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Episode Transcript
Introduction
Lyndon: Welcome to Pain In the Arts with myself, Lyndon.
Breallyn: And also myself, Breallyn.
Lyndon: Did I say my name right?
Breallyn: Oh, pretty much.
Lyndon: If I think about it too long it comes out slurred and stupid. You’ve… only practiced it for 50 years. Yeah. Yeah.
Lyndon: It would have been helpful if I’d just been called Bob. Yeah.
Breallyn: I can start to call you that if you’d like. Robert.
Lyndon: Or, but Lyndon, you’ve really got to get your tongue in the right spot to say that.
Breallyn: I wanted to be called Peter at one stage. I went through this.
Lyndon: What, P E T A? Yeah.
Breallyn: I went through a very intense time when I was about 11 or 12 when I really wanted to have a different name. I wanted it to be a boy’s name—a boy-sounding name. There’s a theme here because when I was four, I also insisted my name was Jack. But when I was about 10 or 12, I was like, “Okay, it’s got to be either Charlie or Peter.” Yeah, maybe Jack. There were two or three names that were my favorite. Charlie was my favorite for a while.
Lyndon: I don’t mind Charlie for a girl.
Breallyn: I was very—yeah. When we had Birdie, I was thinking of calling her Charlotte with Charlie as a nickname. Oh, okay. Yeah. I don’t…
Lyndon: I don’t remember you ever flagging that.
Breallyn: Yeah, I did.
Lyndon: I did. But we were, for a while before we even had a fourth child, like, “If we have a girl, we’ll call her Tabitha.”
Breallyn: Yeah.
Lyndon: I really liked Tabitha.
Breallyn: Tabitha’s beautiful. And then when we had a girl, we were like, “Nah.”
Breallyn: We just assumed she’d get called Tabby and we weren’t so keen on that, I think.
Lyndon: But I’m not sure because we would already have known that if you’re considering the name Tabitha, that’s not…
(A sudden realization hits)
Breallyn: …bit more real, like, “Okay, if we have this child and it’s called Tabby.” I don’t know. I guess we just decided against it. And for those listening, Birdie is not her real name either.
Lyndon: And my name’s not really Lyndon. It’s Bobbie all along. It’s Spunkrat.
Lyndon: Yeah. Do you want to explain why Birdie’s not a real name?
Breallyn: No, I’ve explained it before. We’re using pseudonyms to protect our kids’ privacy. That’s essentially it.
Lyndon: Yeah. I don’t think our other kids even want us to talk about them, but whatever.
Breallyn: No, I think they don’t want us to talk—full stop—at that age.
Episode Intro
(Brief pause)
Lyndon: There we go. Was that the intro you had planned?
Lyndon: No, I didn’t have any intro planned. I had nothing. I’m a blank slate. There’s so much to talk about; I just wondered where we’d start.
Breallyn: You stumbled over your name.
Lyndon: I stumbled at the first hurdle. It was Birdie’s birthday yesterday. Was it yesterday or the day before? Ah, the before? So she’s a teenager.
Breallyn: Stop it. I still can’t cope.
Lyndon: Oh, wow. And we’re getting a bit of pushback from her.
Breallyn: Yes, she is beginning to behave a little teenager-ish. She’s always had bucket loads of attitude, but, yeah. Takes after her mum.
Breallyn: She’s got a presence about her, that’s for sure. But, gee, she was cute blowing out her candles. Her family was there and we were so excited because Birdie’s illnesses in recent years meant she hadn’t had all her fine motor skills available. Blowing out a candle was quite impossible for a while, but she blew them all out and was super adorable doing it.
Lyndon: She’s never done it before, but she’s been practicing by blowing bubbles this year. Last year, she was trying to blow bubbles with the bubble mixture and the wand— I suppose it’s called a bubble wand.
Breallyn: Yeah. She likes bubbles, and it’s been a skill we’ve been working on because I’ve been wanting her to focus on her breathing in moments of stress. So I say, “Let’s pretend to blow bubbles” and we do a little deep breathing to become more conscious of the body.
