So you’ve been published and asked to do a promotional reading at a book store or on a radio show. Or maybe you’ve seen some of the new online publications/contests asking for “audio” and you’re asking: How can I get in on that? It’s actually a lot easier than you might think. And in today’s publishing world, it’s very important to be able to step up and read your work—either in a live public forum or online.
In this two-week intensive, we’ll:
- To familiarize ourselves with the rapidly-expanding world of literary audio.
- Learn about equipment. How to quickly and inexpensively create a home studio.
- How reading one’s work aloud affects how we write.
- Learn some practical tips on how to voice your writing. And if at the end of the course, you still don’t feel comfortable doing it yourself, we’ll learn about alternate methods of recording your work.
Each week includes two (2) one-hour group Zoom Sessions as well as ongoing online discussion threads.
Week 1: Markets, Equipment and Content
- We’ll study The New Yorker Fiction Podcast, Golden Walkman Magazine and other purveyors of literary audio. (At the end of the course, students will be asked to share and discuss their favorite pieces).
- Practical list of what you’ll need to record your work and the general cost. If you feel inspired to acquire equipment, you can proceed to order/acquire the equipment and I’ll walk you through setup during week two.
- Writing conversationally (i.e. unstilted) is always important—but especially for spoken word pieces.
- What are the advantages of voicing your own work? How do the stories affect us when read by someone other than the author?
Week 2: Making your barbaric yawp heard!
- The important technical sites to bookmark and programs to download.
- How to setup a “portable acoustically-correct studio” on the cheap.
- How to use recording programs like Audacity; how to edit.
- How to create an MP3. Uploading, storing.
- How to troubleshoot technical problems.
- How and when to record your work at a professional studio, the advantages/disadvantages.
- How to submit to audio literary magazines/contests.
- Discussion: Do you feel more confident about recording your own work? What audio pieces did you like, if any, and why? What’s your plan for jumping into the world of literary audio?
ABOUT ROBERT MORGAN FISHER
Robert Morgan Fisher won the 2018 Chester Himes Fiction Prize and was shortlisted for the 2019 John Steinbeck Award. He has voiced several major audiobooks, including the role of serial killer Clayton Broom in Lauren Beukes’s best-selling thriller, Broken Monsters. His short story, “Vox Rex,” was the 2015 runner-up for the Missouri Review Miller Prize for Audio Fiction. His fiction and essays have appeared in numerous anthologies and literary journals including Pleiades, Storyscape Journal, Teach. Write., The Wild Word, The Arkansas Review, Red Wheelbarrow, The Missouri Review Soundbooth Podcast, Dime Show Review, 0-Dark-Thirty, The Huffington Post, Psychopomp, The Seattle Review, The Spry Literary Journal, 34th Parallel, The Journal of Microliterature, Spindrift, The Rumpus, Bluerailroad and many other publications. He’s written for TV, radio and film. Robert holds an MFA in Creative Writing from Antioch University Los Angeles and is currently on the teaching faculty of Antioch University Santa Barbara. Since 2016, Robert has led the UCLA Wordcommandos, an acclaimed twice-weekly writing workshop for veterans with PTSD. He often writes companion songs to his short stories. Both his music and fiction have won many awards. (www.robertmorganfisher.com)
“Robert Morgan Fisher is the best writing professor I have come across. He is extremely knowledgeable, always encouraging, and enthusiastic about the right things. I am indebted to him for encouraging my more idiosyncratic impulses, which directly resulted in my first three published short stories in selective literary journals in the last six months.”
~Diane Joy Schmidt
Antioch University Santa Barbara, MFA candidate, 2019