Third Coast Audio Library :: Conference Sessions: Recent Episodes
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Dive into scores of Third Coast Conference sessions offering wisdom - on everything from production skills to journalistic ethics - from the best makers on the planet.
At the 2019 Third Coast Conference, Johanna Zorn took the stage to share her experiences and her lifelong love of radio.
Year: 2020
On the first night of the 2019 Third Coast Conference, all 800+ attendees gathered for a series of short, provocative talks.
Year: 2020
Featuring electrifying acceptance speeches from all the winning producers of the 2019 TC/RHDF Competition.
Year: 2020
Swirling beneath every single one of this year’s breaking stories and major crises is work and labor: not only of the people in the headlines, but of the audio storytellers, ourselves.
Year: 2020
What does truth look like when everything around us seems to hold the strange gasps of fiction?
Year: 2020
Data has power but also serves power, which means it can be profoundly hard to navigate and understand.
Year: 2020
Most people can recount the facts of their situation, but how do you get them to tell you an actual story? Interviewing for narrative calls for a slightly different set of interview muscles – from the kinds of questions you ask, to helping a source tap into details and emotion of moments long past.
Year: 2020
Sex sells, sure, but who gets to cash in on it? How can journalists honestly and accurately cover sex workers without sensationalizing or further stigmatizing their work? And can the answers provide meaningful & challenging insights for audio producers specifically who make stories about communities they are not a part of?
Year: 2020
Hosted by AIR (Association of Independents in Radio), this session pulls back the curtain on one of the most difficult and important skills every producer has to tackle: how to pitch.
Year: 2020
The audio industry is changing -- and your role as a leader might well be changing with it. Making the transition from reporter to editor, from producer to executive producer, or from player to coach isn’t always easy.
Year: 2020
Hurricane Maria. The Pulse Nightclub massacre. Charlottesville. Philando Castile. Uproar over racism at the University of Missouri. Adrián Florido (Code Switch) has spent much of his time at NPR reporting on the aftermath of traumatic events in communities of color.
Year: 2020
What does it feel like when artists challenge conventional radio and allow their lived experiences to inform their work?
Year: 2020
We’ve all heard the old adage: Everyone needs an editor. Whether you’re working in print, film, or narrative audio — you need someone to check for structure, make sure you’re meeting deadlines, and generally help get the story to the finish line.
Year: 2020
You know about reading between the lines, right? Well good sound design can make you dance between the lines. And when you’re talking about big, uncomfortable ideas — sound can be a super powerful tool to have on hand.
Year: 2020
A bonafide Third Coast tradition, this session - hosted by AIR (Association of Independents in Radio) - pulls back the curtain on one of the most difficult and important skills every producer needs to master: how to pitch...
Year: 2019
Individual podcasters working with slim budgets and strained resources share how they create their best work while trying to grow audiences and raise money, often while holding down another full time job...
Year: 2018
Podcasting has shaken up the way public media reporters & journalists tell stories - in some deeply exciting and innovative ways!
Year: 2020
Join us on the opening night of Third Coast for Late Night Provocations: a series of short talks from producers who hope to dare and ignite.
Year: 2020
How can audio storytelling translate to — and interact with — media like photography and print, and platforms like public installations and live events? And how to conceive and develop such projects?
Year: 2020
In June of 2018, ProPublica released a piece of audio that would come to define one of the most critical news stories of the year: the separation and detention of families seeking asylum at the U.S. - Mexico border.
Year: 2020
True crime podcasts are everywhere, and many listeners love a good who dunnit. But is it possible to capitalize on the popularity of this genre, and move beyond the mystery to provide a deeper understanding of the causes behind injustice?
Year: 2020
Using found reels of an old wire recorder from the 1950's, interdisciplinary artist Alison S. M. Kobayashi created her performance piece, "Say Something Bunny!" heralded by the New York Times as “forthrightly funny and briefly pornographic, it is also sneakily moving."
Year: 2020
So you’ve been researching a project and you’ve got all these text documents: old interview transcripts that predate recording technology. Letters found in a box. Court records. Emails.
Year: 2020
A bonafide Third Coast tradition, this session - hosted by AIR (Association of Independents in Radio) - pulls back the curtain on one of the most difficult and important skills every producer needs to master: how to pitch...
