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How to go from 0 to millions: Growth strategies for fiction podcasters

An interview with Callum Dougherty, Chief Marketing Officer of Rusty Quill

This piece was made as part of Acast’s Audio Fiction Week. You can find out more about Audio Fiction Week at acast.com/audiofictionweek, or via #AcastAudioFictionWeek on social.

When people speak of the pioneers of fiction podcasting, generally three shows appear over and over: Welcome to Night Vale, We’re Alive, and The Magnus Archives. In this piece, we’re lucky enough to have a masterclass discussion on audience development with Callum Dougherty, the Chief Marketing Officer of the company that makes The Magnus Archives, Rusty Quill.

The Magnus Archives is an horror fiction podcast that at first presents itself as an anthology, but turns into something much more complex. It concluded its fifth and final season this year, but that doesn’t mean listeners have stopped engaging. It’s still one of the biggest fiction podcasts out there, and its massive audience has helped grow even more podcasts on Rusty Quill’s RQ Network.

Keep reading for all the tips, tricks, and secrets to the show’s success, as well as for more information on the other RQ shows, which include: Enthusigasm, Inexplicables, Stella Firma, Outliers, Rusty Quill Gaming, Cyptids, The Deca Tapes, How It Ends, Old Gods of Appalachia, The Storage Papers, I Am In Eskew, The Milkman of St. Gaff’s, The Silt Verses, The Town Whispers, and We’re Alive.

Becky Celestina, US Content Partner Manager at Acast: Can you start by telling us a little more about yourself?

Callum Dougherty: I am Callum Dougherty from Rusty Quill. I am the Chief Marketing Officer, but also founder of Rusty Quill’s RQ Network, which is our latest offering. I do marketing at Rusty Quill and I often think of myself as someone who’s interested in growth hacking. I’m also interested in audiences and community. I’ve been a producer who specializes in marketing for a long time.

I was attracted to the Rusty Quill and then applied very randomly at one point. It just seemed like something else cool to do alongside my other job, and Rusty Quill sort of takes over at some point. You can’t dip a toe into Rusty Quill, you have to dive in the deep end — and, inevitably, here I am.

BC: I think that’s why the shows from Rusty Quill are so engaging and amazing, because you want to dive in. For people who may not know, tell us a little bit about Magnus Archives specifically.

CD: I feel like one of the reasons we want to talk about it all the time is because Magnus is, to our knowledge, currently the most popular fiction podcast in the world. And it seemed to come out of nowhere, but actually Magnus has been popular pretty much since we launched it. And what’s very interesting, I think, is sometimes people look at Rusty Quill and they don’t realize that all of our other original productions and network productions would all be considered a flagship hit show of any other network.

Magnus is just this behemoth that everyone knows. At this point it’s kind of synonymous to go, “I don’t know who Rusty Quill is”, “oh, The Magnus Archives? Oh, of course, yeah.”

And obviously Magnus is a horror-fiction podcast. It initially presents itself as an anthology, but over time it becomes clear that, actually, it’s founded on a meta-narrative. I often cite that as one of the reasons for the show’s success. It is consumable in whatever way you want to. It has episodic-sized bites you can enjoy in chunks — three episodes, five episodes, ten episode arcs, seasonal arcs — and, ultimately, the way it’s most intended to be enjoyed, which is starting at episode one, going through episode 200, and enjoying the meta-plot that kind of builds, and then eventually becomes the core foundation of all other action and every other anthology story that you’re receiving.

One thing that we noticed some fans enjoyed is, when they become aware that everything is interlinked, they want to listen to the first season again to go, “oh, I didn’t think it was interlinked”. And then they begin to understand how that sort of fits together. I think it makes it very listenable, but also very easy to get into for a show that has 200 episodes.

BC: A back catalog so large can be overwhelming for a listener, but I think that’s actually been a key part of your success and why people keep coming back. Magnus Archives has been around since 2016, but I’m curious to know when it started gaining traction?

CD: Believe it or not, Magnus was something of a hit right out the gate. Comparative to I guess what would be considered a popular audio-drama podcast now. It found an audience quite quickly.

Though what I would certainly say is that it was in 2019 that the show began to grow, and it went on what I would describe as a 10-month journey from being considered a very popular podcast, to the most popular fiction podcast in the world. That was a line of growth that looked pretty much like a straight line upwards, where we were finding month-on-month listenership doubling at a point. Every single month you could see it — there were hundreds of thousands, now there was a million this month, and it would go in that direction.

