There was a lot of thought, and even more trial and error. How much thought do you give to your audience’s relationship to the characters? Are there any particular challenges to creating sympathetic characters, even when one of them knows more than the other? Nita and Maddie are fully fleshed characters, each coming to the story with their own past, present, and future of a sort. I like bending the rules of those formats, but with “Dead Air,” I realized that some of the horror could come from breaking that fourth wall. I had already been playing around with writing stories in weird formats-my previous Nightmare story (“Which Super Little Dead Girl™ Are You?”) is a story told as a personality quiz. So I let it sit for a couple years, until I had a deadline for a writing workshop last fall. The story spun out from there, but I had trouble finding a good end. So I started from a particular scene on that dirt road: two characters in a car, and one of them unintentionally starting to drive dangerously fast. To get there, you have to drive down a long, creepy dirt road, complete with an old graveyard. Around that same time, my mom moved to an old farmhouse. I was listening to a lot of podcasts then, and I think the idea was synthesized from days of listening to The Heart, Knifepoint Horror, and Limetown. I originally conceived of this story a few years ago, as a short audio drama. Tell us a little of what inspired the story. I adored “Dead Air,” both the story itself and the structure as a series of recordings.
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