Year: 2019
Just as our eyes work together to create a sense of depth perception, so too do our ears....
Year: 2020
What does it mean for a podcast or radio story to be “innovative” or “experimental”? Is it in the writing? The structure? The use of sound?
Year: 2020
Are you a reporter with the soul of a documentary-maker? Take a deep dive into a place or issue with immersive reporting...
Year: 2020
Come hang with journalists Leila Day and Hana Baba, co-hosts of The Stoop Podcast: stories from across the Black diaspora....
Year: 2020
Kaitlin Prest, audio artist, radiophile, creator of The Heart with Radiotopia and The Shadows with CBC, talks about what has inspired her to push the boundaries of audio making...
Year: 2020
Individual podcasters working with slim budgets and strained resources share how they create their best work while trying to grow audiences and raise money, often while holding down another full time job...
Year: 2020
Building a radio story often means hours (Dozens? Hundreds?) of tape, reams of written notes, photos, links, and research... It is very easy to get lost in this mountain of material — unsure of what or even where your best stuff is.
Year: 2020
We make stories for the ear, but there’s no escaping the highly visual nature of the work we produce...
Year: 2020
Two moments are colliding: An oppressive politics of hate and repression, and a boom in narrative storytelling. So how do we use one to confront the other?
Year: 2020
A bonafide Third Coast tradition, this session pulls back the curtain on one of the most difficult and important skills every producer needs to master: how to pitch...
Year: 2017
Producers:
- Leila Day
- Shereen Marisol Meraji
- Millie Jefferson
- Sruthi Pinnamaneni
Sound artist and designer Stephan Moore demonstrates his approach to sound design.
Year: 2017
The Daily podcast has brought rich sound production and narrative storytelling together with daily news and New York Times journalism.
Year: 2017
Often, the first question a show or editor will ask you when you pitch them an amazing story is whether your subject is "a good talker."
Year: 2017
We're living through a profoundly unsettled time, both politically and culturally, and a lot of journalists are asking, "how exactly did we get... here?"
Year: 2017
After a lifetime in the system, Noel Anaya got unprecedented permission from family court to record the hearing where he’d age out of foster care--and worked with Youth Radio to, in his words, “blow it up on NPR.”
Year: 2017
A bonafide Third Coast tradition, this session pulls back the curtain on one of the most difficult and important skills every producer needs to master: how to pitch...
Year: 2017
Madeleine Baran and Samara Freemark of In the Dark, love the intimacy of radio and the power it has to transport us into other people’s lives...
Year: 2017
Imagine opening your work to the possibilities of drama and fiction that can bring a rich, more expansive story to life.
Year: 2017
You'd like to turn the mic on yourself to share your most personal story, but how do you ensure others will want to listen...
Year: NA
There’s an old journalism adage that says “if your mother says she loves you, check it out.” This American Life’s Christopher Swetala is the fact-checker who calls her to ask, and then let’s you know if it’s true… or not.
Year: 2017
Great tracking is the difference between a piece that immediately moves you and one you immediately forget.
Year: 2017
In June of 2017, Third Coast hosted a frank discussion about what it takes to make it in today’s podcast landscape, featuring: Jenna Weiss-Berman (Pineapple Street Media), Alex Blumberg (Gimlet Media), N’Jeri Eaton (NPR) and Julie Shapiro (Radiotopia).
Year: 2017
A bonafide Third Coast tradition, this session pulls back the curtain on one of the most difficult and important skills every producer needs to master: how to pitch a story.
Year: 2016
From the 2016 Third Coast Conference... celebrated author, filmmaker and radio journalist Alex Kotlowitz talks about the power of a finely crafted intimate narrative.
Year: 2016
You’re sent to cover breaking news – a natural disaster or a large-scale accident or crime. You don’t have much time, or much warning. How do you bring back sound-rich, interesting tape, that makes listeners perk up their ears?
Year: 2016
In this session, Nikole Hannah-Jones (The New York Times) and Chana Joffe-Walt (This American Life) talk about how to build a story structure that will make listeners care about even the most familiar, entrenched social problems.
Year: 2016
For some people, making great radio is easy. Ben Calhoun has no idea what those people are talking about! For him, making radio is hard, beset by self-doubt -- and he finds it’s often easy to get stuck.
