It’s 2pm Australian Eastern Daylight savings time on the 27th of October 2018 which means The Frankenpod season two starts in just four days on the 31st of October!
Not really intentional it just seemed as good a time as any.
We have some amazing episodes coming with Melissa of The Brook Reading podcast on a particularly divisive and controversial book and I don my tinfoil hat with the ladies of Wives Tales to talk about a cinematic adaptation of one of the most popular conspiracies based novels of the 20th Century.
But for the first episode of season two Brent and I tackle a little true crime by examining a masterpiece of “literary non-fiction”, some of the controversies surrounding it and it’s cinematic adaptations.
We’ve recorded a short promo just to keep everyone in the loop and you can find the initial relaunch blog post here.
This season we will be featuring creepy stories submitted by listeners and some classic gothic short stories you may not have heard before. It doesn’t have to be frightening, it doesn’t have to be dramatic, just a little something that can be read in 5 minutes. If you like you can send it to us as the text for us to read or you can read it yourself and send us an audio file. If writing isn’t your thing we are also happy to accept music.
Make sure you let us know if you want us to promote your project, podcast, writing or anything. It is literally the least we could do.
If you want to come on the podcast and have a chat about your favourite gothic book, movie, television show, graphic novel, poem, character or author you can email us at firstname.lastname@example.org.
Image: A digitized image of the original painting American Gothic that Grant Wood, a master artist of the twentieth century, created in 1930 and sold to the Art Institute of Chicago in November of the same year.
This episode I’m joined by Meg from the fabulous pop-culture podcast Indoorswomen. We talked about the 2014 vampire spoof What we do in the Shadows. I love this movie and Meg took part in the Kickstarter to get a US theatrical release of this distinctly New Zealand gothic parody. We completely spoil this movie so if you haven’t seen it before and you plan on watching it, watch it before you listen.
Apple says that there are over 525,000 podcasts registered with Apple Podcasts (Locker 2018), formerly part of Itunes, and let me tell you the Apple Podcast registration can be a pain in the neck. There may be many who are just publishing to RSS feeds that haven’t jump through the necessary hoops for Apple Podcast listing.
So if you are one in those 525,000 how do you get people to listen?
And if you are new to podcasting how do you navigate the technical stuff without being sold something you really don’t need?
Creator communities are a great way to crowdsource the information needed to get started on a creative endeavour. There is a multitude of podcast communities designed to not only help by trading promos but also to share advice and collaborate.
Lady Pod Squad was started by Hannah from the Boozy Movies Podcast and it remains volunteer managed and no one directly profits from the squad, although some of the Lady Pod Squad members receive payment of some kind through their own podcast in the form of advertisement, merchandise and donations.
Lady Pod Squad functions as a Facebook Group, Twitter account, cross platform hashtag #ladypodsquad, Google drive and Slack channel.
Below is a tweet that includes #ladypodsquad in a promotion for an episode that features me and another member of the Lady Pod Squad. This hashtag can be tracked so that other Lady Pod Squad members can retweet. However, the easiest way to find other podcasts new episodes to share is on the Slack. The Slack is a workspace that makes it easier to track what new episodes other members have released so that it is easy to share the right ones on Twitter.
Here is another tweet of mine in which we credit the Lady Pod Squad drive for the promo we were able to run for 6 Degrees of Wiki. The promo drive is a great resource for sharing promos that you can download very simply and insert into your show and upload your own for similar inclusion in other people’s shows.
How can they be sustainable when theoretically every podcast is competing for listenership on an increasingly competitive media platform?
The use of the creator communities on social media can be used to “accumulate group experience and knowledge through social interaction and information exchange behaviours.” (Wu, Li & Chang 2016). The exchange of experience, information and ideas result in a net positive for the group. Not only is there an informal skill exchange, but also the exchange of content and marketing between podcasters. The benefits of the creative networking for the individual are manyfold and include not only an improvement in the quality of their own work but also emotional support in the case of the Lady Pod Squad. Users of the Lady Pod Squad attest to the benefits of the creator community:
Female singer by Orion 8 and tatewaki • Public domain • modified by Morgan Pinder
Check out the podcast for more personal experiences with the Lady Pod Squad.
