#Tal Minear

[see-arcane]

I wrote a book!

The Vampyres is the happy horrifying accident born of feverish scribbling in the wake of Dracula season* (*inhaling Dracula Daily and Re: Dracula at the same time May thru November). It features a number of familiar villainous faces from classic supernatural lit, though not everyone is wearing their original name anymore. The story takes place in the 21st century and you can only hold onto those sentimental titles so long in the mayfly mortal world before you start drawing attention.

Not that swapping out pseudonyms has done anything to thwart the new shadow looming over the revenant community…

Free Preview Chapters (If You Want a Sneak Peek)

Tumblr version - PDF

More info under the cut!

Description

Something is culling the undead.

Whether they imbibe blood, leech life, or traded mortality away to their devil of choice, the revenants of the world are disappearing. The Vampyre, a possessor of many names and collector of many lives, has been fretting over the phenomenon for some time.

A laughable fear, for he is one of those canny cadaverous few who made a deal for perpetual resurrection. The bitten may crumble, but the bargainer can rise from death after death. So he reminds himself. So he worries is no longer the case.

Not when the boyar in the Carpathians was one of the first to vanish. Still, the monster from the mountains may simply be in hiding, just as the rest of the bargainers must be. The Vampyre convinces himself of this for a single night……before the monster called Quinn Morse makes itself known.

Where to Buy

eBook: https://books2read.com/thevampyres

Paperback (Bookshop being a U.S. store search*): https://bookshop.org/p/books/the-vampyres-c-r-kane/21171669?ean=9798218374587

*Available internationally!

To Search by ISBN

eBook ISBN: 9798218374594

Paperback ISBN: 9798218374587

Art Pile

Announcement Post Flyer - Cover Conundrum - Preorder Announcement - Vampyre Valentine

Skull Scratch - Eye in the Sky - Food Chain of the Vampyre - A Long Night In - Red Smile - Prototype Book Cover

BONUS: Fanart Book Cover!

Ko-Fi

If you’d like to donate a buck or commission some art, I have a Ko-Fi here.

My ocular official site

Spotify

Tunes to run for your unlife to.

[re-dracula]

Tune in for some more behind the scenes info as Stephen Indrisano and Tal Minear (the Re: Dracula sound team) sit down to chat all things audio production. This interview contains slight spoilers for the second half of the novel (again, sorry).

Topics include:

What the heck is dialogue editing?

How does loudness work?

A single blooper, as a treat.

How Dialogue Editing can make a story scary.

Our backgrounds in audio.

What moments from Dracula really work in the podcast?

What moments were hard to edit?

Wanting to bite vs. being aligned against Quincey Morris

Transcript here.

Dialogue editing by Tal Minear. The transcript was done by Rook Mogavero. This episode was produced by Ella Watts and Pacific S. Obadiah, with executive producers Stephen Indrisano, Tal Minear, and Hannah Wright.

The shows that got Stephen into podcasting: Pseudopod, Knifepoint Horror, and The Magnus Archives (for Tal, it's Bright Sessions).

The shows that inspired Shelterwood: Limetown, The Black Tapes, and Video Palace.

The shows Tal wants you to go support: bit.ly/shelterwoodpod and crowdfundr.com/innbetween5 (these are Stephen and Hannah's other audio dramas!)

[spacedemodulator]

@re-dracula continues to be a breathtaking piece of art. Knowing how the rest of the novel goes, I fear that my reaction to every episode from here on will be:

Gobsmacked!

As above

As above

As above

[podcast-bookclub]

Got any burning questions for Tal Minear? You're in luck; they're our August creator interview! Stop by the Discord and drop a question or two in our Coffee Shop Chats category. (Both serious and silly inquiries are equally welcome and encouraged!)

[merelymatt]

Swordtember is a podcast this year*

It's called Of The Sword. There'll be an episode every day in September – each one is a short story with a unique sword through its heart. It's produced by Tal Minear (of Someone Dies In This Elevator) and Ezra J. Wayne. And I wrote one of the stories, Driving The Point Home; it'll be the episode released on 19 September!

If you can't wait til then, you can get all Of The Sword episodes early and ad-free by donating to Tal's Ko-fi. All cash raised goes to The National Center for Transgender Equality:

Of the Sword isn't popping up in searches in all the podcast apps just yet (too fresh!), but you should still be able to subscribe by copying and pasting the feed address into the search bar: https://feeds.megaphone.fm/ofthesword

For the full episode list and transcripts, head to the Of The Sword website:

*As well as the usual art-prompt Swordtember, not instead of!

