{"id":831,"date":"2012-01-04T20:51:16","date_gmt":"2012-01-04T20:51:16","guid":{"rendered":"https:\/\/niemanstoryboard.org\/2012\/01\/04\/audio-danger-stories-from-the-edge-of-listening\/"},"modified":"2025-02-14T18:39:02","modified_gmt":"2025-02-14T18:39:02","slug":"audio-danger-stories-from-the-edge-of-listening","status":"publish","type":"post","link":"https:\/\/niemanstoryboard.org\/2012\/01\/04\/audio-danger-stories-from-the-edge-of-listening\/","title":{"rendered":"Audio danger: stories from the edge of listening"},"content":{"rendered":" \n
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\n [As part of our mission to look at storytelling in every medium, Storyboard is pleased to introduce Julia Barton, who will bring us several posts in 2012 focused on developments in and examples from the world of audio narratives. \u2013Ed.]<\/em>

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.

But it\u2019s very hard to accomplish, especially these days, when more and more audio comes to us via that distraction machine, the Web. Hence these posts. In the Storyboard spirit, I\u2019ll be talking with audio producers and editors about how they accomplish their best stories, what obstacles they\u2019ve overcome and the strategies they\u2019ve learned along the way. I should point out that conversations about audio craft have long been underway on sites like Transom<\/a> and airmedia.org<\/a>. And there\u2019s a great new podcast, \u201cHow Sound<\/a>,\u201d from longtime audio instructor Rob Rosenthal, who also interviews intrepid producers. In the posts I\u2019ll be doing for Storyboard, I\u2019ll simply be adding to (and sometimes echoing) all those worthy explorations.

\"\"I got my start in radio in 1995, while pursuing a master\u2019s degree in nonfiction writing at the University of Iowa. Doing airshifts at WSUI, the university\u2019s then-analog AM public radio station, was for me just an amusing side trip on the way to a blurry future in magazine writing. But then we started airing a new show, \u201cThis American Life<\/a>,\u201d at 6 a.m. on my Sunday shift. I had a huge list of things to do during that hour, but I kept forgetting about my impending newscast and listening to the radio<\/em> instead. The stories, at once mesmerizing and funny and surprising, actually endangered my work. So I had to start putting TAL on cassettes to hear later, like a portable, or pocket \u2013 or what\u2019s the word? \u2013 cast.

Since those days, I\u2019ve been a radio reporter, an editor, and contributor to such programs as PRI\u2019s \u201cStudio 360<\/a>\u201d and \u201cThe World<\/a>.\u201d Still, every time I sit down to craft a new audio feature, it feels almost as hard as the first time. Every piece is its own hellish puzzle.

That said, audio \u2013 especially broadcast radio \u2013 is a pretty conservative medium. Listeners appreciate familiarity and tend to punish experimentation (see below for one example). On the upside, I really don\u2019t have<\/em> to try anything new. On the downside: well, not to offend anyone, but there are plenty of places on the low FM band where, format wise, it remains 1979. That\u2019s fine for many; I don\u2019t want it to be fine for me.

So I sometimes go in search of the subtle shifts that amount to major trends in our hidebound world of audio storytelling. To that end, I talked with two people with their ears especially open: Julie Shapiro, the Artistic Director*\u00a0of the Third Coast International Audio Festival<\/a> (TCIAF) in Chicago, and Roman Mars, who was a judge for TCIAF\u2019s awards competition this year \u2013 and who produces a successful and innovative podcast of his own, \u201c99% Invisible<\/a>,\u201d about design. (Full disclosure: I\u2019ve edited Roman\u2019s work and also did a story<\/a> for him).

Hundreds of aspiring Next-Big-Thing audio producers submit their best work to TCIAF from around the world. When I asked Shapiro and Mars what trends they\u2019re hearing, most of their answers fell under one surprisingly simple category: the \u201cRadiolab\u201d\u00a0Effect. WNYC\u2019s \u201cRadiolab<\/a>,\u201d in case you haven\u2019t heard it, is an occasional broadcast and regular podcast about science, and it\u2019s as highly produced as anything on the radio. Most \u201cRadiolab\u201d stories are crafted from hundreds of hours of audio, a ratio that that\u2019s hard for even the most accomplished programs to pull off. Ira Glass recently confessed in Transom<\/a>, \u201cIf they could do an hour of this every week, I think I\u2019d have to quit radio.\u201d

So Shapiro and Mars aren\u2019t hearing a replication of of Radiolab\u2019s labor-intensive production values, but they are hearing another trademark of the show, its conversational style. You\u2019d think, since the talk radio format is mostly talk, that this would be a given. But radio evolved in the age of oratory, when a stentorian delivery helped pierce the broadcast static, and that\u2019s what listeners still expect.