Year: 2016
In this session for editors - or anyone who wants to help someone else shape a story – Gimlet Media’s Jorge Just explores the delicate art of making good things better.
Year: 2016
It’s becoming more common for podcast producers to work with composers to create an original soundtrack. At this session, producer Michael May and composer/producer Nick DePrey share their techniques for bringing a piece to life with music and sound design.
Year: 2016
With the ink on the ballots still wet, Third Coast dives into the past year of political reporting. How were journalists most - and least - successful covering the presidential election and its voters? And: where do we go from here?
Year: 2016
A bonafide Third Coast tradition, this session pulls back the curtain on one of the most difficult and important skills every producer needs to master: how to pitch a story.
Year: 2016
Danish-based producer Tim Hinman, of the podcast Third Ear, finds inspiration for his exquisite sound design at the movies, and in this session he shares how it’s done.
Year: 2016
The world of podcasting has become a crowded one. With a bevy of competing styles and purviews, having a unique voice is an increasingly valuable commodity... both artistically and financially.
Year: 2016
Can a documentary make you dance? Turn you on? Make you jump in fear? We get under the skin of documentary's visceral possibilities, exploring how we edit to impact the listener's body as much as their mind.
Year: 2016
Audie Cornish and Sean Cole came up in radio together — smoking on the front steps of WBUR in Boston, puzzling over stories. Now Audie is a co-host of NPR's All Things Considered and Sean is a producer at This American Life .
Year: 2016
What separates a “good” program from a “great” program is often the clarity of its vision: what is the show and who is it trying to speak to?
Year: 2016
You don’t want your audience to listen half-heartedly – you want them to be so deeply engaged, they’re a little surprised when they bump down to earth at the end.
Year: 2016
Reveal producers Ike Sriskandarajah and Laura Starecheski will show you how they create gripping radio out of stacks of documents and endless columns of numbers.
Year: 2016
A session about the joy and fear of pursuing stories without any idea of how they're going to succeed, or if they're going to succeed at all.
Year: 2016
How do you take your storytelling instincts and translate them into the land of photography?
Year: 2014
Al Letson brings our first Conference day to a close with an audio night cap.
Year: 2014
NPR reporter Alix Spiegel incites a riot among audio producers... in praise of stealing others' storytelling techniques and adapting them to create a style of one's very own.
Year: 2014
More than ever you can own your podcast - make it, distribute it, sell it. How is it done?
Year: 2014
Brendan Baker and Kaitlin Prest pull back the curtain on the alchemical process of combining stories and sound.
Year: 2014
Founding producer of This American Life Nancy Updike on the inspiration she finds in the power of vice, foible and inappropriateness on radio, podcasts, TV and in books.
Year: 2014
A bonafide Third Coast tradition! The second installment of this session once again pulls back the curtain on one of the most difficult and important skills every producer needs to master: pitching a story.
Year: 2014
Inspired by a Lego time machine her son built, Iceland-based independent producer Rikke Houd created a tool to help producers take advantage of the vast space radio offers.
Year: 2014
Learn how sharing the mic and megaphone can expand your beat, your stories, and your craft.
Year: 2014
A bonafide Third Coast tradition! This session pulls back the curtain on one of the most difficult and important skills every producer needs to master: pitching a story.
Year: 2014
There's a slip of paper hanging in Dave Isay's office at StoryCorps with a quote scrawled across it: "A good craftsman leaves no traces."
Year: 2014
When done well, investigative radio stories have the power to change the world.
Year: 2014
More than ever you can own your podcast - make it, distribute it, sell it. How is it done?
Year: 2014
Smartphones and other gadgets have detached our listening experiences from the radio, and are making another kind of attachment possible - to where the stories actually take place.
Year: 2012
Independent producers have always had to fend for themselves, but today the building blocks for independent success - creating great work, reaching real audiences, making money, controlling your destiny - are falling into place in new ways.
Year: 2012
Independent producers have always had to fend for themselves, but today the building blocks for independent success - creating great work, reaching real audiences, making money, controlling your destiny - are falling into place in new ways.
Year: 2012
Now a bonafide Third Coast tradition... this session pulls back the curtain on one of the most difficult and important skills every producer needs to master: pitching a story.
