{"id":889,"date":"2012-05-22T14:35:01","date_gmt":"2012-05-22T14:35:01","guid":{"rendered":"https:\/\/niemanstoryboard.org\/2012\/05\/22\/whys-this-so-good-number-43-radio-diaries-on-teenage-drama-by-julia-barton\/"},"modified":"2024-03-04T18:59:07","modified_gmt":"2024-03-04T18:59:07","slug":"whys-this-so-good-number-43-radio-diaries-on-teenage-drama-by-julia-barton","status":"publish","type":"post","link":"https:\/\/niemanstoryboard.org\/2012\/05\/22\/whys-this-so-good-number-43-radio-diaries-on-teenage-drama-by-julia-barton\/","title":{"rendered":""Why’s this so good?" No. 43: "Radio Diaries" on teenage drama"},"content":{"rendered":" \n
\n
\n Boxing stories leave me cold. Like many sports stories, they seem to assume an audience of fans who will be thrilled\u00a0\u2212\u00a0rather than sickened\u00a0\u2212\u00a0by a narrative built on grueling workouts, bloodied lips and head injuries.\u00a0So I downloaded \u201cTeen Contender<\/a>,\u201d about a 16-year-old girl trying out for the USA\u2019s first Olympic boxing team, with some reluctance. I listened on the train. By the end of the nearly 16-minute piece, I was hiding tears from my fellow passengers.

The story aired on NPR\u2019s \u201cAll Things Considered<\/a>\u201d on Feb. 27, as part of the ongoing project \u201cRadio Diaries<\/a>\u201d\u00a0produced by Joe Richman. Richman created NPR\u2019s groundbreaking \u201cTeenage Diaries\u201d\u00a0series after working on programs including\u00a0\u201cAll Things Considered,\u201d\u00a0\u201cWeekend Edition Saturday\u201d and\u00a0\u201cCar Talk.\u201d\u00a0For the past 18 years, Richman has been giving recording devices to people\u00a0\u2212\u00a0mostly teenagers\u00a0\u2212 and crafting stories from the results. More below on what makes Richman\u2019s genre of audio storytelling special. First, let\u2019s look at \u201cTeen Contender,\u201d\u00a0which Richman co-produced with Samara Freemark and Sue Johnson at\u00a0womenbox.com<\/a>.

Claressa Shields<\/a> is a high school junior in Flint, Mich. Early in the piece, we hear her singing along with her morning alarm:

[audio:http:\/\/www.niemanstoryboard.org\/wp-content\/uploads\/2012\/05\/Teen1.mp3|titles=Teen1]

Claressa doesn\u2019t have to tell us her life hasn\u2019t been easy\u00a0\u2212 we can tell right away, by listening to her describe her living arrangements. We then hear, through her energetic teenager\u2019s voice, how she manages to set the chaos aside and focus on her goals. This establishes the narrative hook: The character wants something. How will she get it? What stands in her way?

She heads through the snow, singing a little, to her dad\u2019s house. He\u2019s a former \u201cdirty fighter\u201d who once made the rounds of illegal boxing matches in abandoned warehouses and Army bases. He served time in prison and got out when Claressa was 9, at which point they developed a rapport:

[audio:http:\/\/www.niemanstoryboard.org\/wp-content\/uploads\/2012\/05\/Teen2.mp3|titles=Teen2]

Claressa goes through all the things that boxers do: practice-sparring, working out, enduring endless lectures from coaches. But she also goes to a black church in Flint to raise funds for her Olympic trials. Claressa\u2019s coach provides another layer of narrative substance by telling us there is much more at stake than a boxing match:

[audio:http:\/\/www.niemanstoryboard.org\/wp-content\/uploads\/2012\/05\/Teen3.mp3|titles=Teen3]

Claressa tells her own story in her own way, answering questions that have not explicitly been asked:
\u201cWhen I step in the ring it\u2019s like I step into a whole different dimension. It\u2019s like everything outside the ring\u2019s black. Can\u2019t nobody else get in there and help you. Coach, he can\u2019t get in the ring and fight with you. You don\u2019t have your dad, mom. When you get in the ring, you don\u2019t have nobody but yourself.\u201d<\/em><\/blockquote>
What we don\u2019t hear at all is Richman: He does not narrate any of his stories. He\u2019s among a small, talented group of public radio documentarians (among them the Kitchen Sisters<\/a>,\u00a0Long Haul Productions<\/a>, Love and Radio<\/a>) committed to staying behind the scenes in their work.

People in the radio world call their work \u201cnon-narrated,\u201d but this is a misnomer, since stories like \u201cTeen Contender\u201d do have narrators; they\u2019re just the subjects of the stories themselves. I prefer the term \u201cunscripted,\u201d because what sets these stories apart is not their lack of narrator, but their lack of writing<\/em>. And the script is the place where audio producers write, as opposed to fiddling endlessly with sound files on a screen.

For those of you who\u2019ve never encountered a radio script, here\u2019s the first page of one I just did for PRI\u2019s \u201cThe World<\/a>.\u201d\u00a0It maps out all the elements of the story: the reporter\u2019s narration (tracks), excerpts from interviews (actualities, or \u201cacts\u201d) and natural sound (ambience, or \u201camb\u201d):<\/p>

\"\"<\/a><\/p>
As you can see, narration is a big part of the story, as it is for most public radio features. I came to radio from print, and I love writing the script. This is where I get to take control\u00a0\u2212\u00a0finally shaping my mess of research, recorded interviews and observations into a story.\u00a0I try to keep my voice tracks to a minimum but can\u2019t help thinking of them as my little darlings. Yet as I listen to unscripted stories like \u201cTeen Contender\u201d I realize how much writing is the enemy of so many audio narratives.

