
Welcome to Fred’s Front Porch Podcast. This episode is designed specifically for new listeners. If you’ve been with us for a while, you’ll learn some things you never knew, so it’s still worth your time.
This podcast is unlike any other you’ve probably ever heard. There are, to my knowledge, perhaps 2 more that do what I do, and even then, they have different themes and ideas.
First, this show doesn’t have a specific niche. There are lots of podcasts about Sherlock Holmes, Star Trek, science fiction in general, and any other topic I bring up on this show. There are podcasts about Aaron Sorkin (or at least The West Wing) and probably podcasts about To Kill a Mockingbird. There are lots of politics and culture podcasts. Mine is all these things and more. It also includes my own fiction and a few theater pieces from time to time. Most of my fiction is the “first final draft.” This means it was as good as I could make it at the time the episode was released. The Teddy Bear Coder, which just came out a few weeks ago, will be my first published novel. By the time you read it, I will have done at least 3 more drafts by myself, and at least one or two more drafts when the editor gets involved. The intention is to release it as an audiobook as well, and it will be a full cast production. I hope to have actors playing the characters. I will still narrate. It will be essentially the best Fred’s Front Porch Podcast you’ve ever heard. That’s still a long way away, though, so don’t get excited… yet.

The overarching theme of my podcast is Idealism. I believe in a better world. I believe we can create it. I believe “There is no Them; we are all Us.” You’ll hear that in many of my episodes. You’ll also learn quite a bit about my personal life. There are episodes about hospital visits, and episodes about my life nearly ending, and episodes about the voices doing battle in my head. I freely admit to being mentally ill. I’m also diabetic. Neither of those are my fault, nor do I believe they make me a bad person. (I have plenty of other traits, though, that probably do.)
I steal quotations ruthlessly. For example:
“We live in capitalism. Its power seems inescapable. So did the divine right of kings. Any human power can be resisted and changed by human beings. Resistance and change often begin in art, and very often in our art, the art of words.”
― Ursula K. Le Guin
That’s an excellent explanation of why I do this show.
I will rarely do interviews. I can’t write an interview, unless it’s an interview with a Time Traveler. (That’s really a very good episode.) I don’t have Aaron Sorkin begging to be on my show. The biggest celebrity I’ve ever interviewed was Sara Niemietz. Frankly, that was less for you than it was for me. I got to talk to my favorite singer for more than an hour. The longest I have ever managed was 5 minutes a few times after her concerts. That was one of the high points of my career.
Second, this sounds like only a few other podcasts. Music is an important part of this show. I spend more than I can afford getting music I can use legally, and I believe it adds to the catharsis I always hope to create. It will sometimes feel as though the music goes on too long. I hope you’ll learn to experience it rather than skip over it. Music speaks a language no words can. It is, as Stevie Wonder told us, “A language we all understand.” Let the music speak what my words can’t. My intention is to make you think, make you feel, or, in the best episodes, both.
I manipulate my voice in many ways to emphasize certain points. Italics, Bold Print, and Underlines, can’t be conveyed in sound. (Neither can parentheticals.)
This is “Guardian of Forever.” It’s a user patch a former friend created that helps me to add a sort of reverb you won’t hear elsewhere. It was invented for my episode “Horace’s Final Five.” That episode is where my podcast matured and began to blossom into what it has become. It’s sort of The Heart of The Podcast. Most of my listeners have heard it. It’s Episode 50. I recommend it highly. You’ll often see Facebook posts where I talk about scoring and Horacing. This is where the term was first used. It’s often used for quotations or for something I think is particularly important.
This is “Warp Factor.” It echoes words that I want to underline. It’s standard in Logic Pro, which is the software I use to create this show.
This is “Dark Symbiote.” It’s used for emphasizing something with which I disagree, or when I want to suggest evil. It was also created by a former friend of mine.
Those are the patches I use most frequently. I also use “Telephone Vocal” to show you something parenthetical. The idea is the Producer Fred is interjecting something into the Performer Fred’s show.
Once in a great while, you will hear character patches. Speedy Shine and all the Winnie The Pooh characters have patches just for them.
When I do science fiction, such as “The Teddy Bear Coder,” “Interview With a Time Traveler,” or “Universe Selectors, Incorporated,” I add special effects and odd voices. These are often sent to my friend, Chris from Interstellar Frequency, to make it sound the way I need it to sound. I have some technical abilities, but his are much greater than mine. I want this show to sound as good as it possibly can, and I will use any resource I can find to accomplish that goal.
The show always includes a preview of next week’s episode and my Gratitudes. I thank everyone who has helped me with this show in any way because I believe Gratitude is a good lens through which to see life.
The Gratitudes include nearly 50 people, so it can run as long as six minutes. Many people skip that part, and I understand, but it’s worthwhile to know I couldn’t possibly do this alone. I never want anyone who helps me in any way to think I’m ungrateful.