Lyndon: That was good.
Breallyn: Cute little birthday party.
Lyndon: Yeah, very cute—as in very small, literally just a cake after dinner. Yep, that was fine.
Speaker 5: Yeah.
Lyndon: That was nice. All right, let’s get on with the show.
Podcast Structure & Topic
Lyndon: What we have been doing is alternating topics for the podcast—surprising each other. In this case, I’m surprising you. You’ve got no idea what the topic is.
Breallyn: I have no idea. You’ve come in with your lap blanket.
Breallyn: Yep, I’ve got a little blanket and a novel on my knees.
Lyndon: But you also have a pad with notes, which is interesting because I’m bringing the topic and I have nothing—just my phone.
Breallyn: Don’t be fooled by my notepad. It’s just all my notes for show. There are no actual notes about the episode. And I did bring a novel, because I never quite know how long the microphone setup is going to take, so I might just be sitting here for a while.
Lyndon: In fairness, up and done. But I haven’t thought that any of our setups in the past have been perfect. So I was like, “I’m just going to try something different this time,” which ties in with our topic: innovation through ignorance.
Breallyn: Oh.
Lyndon: So we’re sitting slightly differently in the studio. There’s less clutter, and you’re on a mic, interestingly enough. This is interesting to me. It will probably not be interesting to anyone, including you, but that microphone I bought when we went to America…
Breallyn: Oh yeah.
Lyndon: This was when we went on tour with the Darlow show, back in the day. It seems like a whole lifetime ago now.
Breallyn: It’s a while back. Yep.
Lyndon: But I took with me a backpack—which I’ve still got—that was essentially a portable studio. We didn’t know how long we were going for.
Breallyn: Yeah.
Lyndon: That was the thing. I wanted to record while we were away. I barely did any recording, and I lugged that stuff around. We were prepared for any eventuality.
Breallyn: And that was your carry-on luggage, wasn’t it?
Lyndon: Could it have been? It was, because you were concerned about banging stuff around in baggage. It was your carry-on. And what was my carry-on? Do you remember?
Lyndon: No, I don’t want to go there—it’s too stressful to think about. Was it three kids?
Breallyn: It was three children. We had a four-year-old, a one-year-old, and a five-week-old. So my baggage was nappies and cream. We also took the world’s heaviest pram.
Breallyn: It had to be a double because…
Lyndon: Oh.
Breallyn: Yeah, our middle child was little and on the run, but he ran everywhere. And we thought a light aluminum pram wasn’t really going to cut it.
Recording Gear & Setup
Lyndon: In my backpack of recording gear there was, yes, the computer—the laptop. But heavier than that was the interface you see over there. For those who don’t know, an interface is essentially recording gear. It’s what you plug your mics into, and then that interface plugs into the computer. That’s what we’re recording through right now. And, yeah, so there was that in there.
Lyndon: And anyway, that microphone—
Breallyn: It’s barely ever been used.
Lyndon: Yeah, it’s barely been used. Even for the last decade, I’ve rarely used it. And I just thought, “I’m going to get it out and give it a run to see how it sounds.” So there.
Breallyn: Okay. So if I sound a little different this week, you’ll know why.
Lyndon: Hopefully you’ll sound better because I’m doing things a bit differently.
Innovation Through Ignorance
Lyndon: Okay, that’s all we’ve got time for on this affair. I’ve spoken about his children—when they’re all out of the house. What’s your topic?
Breallyn: Innovation through desperation?
Lyndon: I know. It’s innovation through ignorance. Now, as a side note, we choose the topic, but then when I’m editing, I go, “What did we actually talk about?” The topic changes. For the keen listener, you’ll hear the topic on the podcast title, which may or may not match what I say later.
Lyndon: Maybe that’s why some podcasters top and tail the episode, saying, “This episode is about yada, yada, and we had a great chat. Enjoy it.” We could do that. We might have to.
