As I mentioned in the closing credits of Big Business, I decided to use this particular story as the first podcast because it was easier on me from just about every standpoint: casting-wise (obviously), music, sound effects, and so on. It was quick, in other words. In fact, it was quick on all fronts, considering I wrote the story in the space of a day. Actually, it wouldn’t let me go to sleep. It woke me up around midnight one night, the silliness of it buzzing about in my head, and then every time I’d try to fall back asleep I’d have my arm mentally twisted, sending me to my desk at 1 a.m., 2 a.m., 3 a.m., like a literary cuckoo clock, jotting down more of it each time—and leaving my 9-to-5 employers not altogether happy with my work performance the next day.
Perhaps part of the reason this was one of the easiest stories for me to write was because some of its themes parallel a novel of mine—a far more serious tome—and it was probably all that pent-up “drama,” shall we say, from the novel that generated a psychological backlash (part of a yin–yang seesaw), which so quickly produced Big Business. I have a feeling other people, when dabbling in the creative, often face similar output swings—serious/comic/serious/comic. Perhaps it’s one of those little requirements of life that’s meant to keep us sane 
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MM
The Theater of the Midnight Sun
www.theaterofthemidnightsun.com