[foggyoutline]

The best audio drama curators

The latest Foggy Outline newsletter is all about where to find simply the best audio drama 🤌

[anonymousad]

Shelterwood: a follow-up and apology

someone reached out to me after publishing my Shelterwood crowdfunding post with some very valid stuff that I want to address. they mistakenly sent it non-anonymously (something I confirmed with them before just responding to the Ask), so in the spirit of keeping things unidentifiable around here I am going to screenshot the entire message (so you can know I'm not selectively cutting anything out) and then I'll respond to it in chunks:

A Genuine Apology

so let's start with the first chunk of text:

I'm going to be straight with you: while there were absolutely some points you made about the Shelterwood crowdfund that I agreed with, like how unreasonable the goal seemed for a show produced by a novice showrunner, something's really sticking out here. That thing is that Stephen Indrisano and Nigel McKeon are both young, white, non-binary novice showrunners who secured some high-billing talent and picked unreasonably high crowdfunding goals, but you treated one of them with a lot of grace and understanding... and then turned around and not only accused the other of essentially being the problem with the current state of podcasting, but also called them cis in the process despite having acknowledged their pronouns earlier in your write-up. That was... certainly something. It's almost like you had a specific point you wanted to make, so you just sort of conveniently forget that Stephen is non-binary to make it. That or you don't actually think Stephen is non-binary and were engaging in some passive-aggressive gatekeeping, which also sucks, just in a different way.

this is 100% something I fucked up on, I will readily admit that. my accidental erasure of Stephen's identity as a non-binary person is not okay, intentional or not.

I wrote the initial post gradually over the course of just over a week, top to bottom, and then did a quick skim of it at the end to make sure things were still up-to-date in accordance with any updates to the campaign itself. a result of this is that between when I started the post (where I included Stephen's pronouns of "he/they)" and when I was writing some of the later parts I had forgotten this. I think part of the reason is that the campaign is not really about Stephen, so it isn't like there are consistent references to him as an individual. in the few places there are, such as the intro section of the main text and the FAQ, "he" is used exclusively, which I think mistakenly put that in my mind as Stephen having a male gender identity because I hadn't seen a self-identification as being non-binary on their website or Twitter. but someone deciding to use a specific set of pronouns in the text of something like this (to avoid confusion or for any other reason) does NOT invalidate their use of other pronouns elsewhere. similarly you don't have to outwardly proclaim your gender identity for it to be respected and not assumed as cis.

I am genuinely very sorry about this, it was a mistake and I am in the process of editing the original post to reflect Stephen's proper gender identity.

now then.

let's talk about the difference between Nigel (Among the Stacks) and Stephen and the way I approached them, because you're right that there was a difference.

I think a key way that these two projects differ is that one of them was very clearly made by someone who didn't know what they were doing and was in over their head. Among the Stacks was a clear trainwreck from the moment they started revealing how bloated the cast and crew were. I had many conversations with other creators during that early time where we were all wondering how this thing could function with so many cooks in the kitchen, and how you could have a coherent story with that many characters. it was clearly a product of someone new and over-excited who didn't have a real idea of how to do what they were dreaming of.

in contrast, Shelterwood seems to be genuinely well-thought out and approached like it was created by someone who has done their research and been part of the community for a while. it has a full concept with a clearly outlined size and goals and is a very realistic sounding first project. if it weren't for the goal and the rewards we wouldn't be talking about it at all. as a pitch it is perfectly reasonable.

I went a bit easier on Nigel because just from looking a lot of us could tell that Among the Stacks was going to end in disaster. we didn't know when or how, just that there was no way a project like that could actually succeed. I also knew from interactions between Nigel and other people that she was not very good at taking critique or hearing other people out on stuff that they didn't agree with. I went into that post with the intention of being harsh but fair, because I wanted Nigel to hear what I had to say and LISTEN. not just brush it off as "someone is jealous of my amazing idea and so they are being mean". I was still a bit mean in that post at some parts, I will admit that. my tone can swing a bit far on the sarcastic side, especially the longer I spend on a given post digging into things.

Shelterwood is full of people who should know better, something that it makes a point to brag about. it isn't just one person's dream project that they don't know how to wrangle, Stephen is clearly a proficient showrunner to have pulled all of this together (and I do genuinely find the show's concept to be interesting, even if I didn't really communicate that in the post as much as I could have). Stephen has ALSO been around the block a few times in regards to working on audio dramas, whether or not they have helmed their own. this means that from the start my expectations for them were higher.

my goal was not to accuse Stephen of being "the problem", but I think that this campaign is INDICATIVE of a lot of the "the problems" going on right now with audio drama crowdfunding.