Breallyn: We could actually consider both of us knowing the topic ahead of time so we could both prepare, rather than just fly off the handle.
Lyndon: I’m going to need help today.
Breallyn: All right. So you’ve got a topic, a flow, a plan? No. Of course not. You’re the professional—we tend to approach these things differently. I’m the over-preparer; Lyndon is more of a free spirit when it comes to this stuff.
Lyndon: Yeah. I approached this the same way I approached high school.
Breallyn: Oh dear. We are in trouble. Yeah.
Lyndon: But what I’ve been trying to do, and it’s become more apparent in the last couple of weeks, is that I’m easily falling into old ways of doing things. You had to live with me for the last decade or more, but you know how I’d come back from work in the studio and not be satisfied with my work.
Lyndon: A lot of that had to do with my role being to get people’s ideas out of their heads and into demo form. I didn’t do a lot of the finished recordings.
Breallyn: Yeah.
Lyndon: I did some of that initial stage—getting a song developed into a good structure, especially for singers who hadn’t been in the studio before or had only written something on a guitar without considering arrangements. So I helped them bridge those gaps.
Breallyn: Right.
Lyndon: And that was fine, but when it came to recording stuff now, in a different studio, wanting to record the stuff that’s in my head to sound exactly how I want it, I noticed that unless I’m intentional, I’ll just do things the way I’ve always done them and then wonder why it doesn’t sound like what’s in my head. And then I thought, “Oh, I know why—I’ve been too used to doing things a certain way.” I’ve been becoming aware of trying new things without preconceived ideas. Like, “Okay, here’s a microphone. I wonder what it will sound like if I do this?”
Breallyn: Yeah.
Lyndon: Instead of just going, “All right, I’ll do this,” then having to do that—ending up with a set of guidelines that once served a purpose but ultimately didn’t bring me joy.
Breallyn: Yeah.
Lyndon: It sounds a bit harsh, but…
Breallyn: I suppose you were limited by time and working with different clients, so you had a job to get done. But now you’re trying not to use the same processes and formulas because you’re doing something different—exploring sound and trying to create new things. Is that difficult? Do you have to retrain your brain to not operate by those formulas, or is it freeing to do something new?
Lyndon: No, it’s both.
Breallyn: Yeah. Okay. It’s both.
Lyndon: They were formulas, even though I wasn’t being formulaic—just following processes over time.
Breallyn: We’re creatures of habit, essentially. We follow patterns that, in daily life, help with tasks like health or getting things done through habit stacking. You operate on autopilot without thinking through every step. But in creative processes like writing and recording new material, that unconscious following of routines isn’t helpful at all.
Lyndon: That’s right. And we’ve spoken before about the importance of curiosity in creating art.
Breallyn: Yeah.
Lyndon: And there’s that childlike approach. Remember being younger—whether it was an art teacher or a music teacher—when I already knew the C major scale and understood Do, Re, Mi, Fa, Sol, La… but it was the first time everyone else had seemingly heard of it. Then the teacher would say, “Just play with it. Experiment.” And I’d be like, “Ugh, so lame. Why would you just play with it?” And it’s not just an experiment; it’s a fact.
Breallyn: It’s a basic building block of understanding.
Lyndon: But now I’m like, “Actually, I need to approach things with that attitude—experimenting to ensure I’m not inadvertently doing something that won’t yield the results I want.” And if you hold something too tightly, you kill it.
Breallyn: Absolutely. Yeah.
Lyndon: And we’re not meant to be results-driven. If you’ve been working on something and then end up saying, “I don’t like this at all. What happened?” it’s hard not to focus on the result.
Breallyn: The result.
Lyndon: We’re meant to create—experiment and play—without caring about the result. If you approach it that way, you’ll probably get closer to what you want. And if not, throw it away and start again. The process is more enjoyable that way.