In addition to this Wu, Li & Chang assert that the use of social media to engage in creative producer communities build “individual habits of social learning within various groups; this helps to enhance the users’ creative performance.” (Wu, Li & Chang 2016).
The use of the Lady Pod Squad across media platforms to create collaborative content such as interviews, crossover episodes and content sharing is usually carried out in a reciprocal and mutually beneficial fashion. This is in line with Kaplan & Haelein’s ideas surrounding collaborative projects as a form of social media:
“The main idea underlying collaborative projects is that the joint effort of many actors leads to a better outcome than any actor could achieve individually” (Kaplan & Haenlein, 2010)
The Lady Pod Squad is just one example of a creative community that exists as a symbiotic network fostering creativity and assisting with social media marketing. No matter what you are creating there is sure to be a network of people out there sharing information and ideas…
Or make one yourself like Hannah did…
‘I guess my unique perspective is that I started this community when I noticed there was a lack of safe space & support for women in podcasting. I found amazing women who felt the same way and together we grew this group into a community. it’s really been an incredible journey and we’ve only been around a little over a year.’
~ Hannah from Boozy Movies Podcast and creator of Lady Pod Squad.
Kaplan, AM & Haenlein, M 2010, ‘Users of the world, unite! The challenges and opportunities of Social Media.’ Business Horizons, vol. 53 no. 1, pp.59-68.
The first English dictionary is commonly thought to be compiled in 1755 by Dr Samuel Johnson of Blackadder fame. But that’s not really true. There were plenty of dictionaries before him. The most accurate guess at the earliest English language dictionary was one written by Robert Cawdrey in 1604 which was the first to include definitions albeit of only 2 thousand four hundred and 99 words. Put in contrast the Oxford English dictionary today has over 170 thousand words. The key difference between Dr Johnson’s dictionaries and the ones who came before him was the number of definitions and the level organisation.
Johnson dedicated his life to lexicography and died in 1784. 83 years later Ambrose Bierce, a writer of excellent gothic and supernatural short stories embarked on the serialised satirical exploration of the dictionary. Some of these definitions popped up in his weekly columns in ‘Town Crier’ and ‘Prattle’ and also in his personal letters. He wasn’t the first to take on the idea of a satirical dictionary, but Bierce certainly was dedicated to building and collating his own glossary of irreverent definitions.
Ambrose Gwinnett Bierce was born June 24th 1842, in an Ohio settlement called Horsecave. One of 13, all beginning with the letter A. Marcus Aurelius Bierce (1799–1876) and Laura Sherwood Bierce Had 13 kids named Abigail, Amelia, Ann, Addison, Aurelius, Augustus, Almeda, Andrew, Albert, and Ambrose… and that’s how you make sure one of your kids is going to write some kind of dictionary. It just so happened that this particular kid was a bit of a smart arse as he grew up.
As a kid, he was a printer’s devil, which is a little guy who mixes ink and generally getting things to the printer as quickly as possible because of those printing presses and typesetting dealies technical term, are massive and complex. He was 15 at this point and the printing operation he worked at was for an abolitionist paper called the Northern Indian
I’m terrified of delving into military history as always so here are the bare bones facts that we need from Bierce’s military service:
He fought in the Union army from the age of 18 until 24
He sustained a pretty serious head injury and some serious psychological damage
He saw some shit and it definitely had an impact on his writing. The horror of war was something he would come back to multiple times during his time as a writer.
