With thanks to support from The Writer.
From bestselling fantasy novels and comics to short films, television development and a thriving YouTube channel, Oliver Smuhar has built a career across almost every storytelling medium. Now, the award-winning Australian writer is turning his attention to audio with The Writer, an immersive serialized podcast that follows a young Australian conscript caught in the chaos of a fictional Third World War.
We spoke with him about the inspiration behind the series, the methods to his sound design, the challenges of writing for audio, and why podcasts may be one of the most exciting storytelling formats today.
Coming from a multi-media background, what inspired you to turn your attention to podcasts?
In between all of my creative projects, I’ve been working for a book marketing organisation, one of the largest in Australia. Across the board, in 2025 and 2026, books were not really selling, and it was clear to me that the medium was on a pretty extreme decline. At least in Australia. That said, a lot of the people I knew who loved reading were getting their fix through audiobooks.
I’ve always loved the pacing of a good series, and podcasts are continually getting more and more popular with each passing year, so it felt like a no-brainer to combine the mediums. This is when I started drafting the series, an audio story released episodically with voice acting, sound design, the works.
Tell us about the process behind creating an audio drama - where do you start?
For me, audio production started many years before I began The Writer. I created a short film a few years back and hired a professional sound engineer to work during post-production. He invited me into his studio, and through that, I learned so much about sound design. It was a huge influence.
Later on, I had some downtime and thought, “Let’s do it.”
So the first step was the script, which took about two months to put together. After that, I gave it an edit, and in between editing, I began recording the bulk of the narration for the series. I was fortunate to have bought a super high-quality microphone six months before.
The best part is putting it all together. I bought a subscription for sound effects and music, created my own song for the end of each episode, put together some transition sequences, and then edited it all. It’s amazing how much you improve in such a short time. By the time I reached Episode 13, sound editing had become second nature. I loved doing it.
How does writing for audio differ from writing for screen or books? Were there any habits you had to unlearn?
For sure! You have to think in terms of sound. What will the audience hear, and why? How do those sounds push the story forward? That said, there were similarities across the mediums. The pacing of the series was very similar to writing a TV show, including cliffhangers, episodic A and B plots, and constantly asking: how is this episode moving the overall story forward?
When you were imagining The Writer, was there a particular scene or moment where you thought: this is exactly why I wanted to make this as an audio drama?
100%. The first episode was something I was really excited to write. Putting myself in the position of being drafted after the announcement of World War Three is a horrifying thought. And when I stepped into the main character’s shoes, watching him and his father get taken from their home and forced into bootcamp, it was both exhilarating and heartbreaking at the same time.
There were also a few action sequences I was excited to put together. Shootouts where the main characters have to work together, each speaking over the radio. Hearing the static cutting through gunfire. Bullets ricocheting off metal. Those scenes were really fun to write, and they don’t disappoint.
Who did you have in mind when creating The Writer? Who should be listening to this series?
If I’m candid, the core audience for The Writer would be young men. I think guys who enjoy playing Call of Duty campaigns or other first person shooters are going to really enjoy the action and intensity. Like me, I’m sure many young men have also thought about being drafted at least once or twice. That fear is brought to life in this series.
That said, I think older audiences will get a kick out of it, especially those who like audiobooks with twisted stories.
Were there any other podcasts that inspired you to do this?
Though not a podcast per se, the Harry Potter audiobooks by Audible were a massive inspiration. They’re a fresh take on the series and really throw you into the wizarding world of Harry and his mates. My aim from day one was to make a podcast series with the same level of quality as those audiobooks.
One of the most interesting elements of the show is the way truth and fiction overlap. Why did you want to blur those lines?
I think mixing what is real and what is fake is a very human experience. To a degree, we’ve all lied at some point. Maybe to make something easier, maybe to protect someone, maybe to do something bad. There’s also something devastating about realising we’ve been lied to. It can change your worldview and your perception of someone.
Secondly, it’s a fun concept. What is true in The Writer? I don’t know. It’s up to the audience to piece it together. Some answers will be clear, others won’t be. That’s just part of the experience. Hell, if listeners want to, they can accept all of the lies as truth and just enjoy the story as it comes.
You created such a detailed soundscape. How important was sound design in making listeners feel like they were inside the world rather than just observing it?
It was incredibly important, and also very layered. Every element works together to create a cohesive, intimate experience. The narration, the music, and the sound design all play a role, whether they’re there for dramatic impact or to ground the story in realism.
Right now, there are only two voices: the narrator and a supporting actress who brought the female characters to life. Down the line, I’d love to revisit the first season and make it even more immersive with a full voice cast.
Filmmaking techniques were a huge part of the process too. Things like risers, panning, and echo all help place the listener inside the main character’s world, making the experience feel much more immersive.
"Every element works together to create a cohesive, intimate experience."
Because listeners can’t rely on visuals, are there any techniques you use to help them picture the world without over-explaining it?
The sound effects were a massive help. When there’s gunfire, you can hear the bullets soaring through the air. When characters walk across grass, you can hear their boots stomping. When a drone flies overhead, you can hear it move from one ear to the other. All of that really helped build the visuals of the series, even without there being any actual visuals.
I think the writing was also a big part of how listeners will experience the world of The Writer. It’s simple, direct, and easy to follow, and so far, people have really connected with it. The main character is also a bit of a dry, sarcastic joker, which adds some warmth and personality to the more dramatic moments.
What do you hope people take away from The Writer once they’ve finished listening? And have there been any reactions that have surprised you?
So far, the general consensus seems to be that people want to know what happens next. I’m really glad to see that the story is connecting with the small but growing audience we’ve built so far.
As for what I hope listeners take away from the series, I hope it leaves them with a little bit of hope. Life is beautiful, and many of us, especially those who have the time to sit down and listen to a podcast, aren’t living on the frontlines of a war. Lately, that’s something I’ve found myself feeling more grateful for.
At the same time, the world isn’t perfect, and war is still very much a part of modern society. I want the series to reflect that reality as well. In a lot of ways, The Writer is about appreciating the beauty of life while still acknowledging the darker parts of the world we live in.
Finally, are there any other stories you have a burning desire to bring to audio?!
So many! I’ve got about three other series I’d love to produce one day with a full cast and immersive sound design. A kids' series in the vein of Pokémon would be a lot of fun. I also have a drama and a fantasy story that I think would translate really well to the audio format.
Alas, one thing at a time.
Right now, my main focus is The Writer Season 2 and a full cast re-release of Season 1. Once those are out in the world, I’ll have a lot more room to start thinking about what comes next.
