{"id":2416,"date":"2023-04-19T12:00:30","date_gmt":"2023-04-19T12:00:30","guid":{"rendered":"https:\/\/niemanstoryboard.org\/2023\/04\/19\/narrative-podcasts-audio-storytelling\/"},"modified":"2025-02-14T18:15:48","modified_gmt":"2025-02-14T18:15:48","slug":"narrative-podcasts-audio-storytelling","status":"publish","type":"post","link":"https:\/\/niemanstoryboard.org\/2023\/04\/19\/narrative-podcasts-audio-storytelling\/","title":{"rendered":"A new best-of collection of audio storytelling honors narrative podcasting"},"content":{"rendered":" \n
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EDITOR\u2019S NOTE: A revival of the Storyboard series \u201cAudio Danger\u201d<\/a> updates the craft of narrative podcasts and introduces a new best-of collection. This introductory post will be followed by four posts that analyze outstanding podcasts and interview the journalists who made them.<\/em><\/p>\n\n <\/div>\n <\/div>\n \n

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More than a decade ago, Nieman Storyboard started publishing an occasional column called \u201cAudio Danger<\/a>.\u201d Here\u2019s how it began:<\/p>\n\n <\/div>\n <\/div>\n \n

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Writers and video producers live in dread of the wandering eye. Audio producers live for it. That\u2019s what makes us, in our secret hearts, troublemakers. We want you to lose sight of everything in front of your face: to stare through that dish in your hand, ignore your children, drop into a glazed-over trance of our making. Maybe don\u2019t drive off the road, but please do miss a few exits or get stuck in your car<\/a>. Good audio should be dangerous that way.<\/p>\n\n <\/div>\n <\/div>\n<\/blockquote>\n\n <\/div>\n <\/div>\n \n

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When I wrote that, I was a freelancer, struggling to find full-time work after getting laid off as a public radio editor in the recession of 2008-09. The type of audio stories I wanted to tell Storyboard readers about were the type that almost no one was paying for: documentaries, narrative audio essays, weird one-offs. There was some wavering hope on the horizon: Back in 2005, the New Oxford American Dictionary chose \u201cpodcast<\/a>\u201d as its word of the year. By 2012, Edison Research\u2019s Infinite Dial<\/a> survey of digital media users found that \u201cnearly half of Americans are familiar with the term \u2018podcasting.\u2019\u201d<\/p>\n\n <\/div>\n <\/div>\n \n

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But podcasting, when I started the Audio Danger series, was mostly an unpaid hobby. You could take creative risks with it, free from the constraints of broadcasting<\/a>, but that wasn\u2019t going to get you a job. When I wrote \u201cgood audio should be dangerous,\u201d I honestly didn\u2019t know if I was writing a love letter to the future of my profession, or its obituary.<\/p>\n\n <\/div>\n <\/div>\n \n

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Podcasting comes of age<\/h2>\n\n <\/div>\n <\/div>\n \n
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\"Julia
Julia Barton<\/figcaption><\/figure>\n\n <\/div>\n <\/div>\n<\/div> \n
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It turned out to be the former. These days, I\u2019m the executive editor of Pushkin Industries<\/a>, where I\u2019ve helped create narrative shows with the likes of nonfiction writers such as Malcolm Gladwell (\u201cRevisionist History<\/a>\u201d), Michael Lewis (\u201cAgainst the Rules<\/a>\u201d) and Jill Lepore (\u201cThe Last Archive<\/a>\u201d). I\u2019ve also had the privilege of editing some of our audiobook originals<\/a>, which have no print version and which unspool like long-form documentaries with interview or archival tape, scoring and sound design.<\/p>\n\n <\/div>\n <\/div>\n \n

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This is all to say, the decade-old Audio Danger series now feels like something of a time capsule from right before the podcast bubble<\/a> started to inflate. Audio producers, at least in the U.S., have been able to pivot from complaints about not having enough outlets for their work, to complaints about not making insane truckloads of money<\/a>. More importantly, listenership of spoken word audio continues to grow, expanding into formerly dormant forms of audio fiction, plot-driven genres such as true crime, comedy and opinion podcasts, and most astronomically, audiobooks, now one of the most profitable sectors of the publishing industry. The same Infinite Dial research that, 11 years ago, got us all excited about Americans knowing the word \u201cpodcast\u201d now shows<\/a> that 42 percent of American adults and teens have listened to a podcast in the past month, a new record.<\/p>\n\n <\/div>\n <\/div>\n \n

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The very thing that\u2019s supposed to make our work \u201ceasy\u201d \u2014 human speech \u2014 is what makes it very hard to do well.<\/p><\/blockquote><\/figure>\n\n <\/div>\n <\/div>\n \n