Lyndon: I don’t know, even talking about it seems…
Breallyn: It seems like so many dichotomies and opposing ideas in your head. You have to produce something without having the end result in mind, yet also have direction and purposefully make art with ideas only you can bring to the world. You don’t want a scrambled mess—you want something that people can appreciate, see, hear, or experience.
Lyndon: Exactly. And when I talk about the sounds in my head, often a song sticks with me—the sound of the guitar and the weight of my voice against it. I want to capture that sound, but the audience has a lifetime of hearing things. They have an understanding of what a recording should sound like—an acoustic guitar with a male voice. If you’re not close to that, you might not engage the listener.
Lyndon: And that palette is so broad. For example, Bob Dylan’s acoustic vocal sounds wildly different from Joey Landreth’s, even though both are just guitar and vocals. Dylan’s voice is buttery—like honey or molasses—a warm, beautiful tone. And in writing, every book has its own tone; every author constructs sentences differently. That’s the beauty of language.
Breallyn: It’s the way the author can be heard, too.
Lyndon: So what happened over the last couple of weeks is I was finally recording the theme music for my podcast, Echoes of Home, on Patreon. I recorded the episode a while ago but hadn’t published it because I didn’t have theme music. I thought, “I better write the theme music.” I had loads of ideas on my phone, then I got that guitar.
Lyndon: That Gretsch.
Breallyn: There is another guitar in the studio—Studio Ladyman.
Lyndon: And let’s not even describe it. Not long after that…
Breallyn: It’s orange, bold, in your face.
Lyndon: It’s a color I never thought I would like, but then when you see other colors, you realize the traditional orange isn’t too bad.
Breallyn: Wow.
Lyndon: It’s funny—when I was younger, I hated Telecaster guitars; I thought they were the ugliest. I never used to like olives or mushrooms either, but I eat them now. I never had a Gretsch earlier, despite loving its sound, because I’m slower than a wet week. So, I got that guitar and a P Bass.
Lyndon: I thought, “Let’s see if I can come up with something with these.” I came up with a tune, recorded it one afternoon, and spent the best part of two weeks mixing, changing, doing different things. Then, right when I was about to publish the episode, I thought, “I actually don’t like that music.” I didn’t mind the music; it just wasn’t doing it for me. So I shelved it—it sounded excruciating and painful because I kept hearing it.
Breallyn: Coming from the studio, I was thinking, “I think it’s finished by now.”
Lyndon: No, and I kept working on it for a few days, even though it shouldn’t have taken that long. That’s a sign. But what happens is you put in so much work for nothing. I might as well finish it. So now I have a shelved 32-second tune.
Breallyn: Which is actually a nice piece of music.
Lyndon: Yeah, but to me it just sounded like a demo. Getting back to what we started talking about—it sounded like a demo, and although it’s a fine podcast theme, it didn’t suit my podcast, Echoes of Home, completely.
Breallyn: Yeah, I’ll just say no one would have cared. I think you’re being super harsh because I think it was really nice, but let’s examine your idea about playing them back to back.
Lyndon: Anyway, so why are we examining it?
Breallyn: We’re examining it because you mentioned that you need to do things differently now in the studio—having done things a certain way before. This piece of music you first wrote for your podcast was approached in one way—whether in writing or recording—but now you’ve realized, “Okay, let’s step out of those patterns and do something different.” So what changed? How did you approach it differently for the second piece?
Lyndon: Okay. Let me state: they’re both inspired in the moment, so there’s no inherent difference there.
Breallyn: Yep.
Lyndon: If I think back to the first theme, I started with an electric guitar melody. I won’t bore you with all the details, but it had drums, bass, and then I added a horn section. It was a slightly grand, pompous-sounding thing, and the more I added, the less I liked it—because deep down, I wasn’t happy with the writing. I captured the inspiration and needed to record it properly with record-worthy considerations.
Breallyn: So you think your first few layers weren’t what you’d want them to be.
Lyndon: Yeah, possibly.
Breallyn: Interesting.