He got married and had 3 kids. The marriage came to an end when he discovered letters to his wife Molly from an admirer, the separated in 1888, but did not divorce until 1904, 16 years later. She died the next year. His 3 kids were 2 boys, Day and Leigh and a daughter named Helen. Day and Leigh both died as young men, Day duel a romantic rejection and Leigh’s alcoholism and a nasty bout of pneumonia got the better of him in 1901. So by 1905 it Helen was Ambrose’s only surviving child.
Ambrose is typically framed as a Soldier, Journalist, writer and hardened cynic.
We will be revisiting Bierce’s amazing short stories at some point and there is an earlier episode of the Frankenpod which is just me reading A Vine on a House which is one of Bierce’s shorter stories. He is one of the wittiest, creepy and concise writers of American gothic fiction. He had a misadventure in Mining getting involved as a manager without experience and at the end of the mining boom so that didn’t go well.
Bierce at the age of 71 went to Mexico while it was in the middle of a revolution. He joined one of the armies as an observer, the army of Pancho Villa. The last known correspondence was from Chihuahua in Mexico and then poof! He vanished!
And that, in very broad strokes is the life of Ambrose Bierce, and if anyone knows a lot more about Mr Bierce and would like to come on the podcast I’d love to talk to you!
Three things you need to know about The Devil’s Dictionary
It is intensely self-indulgent
It is quite misogynist
It is incredibly racist.
Particularly when it comes to Native Americans and Aboriginal people.
Thanks to the U.S. Army Jazz by for making the song Kelli’s no. available in the public domain.
First things first, I’m so grateful to Linzi for making the time to not only talk to me about the book but taking the time to reread it! Linzi’s amazing podcast is called 33% Pulp in which she, her cohost Daniel and a rotating third host recap a work of pulp fiction one third at a time. It is very funny and I listen to new episodes as soon as they come up in my podcast feed.
Linzi shares some very interesting theories and insights into this amazingly ambiguous text and talks about how her view of the novel has changed since her first reading.
‘Rebecca’ was released in 1938 and owes much of its success to the possible straight romantic reading, but when you complicate the narrative by drawing attention to the unreliable narrator and the subversive themes that hide just below the surface there is something very strange, gothic and wonderful going on.
An unnamed young girl with no family meets a dark, broody Mr Rochester of Jane Eyre type, the widower Mr Maximillian Dewinter type while in Monte Carlo, he proposes to her after like a week or two and they go to his estate and Mansion Mandalay.
His first wife called him Max but he tells our named narrator she must call him Maxim
But the first Mrs De winter, the titular Rebecca has not quite left. Her presence is felt everywhere and her former personal maid Mrs Danvers is of the firm opinion that our unnamed narrator has in someway usurped Rebecca’s role in the house and we as readers think that this is going to be the plot, the pseudo haunting of the unnamed narrator by the more elegant, sophisticated and attractive Rebecca. But…
If you’ve been following my blog for a while you will know that I’ll often post uni work that is relevant to the literature, podcasting and writing nonsense that you will often find here. This time my first assessment is a blog post. This blog post.
I was going to try not to do this assignment on podcasts, but it is basically all I do.
I don’t watch TV or movies, I listen to Podcasts.
I get on social media to talk about podcasts.
I read books, but only so I can talk about them on my podcast.
I have a podcast problem. It started about 4 years ago.
I have always loved audio books, I grew up with storybook cassettes (I can still quote the entirety of the Lion King audiobook, just saying), then moved on to Amazon’s Audible app as an adult (all because I wanted that free copy of “The Chicken Gave it To Me” because I am an adult person who has definitely moved past my childhood reading list).
I think I knew about podcasts or they were at the very least on the periphery of my consciousness. I knew Ricky Gervais had one, and that BBC released their radio dramas as podcasts, but it wasn’t until Serial that I downloaded a podcast app. Serial definitely had a huge impact on the mainstream acceptance of the podcast as entertainment and has inspired a whole host of incredibly popular true crime podcasts, with true crime being one of the most, if not the most popular podcast genres (Bruzzi, 2016). Serial had me hooked, from there I went on to audio dramas like The Black Tapes and horror comedy podcasts like Last Podcast on The Left.