I did seriously think about pulling the last section into a completely separate post, but what I wrote applies to the context of this campaign and so I felt it was important to have that connection. if I had been able to fully communicate my thoughts on it before now, say for the Arden campaign, it would have been part of that post. but it took me a lot of time to get those words down in a way that actually communicated what I think the problem is.

I know having it as part of the Shelterwood post has an implication, and the implication is correct that this campaign is PART of the problem, but it isn't the whole problem.

It's also very weird that you lumped Shelterwood, Arden, Among the Stacks and Afflicted in with The Magnus Protocol, which was on an entirely different level. They're not comparable. Not a single one of those first four shows actually made their crowdfund goals. In Afflicted's case, the all or nothing state of the crowdfund means 100% of that money was returned to backers. The Among the Stacks crowdfund was cancelled. Which means that for 50% of your given examples, literally none of that money ended up tied up in those shows rather than being contributed to other, smaller shows. This is not comparable with The Magnus Protocol crowdfund situation, and I think you know that.

it's 100% true that The Magnus Protocol is on a whole other level than these other campaigns, I said as much in my write-up. it is not comparable and I wasn't attempting to compare nearly $1 million USD to $26,000.

what I was attempting (and may have failed) to do was to point out that what Rusty Quill did was change the playing field for the worse. when looking at those two numbers you can much more easily make attempts to justify the high goals being asked for here, because in comparison that's downright reasonable to what they raised.

as a note: TMP had a funding goal of £15,000 (approx. $19,500 USD). so they weren't actually asking for hundreds of thousands of dollars to make 3 seasons of a show. in fact, what they asked for is less than the campaigns I'm trying to call out here. that Kickstarter has a lot of things that were suspect about it and felt slimey and exploitative, but the asking price was not really one of them.

however.

just because they didn't ASK for that much money doesn't mean they didn't know it would happen (maybe not to that extent, but still). this still had the same impact, which from what I can tell is making some people think that audio drama crowdfunding is for making a profit.

as for the next point about none of the shows except for TMA 2 hitting their goals:

the amount they are walking away with isn't really the point.

at the end of the day, it's about the fact that the more stuff like this happens, the more it is NORMALIZED. and these kinds of goals getting normalized is harmful.

as an example, in the world of video games there is something called "microtransactions". for anyone who doesn't know, these are additional, small purchases you make in a game that you often have already paid upwards of $60-70 USD for. in the beginning, they were marketed as "just cosmetic" and not going to impact gameplay. and so people didn't fight back too hard when EVERY game started implementing them. but of course, what that did was move the bar. it normalized people paying extra money on top of their purchase for something that used to be included for free with a game. and so the companies started pushing the needle further. and further.

now, this isn't a direct parallel for a lot of reasons, but when greed is being put forward as normal again and again (even when it continues to result in failure) it starts to cement it as something "normal". something to be expected.

the larger problem here is that these are unsustainable amounts of money to be trying to get out of the community.

which connects to this next section:

Speaking of The Magnus Protocol, there's also an assumption being made here that someone deprived of the option of helping one of these shows reach their crowdfund goal is automatically going to donate to another show... and I need you to remember that The Magnus Protocol's final tally was something stupid like 4000% of their original goal. Lower crowdfunding goals don't stop people from contributing once that goal has been reached. People just keep donating to that project. None of those people were donating to make sure the thing got made- they were donating because they liked The Magnus Archives, and the hard to swallow pill here is that that doesn't mean they would've contributed to other crowdfunds otherwise. I have my own issues with The Magnus Protocol thing. But the statement that that crowdfund snatched money out of the pockets of smaller shows by having an unreasonably high goal just straight-up does not hold water. That's nothing. It's 4000% less than nothing. You're allowed to be mad that that campaign got such a ridiculous amount of funding when so many smaller shows are struggling. You don't need to couch it in pseudo-logic to justify feeling that way. We're all mad about it. It's okay.

this is definitely a good call-out, this person is right that someone not donating to one campaign does not mean that money will go to another. in a lot of cases, the only reason someone sees a campaign is because it is being promoted by the things they already like (in The Magnus Protocol's case that obviously being The Magnus Archives), and that means they probably aren't going to be choosing between every campaign that is out there and deciding where their $5 is going to go. they might just as easily pocket it and buy a nice coffee the next day.

and that absolutely sucks, because it would be nice for the love that some people have towards specific shows to be something that extends to the whole medium.

but I do think there's something to be said for feeling like even a small donation is making an impact. I would feel kind of bad to only be able to give $20 towards a $10k+ goal, it isn't even a drop in the bucket towards what is needed and if I care enough to donate to something I do want it to succeed. but that same $20 to a campaign only asking for $3000? that's a lot more tangible of an impact. enough so that I could feel good about splitting that $20 between two projects maybe.

that isn't 100% the point of what you were saying, I know that. the reality is that not everyone in this community has a general investment in the success of others.

