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.
February 21 - March 6, 2016
In this two-week intensive, we’ll look at the rapidly-expanding world of literary audio. We’ll download and listen to podcasts, find out what sort of equipment you need (don’t worry, it’s not that expensive and very low-tech) and explore submission opportunities (contests, publications, et cetera). Plus, we’ll also 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.
* Study and discuss several literary audio podcasts and online audio literary journals.
* Learn how to download and use the right program and what kind of USB microphone to use.
* Learn how to convert a file to MP3.
* Learn how to create a “portable acoustically-correct studio” for less than $20.
* Demystification of the audio literary process and increased confidence in getting your own work properly recorded and out there.
Over the course of two weeks, we’ll explore literary audio on the web and discuss it in detail. I’ll also direct you to resources (many of them free) that you can bookmark for when you’re ready to record your work. The syllabus provides prompts to get the discussion going—but students are encouraged to come up with their own questions and avenues of thought.
* 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, I’ll walk you through setup during week two.
* Discussion: What are the advantages of voicing your own work? How do the stories affect us when read by someone other than the author?
* The important technical sites to bookmark and programs to download.
* How to create a “portable acoustically-correct studio” for less than $20.
* How to use recording programs like Audacity; how to edit and create an MP3.
* 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?
Robert Morgan Fisher holds an MFA in Creative Writing from Antioch University Los Angeles. He also spent years working as a writer/producer/voice actor. In addition to designing and teaching courses for I2P he works for Antioch as a Writing Specialist. He has voiced several major audiobooks, including the voice 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. More on Robert's web-site: http://robertmorganfisher.com/