an interview with me.  I would take the best parts of that interview, piece together a narrative and put a music bed under it.

Some of our pledge breaks could last between 6-10 minutes.  These stories broke up the long stretches of staff talking to listeners about donating.  More importantly, now listeners were making the pitch.  The "they're paid to say that" reaction was no longer valid. 

These audio testimonials not only improved the fundraising drives, the station received positive feedback about the stories they heard each day.  It was true, despite each donor telling listeners why they give and why they think others should give, they all had a special way of expressing themselves.  Laura's testimonial is a prime example when she calls the programming a mind vitamin.

Another example came from a contributor named Sheela.  As she expressed her reasons for giving, she described the station's on-air voices as the "companions in her car" who joined her during daily commutes.  I took her comments, turned them into a script and produced a different kind of testimonial story.  This one was complete with voices, music and sound effects.

Testimonials were game-changers. Simple interviews with a donating member of the station solved several issues with the drives:

1. They made interruptions sound more like programming
2. They infused the drives with more storytelling
3. They allowed listeners to hear pitches from "one of them" instead of station staff
4. They broke up long breaks

After this content strategy made everyone happy, testimonials became part of every radio drive.

In July of 2014, I had an awesome opportunity and a problem.

The opportunity: An in-person interview with David Giuntoloi and Bitsie Tulloch about Grimm.

The problem: I didn't watch the show.

However, I had to assume that many of my listeners did watch it.  So, I researched what happened in previous seasons, and I developed some questions.  I then sent those questions to friends who were big fans of Grimm because I wanted to make sure I crafted good questions.

My friends said they were good questions and didn't have anything to add.

Then, when I sat down to talk with David, he noticed I had a set of prepared questions.

He was shocked.

He playfully expressed his surprise by telling me he didn't expect a podcast interviewer to come prepared with questions.

While I appreciated the compliment, that wasn't the best commentary about podcast interviews.  Yet, it wouldn't be the only time I would have to be the exception to that rule.

When I asked Anthony Michael Hall for an interview, he agreed but wanted to keep it short.  He soon realized I was prepared, and we ended up having a longer (and enjoyable) conversation.

While attending a convention, I walked into a room full of independent podcasts and media outlets who were there to interview voice actor Fred Tatasciore.  I was the last person to interview him.  He was so pleased with my preparation and questions that he offered to sign some posters for my listeners.  These were posters he brought to the convention. 

This may sound like common sense, and it should be automatic.  However, it's one of the major reasons why so many podcast interviews suck.  When I say research, I mean:

1.  Ask for a biography page, read their websites and/or read news stories about them
2. If there are prior interviews with your guest, find some and watch or read them
3. If they're an author, read the book
4. Put yourself in the listener's shoes and ask yourself what you would want to know
5. Make sure you don't have too many (if any) questions that start with, "What was it like..."

Many podcasters will improvise or decide on simple questions that don't take a lot of time to develop.  Keep in mind, your questions and preparation are a representation of you.  While it's important to always remember that, I've interviewed quests whose expertise was way beyond mine.  For example, when I had to conduct an interview on the mind's impact on back pain, I had to do a deep-dive into research in order to give me and the interview some meaningful credibility. 

Research is critical.  Start with these steps, and you'll be well on your way to conducting a stronger interview.

While I was attending a convention a couple of years ago, I came across someone who I've interviewed in the past.  He's an in-demand author, and he told me he was starting to cut back on podcast interview requests.

One reason for this - People keep asking him the same questions.

"Instead of asking me how I got started, I wish they would ask me WHY I got started."

This goes back to my point about the "What was it like" questions:

What was it like doing this
What was it like playing this role
What was it like working with ____

There are better questions, and my former guest correctly pointed out that there are better ways to ask them.  It's also another for reason researching prior interviews.  If the person you want to interview is an in-demand guest, you can definitely learn about the repeated questions they've been asked.

One of the biggest guests I've ever had was Hayley Atwell, who plays Peggy Carter for Marvel.  There are a ton of previous interviews to watch, including podcast interviews at San Diego Comic-Con.​

So, you don't have to be the interviewer who asked that question because:

1.  You did your research and noticed she's been asked this 100 times.
2. Your research will show you that she doesn't like to view the character in that context.

Now, it's almost impossible to line-up a set of questions that a guest like Hayley has never been asked, but you can craft a different way to ask it.  When you do that, your guest will probably have to stop, think and share a new version of their response.​  The same questions will trigger the same responses, and that gets old with guests.

During a tennis match, you ​can't help but take your eyes off the game and watch the crowd.  The sight of people's heads going side to side can be entertaining as well.  However, in the world of interviewing - it can be quite dull.