Lyndon: I’m always learning—I’ll never stop. But sometimes, learning gets in the way. I spent too long on it, and the doubt about whether it suited my podcast theme hung over me. It was a depressing week trying to get it right, and I began to question why I even bother thinking I’m a musician.
Breallyn: When you reach that point, something’s wrong.
Lyndon: I was catching up with a mate, Steve, who does a radio show, and he was saying he’s getting to the end of his creativity.
Breallyn: Which was…
Lyndon: …a conversation for another day. But I wondered, how does anyone reach the end of their creativity? I’ve seen people who seem to have, but maybe they just don’t recognize it.
Breallyn: Maybe it’s just the end of that creative project—like he’s done the radio show for so long that he’s out of ideas. And he should try something different.
Lyndon: He said, “Nah, I think I’ve just run out of creativity.” I don’t think that’s possible—it’s not even human. Anyway, we’re talking about the slump and getting through it.
Breallyn: It probably is for a lot of humans. You’re an exception, Lyndon.
Lyndon: He said that people doing it for a career or being truly creative must have a drive that’s limitless—you just don’t see an end.
Speaker 5: Yeah.
Lyndon: And I agreed because you need that drive to get through the inevitable slumps. If you don’t have it, I might have given up last week. I used to have blind ambition; now it’s the ambition surrounding a career—the need to create and knowing I won’t stop.
Breallyn: That’s what I see in you: endless creative curiosity. You’re always pursuing a new idea, going down the rabbit hole for a while.
Lyndon: I have different projects that sidetrack me from that holy grail idea in my mind that even when I achieve it, I’ll wonder, “What’s next?”
Lyndon: So, where were we on that slump?
Breallyn: You were catching up with Steve, right? It was about the slump and getting through it.
Lyndon: Exactly. I was thinking that every time I do my podcast, edit it, and put it on Patreon, I don’t want to listen to that music and feel, “Ah, I’m not happy with this.” It would be insane to do that, so I got rid of it the very next day.
Breallyn: You were in the slump, thinking, “Oh, this sucks,” and then you just got rid of it, shelved it.
Lyndon: Yes, and then the next day I picked myself up off the floor while getting out of bed. I waited until we had a carer for our daughter and a couple of free hours, and I came up with a new tune on the acoustic guitar on the spot—again, inspired in the moment.
Breallyn: That’s pretty incredible. The fact that you didn’t spend a month and a half struggling to come up with another tune—I think that’s amazing.
Lyndon: Yeah. But honestly, that’s not a big deal because I’m always playing the guitar. You’re always coming up with little riffs or tunes, and I hear them all the time. But the approach was different—I played it, thought, “That could be something. I’m not going to complicate it,” and recorded it. Then I let curiosity guide me. Next, I recorded using a mic I’d never used on an acoustic guitar before. That whole thing was new.
Breallyn: So it wasn’t like what you’d done before; you let the creative process guide you.
Lyndon: Exactly. And next time I record with that mic on the acoustic guitar, I’ll probably do it a bit differently. I captured the idea, and that’s what matters: there’s a mic, a guitar, an idea—record it quickly. So I did that, then, to cut a long story short, I made it more complicated than necessary and deleted that extra part.
Speaker 5: I…
Lyndon: I didn’t delete the whole piece, just the extra part I added. I thought, “Why did I add that third guitar part?” I already had it, so I knew I had it. You can layer things endlessly—add two more notes to create a chord, for example. You can shoehorn everything into a simple tune if you want. So at one stage, I thought, “Oh, I’ve made this more complicated,” and I deleted that part. Ultimately, I ended up with something much more suited to my podcast, Echoes of Home, which is about writing the music for your audiobook or novel.
Breallyn: There is a connection. There’s a greater landscape in which all our podcasts and work surround this novel. It needs to fit within that creative landscape; if it were completely at odds, it wouldn’t sit well.