I think where that becomes the biggest problem is when some people only seem to have an investment in themselves, and no one else. that's where these things become problems, when the larger needs of the community are ignored for the sake of a few who repeatedly succeed.

I'm kind of bleeding a bit into my response to the next part, so here that chunk is:

And do I agree that we as a community need to start talking about what is and is not realistic when it comes to crowdfunding? Yeah, absolutely. You have a point there. That's a valuable and timely observation and I'm glad somebody said it. Unfortunately, the value of that point was absolutely buried by the extremely obvious fact that this time, in this case, something about this project is personal for you. I don't know what it is specifically, but I do feel the need to ask: You are aware that Tal Minear is involved in the show as a graphic designer and minor actor, right? They have nothing to do with the crowdfund or the rest of production. Their name being attached doesn't mean they're secretly running the show. This is not Tal's show. They'd be credited as a producer if they were that involved. So why do you feel the need to keep bringing them up? Anyway, it's extremely difficult to take your analysis in good faith when it's so transparently motivated by some sort of personal distaste for somebody/the people in the project, and that's a shame, because some of the things you're saying have value.

I certainly didn't shy away from pointing a bit of a finger at Tal Minear for promoting this ideology, among others. their clear involvement in this project makes me immediately more suspicious, because Re: Dracula was a self-admitted cash grab. and that stain on their character is not going to go away for me.

it's less that it's "personal" for me, and more that this is a figure in the community that I have repeatedly seen presented as an expert that MUST be listened to. including by themself. ESPECIALLY when it comes to the matter of crowdfunding.

now, if I were friends with someone like that AND they were involved with my project that was about to have a campaign, would I not lean on that resource? even just for advice on how to put it together and what needs to be included. Tal just wrote a small little article for Descript that has some very generic crowdfunding tips, so they are arguably the most knowledgeable person involved in the campaign to go to for advice and feedback.

I know for a fact that Tal has given crowdfunding advice unsolicited to people running campaigns, usually in the form of asking why crew is not being paid appropriately (a valid question in most cases where actors tend to get a huge portion of the budget). so I can't imagine a world where they didn't give at least a little input to a friend for a show that they are actively involved in.

I don't think they are running anything behind the scenes, no, Tal is not part of some audio drama Illuminati. but I do recognize the high esteem to which they are held by MANY community members.

my goal was to call out the culture that has grown around audio drama crowdfunding, and the ways that I've seen it hurting most people who attempt to do it. I have noticed that Tal is a big part of what has normalized that.

as for the ways in which I brought them up, yeah I like to be a bit snide and I probably laid it on a bit thick. it's easy to get carried away in these things, especially towards someone that I am admittedly not a huge fan of.

that is the extent to which it could be considered "personal" for me, but I understand if you don't believe that or if that still had too much of an impact on taking the rest of what I said seriously. that is your choice and I respect it, it's just very difficult for me to separate out their involvement given what I know outside of this.

You're just completely undercutting that value by surrounding it with so much pointless nitpicking and snideness. What happened to "#but actually my intention is to be thoughtful and not mean"? You claim to be acting in the interest and defense of the community, but as the creator of a small podcast that nets me absolutely zero profit, I'm not feeling it. This feels like it's about you, not the rest of us.

this is absolutely fair.

I am just one person at the end of the day. I've talked to others, discussed the situation surrounding this campaign and others like it with them, but I am the one typing it down and inserting my voice and my take on it.

as such, I am not going to be a perfect mouthpiece for everyone's thoughts about this stuff.

I WANT to be one that is largely beneficial, however.

sometimes I lean a bit heavy into the snideness for the sake of keeping things interesting; these write-ups are LONG and as a writer I recognize you have to do something to keep people engaged so they actually absorb what you are saying.

is that the right approach? probably not for everyone, but it is part of a reflection of my own voice that it comes out like this.