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But audio producers still face the same challenge: how to earn and keep a listener\u2019s attention. Whether we\u2019re trying to fit a feature into a three-minute hole in the broadcast clock or storyboarding a longform series, we ultimately come up against the same issue: how to unspool a story in a way that listeners can follow, often while their eyes are distracted by other things.<\/p>\n\n <\/div>\n <\/div>\n \n

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To meet that one central challenge, we have to put in the listening hours. We listen to raw tape, to the written narration that is supposed to tie it all together, to the notes from our colleagues, to the work of our mix engineers and so much more. Then every time we hear something that\u2019s not working, we need to fix it and listen again. It\u2019s time-consuming and expensive, as many of the new owners of podcast productions are finding out to their surprise.<\/p>\n\n <\/div>\n <\/div>\n \n

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That surprise \u2014 followed in due course by dismaying show cancellations<\/a> and layoffs<\/a> \u2014 is part of why I want to revive this column. Because unfortunately, a single wrong perception has only gotten worse with the mass-commercialization of audio: the perception that it\u2019s \u201cjust talking.\u201d<\/p>\n\n <\/div>\n <\/div>\n \n

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Creating the illusion of natural speech<\/h2>\n\n <\/div>\n <\/div>\n \n
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The term \u201cpodcast\u201d itself is part of the problem, since it can encompass everything from an uploaded voice-memo to unedited chat shows to a narrative series that takes years of reporting and producing. But the truth is, we all have a hard time categorizing that which we can\u2019t see. And most of us do think of speech as effortless; it\u2019s the ocean we swim in all day. Hence the dual fallacy that all forms of spoken-word audio are basically made the same way, and that they\u2019re just not that hard to produce.<\/p>\n\n <\/div>\n <\/div>\n \n

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The opposite is true, especially when it comes to narrative, story-driven audio reportage. It takes a team, including producers, editors and engineers, to craft the illusion of natural speech\u2019s flow<\/em> from interviews, archival tape and written narration. We\u2019re not swimming in the ocean of speech; we\u2019re desalinating it, purifying it, bottling the results and putting fancy artwork on the bottles. Because listeners notice right away if they hear the artifice in our stories and errors in our audio mixes. The very thing that\u2019s supposed to make our work \u201ceasy\u201d \u2014 human speech \u2014 is what makes it very hard to do well.<\/p>\n\n <\/div>\n <\/div>\n \n

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We\u2019re not swimming in the ocean of speech; we\u2019re desalinating it, purifying it, bottling the results and putting fancy artwork on the bottles.<\/p><\/blockquote><\/figure>\n\n <\/div>\n <\/div>\n \n

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That all sounds like a bummer. But it\u2019s overshadowed by the amount of great audio storytelling being made and listened to now. In the spirit of Audio Danger, we at Pushkin want to highlight audio stories that takes creative risks, that demonstrate solid craft, and that revel in the delight that only audio can deliver. So we\u2019re publishing an audiobook anthology called \u201cThe Best Audio Storytelling: 2022<\/a>.\u201d I curated nominations from Pushkin staff and others of outstanding (non-Pushkin) podcast episodes, broadcast reportage, experimental pieces and more from the last year. In the spirit of other print-based \u201cbest of\u201d collections, we want to use the audiobook form to break down some boundaries and show the wide range of English-language narrative audio our industry has produced in a single year. Before each entry in the collection, I narrate a short guide for listeners.<\/p>\n\n <\/div>\n <\/div>\n \n

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The audiobook collection rightly keeps its focus on the works themselves. Nieman Storyboard is the best place for a deep-dive into storytelling craft. And so I\u2019m bringing back \u201cAudio Danger\u201d to feature some of the incredible stories in this collection. You\u2019ll get a preview of some of the entries, and I\u2019ll ask the creators about challenges they faced and the story-making risks they decided to take.<\/p>\n\n <\/div>\n <\/div>\n \n

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The seeds of this collection were really planted here at Storyboard more than a decade ago. I\u2019m grateful for the chance to bring this column back. Our series starts just as \u201cThe Best Audio Storytelling\u201d is available and continues with installments over the next few weeks. Nothing would make me happier than for new listeners to find the work inside and sense, perhaps, just a hint of danger.<\/p>\n\n <\/div>\n <\/div>\n \n

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* * *<\/p>\n\n <\/div>\n <\/div>\n \n

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Julia Barton<\/strong> is the executive editor of Pushkin Industries, following a long career in public radio. She helped develop \u201cRevisionist History\u201d and \u201cAgainst the Rules,\u201d among other chart-topping shows.<\/em><\/p>\n\n <\/div>\n <\/div>\n","protected":false},"excerpt":{"rendered":"

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