Lyndon: And what’s cool about the decision to shelve the original idea is that, yes, those two weeks of work are gone forever. It wasn’t two weeks of solid work—it was just that tune in my head, worked on when I had the chance. Remember when I said, “I shouldn’t be so linear with things?” It’s actually healthier to have a few different things happening at once.
Breallyn: Yeah.
Lyndon: Musically.
Breallyn: Yeah.
Lyndon: Because your ears need a break. You start overthinking even the smallest things and lose sight of the big picture. You need a break from mixing to listen to something fresh. When I started recording the new theme, I had it recorded, mixed, and the episode published in three days. I could have spent three or four days on the other theme and still not been happy with it—it would have taken nearly three weeks.
Breallyn: Laboring over something. So did you find that the process of doing the second theme was fresher and more vibrant?
Lyndon: Yeah, it was heaps better because the result is closer to the sounds I want to create in the future.
Breallyn: Yeah.
Lyndon: And the sounds I want to create in the future aren’t new sounds that no one’s ever heard—they’re just the sound of my acoustic guitar. Nice, full, and big, or whatever.
Breallyn: Well, one thing I’ve learned is that a sound is not just a sound. I used to think a guitar is just a guitar or an acoustic is just acoustic, but that’s not true. There are many possibilities.
Lyndon: Which is freeing—when you’re creating, you realize there are no rules.
Breallyn: Yeah. There’s literally no end to the options you have.
Lyndon: Yeah. I don’t know, have we strayed from “innovation through ignorance?”
Lyndon: This touches on recognizing when you hold beliefs about how to create, and realizing you’re operating under limits. I mentioned Rick Rubin’s book, The Creative Act, about having a beginner’s mind—a child doesn’t rely on preset premises to make sense of the world, and preconceived ideas limit what’s possible. The childlike mindset of play—being in the moment, radically honest without concern for consequences, moving freely from one emotion to the next—means each moment is all there is. There’s no past, no future. That’s part of the beginner’s mind. So while experience counts, it can also limit you. For me, it was an unintentional limitation.
Speaker 5: Yeah.
Lyndon: And I think we all have it. That’s why I referenced teachers—whether in art or music—who empower you to connect with the purity of creativity and that childlike approach, even though we’re older. They set you up with constraints and boundaries, like having certain materials and a 20-minute time limit. And they applaud even what might seem like rubbish, because acknowledging the process is important—even if I later think, “That is shite.”
Breallyn: Yeah. I suppose they applaud that you’ve tried a different process rather than coming up with the most amazing result.
Lyndon: So experience doesn’t rule out innovation, but it makes it harder to access.
Breallyn: We’re always trying to reach that point of playfulness while bringing all our knowledge and experience to create something that’s better or different from what we’ve done before. It’s hard—you have all that experience and know-how, but then you need to set it aside and play with new ideas. That’s a real balancing act, not being a stick in the mud.
Lyndon: It’s an ongoing challenge. I read a line about tuning into what enlivens us in the moment instead of what we think will work. That’s the difference with my second theme—I was excited about it, and sometimes what excites me is using a microphone I’ve never used before.
Speaker 5: Yeah.
Lyndon: Even today, with you using that microphone, I’m not over the moon excited, but I was quite happy with myself for doing it differently.
Breallyn: Yeah, getting back to the studio I worked with and the way our good friend Brendan ran that studio was awesome.
Lyndon: It was a project studio and we had to get things done in a set time. So you end up saying, “We know this mic and that guitar work.” When someone comes in to record an acoustic guitar, we’re using that mic. If they’ve brought their own guitar, that’s fine—but that mic is probably the one we’ll use.
Speaker 5: Yeah.
Lyndon: And that mic lead is plugged into this preamp over there, and away we go.
Breallyn: You don’t have hours to set up different options.
Lyndon: And I was always fighting that because I wanted to spend more time experimenting. It’s interesting—I actually wanted to do that, and now I can, but I still want everything set up in this studio so it’s ready to go and has house sounds. It’s like, you plug in the bass and it sounds nice, and that’s fine. But also, being able to try a different mic—even if it’s just me—matters. Sometimes you have to set aside those procedures that work and take a risk on other sounds, even if it means spending three hours trying to get the right sound. That’s always a risk because then you might not capture that idea. You might have a really horrible time and not feel creative, but you’re doing it for the chance to be a bit more curious and experimental.