Then I discovered the often silly, very nerdy underbelly of the podcast world. I discovered the smaller podcasts that sprouted up in the wake of Serial and My Favorite Murder, and the indie podcasts that had been there the whole time but by virtue of not being true crime had only amassed a modest, albeit devoted following. It can be tough out there if you aren’t a crime related podcast as there is a huge swing in listenership towards true crime as a genre (Bruzzi, 2016).
I became a serial subscriber, I would, and still do subscribe to anything, listen to a few episodes and only delete it when the unlistened to episodes number in double, sometimes triple digits. I also began to engage with other fans of these podcasts and often the hosts themselves on Facebook and Twitter.
I work listening to podcasts, I walk listening to podcasts, if I could read listening to podcasts I would (and sometimes do if Librivox has a copy of the book up). There was a day about a month ago in which I thought I could listen to West Cork and parent at the same time, I was wrong.
“Oh, by the way, have I told you about my podcast…”
We started making The FrankenPod in December 2017, and released our first episode in on January 2018, and we have a bit of a following, but the most meaningful outcome of blasting another podcast into the 500,000 others out there (Lopez, 2018) that has surprised me the most is the online podcasting community.
According to Markham (2012) one of the most commonly cited reasons for podcasting community fostered through producing, promoting and creating, and that has certainly been our experience. Within a week of us releasing our first episode, I had an email from Nick who hosts Nick and Vince’s Podcast asking us if we wanted to come on their show and talk about Frankenstein.
I often interact with the podcast community in Facebook groups set up for podcast promotion, or to share podcasting resources such as Underdog Podcasts and Lady Pod Squad. Both of these groups also have Twitter hashtags that you can attach to podcasts as a signal to other “Under Dog” or “Lady” podcasters to retweet and promote, under the understanding that you will do the same for them.
The Twitter interactions between podcasts can move in genre groups. As our podcast, The FrankenPod is about gothic books and cinema and our relationships with other podcasters have not really stayed within that genre, but it is easier to collaborate with people who are doing something similar to what you are doing. The special interest groups tend to interact more closely together but podcasters will often promote across genre. Twitter has been my main point of contact with other podcasters and those interactions have allowed us to guest on other podcasts and set up some wonderful interviews with other podcasters.
The most valuable part of these interactive relationships with other podcasters is the relationships that are forged (Markham, 2012). Aside from everything else I have met some amazing, generous and intelligent people who love what they do. Podcasting is like a long rambling conversation with people across the world, many of them alone under doonas with a microphone to block out the noise of the outside world.
It sounds a bit sad, but really it is a very beautiful way to nerd out with other people who enjoy the same very specific stupid set of things that you do.
Eat → Sleep → Podcast → Repeat
Podcasts not mentioned that should be:
If I’m going to go ahead and talk about podcast promotions I would be remiss if I didn’t shout out the independent podcasts I love who I haven’t name-checked so here are some of my #ff and episode release posts from the past few weeks.
The film Nosferatueine Symphonie des Grauens (1922) which is used in the Tweet GIFs is out of copyright according to section 94 of the “Copyright Act 1968” (Australia Government, 2017) which states that copyright extends 70 years after publication took place.
So this week’s episode of The FrankenPod, features an interview that I (Morgan) recorded with Alix Roberts who has written an amazing thesis on Vampiric women, which I had not read at the time of recording but that I have since read and it is goddamn amazing. Unfortunately, the audio is pretty shoddy. Totally my fault and I’m going to extend the invitation to Alix for her to come on the show again so you can hear how wonderful she is without the clicks and hisses of an angry National Broadband Network.