To borrow a phrase from Alex Newall [Rusty Quill CEO and founder], I’d also mention that nothing at Rusty Quill — despite what it might seem — has ever happened by accident. And the factor that I would consider — and this may be my own ego — is the show began to grow really dramatically because this was the point that I came in.

One of the first things I identified with Magnus, having a full understanding internally of what its size was at this time, was that this should be treated like a flagship show — and it should be treated as a way for us to reach more people. It’s already so popular and it should do what other flagship shows, like We’re Alive and Welcome to Night Vale, have done, and help break audio-drama out to reach a more mainstream audience.

I understood that we needed to grow Magnus, and use that as a tool to reach more people for audio-drama as a whole. Then, ultimately, that benefit would be seen in our other shows.

So we began a lot of growth optimization tactics. I applied every single thing in any digital marketing text book you could look at that could be done for free, or with little-to-no money. We also began to look at what would be the most efficient ways to spend our budget to attract listeners. We’ve been very fortunate in that we’ve been able to achieve CPM rates as low as 50 cents for 1,000 impressions, and to spend our money intelligently. Things like that have obviously helped with reach.

We also began to employ things that, believe it or not, RQ hadn’t done a lot of before the point that I joined, and which is one of the most effective methods of advertising a podcast: the ad swap. I would still massively rate a creator-read-for-creator-read trade. We began doing a lot of these around this time, and the growth that was already going up through a lot of world of mouth — it’s been cited before that Tumblr did a lot for us and we can definitely say that our audience talking to people or bringing people into the fan community did a lot for us — ramped up by inserting a lot of marketing, particularly in the end of Season 4 and the run up to Season 5.

We also found that there was a massive benefit in that break between Season 4 and Season 5. The very cliffhanger ending, the fact that a lot of listeners were able to catch up with our back catalog — it’s a classic TV format that it can be intelligent to take a break between seasons so that your next season launches with more viewership, because people are up to date.

We certainly had that and I was amazed to see that hundreds and hundreds of thousands of people listened to the first episode of Season 5, and that every single person seemed to want to listen within the first two weeks of launch. The growth was dramatic, and my understanding is that led to a lot of trending on podcast platforms — allegedly, we even crashed a couple of platforms with people refreshing the page, waiting for it to drop.

BC: One of the things we always talk about at Acast is how consistent episode releases are a key tactic in growth — but it sounds like, for fiction podcasts, leaving cliffhangers and applying the TV model may actually be more effective in creating buzz and new audience around a show?

CD: Here’s something that I like to think of, that I don’t necessarily know that everyone else is talking about. Clearly in a lot of factual, talk show, or current events podcasting specifically, the model is the same as you would expect from any of the current events medium. It’s about getting as many people as possible to engage with that news, that information, that tidbit, while it’s fresh. It is completely different, I would say, in audio-drama.

You want a million people to listen to your newest episode of a factual piece. You want a million downloads every single month across your entire catalog, regardless of what’s happening with your new episode. And then you also want to be releasing a new episode, and getting those bumps in listenership. You want to be considering that evergreen content — it’s about getting new people into that pipeline. They’re going to listen to every single episode because they all have value together. I would say that’s a big part of scripted audio-drama.

Obviously, anthology podcasts can be slightly different, because you might not want to engage with every single episode, it might be about picking and choosing. But we built Magnus with that goal, because you might want a cool story about an eerie house that burns down, or you might want a cool story about a giant pig, or you might want all sorts of other stuff. But you can also start at episode one and listen through the catalog. We have a lot of discussions about how it’s designed as a catalog, and that it’s often more important to have an evergreen catalog of content. I think if you consider your content in that way, you’re going to do better in audio-drama.

BC: What would you say are the things a podcaster should try as their first steps to grow their audience?

CD: I would talk about gathering press, because sending press releases and asking people to do reviews, it doesn’t cost you anything other than your time. You can apply two strategies to that, whether that is a blanket outreach or whether it is trying to build direct relationships with publications yourself. Or you could just be fortunate like we were, which is that Magnus was getting press anyway just from its size and scale.