First of all, words work differently on the page than in the ear. (For example, with its long introductory clause, not to mention parenthetical nature, this sentence that you are reading right now would be a broadcasting disaster. As are the estimated 145.7 million figures, percentages, and dates presented in the passive voice by radio reporters since 1968. Those numbers are total bullshit, of course, but were I reading this paragraph on the air, you wouldn\u2019t be paying attention by now anyway. Wait, did someone just say \u201cbullshit?\u201d)

Also, writing can stand between us and our audio and tempt us to tell stories like a puppeteer. \u201cI\u2019ll use character A to make this point,\u201d our writing brain thinks. \u201cThen I want to get to this funny moment\u00a0\u2212\u00a0that dude will crack people up.\u201d Characters come and go without really inhabiting the listener\u2019s mind.

Delivery can stand in the way of story power, too. There\u2019s that whole voice-acting business of reading our writing aloud.\u00a0A \u201cnatural\u201d-sounding script\u00a0takes more work<\/a>\u00a0\u2212\u00a0and\u00a0creativity<\/a>\u00a0\u2212\u00a0than you realize.

Yet when a character like Claressa Shields narrates, we\u2019re put directly into Story.

So why don\u2019t more radio producers ditch their scripts and work with pure audio? Many reasons. First of all, it can be very time-consuming to do well. For \u201cRadio Diaries,\u201d\u00a0Richman says he and his team sift through, on average, 80 minutes of recorded material for every one minute that makes a final piece.

Secondly, the form just doesn\u2019t work for many types of stories, especially news features or stories with many characters or complicated timelines. Richman says he feels the strain when he produces historical documentaries. He and his team once spent a year and a half gathering stories and material about Nelson Mandela<\/a>. They originally intended a biographical series, but the more compelling material revolved around the larger story of South Africa\u2019s struggle against apartheid. Most of the biographical bits about Mandela eventually had to fall away.\u00a0\u201cYou can\u2019t do the tangents as easily,\u201d Richman says. \u201cYou can\u2019t do the side roads. With a script, you can say, \u2018While this was happening, this<\/em> was also happening.\u2019 (Without a script)\u00a0you sort of follow this one train, this one narrative train, and it\u2019s hard to get off it.\u201d

With unscripted work you\u2019re stuck with what you\u2019ve got, and woe to the producer who isn\u2019t thinking ahead while out in the field. Interview questions need to elicit the complete responses that will stand alone. Subjects need to describe their worlds in a clear way, without all the digressions and backward references that muck up so much of our natural speech. The producer has to listen closely to help people open up in a way that will carry a story.

Producers who do unscripted work tell me there\u2019s a certain joy in trusting their interview subjects that much. And that trust is clearly reciprocated in the stark, truthful moments that often appear in these stories.\u00a0Producers Ann Hepperman and Kara Oehler once spent two weeks interviewing people in Chattanooga for an unscripted NPR story about homeless people who live along Main Street<\/a>, resulting in a moment like this from a man named Ernest:

\u201cI\u2019m ashamed of it, but it don\u2019t change nothing. I\u2019m a drug addict.\u00a0<\/em>I\u2019m going on a drug run. Honesty is what y\u2019all are looking for in this, right?<\/em>\u201d<\/blockquote>
When audio storytellers disappear behind their narratives like this, they give the world a gift. In \u201cTeen Contender,\u201d by the time we\u00a0hear Claressa actually fighting in the Olympic trials we\u2019ve been living in her rough world\u00a0for a quarter of an hour. We step into the ring with her. We want to see her make it to the Olympics. We want Flint, Mich., to watch her in the Olympics. My\u00a0palms were actually sweating as the story built to its finale with suspense and grace and the hard exhalations of this teenage girl.

I still can\u2019t say I\u2019m a fan of boxing, but I\u2019m now a big fan of Claressa Shields \u2212\u00a0and of producer Joe Richman for bringing me into a story I otherwise would have resisted.

Julia Barton<\/a>\u00a0(@bartona104<\/a>), who writes Storyboard\u2019s Audio Danger<\/a> column,\u00a0<\/em>has been writing and producing for more than two decades. Her work airs on PRI’s \u201cStudio 360,\u201d \u201cThe World\u201d and other programs including \u201c99% Invisible.\u201d She\u2019s been an International Reporting Project fellow at Johns Hopkins University\u2019s Paul H. Nitze School of Advanced International Studies, a staff reporter at WHYY\/Philadelphia and an editor at American Public Media\u2019s \u201cWeekend America.\u201d She\u2019s also led extensive media training in the former Soviet Union.\u00a0<\/em>

For more from our collaboration with\u00a0Longreads<\/a>\u00a0and\u00a0Alexis Madrigal<\/a>, see the\u00a0previous posts in the series<\/a>. And stay tuned for a new shot of inspiration and insight every week.<\/em>\n <\/div>\n <\/div>\n","protected":false},"excerpt":{"rendered":"

Boxing stories leave me cold. Like many sports stories, they seem to assume an audience of fans who will be thrilled\u00a0\u2212\u00a0rather than sickened\u00a0\u2212\u00a0by a narrative built on grueling workouts, bloodied lips and head injuries.\u00a0So I downloaded \u201cTeen Contender,\u201d about a 16-year-old girl trying out for the USA\u2019s first Olympic boxing team, with some reluctance. I […]<\/p>\n","protected":false},"author":1,"featured_media":3828,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[21],"tags":[],"topics":[],"authors":[92],"issue":[],"class_list":["post-889","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-why-is-this-so-good","authors-julia-barton"],"acf":[],"yoast_head":"\n"Why's this so good?" 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