{"id":943,"date":"2012-10-04T14:28:15","date_gmt":"2012-10-04T14:28:15","guid":{"rendered":"https:\/\/niemanstoryboard.org\/2012\/10\/04\/audio-danger-the-lessons-of-going-live\/"},"modified":"2024-03-04T19:05:13","modified_gmt":"2024-03-04T19:05:13","slug":"audio-danger-the-lessons-of-going-live","status":"publish","type":"post","link":"https:\/\/niemanstoryboard.org\/2012\/10\/04\/audio-danger-the-lessons-of-going-live\/","title":{"rendered":"Audio danger: Going live"},"content":{"rendered":" \n
\n
\n One morning this summer, I got on the elevator with a colleague at WNYC, where I\u2019m working as an interim producer for national programs. My elevator pal had just gotten off the subway and was running late for a meeting he\u2019d scheduled. I stared at him, and we burst out laughing \u2013\u00a0because this was Jad Abumrad, host of Radiolab<\/span><\/a><\/em><\/span>, and the night before I\u2019d watched him pack the Brooklyn Academy of Music to the rafters. You\u2019d think, after turning a 2100-seat opera house into a live-radio nerd-rave for two nights in a row, Abumrad might take a day to kick back in his limousine. But things don\u2019t change that fast in public radio. The half-life of an afterglow is still very short.

\"\"
Radiolab’s Abumrad and Krulwich, with dance troupe Pilobus (photo by Lars Topelmann)<\/figcaption><\/figure>

Yet as Abumrad and his co-host, Robert Krulwich<\/span><\/a><\/span>, stepped out onto the stage for “In the Dark<\/span><\/a><\/span>,”\u00a0I remember thinking how much shows like these do, in fact, change everything. The show, which has been on tour on and off for a little less than a year, takes Radiolab<\/em>\u2019s\u00a0<\/span> exploratory storytelling mode and expands it with a troupe of dancers, a rock band, and an audio-laden laptop.

I agree with some reviews<\/span><\/a><\/span> that the show could be more \u2013\u00a0<\/span>more visual, more daring, better paced to match the itchy needs of an audience stuck in seats as opposed to your average multi-tasking podcast listener. But the content and presentation were almost beside the point. The audience \u2013 a surprising number of excited teenagers and their equally excited parents and grandparents \u2013 \u00a0<\/span>were seeing the human manifestations of Jad and Robert, previously just voices in their heads. And just as importantly, Jad and Robert were seeing them.

Almost all of broadcasting\u2019s basic vocabulary comes from the stage \u2013 we produce \u201cshows\u201d and \u201cprograms.\u201d We have \u201chosts\u201d and \u201caudiences.\u201d But despite many productions that still bear the live-radio torch \u2013\u00a0A Prairie Home Companion<\/span><\/a><\/em>, <\/span>Whad\u2019ya Know?<\/em><\/span>,<\/a> or the new series Wits<\/span><\/a><\/em><\/span>,\u00a0 for instance \u2013\u00a0<\/span>most radio has been severed from its theatrical roots. We producers spend far more time interacting with our recording gear, our editing programs, and each other than our audience. And the truth is that after a while, \u201caudience\u201d can recede into a dark, nebulous cloud somewhere far beyond our glass-walled studios, a cloud that largely tends to emit bursts of irritable calls, comments or emails.

A live event turns that dynamic on its head. Live events tend to attract core listeners: people who can give isolated producers a different kind of feedback. \u201cIt\u2019s really important to be able visualize who you\u2019re talking to every week,\u201d says Chris Bannon, WNYC\u2019s vice president for content development and production \u2013 one of the managers here who prods shows to do live events.

Like more and more public radio stations, WNYC has built its own\u00a0performance space<\/span><\/a><\/span>. When a locally produced program such as Studio 360<\/em>,\u00a0for instance, does a live show<\/span><\/a><\/span> there, Bannon says some of the most valuable moments come afterward, during the spontaneous \u201changing out\u201d time with audience members. \u201cThey begin to tell us about their lives, and many of them are creative. They listen to us while they paint or while they garden or while they repair the car. You start to think, \u2018What can I do that will turn what they\u2019re<\/em> doing into something that would be interesting for the rest of the audience?\u2019 \u201d The result has been more listener engagement projects on the regular, pre-produced version of Studio 360<\/em>.