Lyndon: That’s how I was living out the idea of not doing what I think will work, but just doing what excites me.
Breallyn: Yeah.
Lyndon: I’m going to record something with my acoustic guitar. It’s got really old strings— they’re not that old, but they’re dead from half a dozen gigs. It doesn’t matter.
Speaker 5: Yeah.
Closing Remarks & Podcast Information
Lyndon: That’s good. It’s nearly what I’ve learned this week.
Breallyn: We’ve learned a bit of innovation through… what is it?
Lyndon: Innovation through ignorance. See, maybe that’s not really the title, is it? It wasn’t.
Breallyn: I…
Lyndon: Having ignorance toward something has been responsible for a lot of innovation over the years in music. And, yeah,
Breallyn: We were talking earlier about our daughter Birdie.
Lyndon: She has a mind that’s perpetually childlike. We’re often trying to bring more stability and routine to her life, yet she always surprises us. She does things in the most unexpected ways because she doesn’t approach them like an adult.
Breallyn: She always brings freshness to the everyday—even doing something she’s done many times before in a new way that makes us laugh and wonder, “Who would have thought to do that?” It’s funny living with someone who embodies that childlike ignorance and innocence, though it’s hard to manage day to day. But we appreciate it when she shows us something new.
Lyndon: And hopefully we can bring some of that light and childlike approach to our work. But on the other hand, as day-to-day parents, we’re doing a lot of thinking about every possible situation. It’s also a good time to mention that Birdie is one of the inspirations for your novel, which you’re writing.
Breallyn: Yeah, and I can’t remember if I’ve spoken about it on this podcast or mainly on other podcasts. If you haven’t heard it, you can subscribe to Patreon for free and listen to the first episode.
Lyndon: I think you can listen… oh yeah, maybe you have to be a free subscriber to listen.
Breallyn: So it’s the first episode. The podcast is called In Search of Home and it’s about my career—the writing process of the novel, in which Birdie inspired one of the characters, Audrey. It’s from Audrey’s point of view, but also her brother Tom’s. I study Birdie, trying to figure out how she works and thinks to help build her capacity in every way possible. But while writing this book, I’m also trying to capture her unique take on the world and voice what she can’t express in many ways. It’s a complex process.
Lyndon: Yeah. Thanks for listening, everybody. It’s probably a good time also to mention that if you’ve been enjoying our podcast, head on over to Apple Podcasts and give us a five-star rating. Nothing less will be acceptable.
Lyndon: That will help us. You don’t have to leave a written review. If you’re not enjoying the podcast, just ignore it and go make yourself a cup of tea, maybe.
Speaker 5: Yeah.
Lyndon: And, calm down.
Lyndon: Now you can also visit our website, paininthearts.life, and head over to Patreon. You can search for us on Patreon as “Pain in the Arts,” or go to patreon.com/painintheartslife.
Breallyn: And you’ll discover lots of bonuses and extra interesting information. You can subscribe for free.
Lyndon: You know what else is coming up on Patreon? Unfiltered episodes. We’ve got an unfiltered episode coming up—and then more unfiltered ones. An unfiltered episode is the episode as recorded, without editing. We usually aim for episodes between 40 and 55 minutes, so I tend to remove my heavy breathing and long silences where you’re just staring at me.
Breallyn: If you think our normal episodes are rambly, try the unfiltered ones.
Lyndon: It’s not too bad. But yeah, that’s it for another week. We’ll convene again, Bre, next week. And indeed, maybe don’t tell me you’re bringing something to the table.
Breallyn: No, I’ll keep it a surprise. Yep, yep. And we’ll chat about it then.
Lyndon: Okay. See you. Bye.
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