Year: 2012
Now a bonafide Third Coast tradition... this session pulls back the curtain on one of the most difficult and important skills every producer needs to master: pitching a story.
Year: 2012
When radio producers and photographers team up on multimedia projects, it can often feel as if they come from different planets.
Year: 2012
(aka: State of the Re:Union's Secret Recipe for Serious Place-based Storytelling... in Practically No Time!)
Year: 2012
Imagine reporting in a culture that speaks a language your listeners don't understand, and covering issues your listeners don't totally care about - all in a country that doesn't even want you there in the first place.
Year: 2012
Kickstarter is the world's largest funding platform for creative projects. Art program director Stephanie Pereira gives a primer on how to bring an audio-centric Kickstarter project to life.
Year: 2012
Okay. So you don't have months to craft a perfect story. You have hours. But don't throw away everything you've learned at Third Coast just because you're on a tight deadline.
Year: 2012
Producers:
- Robert Smith
Our digital age has catalyzed a kind of chemical reaction: the fission of radio into two related but distinct media, Audio and Radio.
Year: 2012
Over the past year, we've seen several major scandals cutting to the heart of journalistic and documentary ethics.
Year: 2012
In early 2012, Third Coast teamed up with the neighborhood-centric website EveryBlock, and issued a wide-open invitation to make radio.
Year: 2012
Drawing from radio and beyond, Jad Abumrad shared the stories, sounds, people and projects that have most inspired him over the years, and talked about some of the creative challenges he's faced (and embraced) along the way.
Year: 2012
Ira Glass brought the first day of the 2012 Third Coast Conference to a close with an audio night cap, by sharing his favorite moments from the year's Third Coast winners and other stories.
Year: 2012
To mark ten amazing years of celebrating sound and story, we're closing out this year's Conference with something a little different - a special conversation about inspiration, collaboration, creativity, and storytelling that will leave your ears ringing... in a good way.
Year: 2010
Is it true? Are photographers secretly laughing at the multimedia efforts of audio producers?
Year: 2010
This session pulls back the curtain on one of the most difficult and important skills every producer needs to master: pitching a story.
Year: 2010
New developments in both hard and software are making audio production much more affordable, flexible, and convenient.
Year: 2010
Strong local radio doesn't emerge from a moment of inspiration; it's the product of repetition, experimentation, even failure. It's about habit.
Year: 2010
Producing great audio experiences becomes challenging in entirely new ways when you go beyond the stereo field, and add the dimension of actual physical space (say, a person with an iPod in Central Park.)
Year: 2010
You've pitched your story; you've collected tape; you've gone through your edits; you're ready to track.
Year: 2010
News correspondent Jamie Tarabay spent much of the past decade reporting from some of the world's most high-profile conflict zones, including two years as NPR's Baghdad bureau chief.
Year: 2010
Back in 2009, one German documentary won both of Europe's most coveted radio prizes – the Prix Italia and the Prix Europa.
Year: 2010
In early 2010, the Third Coast teamed up with the incomparable pop / indie / experiemental band The Books, and issued an open invitation to make radio.
Year: 2010
This session pulls back the curtain on one of the most difficult and important skills every producer needs to master: pitching a story.
Year: 2010
In times of crisis the impact of radio coverage on peoples' lives is easy to assess. But day in and day out, how does radio touch the communities or subjects it portrays, and the audience it reaches?
Year: 2001
This panel, moderated by Melissa Giraud, brings together two producers (Jay Allison and Elizabeth Meister) who were among the first in public radio and audio production to bring their innovation to the Internet, for a conversation about translating radio stories onto the Web and creating new art forms altogether.
Year: 2001
Who's talking to the next generation of public radio listeners? This session, moderated by Ellin O'Leary, turns the mic over to some of the young producers who are busy expanding the audio documentary form by bringing energy and fresh ideas to the world of radio.
Year: 2001
Do it yourself! This session is geared toward non-professionals and young people who want to learn more about telling stories for radio.
Year: 2001
Producing "outside the box" is a challenge to the formulaic landscape of public radio, whether you're producing a sound art parody or poetic essay or a show bent on surprising its listeners.
Year: 2001
David Isay and Dan Collison play excerpts of their radio documentary work and discuss specific challenges, triumphs, and surprises encountered while producing various stories.
