Keep in mind that we're always up to other things, so we tend to sit on things from time to time. In an uninterrupted world, I think we could have each of the tales finished, soup to nuts, in a week.

The format's limitations are its strengths. We can't show you the monster, but why would we want to? Your imagination is a darker and scarier place than anything that can get generated on a computer. Asking the audience to use their imaginations makes it a much more personal and interactive experience.

I love the idea that people are listening to "Tales" during all types of activities. Knitting in their favorite chair, rock climbing, sky diving, driving at night.

We usually start by asking the collaborators to submit a couple of ideas. Then, Larry and I will sort through all the submissions and choose the ones based on what we think will add most to the collection. Once the scripts are written, the stages are: rehearse, record, edit, sound design, foley and finally, the mix.

Keep in mind that we're always up to other things, so we tend to sit on things from time to time. In an uninterrupted world, I think we could have each of the tales finished, soup to nuts, in a week.

Larry and I, and a bunch of our colleagues, were sitting on great stories that needed to get out to an audience in one way, shape or form. We've both produced comics in the past, and audio dramas seemed like a similarly interesting option, the other side of the coin. As we've continued with the project, the format has become a vital way for us to tell our stories.

The relationship with actor and director is probably closer to theater, in that, when we record the dialogue, there is very little in the way of the creative collaboration - no cameras, lighting or even locations. Then, once we record, the post process is very similar to the post flow in filmmaking - editing, sound design, mixing, etc. At the end of the day, it's all about storytelling and honing in on a tone by developing a rhythm and structure that suits the storytelling.