But, once you have press, I think you should often think about what you intend to do with it. So, for example, whether you want to promote that on social media, whether you want to make that a cornerstone element of your website. You want to get eyes on it for several reasons. One, it’s almost a “thank you” to the person that wrote it, a way of going, “thank you so much for writing about me, here’s some extra eyeballs on your content”. Maybe they’re going to write about you again because of it.

But also, how do you spread these great reviews, this good news, in a way that’s going to help you grow? And one great way you can do that is to build an IMDB page. You can do that for podcasts now. You can put your reviews all in one place so people can find them, understand you, maybe even discover you through IMDB. I would say that is a very effective strategy — not only press, but doing a bit more with that once you get it.

Then I would also say that buyings ads is not to be overlooked. But you have to be clever about those ads. What you want to understand is that, with podcasting, you are giving people free content. That should always be in your head when you prepare the advertisement. The value proposition is: here is a great thing that doesn’t cost you anything to engage with. And that, honestly, is a good sell. I think sometimes people get concerned with more in this space because they look at a lot of foundations of marketing and go, “I need to be hitting a set target audience” — rather than understanding that reach is often more important when you’re talking about something that, again, is free-to-consume content. I don’t want anyone to part with any money to listen to The Magnus Archives. And, therefore, Magnus is for everybody.

To be clear, I specifically mean advertising reach, so you want your adverts to reach as many people as possible, and they can be from all spectrums of things. What, at the same time, is very interesting is that our audience at Magnus certainly reflects our content — the people that it appeals to naturally gravitate towards that content. Sometimes reaching as many people as possible, as affordably as possible, can often be intelligent with a good value proposition, which again would reiterate: it’s free content that’s exciting and interesting to consume.

Your competition for people’s time is against any other thing that they can already access at no extra cost. So you’re going for people who are, say, engaging with online videos, right? It’s a video. It’s free. That’s actually often your audience, people looking for stuff to do. If you can get people to click and engage immediately I think that’s always a good sell, too.

I see a lot of podcasts wasting a lot of budget on how much they spend before they’ve launched to communicate that they’re launching. I would often say that if money’s tight, get those episodes out and then start advertising.

Speaking of ad swaps in general, though, we have a bunch of shows and I am more than happy for any budding creator who wants to do a swap to email me at cmo@rustyquill.com. We try to respond to everyone that reaches out and we are more than happy for people to reach out to promote their fiction podcast. Or even to get yourself on our radar for the network. We like to try and work with our peers in the fiction space, and we know our audience are interested in hearing about similar shows.

BC: On the flip side, what’s been the least effective thing you’ve tried?

CD: I don’t want to throw shade at anything in particular, so I won’t name any of the platforms that deliver this. But I am pessimistic about pay-per-click ads for podcasting. I say that because pay-per-click ads are a godsend in ecommerce. I don’t necessarily think that the delivery of a podcast product is the traditional ecommerce funnel. You’re not trying to spend £1 for one person to spend £15. You’re trying to spend £1 for fifty people to listen to something for free. And you should think about it that way.

BC: You mentioned Tumblr and word-of-mouth before. What kind of strategies have you used to engage your audience, either via social or otherwise?

CD: A lot of this chat is not going to be about things that are all that innovative or genius, as much as things that are ingenious — that are obvious when you hear them. We try to give our fans as much of what they ask for as possible. Social media is, for example, a great way to hear what your audience has to say, and I’m really glad that our fans are so vocal on those platforms.

At the same time, we also try to give out things that are totally left field, that our fans have never asked for, with the assumption being, “how would they react?” And we don’t know. Actually, just giving our fans as much as possible.

For example, I think our Patreon is very much about that. Let’s get as much content as we can on that platform, and as much resources as we can possibly throw generating content. On the same side, we try to do that with everything else.

We try to put out as many merchandise releases, for example, as we possibly can, because we know that our fans want it. For a time I wasn’t necessarily sure, because I wasn’t trying to go, “here’s loads of merchandise, buy it”. What I found, seemingly, is that the fans have now communicated very clearly what they want, and it’s, “we want as much merchandise as possible, because we’re really hungry to buy it”. It’s a fantastic position to be in.

BC: Where do you primarily do this kind of audience engagement and audience feedback work?