"#but actually my intention is to be thoughtful and not mean" is something I wrote, something that I still want to keep in mind but sometimes I fail at that. in this case, I found it hard to stick to.

repeatedly seeing campaigns like this is disheartening to me, it wears me out. there is an amount of what a lot of people might see as "bitterness", but it's not really about any specific project or person.

I think my massive fucking rant at the end of that post about capitalism ruining audio dramas with the need to make money unsustainably says a lot about how I feel about the current financial state of the world. a lot of that "bitterness" is from this deep rage towards to the system, directed outwards where it can be. maybe the flow of it was a bit strong on this one, but it is still an accurate reflection of the way that I see things.

note, an accurate reflection to ME. it's okay if it isn't accurate to you, that's part of why the conversations need to happen.

part of why I do the math breakdowns for the budget is to help myself try and get a grasp on what those numbers mean. the human brain is not really formatted to understand large quantities of things, especially something that is usually intangible in those high amounts like money. I also do it because I want to give someone the opportunity to say "actually, you're wrong because this does add up. you are just missing part of the picture."

I know the way I approached this might come off as defensive, that's not my intention. I decided to break it down like this so that no one would think I'm trying to skip over feedback or ignore certain points that make me look bad.

everything that this person said to me is a valid response to what I wrote, including the things I pushed back on.

I am very grateful that they reached out to me, and I want to continue the conversation. ESPECIALLY if they feel that I did not hear them here.

my responses are just that. a response. they are not a claim of being right or these reactions being unjustified. we are all only in our own heads, and the conclusions we come to are usually based in rationality. my mind is open to being changed, I want to see as full a picture as possible.

if you disagree with what I've said, that is fine.

if you agree with what I've said, that is fine.

if you aren't sure, that is also fine.

we're talking about something complex and nuanced and just because I'm the one bringing these things up doesn't mean I have the RIGHT opinion or that I am the person who SHOULD be saying it.

there is a reason that I am anonymous here, and it's mostly because the conversation is more important than who is speaking.

as always, my inbox and Asks are open.

feedback welcome, I mean that.

[guinevere01]

Hey Dracula people! If you're enjoying Dracula Daily, why not have a look at this crowdfunder for Re: Dracula (link in the reblog cause you know how tumblr is). @re-dracula is a (largely*) text accurate podcast adaption using the chronological drop system from Dracula Daily (yes, with permission from Matt Kirk, the mind behind Dracula Daily), with a full cast of voice actors known from, among many other shows: Wooden Overcoats, The Magnus Archives, Victoriocity, The Amelia Project, and The Secret of St Kilda.

Specifically, the cast includes (and this is only people I recognise): Alan Burgon, Alasdair Stuart, Ben Meredith, Jonny Sims, Karim Kronfli, and Sasha Sienna. A lot of cast teasers can be found on @re-dracula!

The team behind Re: Dracula consists of Tal Minear, Hannah Wright, Stephen Indrisano, and Ella Watts.

The perks from backing the campaign includes everything from practical stuff like ad free episodes and an audio book version of the podcast, to awesome fun stuff like a recipe zine, a friendship bracelet from Jonathan, or even a Dracula themed watercolour painting.

Stretchgoals include:

-Original music! For what is a good spooky podcast without bone chilling music?

-Bonus episodes! We've all seen that there's periods of no updates on Dracula Daily, this is the perfect time for interviews with experts and behind the scenes features, maybe even some bonus Dracula fiction?

The campaign is currently at 76% funded in a day and a half, if it reaches 80% funded by the end of today (October 2nd 2022) we'll get: a 10 minute version of the song Bite, a full cast announcement right here on tumblr (today!), and of course the show will be greenlit for production and they can start a month early! This is on top of the in character read of memes we're getting for every 10% funded!

*largely text accurate in that they'll be removing some of the racism

Once again, link in the reblog (see the notes), so please reblog that version!

[monkeymanproductions]

MTO in Podplane newsletter!

You should all be reading the @podplane newsletter already - the amazing @starplanes puts it out focusing on shows with trans / nonbinary creators! Go find it and subscribe if you don't already. <3

They had a really nice writeup about Moonbase Theta, Out in this last issue! I'll quote below:

✈️ Moonbase Theta, Out is a queer sci-fi epic telling the story of the last active Moonbase under a repressive corporate system, their shutdown and reawakening, and a revolutionary Plan to take control of their own existence. Through later seasons, the struggle expands to include uprisings on Earth as well, other Moonbases being brought into the conflict, and a shadowy ex-corporate figure attempting to manipulate all sides for his own advantage. The two-part series finale beings airing on August 20! This show has been running for over 5 years now, and it feels like the end of an era! I love the characters in this story, and it's been wonderful watching them grow throughout the show. (Expect for [REDACTED] which broke my heart!!).