Year: 2001
Alan Hall focuses on radio's capacity to evoke a sense of place that exists uniquely in a non-visual, linear dimension.
Year: 2001
Radio is an excellent medium for investigative reporting, so why do we hear so little of it on the air?
Year: 2001
The Kitchen Sisters skillfully lead this panel about creative and unusual approaches and techniques for producing compelling radio stories, including what can be learned from other media, like television and film.
Year: 2001
What does it take to get your work on the national airwaves? Representatives from NPR, PRI, and the Public Radio Exchange, with the assistance of moderator Julia McEvoy, explain how to get work on national programs and how to distribute stand-alone specials and series.
Year: 2002
The three legs of the tripod of radio —- voice, text, and sound -— are interdependent, and all contribute to the "voice" of any radio piece. Independent producer Karen Michel presents work that demonstrates different styles of voice and discusses what makes each one unique.
Year: 2002
With a little savvy and practice, magic can happen between two people and a microphone. Taki Telonidis and Hal Cannon outline the basic elements of conducting an interview, both in technical and human terms, by playing great examples and bringing in the wisdom of master interviewers on public radio.
Year: 2002
Music and sound bring layers of meaning to your work. Incorporating them most effectively starts with looking for the movement and metaphor in your materials. Using examples from her own features, Sherre DeLys presents different approaches to integrated sound design.
Year: 2002
Ira Glass plays and talks about radio and print journalism that has inspired him, including some surprising 1970s-era NPR documentaries which may be long forgotten by most.
Year: 2002
Longtime proponent of radio as a fluid and flexible medium, Gregory Whitehead plays a variety of work from around the world and gives a philosophical and pragmatic talk on the role of imaginative radio in an increasingly congested media landscape.
Year: 2002
Jay Allison leads a discussion about the ways in which documentarians must be skilled in the art of trespassing...
Year: 2002
The radio "feature" is a long-standing tradition of European broadcasting, a format with a style all its own. Kaye Mortley, an independent producer based in France, describes the feature this way: "These pieces are mind movies -- road movies sculpted out of reality.
Year: 2002
Diamonds are made under pressure! For this session, Priya Ramu and Steve Wadhams from the Canadian Broadcasting Corporation present their advice on how to make daily radio that shines and delights.
Year: 2002
So, you've got your assignment. You've done your research, you've collected your tape, and now it's time (oh god) to write. In this panel discussion, moderated by Robert Krulwich, we examine the Everest and K-2 of story telling: How to Begin and (assuming you can get past that one) How to End.
Year: 2002
Their work comes from the heart and gives us a glimpse into the most enigmatic of worlds: teenagehood. Listen in as young producers from around the country present their work and talk about how they're making radio relevant for a new generation.
Year: 2003
Their work comes from the heart and gives us a glimpse into the most enigmatic of worlds: teenagehood. Listen in as young producers from around the country present their work and talk about how they're making radio relevant for a new generation.
Year: 2003
After a long day of taping in the field, have you ever felt that you failed to capture the true essence of your location?
Year: 2003
It's not always easy to put aside the culturally-formed listening patterns we take for granted and hear radio in fresh ways.
Year: 2003
Creative sound projects are increasingly blurring the lines between radio, audio documentary, sound art, and music.
Year: 2003
Arthur Godfrey had it. So did Bob and Ray. And Ken Nordine has it, too. "It": the magical quality that makes you feel they're talking to you and you alone.
Year: 2003
Sound editor Walter Murch (The Godfather, Apocalypse Now, The English Patient), sound designer Randy Thom (The Right Stuff, The Thin Blue Line), and radio artist Joe Frank deconstruct excerpts from their work...
Year: 2003
No one likes to make mistakes, but the difference between you (brilliant producer) and the guy next to you (average producer) is in learning how to use those mistakes to your advantage.
Year: 2003
How do documentary producers and artists address the most common issues in the news and shed new light on them?
Year: 2003
Narrative deceptions, perverse fictions, audio portraiture: this conversation between feature-makers Natalie Kestecher and Susan Stone explores the interplay of story, character, and music, as well as the delights of creative ambiguity and communication in Kestecher's luminous, protean work.