What do I mean by a tennis match interview?  The back and forth is simple and one-dimensional:

1. Question
2. Answer
3. Question
4. Answer
5. Question
6. Answer
7. Etc.

I think it's much more effective to approach an interview as a conversation.  You don't even have to follow your prepared questions at times because they might answer a prepared question while discussing another topic.

You have to listen and adjust.

Plus, if you're listening carefully, they may say something that inspires a better question than the one you have in front of you.  

You can also make a guest comfortable with a conversational interview by having some pleasant small talk before you start recording.

This is another advantage of doing research.  You might be talking to an author about their book, but your research showed that they're very passionate about a charity.  So, you ask them about that as well.

Some interviewers are so one-track minded, they talk about one topic, and they're done.  If there's an opportunity to work an additional highlight into your discussion:

1. It shows you did your research
2. It's a potential opportunity to ask something they're not always asked
3. It could add another interesting layer to your discussion.

I've done this on more than one occasion, and it's always a good thing.  Back in 2012, I interviewed Alicia Witt about her role in Cowgirls 'n Angels and Two Weeks Notice.  She lit up with a smile when I brought up her singing career, which is a bigger part of her life now.

Remember that when you conduct an interview, you're representing you, your show and your audience.  Take that seriously.  Let that help you gain a reputation as a prepared and professional interviewer.

That reputation could override the negative perceptions of podcast interviews and generate more opportunities for you.

One of the best traits of a creative professional is passion.  If you ask a creative about their inspiration or thought process about something, you'll often get an impassioned (and sometimes lengthy) response.  However, that passion can also lead creatives into situations where even the best ideas aren't generating the right amount of success.  Here are two creative traps you can avoid.

One thing that is universal with creatives is that we are reaction addicts.  We love to produce something and get that positive response.  When that response doesn't happen as fast as we would like, it can demoralize our moods.  Granted, in some cases, it might mean we do have to go back to the drawing board.

Other times, it could be an issue of patience.

The truth is, some projects don't generate instant gratification.  You have to understand that in the beginning. Otherwise, demoralization will prevent gratification, and it was your fault.

The formula for success in blogging and podcasting are similar:
  

• People need to see that you're serious about providing value.
• You have to demonstrate that you'll provide value on an ongoing basis.
• With podcasts, you have to get episodes out on the same day to get people to add you to their listening habits
• Have realistic expectations about the time it will take to grow.  If growth happens faster than expected, celebrate that, and build on it.

​
If it was a simple "build it and they will come" proposition, everyone would succeed.  Plus, I wouldn't have to write this blog.

They fell into the one-hat trap.

In other words, they didn't take their marketing hats off and replace them with their consumer hats.  They were thinking like marketers and not consumers.  You can't do that and expect tremendous success.  

It can be easy to fall into this trap.  There are times where I caught myself before falling into it.  As creatives, we can fall too far in love with a concept and forget we're not producing it for ourselves.  As a content marketer, it's easy to forget you're also a consumer. 

Don't forget that. 

Ask yourself questions about your content as a member of your target audience.  When you think like a consumer, ask yourself:

• Would I click on this?
• Would I keep reading?
• Would I keep listening?
• Would I stop watching?
• Would I come back for more?

You'll give yourself another layer of invaluable insight, and you avoid the trap.  Evading traps like these will increase the chances of celebrating the gratification you seek.

I get it.  When you get into podcasting, you're likely going to learn some things the hard way.  I know I did.  When I launched my first podcast in 2011, my mistakes included:

• An intro that was way too long
• A show theme that wasn't focused enough
• Launching my show too soon (before I optimized the format)

However, it's 2020, and podcasting is going more mainstream every day.  With that, it's a lot easier to find good podcasting advice from reputable professionals.  When I started, I found some random guy in Australia who produced a podcast about podcasting.  Now you can find great experts like Cliff Ravenscraft, Daniel J. Lewis and Chris Brogan to help guide you.

While I think it's important to continue learning, there are some things I've heard podcasters say that made me instantly facepalm.

As they said in Beverly Hills Cop - don't fall for the banana in the tailpipe.​

As Daniel Lewis says - Don't fall for the podcasting myth of monthly downloads.

In 2020, podcasts are bigger and more popular than ever.  That means there area lot more resources available for building a good show.  Take advantage of it, and don't forget to keep learning along the way.  

When I was a kid, the first productions I ever produced were audio stories.  Back then, I was using tape recorders, the SK-1 Keyboard and homemade sound effects to bring it all to life.  I never thought I would get to produce audio stories to share with the public through podcasting.  

Obviously, things were going to be easier to manage since I could infuse music and sound effects digitally, but there were going to be some big challenges as well.

Creating a new superhero story was a little intimidating.  After all, there are so many great ones in existence.  How could I create a unique hero and villain with that in mind?  Well, the first thing I wanted to do was not go the typical origin story route. 