In the age of HD and earbuds, though, producers are finding they can sound more like themselves. \u201cRadiolab\u201d co-hosts Jad Abumrad and Robert Krulwich break down complicated stories through a relaxed Socratic dialogue, an approach that\u2019s also been popularized by NPR\u2019s \u201cPlanet Money\u201d and APM\u2019s \u201cFreakonomics.\u201d

\u201cPeople are starting to recognize you can have fun and talk about interesting things as well,\u201d Shapiro says. Or as Mars puts it, \u201cIn America, we explain things a lot. So much that we need two people.\u201d

Shapiro and Mars also hear a big \u201cRadiolab\u201d\u00a0Effect in the deeper integration of music and storytelling, far beyond the musical scoring that\u2019s a hallmark of \u201cThis American Life.\u201d You can hear Jad Abumrad\u2019s Oberlin music composition degree in the show\u2019s use of original music to explain concepts (this segment<\/a> from the episode \u201cLoops\u201d is a good example). That technique is showing up in more TCIAF award winners, like this independent piece, \u201cKohn<\/a>,\u201d about a man with a disability that causes him to speak slowly but also causes his brain to hear himself as speaking like everyone else. Producer Andy Mills reached out to the band Hudson Branch to compose a song about Kohn\u2019s brain, and the spoken story acts almost as a setup for the performance.

TCIAF\u2019s winning story this year, \u201cThe Wisdom of Jay Thunderbolt<\/a>,\u201d takes the musical approach a step further, remixing whole swaths of an interview with an underworld character who runs (or ran) a strip club out of his Detroit home. The nervous, disorienting result crystallizes at the point when Thunderbolt pulls a gun on his interviewers.

\u201cNone of us could stop listening,\u201d Mars says of the piece. \u201cIt solved problems in really creative ways. Almost every step was chancy.\u201d

\u201cChancy,\u201d of course, thrills the veteran producers behind TCIAF, and it\u2019s their job to reward it. Yet flagship programs such as NPR\u2019s \u201cAll Things Considered\u201d get a lot of flack when they showcase even mildly risky work. So it\u2019s to the show\u2019s credit that it teamed up with the independent producers at Long Haul Productions to air their story<\/a> about the relationship between hydraulic fracking and earthquakes in rural Arkansas. The piece breaks many formats: it\u2019s non-narrated, meaning interviewees and \u201cfound sound\u201d do all the talking; and it features a commissioned song interwoven among the interviews. Listeners were quick to vent their fury<\/a> at NPR. \u201cI don’t want artsy, stylistic reporting; I want factual reporting,\u201d said one.

\u201cHow Sound\u201d podcaster Rob Rosenthal later interviewed<\/a> the producers, Dan Collison and Elizabeth Meister, about the experience. The upshot? It sucked, but ATC\u2019s editors are standing by the team, and maybe next time they\u2019ll make more effort to explain experimental formats ahead of time.

At least the angry ATC listeners were, well, listening<\/em>. And maybe catching a whiff of how dangerous that can be.

*Julie Shapiro was initially described as the head of the Third Coast International Audio Festival. Her title has been corrected to Artistic Director.<\/em>\n <\/div>\n <\/div>\n","protected":false},"excerpt":{"rendered":"

[As part of our mission to look at storytelling in every medium, Storyboard is pleased to introduce Julia Barton, who will bring us several posts in 2012 focused on developments in and examples from the world of audio narratives. \u2013Ed.] Writers and video producers live in dread of the wandering eye. Audio producers live for […]<\/p>\n","protected":false},"author":1,"featured_media":3665,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[23],"tags":[425],"topics":[],"authors":[92],"issue":[],"class_list":["post-831","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-digital-storytelling","tag-podcasts","authors-julia-barton"],"acf":[],"yoast_head":"\nAudio danger: stories from the edge of listening - Nieman Storyboard<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/niemanstoryboard.org\/2012\/01\/04\/audio-danger-stories-from-the-edge-of-listening\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Audio danger: stories from the edge of listening - Nieman Storyboard\" \/>\n<meta property=\"og:description\" content=\"[As part of our mission to look at storytelling in every medium, Storyboard is pleased to introduce Julia Barton, who will bring us several posts in 2012 focused on developments in and examples from the world of audio narratives. \u2013Ed.] Writers and video producers live in dread of the wandering eye. 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