Year: 2003
In 2003 the TCF introduced our "ShortDocs", by inviting producersto submit written proposals for radio stories (five to seven minutes in length) about a single topic - 'thirst'.
Year: 2003
When facts cannot plumb the depths, shall we lie? In this session, producers listen to and discuss radio documentaries that use fiction and dramatic elements to get to the truth.
Year: 2004
Most producers and reporters spend their days "feeding the machine" -- cranking out short-form work on a daily, sometimes hourly deadline, with no time for second guesses. However, a lot of news coverage is formulaic and, frankly, dull.
Year: 2004
Matt Hulse presents short audio works by a diverse range of inventive audio artists and filmmakers, created specifically for "a darkened cinema."
Year: 2004
It's common enough to learn about youth culture through the observations of experts and adults, but so much more intriguing to hear it straight from the hearts and minds of the teenagers navigating through their own worlds.
Year: 2004
It's common enough to learn about youth culture through the observations of experts and adults, but so much more intriguing to hear it straight from the hearts and minds of the teenagers navigating through their own worlds.
Year: 2004
Jacki Lyden has been an NPR contributor and host for more than two decades, reporting on vital issues at home and abroad and winning numerous awards for her work.
Year: 2004
Producers and long-time friends Whitney Dow and Marco Williams (Two Tone Productions) discuss the making of their film Two Towns of Jasper, a documentary about the racially motivated murder of James Byrd, who in 1998 was dragged to his death after being beaten then chained to the back of a pick-up truck in Jasper, Texas.
Year: 2004
Producers come to editors with their tape, a vision, and a piece in various stages of completion. Editors bring their skills, a fresh set of ears, a fat red pen, and often the mandate of an established show format.
Year: 2004
David Isay and Alex Kotlowitz both try to discover extraordinary stories in "ordinary people."
Year: 2004
Do metaphors inherently deepen a story? Can using metaphors be more effective than revealing direct facts and information about a subject?
Year: 2004
For the 2004 ShortDocs Challenge, we asked producers to submit ideas for stories about "darkness."
Year: 2004
Washington Post reporter Anne Hull shares her thoughts about how to capture an environment that reveals the world of a particular subject to your audience: by paying attention to detail and hopefully avoiding familiar cliches.
Year: 2005
Join podcast pioneers and radio producers Benjamen Walker and Tod Maffin to discover how podcasting, in less than one year, changed broadcasting forever.
Year: 2005
When David Kestenbaum tells people he covers science for NPR, they often say something like "it must be hard explaining such complicated ideas in such a short amount of time!" Well, it is.
Year: 2005
Radio makers have many techniques at their disposal for crafting each story they tell, including one in particular that gets used and abused more than any other: scoring.
Year: 2005
Teenagers are making some of the most engaging radio out there! Their refreshing perspectives and creative techniques are lighting up the radio and signaling good things for the future sound of the airwaves.
Year: 2005
This session is: 1) A brief survey of field recording by that and other names, with an emphasis on non-pragmatic applications of recording technology such as musique concrete (last century) and phonography (this one);
Year: 2005
Susan Stamberg, who figures she's conducted some 30,000 interviews in her brief career, plays examples of smart, dumb, informed, innocent, and baggage-laden questions, and discusses how to decide when each is appropriate.
Year: 2005
Radio transmissions are heard all over the world, from the largest urban centers to the smallest mountain villages. But what defines radio from a particular place, and what makes it different than radio from elsewhere?
Year: 2005
Most of us use our voices in our work, but finding our "Voice" is an often overlooked part of our creative development. Hear what professionals from a variety of different fields have to say about this elusive aspect of our craft.
Year: 2005
What makes one story pitch so irresistible it's a "yes" halfway through... and the next doomed for rejection?
Year: 2005
For the 2005 ShortDocs Challenge, we asked producers to submit ideas for stories about "games."
Year: 2005
How can a producer prepare to make radio stories about distant lands and the people who live there, and why tell those stories anyway?
Year: 2006
Youth producers are creating some of the most revealing and moving work on the radio these days, and we've curated a collection of gems for you.
Year: 2006
The voice of the storyteller is often overlooked but it's a vital part of making great radio. Marilyn Pittman shows you how to make your narration tracks authentic and compelling with her many tips and techniques.
