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.
On-scene, in-the-moment narration can add depth and urgency to an audio story. But doing great “stand-ups” requires thinking beyond the clichéd “I’m standing here…” approach.
Pitching is hard. Every one of us has gotten excited about an idea … and been shot down. 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.
We all know the classic “5 W” questions journalists ask: Who, what, where, when, why (and bonus, “how”). But you should also consider the six additional questions listed below, which complement those fundamentals. They are informed by journalism but focused on storytelling. Your answers to these questions may change in the process of reporting. That
At this hyper-competitive moment in audio, it’s essential to grab listeners at the very beginning of a story. But how do you do it? Check out these explanations of different narrative strategies.
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. How can you clearly deliver your reporting when you don’t have total control over the questions and you can’t read from a script?
Helping people listen critically to stories requires more than simply pushing “play.”
Joe Richman created Radio Diaries in 1996. He began giving tape recorders to “ordinary” people and working with them to tell stories about their own lives. Joe also produces audio histories. A distinguishing feature of his work is the lack of an authoritative, reportorial voice; Joe is a master of the non-narrated audio story. His work has
If you haven’t listened to a story and all of its sonic elements, you haven’t edited it.
This post was first published on the website Storybench. For scenes to succeed in any medium, they have to engage your senses. You smell the diesel fumes, feel the breeze on your cheeks, hear the anger in the collective voice of a crowd of protesters. These appeals to the senses are important, but often secondary
Correspondent Howard Berkes joined the NPR staff in 1981. He has covered space shuttle disasters, mine safety violations, the Unabomber and neo-Nazi groups, the rural American West, and many Olympics, just to name a few of his many subjects. His reporting has taken him all over the world. STEP ONE: Prepare Tap local knowledge. Consult local public media
This is printable and shareable guide to vox-gathering for NPR. You can use it as your own tip sheet or send it out to a producer who has been assigned to get vox. What do I ask? One uniform question – or series of questions. The vox question should be made clear in your assignment.
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.
Korva Coleman has been an NPR newscast anchor for 25 years. She originally compiled these recommendations for PRNDI’s 2015 conference in Salt Lake City. They are intended for any public radio newscaster, in big markets and small. 1. Prepare yourself before you get to work What news do you listen to? What websites and newspapers do
On NPR’s National Desk, four bureau chiefs edit news stories from around the country. They are Andrea DeLeon (Northeast), Russell Lewis (South), Ken Barcus (Midwest), and Jason DeRose (West). This is their outline of the process for pitching a story for a news magazine such as All Things Considered or Morning Edition – and getting the
This is the technical lingo you need to know as an audio producer.
These editing tips come from Sara Sarasohn, a longtime NPR editor and producer who has worked at All Things Considered, the Arts Desk, and NPR One, where she leads the app’s editorial efforts. As you read this, imagine you are speaking to your reporter. Each of these recommendations is a question or line to use during
For this correspondent, learning to write for radio required a special style of script-writing.
Say it’s 9:00am and you just got an assignment. It has to be on All Things Considered by 4:00pm. You may have to throw your dreams of perfection out the window, but you can still produce a satisfying story, if you use strategies like the ones described below. These tips are adapted from former NPR
Robert Garcia, executive producer of NPR’s Newscast Unit, shares examples of stand-out news spots and why they work.
This is an excerpt of a piece written by former NPR editor Jonathan Kern. It has been lightly edited. One of the under-appreciated challenges in putting a radio report together is ensuring that the story has a logical structure. All too often, reporters assemble their pieces by collecting their best tape, and then writing copy that
The following is an excerpt of a post from Transom.org. It was written by Rob Rosenthal, lead teacher for the Transom Story Workshop. He also hosts the podcast How Sound. What he’s describing is a great exercise. It can free you of the inevitable limitations of journalism (you can’t make people say exactly what you want!) but
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. If you’re going to keep people listening to you, you’ve got to work harder!
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.
I think the goal is for all of us doing radio to make is sound effortless. To keep our essence in our reads and make the listener think we’re “just talking,” while knowing that the journey to that “just talking” place takes a lot. A lot of thought. A lot of practice. And a lot of time.
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.