CD: Every social platform. There are official Rusty Quill pages, and unofficial Rusty Quill pages, and we tend to get as much info as we can from all of them. We keep half an eye on things like the unofficial Facebook groups, because we know that’s a great place for fans to talk about the things they want to see. It’s not like we’re spying, but when we hear that a lot of people are asking for the same thing again and again, we go, “great, maybe we’ll try to deliver that”.

Also, everyone who works at Rusty Quill is a fan of our content. I really dig Magnus and Stellar Firma in particular, and liked those shows even before I joined RQ. No one asked for the Stellar Firma album, but I thought, as a fan, that would be something I certainly think would be cool. Therefore, we delivered it, and naturally it was sort of a hit for our fans.

I would definitely say to any podcaster, build as many platforms as you can. Be sensible in that — it can be smarter to grow one platform and then launch the next one — but I think when you’re first starting out, if this was your first podcast, get a Facebook and a Twitter, and let your fans decide the platform they want to be on and use. Cultivate that. Then from that core foundation, begin to look at, do we want to spin up a TikTok? Do we want to spin up an Instagram? Whatever it is.

Then think about what medium you communicate best in. Are you an audio-visual creator? Maybe it is TikTok and Instagram that you should be starting with. But people can give you feedback in those comments, as long as you are giving them content and giving an impression that you will listen to them. They will make their needs and wants heard.

Or just ask them. Put a poll out there and ask them. Do you want scarves and t-shirts, or do you want posters? See what they say.

I wanted to add one very solid piece of advice. You can read anywhere that you should try and engage all your audience as much as possible, be asking questions, but it can be a common issue for brand new shows to ask a question and not necessarily receive an answer. Maybe they try asking questions again a couple weeks later, and they still don’t receive an answer. I would just say, don’t be discouraged. Sometimes you have to acquire an initial foundation of an audience before you can get the feedback that you want. I would say on that point, just stick to your guns.

BC: What is it about Magnus Archives — or even any of the RQ shows — that you think makes them resonate with listeners? What’s the “secret sauce” that has made Magnus such a hit for so long?

CD: Again, I would point to the structure of the show as definitely being a win. You can’t overlook that Jonny Sims is quite a gifted writer, as well. I think that anything Jonny does is always going to be a hit from now. Check out his book, Thirteen Storeys, check out his RPG company, MacGuffin & Co., that he runs with Sasha Sienna.

But I would also point to the fact that we give enough description, and also not enough. That we use the audio format that characters can be what people want them to be. I think that has allowed interpretation to be added, and that allows people to imagine. It’s a world building that’s kind of free and open, in a way that I think is a unique benefit of the audio format.

One thing that people notice is that I never put the eponymous Jonny Sims character (rather than Jonny Sims the creator) on a t-shirt because I don’t want to set the exact appearance, when it might be something different to somebody else. I enjoy that people make fun of interpreting Jonny in whatever way they wish. I think that’s also been part of our success, that mystery. I would draw on a recent experience of a viral TikTok that someone close to me made and, one of the factors that we found was an appeal, was the mystery of it. It posed more questions than answers that it gave. Magnus has a lot of that built in. A lot of what it does, and a lot of the lack of description or solid representation of an image presents more questions than answers. That lends itself to an emphatic and passionate response to the whole thing. You just want to know more.

BC: You have this one flagship show, Magnus, that’s a giant. But you also have a whole network — what other types of shows do you have within that?

CD: We currently have six shows that we’ve made in house, and we have a network that has 10 shows. The network was always envisioned as being a podcast network — by podcasters, for podcasters. It was based on months of speaking to other podcasters and creators, obviously some or which are on the network, about what it is that they actually want from a podcast network. It fortunately lined up with my own views, that what people wanted was a way to break through on the marketing and promotion side, allowing them to focus on creating their show, as well as maybe a little bit of consulting on what they should do. So, ultimately, one of the things that Rusty Quill does bring to the table is the marketing and promotion of the shows that join us.

This is possibly a slightly discouraging thing to say, but I think it’s more difficult to break through in podcasting than it’s been previously. One of the things that we can do is provide you with that fantastic audience of very passionate, open-minded, inquisitive, enthusiastic and creative listeners. What we can also do is provide the advertising and cross-promotion methodology that I talked about before — because a lot of the growth of the shows and the goals for the shows is to create the hits of the future. That means taking everything that we did for Magnus, and doing those things again.