Year: 2006
Millions of bloggers write every day about their own towns, industries, and lives. As a radio producer you can work with a nation -- a world – of storytellers to find out about everything from French politics to knitting habits in Iowa.
Year: 2006
Kenneth Goldsmith explores the audio interstices between sound art, found sound, and the full gamut of noises that humans make.
Year: 2006
Kari Hesthamar demonstrates the distinctive sound of Norwegian radio features by playing and talking about some of the most important elements of her own work -- creating small films for listeners' ears, capturing the true essence of a scene, and producing stories that come alive through the use of the present tense.
Year: 2006
Nearly 68,000 foundations in the U.S. together give away more than $30 billion per year. So how can you get some of it?
Year: 2006
So you're a great writer, and you've pretty much got interviewing down, but something's just... missing. Sound. The sounds we use and how we use them can say so much in a radio story, but often that potential goes untapped.
Year: 2006
This session explores "found narration" - archival tape, interviews, audio diary entries - and sound that can all be used to perform the job of the narrator. What do you gain and what do you give up when you throw away the script?
Year: 2006
Do your own radio scripts ever bore you? Or frustrate, confuse, and deflate you?
Year: 2006
Attention new producers! Before heading out into the world with headphones on and mic facing forward, what do you need to know? Here's where you find out.
Year: 2006
Producers:
- Rob Rosenthal
What inspires those who inspire us? Robert Krulwich reveals a few especially memorable pieces, presenting a sampler of radio stories that he adores, has learned from, and wants to share.
Year: 2006
Producers:
- Robert Krulwich
For the 2006 ShortDocs Challenge, the Third Coast was inspired by and collaborated with cartoonist and illustrator Matt Madden.
Year: 2006
Producers:
- Carma Jolly
- Jill Dorothy Summers
- Julie Shapiro
- Matt Madden
- Sasha Aslanian
- Zoe Irvine
Let's face it: you're funny and cunning and smart and insightful; disarming, direct, and hopelessly attractive. Why not give the people what they want -- more you! Sure you're not what the story is about.
Year: 2007
It's hard enough to pitch a story to a public radio show -- are you willing to risk rejection from a whole new set of people? Daniel Sternberg talks about taking all of your talents, training, and neuroses and applying them to the world of podcasting.
Year: 2007
The best "real time" radio sounds live and spontaneous, but requires forethought and structure. This session focuses on how to do "stand up" in the field -- what works and what doesn't.
Year: 2007
In certain radio stories, sounds exist only in the mind of the storyteller and can't be physically recorded -- like dreams, memories, and predictions. How do you create a soundscape that brings "the sounds inside" to life?
Year: 2007
In a time when commercial interests continue to stake a claim to audiences' attentions on the Internet, artists continue to explore the narrowcast as a vehicle for simultaneously cultivating an audience and developing a body of work.
Year: 2007
Everyone's telling their story these days –- in blogs, podcasts, on YouTube. But what makes one story a yawn or self-indulgent and another one compelling? How do you tell a personal story as a radio documentary?
Year: 2007
Listen in as teen producers from around the country present a survey of their work, with bonus features: the sounds they love to listen to, with commentary on why, and tape that didn't make the final cut in production, with commentary on why not.
Year: 2007
Listen in as teen producers from around the country present a survey of their work, with bonus features: the sounds they love to listen to, with commentary on why, and tape that didn't make the final cut in production, with commentary on why not.
Year: 2007
A well-crafted scene, heard on the radio, opens a window onto a new world and allows the listener to fly right in. Claire Schoen explores the process of creating scenes -- showing real people living their lives -- for an audio documentary.
Year: 2007
Beyond being atmospheric and scene setting, music can play an active role in audio pieces. David Greenberger has worked with a wide range of musicians and composers for his radio monologues, which are adapted from conversations he has with the elderly.
Year: 2007
In collaboration with the Association of Independents in Radio (AIR), this session addresses how to successfully pitch radio stories and series ideas to stations, networks, and other acquirers of independent work.
Year: 2007
In collaboration with the Association of Independents in Radio (AIR), this session addresses how to successfully pitch radio stories and series ideas to stations, networks, and other acquirers of independent work.