[aethenia]

maybe as a snow runner you should not be calling out dissatisfied customers on twitter & tumblr. you’re meant to be a professional show runner, if people complain about the product that you sold them in good faith, then it’s their right not to be dogpiled because you can’t handle criticism!

by all means reply to the post apologising and clarifying, then maybe make a separate tweet addressing generic concerns! but by quote-retweeting someone showcasing a poor quality product you’re just directing hate towards them and being messy.

quite frankly it’s embarrassing and petty of you. it makes your show look amateurish and you look juvenile.

disclaimer just in case: yes I was a big tma fan, I read the article and I initially believed lots of the claims (still do) but after reading lots of criticism of the journalism I came out of the situation viewing both parties critically. someone being a fan of tma does not make you immune to their criticism, and it doesn’t help your reputation if you try to claim that it does.

[clearcatastrophe]

MINA AND JONATHAN’S “I will” IN SYNC I SHSHSHJSJSJSJS

GOD IM SO NORMAL ABOUT THEM

[smallmediumproblems]

Filing away Inn Between as the latest show that I should have started listening to years ago. I made it to season 3 in like three days and Lucille Valentine is there! Also the show is good for other reasons but she's one of those actresses who make me go "Is that...?!" when I hear her in a show.

[pacificobadiah]

Flash Bulb

The newest episode of @sssslimyswampghostttt's podcast, "Mayfair Watchers Society" is here!

In this week's episode, two unruly teens- Cam and Drew- go searching for "The Roving Man." Supposedly, this local legend is held up in the old textile mill. Two teens, hunting cryptids, in an old mill, for a video podcast.

What could possibly go wrong?

Oh, and also, this song has some of the cheesiest Halloween music you've ever heard.

CW: None

Transcript

[podrambling]

Went on a walk and listened to ~2 episodes of love and luck and episode ten of where the stars fell and just ugh relationship goals from both.

Ughhh I can’t figure out how to do the read more banner on mobile so just going to hope anyone who braves the tags doesn’t mind spoilers for now😭😭 if anyone wanted to dm me how to do it I would be eternally indebted😔

Jason and Kane are just wonderful and just try so hard to handle everything right and help everyone and help each other and just don’t hesitate to help out the community and yes I love them so much!

And in where the stars fell Lucy and Ed may argue but they are completely open with each other? I don’t know how to describe it but despite their relationship being dysfunctional at best in some ways they definitely communicate with each other and come to an accord and are thus despite everything relationship goals!

Got ambushed by Tal Minear in the where the stars fell episode because no one can ever go a week without jumping because Rion is once again going universe travelling lol. I love that function of audiodrama, how you hear the prolific voice actors again and again.

Also got ambushed by an ad for the night post which is a pretty big coincidence considering what else I’m listening to at the moment lol😅

All the other mortals in where the stars fell are not having a good day and Gabe just couldn’t give less of a fuck in a please let someone else come take over I want to go home and become a slug sort of way.

I love thé themetunes on love and luck and where the stars fell too!!

[theholmwoodfoundation]

OFFICIAL HOLMWOOD FOUNDATION CAST ANNOUNCEMENT!

The Holmwood Foundation are proud to present the cast and crew for our pilot episode: Across the Moors.

Rebecca Root as Maddie Townsend and Mina Harker, and Sean Carlsen as Jeremy Larkin and Jonathan Harker.

Other voice talents include:

Samuel Clemens as Arthur Jones Becky Wright as Thrall & Phone Voice Jessica Carroll as Newsreader Luke Kondor as Robert Swales and featuring Attila Puskas as Dracula

Joining our crew we have Samuel Clemens as Director, Katharine Armitage as our Script Editor and Benji Clifford as our Sound Engineer and Designer.

Also a special thank you to Alfie Shaw, Lisa McMullin, John Dorney, Tal Minear, Robert Taylor, David K Barnes and our sensitivity readers for their support in making the pilot a reality! 

[re-dracula]

For a week (today until 1/20), we'll be donating all audiobook proceeds to the PCRF (the primary humanitarian organization in Palestine). Our goal is to raise $250 for the organization.

Already have the audiobook? Don't want it? Consider a direct donation instead!