But a producer or reporter doesn\u2019t need an entire stage show in order to benefit from live storytelling. WNYC transportation reporter Jim O\u2019Grady regularly wins storytelling bouts at The Moth<\/span><\/a><\/span>. It\u2019s great to see the glint in his eyes as the audience laughs at his descriptions of PSE \u2013 \u00a0<\/span>his \u201cPre-Sexual Era<\/span><\/a><\/span>,\u201d or his portrait of a formidable yet cat-fearing nun<\/span><\/a><\/span>. In fact, O\u2019Grady says, live storytelling gave him the skills he needed to make the leap from print reporting to radio. Here are the main things he says it taught him:

Story structure<\/strong>: \u201cIn (print)\u00a0journalism, the lede is paramount,\u201d he says. \u201cNot so in storytelling. Of course, a strong beginning is better \u2026 \u00a0<\/span>but far more important is the end of a spoken story. The way you end a story is what the audience is left with.\u201d

Voice work<\/strong>: To meet The Moth\u2019s strict five-minute story limit, O\u2019Grady learned basically to memorize his work. But of course, to engage the audience, he had to learn to sound the opposite. \u201cBe prepared, sound spontaneous,\u201d he says. The approach works as well when he goes on the air: \u201cThe more relaxed you get, the more you can forget yourself. That takes so much practice<\/em>.\u201d O\u2019Grady also learned to vary the pitch and speed of his read, to lose the monotone delivery that kills even the best-written story or radio feature.

Failure<\/strong>: \u201cEveryone bombs,\u201d O\u2019Grady says. \u201cIf you do this long enough, you will<\/em> bomb.\u201d One night at The Moth, O\u2019Grady says, his story fell flat, and he immediately knew why: \u201cI overreached. I tried too hard for effect. I went for the maudlin and sentimental instead of something more truthful.\u201d So he rewrote the story \u2013 the audience reaction immediately helped him.

This risk of failure is by far the most important benefit of live performance. In our age of digital permanence, a deadly perfectionism becomes almost irresistible. But we can tweak the life out of our stories \u2013\u00a0<\/span>which, in the end, not everyone is going to like no matter what. That spontaneous, uncontrolled moment of creation between listener and producer, audience and performer, is what makes audio such a powerful medium. When radio storytellers put out the immense effort and take the risk of going on stage, they remember that. Plus, if they\u2019re lucky, they get something very rare in this business: applause.

Then they head back to their quiet studios, stick on their headphones, get back to work.

\"JuliaJulia Barton<\/a><\/em><\/strong> (@bartona104<\/span><\/a><\/span>) is an editor, media trainer, producer and writer who spearheads Storyboard\u2019s \u201cAudio danger<\/span><\/a><\/span>\u201d series. She last wrote<\/span><\/a><\/span> about <\/em>Radio Diaries and the Olympic boxer Claressa Shields.<\/em>\n <\/div>\n <\/div>\n","protected":false},"excerpt":{"rendered":"

One morning this summer, I got on the elevator with a colleague at WNYC, where I\u2019m working as an interim producer for national programs. My elevator pal had just gotten off the subway and was running late for a meeting he\u2019d scheduled. I stared at him, and we burst out laughing \u2013\u00a0because this was Jad […]<\/p>\n","protected":false},"author":1,"featured_media":4011,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[12],"tags":[],"topics":[],"authors":[92],"issue":[],"class_list":["post-943","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-essays-on-craft","authors-julia-barton"],"acf":[],"yoast_head":"\nAudio danger: Going live - 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\/10\/04\/audio-danger-the-lessons-of-going-live\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Audio danger: Going live - Nieman Storyboard\" \/>\n<meta property=\"og:description\" content=\"One morning this summer, I got on the elevator with a colleague at WNYC, where I\u2019m working as an interim producer for national programs. 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