I can exist only because of all the help I get. Without all the people whose names you hear at the end of each episode, I would be homeless. I could, if I were very lucky, and the temperature was right, survive as much as 72 hours that way. I would have to give Speedy Shine away. I could only hope to find him a good home.
I just got my form from Social Security. I live at $1776.60 annually over the poverty line. This means I can’t get food stamps, although I still get Medicare. One hospital bill would finish me. (In fact, I have one for $850 from my surgery, and there’s simply no way I will ever be able to pay it.) Thus, the Gratitudes Section of my show is of paramount importance to me. My Credit Score requires a high-power microscope to be seen at all. I’ve been destroyed financially since I quit teaching seven years ago.
I think of my show as taking place on a Front Porch near Atticus Finch’s house in Maycomb County. I assume my listeners are more intelligent than I am, and that they have read the most iconic books in American Literature. I assume everyone knows To Kill a Mockingbird, for example. If I have listeners who don’t know those things, I always hope they’ll go and check them out.
“People moved slowly then. They ambled across the square, shuffled in and out of the stores around it, took their time about everything. A day was twenty-four hours long but seemed longer. There was no hurry, for there was nowhere to go, nothing to buy and no money to buy it with, nothing to see outside the boundaries of Maycomb County. But it was a time of vague optimism for some people; Maycomb County had recently been told it had nothing to fear but fear itself.”
— Harper Lee, “To Kill a Mockingbird” Chapter 1
I don’t do regular commercials. You’ll probably never hear me telling you why you should use Anchor for your podcasts or a particular brand of wax for your car. If you ever do, you may be sure someone has paid me enough money to make that worthwhile. That would require more than a few dollars. I object to commercials. That’s why the only commercials you’ll hear will be to get you to go support me on Patreon so you can listen to my Art without commercial interruptions. I will sometimes advertise someone else’s Patreon when I think it’s important enough. You’ll hear an ad for Sara Niemietz’s page in one of my episodes. I mention those of friends sometimes.
The show has grown and evolved since its inauspicious beginning. I have learned much more about using sound. People have kindly bought me the equipment I need to make this podcast sound the way you hear it. This includes a MacBook Air, a very good mic, a very good preamp, and even an excellent desktop computer. I bought a few little pieces, including headphones that are now 3 years old, that help complete the studio. The three monitors I use came with the house I’m renting. So did my awesome studio desk.
I am a better writer now than I was 3 years ago. This is especially true in the last couple of months because I have been getting coaching from one of America’s greatest writers. I’m proud of that.
Finally, this is a writer’s show. I am a writer before anything else. You will almost never hear a single word on this podcast that I haven’t written before I recorded it. This is my way of giving my writing every ounce of power it can possibly have. Nearly every episode gets posted now on my Word Press page, and you can find a link to that in the show notes so you can read along… or, if you prefer reading to listening, just skip the listening and read what I wrote. As long as I can get my message to you, I’m a happy man. I think it’s more fun to read and listen at the same time, but I won’t tell you how to enjoy your life.
I’m a retired teacher, and I am a diabetic living on Disability, Patreon, the generosity of my Unofficial Patron Saints, and the charity of my landlord who rents me this place at half price. Unofficial Patron Saints are people who have made significant contributions to my survival or my show, but who aren’t actually on Patreon. Miss Maudie keeps me in groceries. Boo Radley bought me the desktop on which I write all of this. Shoshana Edwards paid for a month of my coaching.
Patron Saints are supporting me for $100 a month. Producers are paying $50. Patrons are paying $20. Sponsors contribute $10. Supporters are donating $5.00. Everyone gets some sort of merchandise if they are on the porch for 3 months or more. The higher your donation, the more expensive the merchandise. Anchor supporters are those who subscribe that way for $5.00 a month. I may drop that and go back to listener support on Anchor. Patreon is really the best way to support me.
Patreon subscribers get the show on Sunday night at 7 PM. The rest of the world gets it the following Tuesday at 7 PM. There are no commercials on Patreon.
My podcast is all I can do to contribute to the world anymore. It requires some stamina, but no physical strength. And I have the option to sleep whenever I start to get too tired so I can avoid going to the hospital as much as possible.
I try to end every episode with some hope (at least if the episode is self-contained). I would like you to leave the show feeling better than you felt before you came up to the Porch. We often begin in darkness, and we find some small candlelight to guide us to a better tomorrow. As long as there is life, there will be hope. My hope is that this episode helped you to understand me better. In understanding lies the chance to learn, to grow, and to blossom into something new and beautiful. It helps us to Shine more brightly. I’ll be Shining here, and I’ll watch for your light in the darkness. And we can sit together on The Front Porch and talk about the world.





