Year: 2007
Flying across the last 50 years of international feature production is like looking out of an aircraft at night. Looking down you see the illuminated cities, the many shining villages, but far more than everything else you see the sparkling spots of individual talent.
Year: 2007
The established elements of Feature productions have been words, music, actualities, and effects.
Year: 2007
Documenting somebody else's life is one of the hardest challenges producers face in their work. Over an extended period of time relationships intensify, stories often change drastically, and the line between personal and too personal blurs easily.
Year: 2007
Documenting somebody else's life is one of the hardest challenges producers face in their work. Over an extended period of time relationships intensify, stories often change drastically, and the line between personal and too personal blurs easily.
Year: 2007
What inspires those who inspire us? Seasoned producer Jay Allison shares work that inspired him a long time ago and inspires him today, work that contains a healthy measure of invention and play -- key ingredients of creativity, even in a serious world.
Year: 2007
For the 2007 ShortDocs Challenge, the Third Coast was inspired by and collaborated with the Dollar Store Show - a regular reading and performance series in Chicago.
Year: 2007
Perfect your pitching skills and present your ideas to program producers and editors — or just listen in — as AIR (Association for Independents in Radio) pulls back the curtain to let us in on how stories make it to the airwaves.
Year: 2008
Perfect your pitching skills and present your ideas to program producers and editors - or just listen in - as AIR (Association for Independents in Radio) pulls back the curtain to let us in on how stories make it to the airwaves.
Year: 2008
From CF and SD memory cards back to 24-track - with stops for MD, DAT, and cassette - Noah Adams rambles through 30 years of radio production, playing the stories that inspired his own work and that of countless others.
Year: 2008
Greg Allen, the creator of Too Much Light Makes the Baby Go Blind -- the show which has spawned nearly 10,000 short plays -- conducts a workshop on generating new material, exploring new forms, and beating writer's block.
Year: 2008
Some respond to praise, others to badgering, some the frontal assault, others when you sneak up from behind. Brooke Gladstone offers a few interrogation tips (and some audio examples) on how to get your guests to crack and make them like it.
Year: 2008
Art forms such as film, literature and even TV, generate rich bodies of critcal writing that push the boundaries of what creators do and why, and gives audiences new ways to appreciate the work.
Year: 2008
Fifty years ago, folksingers Ewan MacColl and Peggy Seeger collaborated with BBC Radio producer Charles Parker to create an amazing body of work - the Radio Ballads.
Year: 2008
A bad editor is a curse. Having a good editor is a blessing but can often be a luxury. Deborah George explains how to work effectively with the editor you've been dealt and how to be your own editor if you don't have one.
Year: 2008
Microphones cannot capture situations as they are percieved. A car crash on tape lacks everything that the experience of an accident amounts to: the surprise, the holding of breath, the shock, the sadness.
Year: 2008
All around the country college students are asking for and receiving new courses that teach audio production. They're intent on finishing college with multi-media skills, and, lucky for us, they want to help shape the future of documentary audio.
Year: 2008
All around the country college students are asking for and receiving new courses that teach audio production. They're intent on finishing college with multi-media skills, and, lucky for us, they want to help shape the future of documentary audio.
Year: 2008
Common sense dictates that a good radio story should start with a firm sense of what the story is. But what if you only have the vaguest sense of the story -- whether it's a scenario, or an idea, or even a joke you'd like to tell?
Year: 2008
Alessandro Bosetti talks of the tremors felt while approaching somebody else's life with a microphone in-hand, when fears of exploitation combine with implacable curiosity and the possibility that neither you nor your interviewee will understand each other's intentions.
Year: 2008
Ever wonder what inspires, obsesses and ignites the Kitchen Sisters? Find out during this hour-plus showcase of audio (and other less-evolved art forms) culled from their accidental archive and the stirring work of others.
Year: 2008
Andrey Allakhverdov, from the Foundation for Independent Radio Broadcasting (based in Russia), talks about what the FNR is up to over in Moscow, and introduces the timezone-bending modern-day audio legend Lenin's Ears.
Year: 2008
For the 2008 TCF ShortDocs Challenge, the TCF joined forces with the Prelinger Library, a one-of-a-kind collection of books, periodicals, and more, running the gamut from the concrete and tangible to the abstract and etherized.
Year: 2008