Also we have access to buy and trade more advertising opportunities and leverage our popularity to offer great advertising, through the fact we’ve already built a reputation of being a great company to advertise with. Turns out, that’s what a lot of podcasters in podcasting wanted.

The shows I’m looking for and looking at are the ones I think our audience will like. The network is curated. We only put out shows that we think are great and exciting and interesting — and have found passion and enthusiasm and an audience of their own. Then what we’re also doing is going, “is that something we think our fans will like?” And then presenting that to our audience. So there’s a big win to be found there in that I would assume that our fans would like this stuff anyway, and inevitably they do.

One of the things that’s very encouraging that we’ve seen — and that was always what we’d hoped — is people saying, “oh, you should check out these shows on the RQ Network”. Or someone says, “have you got any recommendations for podcasts?” And people saying, effectively, “you can’t go wrong with anything on Rusty Quill. It’s all good”. And that’s the thing I always say — it’s all good, it’s all good stuff, it’s all exciting and interesting stuff, and it’s all things that we know our fans want.

Now, we are 100% listening to our fans, because there has been a lot of horror and mystery and weird fiction going on in our network. We did that because obviously a lot of people wanted to fill a Magnus-sized hole in their lives after its fifth and final season.

But we also know there are fans who want more Stellar Firma-style things, there’s fans who want more stuff that appeals to the fans of Rusty Quill Gaming, and there’s even fans now who want more content that appeals to the fans of other RQ Network shows — Enthusigasm, Inexplicables, Outliers, and so on. And we are definitely going to bring that. One of the things we noticed when we put out the first five shows was more people saying, “I still want more horror!” Okay, you can have more, because I know you want it.

There was a lot of, again, giving our fans what they’ve said that they want. Giving things that we have sat and listened to it, and decided that our fans will want. I think a lot of podcast networks look at a listenership stat alone as the only criteria. That has almost never been a consideration point for the RQ Network — we’ve just looked for stuff that is great, knowing the great stuff will do well.

And, actually, every show we’ve put out, they have their own audiences — they have people passionate and enthused about them. And then they found even more of an audience through us.

Other things that we then do is, we get advertisements and run advertisements for them on our shows and other shows, and so on. I would like to say that we offer more than anyone else in that sense because we know how important it is to get that advertising reach out there and put you in front of as many people as possible, instead of just going, “we have an audience, let’s count on that”.

Once we have a solid core of listenership — we’re talking about hit podcasts, everything on the network is a hit podcast at this point — we then look at some of the particular optimizations that we did for Magnus in its marketing strategy, in its campaigns, in picking up press and awards, and trying to recreate some of those results.

We’re only in kind of the first phase of the network, but currently things seem to be exceeding my own personal expectations. Whether that is the strength of the idea or that the shows are just that great remains to be seen.

BC: I love the idea that even if a show is small, if they have a really active listenership, it’s still valuable because you want to bring in engaged listeners — and they’re likely to be just as obsessed with your other shows.

CD: Yes, that’s right. There’s also the counterargument that we just brought in Old Gods of Appalachia and We’re Alive — among the biggest audio dramas. But that isn’t just because of their size and scale, it’s because we love Old Gods, and we knew our fans would love it as much as we do. There’s at least three Old Olds superfans at Rusty Quill.

And then We’re Alive was the show for me and Alex Newall that really got us into podcasting. It was We’re Alive, Our Fair City, Welcome to Night Vale, that really caught our attention. We were very fortunate to be able to bring We’re Alive into the fold and, listening to it again now, it’s just as aspirational and fantastic as it was when it came out.

BC: Can you take readers through your approach to advertising for The Magnus Archives, and how that contributed to growth?

CD: One of the things I cite occasionally is that it can be very easy to take any advertising opportunity that comes your way — and if that’s a 20-minute ad on the front end of a 20-minute episode, you could easily take that and make a lot of money now.

Maybe we had the luxury of being able to do it, so maybe this is success breeding more success, but we were willing to go, “well, actually, no we don’t want to do that”. We want to be responsible with our listeners’ time. We want to try and provide them with advertisements that they would actually want to hear. I would point to the fact that we have these fantastic ads for some Universal Pictures films like Old, the M. Night Shyamalan movie. Ads for the Shudder platform, which I personally love, and I think pretty much everyone else at the Rusty Quill and the entirety of the network loves. The ads for Tor Books, an aspirational company in so many senses. These were things we knew our fans would be so happy to hear about because they want to just go consume it.

