As it turns out, what I was trying to say was based on the incorrect assumption that the readers generally edit their own work and submitted it as a finished product, so I’d got the feeling that the ability to edit out minor mistakes and the like was lending itself toward tightening those gaps between scenes a little too tightly. See, it kinda makes sense when I can take the time to articulate the stuttering neuron signals!

My perception is that 4.5 to 5 seconds might be a little better, mostly because these are readings and not audio dramas, which have the extra hook of a fade-up on sound fx bed to cue the listener that the scene has changed. Either that or perhaps there has to be a more conscious attempt on the reader’s part to intone with a bit more “starting tone” quality, if that makes any sense (I can hear it in my head but don’t have the words. It tends to be a slightly lighter attack on the first couple of words, pitching down the sentence as it continues).

I was joking about the LIGHTS OUT gong but, in truth, it’s not a bad little gimmick. I’m sure it would make more work for all you but picking some particularly themed sound to mark story breaks, different from story to story but the same within a particular story, might be cool. I’m thinking things like low wind moaning, water flowing, creakings, that kind of thing - something tied to the tone or theme of the story.

I should also say that, as much as I complain about various aspects of Pseudopod, I almost always find the technical side of the presentation to be first rate.

Thanks for listening

“Sounds never die, they just lie dormant.” Marconi

Usually I insert a 2.5-3 sec pause (dependent on narrator pacing) wherever the text has breaks. Does that usually work? I did not do it in this case because I thought the change in vocal tone together with clues given in the text made the segues evident — but admittedly I had an unfair advantage since I’d read the story already, back when I bought it from the author.

While I’m boring everyone with production details… Some authors use very frequent breaks and I make the resulting pauses shorter to avoid dragging the pace — e.g., Paul Jessup’s creepy little dark fantasy, “Fingerbones Hung Like Mobiles”, from June ‘07.

I can’t say I had any problems with the change in focus. It seemed pretty obvious when there was a scene change - but maybe that’s just me.

Oddly, I think the kinda-twist is almost unneeded. It doesn’t really add anything to the story and diminishes it somewhat by making it seem that the kinda-twist was the point and we’ve all learned a lesson about a book and its cover. Stories that just jerk you around should be shorter and more streamlined (see vintage Dahl).

But I really enjoyed the trip on this one. Adult characters written in a realistic setting. Hard to come by in Horror nowadays.

As for the breaks in stories, it’s an ongoing problem. A slightly longer pause is the best option but sound editing seems to get in the way of the ability to do that, strangely, instead of making it achievable. LIGHTS OUT used to use a gong to great effect.

Thanks for listening

“We ask only to be reassured About the noises in the cellar And the window that should not have been open.”

T.S. Eliot, THE FAMILY REUNION

Apart from that — terrific story! I liked how the past/present storylines converged and answered questions I had, like how the husband was so certain his wife’s child wasn’t his. The characters are drawn in quick, revealing sketches that make an impact without getting bogged down with a lot of exposition and backstory. The chilly tone overall really meshes with the cold vengefulness of the main character.

Stories like this are the kind I enjoy most from Pseudopod — character-driven tales that derive their horror from the depths of human nature.

Once I caught on, I really dug the story.

Happy Pagan Rituals!

I’m not sure I’d like to meet Stephen Owen’s Ex. I’d either have to give her a hug or run screaming in the night.

It may also have done with the reader who did not seem to change voices.

I had to listen to this two times, because I was so lost.

My favorite part was what Alasdair said at the end of it.

So this is not bad, but it not something I will listen to for pleasure. Twice was fine.

Hope you do something with a Christmas theme this December, that piece by Stephen Dedman a while back was really a great way to spread horror over christmas. I get that it’s hard to find Christmas themed horror, but you must get at least a few of them each year.