One way I did this was to tell the story through someone else's eyes.  That way, the story wouldn't have to fall into a cookie-cutter origin theme, and it made the hero a little more mysterious in the beginning.  The story opens with two internet video guys trying to make a ghost hunting video.  

It doesn't work out the way they hoped, but it leads to an accidental viral video when they accidentally caught the mysterious hero in a shot.  This fortuitous opportunity inspires them to look for more.

It was important to develop his story as well.  I didn't want to create a villain who just wants to "create havoc" or rule the world.  It had to be deeper than that.

I was very fortunate to know a very talented graphic artist named Alex Ray to design the logo.  All I told him was that I wanted an older hero (late 30s or early 40s) and to design the costume with the Battle of the Planets characters in mind.  I also wanted the wings to open up and close.  We immediately clicked on the design of costume and logo.  

Casting was going to be everything.  Audiences can tell whether or not there are experienced actors voicing characters.  It would instantly make or break the show's credibility.  Fortunately, thanks to my work in the Dallas indie production scene, I had access to talent agents and ways to promote the casting call.  Some people were able to email their audition reads to me.

I know Stephanie Nadolny (Dragon Ball Z), and we talked about working together for some time.  She was the perfect voice for The Crimson Crane.

I also searched online for actors with websites/demo reels and reached out to them to audition.  For the extra or smaller part reads, I reached out to friends or found people on Fiverr.  

As luck would have it, a new recording studio (Arcturus Studio) opened up about 20 miles from me.  They were only going to charge 50 dollars an hour to record the shows.  Once I got everyone scheduled, we worked out a way to get 1-2 episodes done per session.  In Season 2, some actors were able to send in their episode reads, and that cut back on studio time.  If I needed a re-read or a different take, I could email them.

​With this cast, there were few re-reads.  They are a very talented group of people.

I knew post-production was going to be a big beast of a project.  It would take hours and days to finish an episode.  However, it's worth the effort.  It was awesome to hear these stories come alive through all aspects of production.

In Season 2, I found a website called Storyblocks.com that made it very easy to get music and sound effects.

Learn more about The Crimson Files on the website
Hear my interview on creativity and fiction podcasting on The Create Art Podcast

 I've always said my top two childhood heroes were Luke Skywalker and Mike Donovan.  Everyone knows the name Luke Skywalker, but not everyone Mike Donovan. That's a tragedy because if it weren't for him, alien lizards would've gotten away with eating people and sucking the earth dry.

When I talk to people about Marc Singer, they usually think about The Beastmaster, but he will always be Mike Donovan from the 1980s television series - V .  As a kid, I pretended to be Mike Donovan while attending elementary school in Fort Worth, Texas.  My best friend played Martin (the alien visitor who was on our side), and we turned the school into the mother ship.

During the day, he would approach me with news about how his people were developing new threats against the humans.  At recess, we pretended to blow up pipes and return stolen water to earth. Many years after the show was cancelled, Mike Donovan continued to be a key figure in my nostalgia.

So, you can only imagine what it was like for me to meet him in person.  He came to a comic convention in Plano, and it was a memorable experience.  He was an incredibly nice guy, and my wife enjoyed meeting him as well.

However, this exciting moment came with some regret.  I didn't want to hold up the autograph line anymore.  So, I didn't tell him how much his character meant to me. I didn't tell him that I played Mike Donovan on the school playgrounds. I assumed there would be another time, but as conventions came and went, he didn't appear on the guest list.

Then I got into podcasting and launched a celebrity interview show.  While developing an episode about childhood heroes, I tried to find a way to reach Marc.  It wasn't easy.  I came across an email address that MIGHT get to him, but I didn't really know for sure.  Nonetheless, I wrote my interview request and sent it off to who knows where.

I never got a reply.  I figured it ended up in some random person's inbox, and they deleted it.

Then, months later, someone called my cell phone while I was at work.  It was listed as UNKNOWN, and I never answer those.  Surprisingly, the "unknown" caller left a message.  So, I checked it.

That night, I called Marc back.  During our discussion, I finally got to tell him, one-on-one, with no lines of people behind us, what his character meant to me.  And that meant a lot to him. 

During the interview, he even brought it up, and I confirmed that I pretended to be Mike Donovan in school. He told me and the audience how much that means to him, and he knew I did the character proud.  

As they say today - "Uh!  The feels!"

At the end of the interview, Marc read the liner I wrote for the show.  It was a nice bow tied around a fun conversation and a meaningful opportunity.

"Hi, this is Marc Singer.  I played Mike Donovan in the 1980s series 'V'.  Scott Murray also played Mike Donovan in school.  And thanks to him, no lizards ever infiltrated the classroom.  Long live The Resistance."