In the same way, we’ve applied that to other things. We’ve advertised a lot of great products and services that we personally use as a company, or that generally we’ve heard great things about. There is a lot of evaluation process and, at the same time, we have turned away some things that we don’t think are a good fit or that don’t line up with our core goals. For example, we don’t run political ads. A lot of this has been about retaining our personal integrity as a company.

Then you look at the way that we do ads, as well. We never try to disguise ads as anything other than what they are. We like to do the upfront, clear, “this episode is brought to you by” or, “this sponsorship is” or, “I’m here to talk to you about”. We like to be very clear about that.

At the same time, we also allow our new network shows to create the types of ads that they want to create. We don’t enforce upon them a set of processes and standards as to how an ad is delivered. We do ask them to follow our rules as far as what we consider to be a non-objectionable ad, but that’s the only concession we ask them to make.

From this we end up having some great, exciting, creative ads to offer as an alternative. But we also have a lot of ads that are comparatively simple, with a focus on advertising integrity. People know how RQ does a sponsorship, how we handle that sponsorship, and what a RQ sponsorship looks like. Ultimately, we feel that we’ve built ourselves a prestige brand and people look at RQ as shows that will deliver a good read.

One of the great things we can also say about our ads is that our engaged audience, and the relationship we have with our audience, works. Advertisers do say to us often — and many brands have their own methods to track the sources of advertising conversions — that our ad was the best part of their campaign. A lot of this I would genuinely say has been a strategy — this is what we’ve wanted, for our fans to be happy with the ads they’re hearing.

If someone said there was a new ad format where the point was to disguise the ad content within your episode — unless everyone else starts doing that and it seems to be something people like, I’m not gonna do it. That’s a purely hypothetical scenario, but we don’t mess around with what may seem like a great new way to make money if it’s at the expense of our audience. We would always turn away revenue in favor of audience happiness and the listener experience. Part of this comes from the fact that Rusty Quill is truly independent at every level — we can have an element of artistic integrity, as well as moral and ethical integrity.

For example, we don’t run midrolls in the middle of a content — unless it’s built with that in mind and unless it’s something that show creators want to do — because we worry about ads that break up the flow of the content. We’d rather you hear ads at the start, and then engage with the episode uninterrupted. Or, we go to lengths to build content where that isn’t an invasive interruption.

BC: That’s such a smart way to approach it and, again, another reason listeners are truly obsessed with Magnus Archives and Rusty Quill in general. Any final thoughts or advice that we didn’t touch on yet?

CD: One of the core elements for RQ’s success has been that we went to great lengths to understand what audio-drama was, and what worked with that medium. That feeds into everything we’ve done. It’s not treated exactly the same as other popular podcast formats that aren’t audio-drama — talk shows and the like.

Unfortunately, a lot of advice out there on the internet can be very centered on non-audio drama and non-scripted content. We thought, well, even if that’s not what’s being advised, that’s what we’re going to do — because that’s what it seems like would work for this format. So I’d say that the biggest piece of advice I could give to anyone doing anything like this, in any medium, is to try and understand the form and function of your medium and its place within the broader media. Understand what works for your content — even if that’s just getting to the core of what it is that you’re doing and what you want a listener to do.

Another thing I’d like to say is you should probably enjoy Acast’s Audio Fiction week by listening to all the shows on the RQ Network because they’re all great. That’s Cryptids by Nora Unkel and Devin Shepherd, written by Alexander V. Thompson, The Deca Tapes by Lex Noteboom, How It Ends by Micah Rodriguez and Stephanie Resendes, I Am In Eskew and The Silt Verses by Jon Ware and Muna Hussen, The Milkman of St. Gaffs by Chris McClure, Old Gods of Appalachia by DeepNerd Media, The Storage Papers by Jeremy Enfinger and Grinner Media, The Town Whispers by Cole Weavers, and We’re Alive by Kc Wayland and Wayland Productions.

Acast would like to thank Callum for taking the time to chat. You can find a collection of all the Rusty Quill shows to listen to at www.rustyquill.com. Rusty Quill is also participating in Acast’s Audio Fiction with some amazing, collaborative content, so check out its socials @therustyquill for more. And don’t forget to shout-out your favorite fiction podcasts on social using #AcastAudioFictionWeek.

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