from training.npr.org: https://training.npr.org/2018/09/24/focus-audio-stories-exercise-with-your-newsroom/
All you need is a story idea, an open mind and some friends.
Use these prompts and quick tips to get your creative process started.
Print and audio journalism exist in the same world — but the terrain is different. Let this serve as your map.
Doing great “stand-ups” requires thinking beyond the clichéd “I’m standing here…” approach.
Pitching is hard. We compiled the best tips for getting to “yes” — and some common pet peeves — from NPR editors.
A good radio hooks your audience. Here are five examples of great intros — and why they work.
Print this poster, which has the six questions you should ask before starting a story.
At this hyper-competitive moment in audio, it’s essential to grab listeners at the very beginning of a story.
Editing is a specialized craft in itself. This post compiles NPR Training’s tips and tricks to help audio editors guide and elevate stories.
For many radio reporters — even some of the most experienced ones — the prospect of talking on-air with a host can be daunting.
Helping people listen critically to stories requires more than simply pushing “play.
Joe Richman gives tape recorders to “ordinary” people and works with them to tell stories about their own lives.
If you haven’t listened to a story and all of its sonic elements, you haven’t edited it.
Transcend scene-setting clichés. Here is a sampling of ways NPR journalists have done just that.
Wind. Hotel rooms. Riding a luge sled. Prepare yourself for recording in the field under all kinds of conditions.
This is a printable and shareable guide to vox-gathering for NPR.
Active sound makes an audio story sparkle. It is sound that isn’t stuck in the background. It’s up-front. It shows character and action. Here’s how to capture it.
The NPR anchor’s guidance works for any public radio newscaster, in big markets and small.
From pitch to production: Here’s a look at how NPR bureau chiefs take stories through the process.
This is the technical lingo you need to know as an audio producer (or someone who talks to audio producers).
The listening app holds lessons — both positive and negative — for intro writers.
Editors, try these questions and suggestions when working with your reporters.
For this correspondent, learning to write for radio required a special style of script-writing.
Among these tips: Have “booty call” sources: They are always available and they know what you need.
Robert Garcia, executive producer of NPR’s Newscast Unit, shares examples of stand-out news spots and why they work.
In laying out a piece, the reporter should look for a story structure that keeps the listener paying attention.
See an actual script, complete with margin comments, from NPR host Ailsa Chang.
Not every broadcast radio script looks the same! But there are elements every script should share. And here they are.
If you are new to radio, this post should help demystify the process. The first step may be the hardest: finding the story.
Longer pieces are not just stretched-out short pieces.
Intros are the most important feature of your story — here’s how to write one.
Back in 2012, ‘All Things Considered’ host Melissa Block and producer Melissa Gray made this story about their own show.
Is there a typical public radio voice — perhaps a “white” voice? Is there room for new and different ways of speaking?
Why is it so hard to write how we talk? Here are some essentials tips to capture the human voice in your radio writing.
This checklist of questions will make your reporter’s story better — and editing it easier.