I have changed the way I do interviews now so hopefully, this will
The Universal Studios Monsters and their entourage have had an indelible effect on our understanding of classic gothic texts like Frankenstein and Dracula. The differences between Frankenstein 1931 and the original text are too numerous to name… believe me, we tried. The essence of these stories can be completely changed and become a caricature of their former nuanced selves. We’re going to have a crack at examining most of these movies and the texts that they draw inspiration from (I should hesitate from calling most of these films adaptions because it is very often just the very bare monstrosity that is translated to screen)
Here are some of the characters of the Universal Monsters stable that we are planning to have a look at on The FrankenPod in the future, or maybe have already…..
Universal Monsters and Associated Characters
Frankensteins Creature in his Universal Studios form as Frankenstein’s Monster
Played By Boris Karloff in:
Bride of Frankenstein (1935)
Son of Frankenstein (1939)
Played By Lon Chaney Jr. in The Ghost of Frankenstein (1942)
Played By Bela Lugosi in Frankenstein Vs. The Wolf Man (1943)
This week The FrankenPod (rss feed for podcast app) episode is a conversation with Megan from Oh No! Lit Class on the literary family the Brontës. The gothic classic Jane Eyre was penned by Charlotte and Emily wrote the eerily gothic Wuthering Heights. It’s a bit of a rambling chat in which we also delve into the comedy sci-fi world of Douglas Adams, the childhood trauma of the Goosebumps series and the Byronic elements of Christian Gray, so I don’t have a script to publish. So here are some quotes from the works of the children of Patrick Brontë who survived to adulthood:
Patrick Branwell Brontë
Thorpe Green by Patrick Branwell Brönte
I sit, this evening, far away, From all I used to know,
And nought reminds my soul to-day
Of happy long ago.Unwelcome cares, unthought-of fears,
Around my room arise;
I seek for suns of former years
But clouds o’ercast my skies.Yes-Memory, wherefore does thy voice
Bring old times back to view,
As thou wouldst bid me not rejoice
In thoughts and prospects new?I’ll thank thee, Memory, in the hour
When troubled thoughts are mine-
For thou, like suns in April’s shower,
On shadowy scenes wilt shine.I’ll thank thee when approaching death
Would quench life’s feeble ember,
For thou wouldst even renew my breath
With thy sweet word ‘Remember’!
Quote from Jane Eyre spoken by Jane herself:
“If people were always kind and obedient to those who are cruel and unjust, the wicked people would have it all their own way: they would never feel afraid, and so they would never alter, but would grow worse and worse. When we are struck at without a reason, we should strike back again very hard; I am sure we should—so hard as to teach the person who struck us never to do it again. […] I must dislike those who, whatever I do to please them, persist in disliking me; I must resist those who punish me unjustly. It is as natural as that I should love those who show me affection, or submit to punishment when I feel it is deserved.”
Quote from Wuthering Heights, taken from Nelly’s final narration:
Mr. Kenneth was perplexed to pronounce of what disorder the master died. I concealed the fact of his having swallowed nothing for four days, fearing it might lead to trouble, and then, I am persuaded, he did not abstain on purpose: it was the consequence of his strange illness, not the cause.
We buried him, to the scandal of the whole neighbourhood, as he wished. Earnshaw and I, the sexton, and six men to carry the coffin, comprehended the whole attendance. The six men departed when they had let it down into the grave: we stayed to see it covered. Hareton, with a streaming face, dug green sods, and laid them over the brown mould himself: at present it is as smooth and verdant as its companion mounds—and I hope its tenant sleeps as soundly. But the country folks, if you ask them, would swear on the Bible that he walks: there are those who speak to having met him near the church, and on the moor, and even within this house. Idle tales, you’ll say, and so say I. Yet that old man by the kitchen fire affirms he has seen two on ’em looking out of his chamber window on every rainy night since his death
From the introduction to The Tenant of Wildfell Hall:
I am satisfied that if a book is a good one, it is so whatever the sex of the author may be. All novels are or should be written for both men and women to read, and I am at a loss to conceive how a man should permit himself to write anything that would be really disgraceful to a woman, or why a woman should be censured for writing anything that would be proper and becoming for a man.