HowSound

It's time for Leila Fadel at NPR to receive another award for her reporting. Last December, her stories from Syria after the fall of Assad were essential listening. And, as Rob notes in this episode of Sound School, her writing was top-notch. 

There's a reason why serialized podcast episodes often start with "Last time on (insert name of podcast)" followed by a montage of quotes. It works. It's an effective way to help bring a listener back into a story. But it's used *far* too often. Surely, there's a better way, right? Rob spotlights the way writer and reporter Basia Cummings avoided the trope in "Pig Iron."

A dear friend of Transom and all creative audio producers passed way last month -- Larry Massett. This episode of Sound School joins the chorus of voices on Transom marking Larry's passing. Rob presents "A Trip to the Dentist,"  a legendary story Larry made in 1977 for NPR. Easily one of the most hallucinogenic stories aired on the network. You'll want your headphones on for this episode. 

I don't care how much good tape you have. I don't care if the scoring and mixing are superlative. I don't care if the narrator is a solid storyteller. If a story lacks strong writing, the story will fall flat. Great writing is essential. On this episode of Sound School, the brilliant writing in the podcast Noble.  

You've got all the good tape you need. Now what? How do you structure the story? Bradley Campbell has a few suggestions. He sketched them -- on cocktail napkins! 

Take a short walk into deep radio history. Julia Barton and Sarah Montague join Rob to talk about two audio storytelling classics from the 1930s: "Seems Like Radio Is Here to Stay," an homage to radio by Norman Corwin, and the anti-fascist play "The Fall of the City," by Archibald MacLiesh. Old school radio at its best!

The best way -- sometimes the *only* way -- to describe an element in a story that is disruptive and distracting for listeners is this: chicken bomb. This year, 2025, is the 20th anniversary of "chicken bomb" entering the lexicon of audio storytelling. What exactly is it? With help from Ira Glass, we'll explain. 

In this bonus episode, Rob takes his conversation with Chenjerai Kumanyika one step further. He digs in a bit more to the big question from the last episode: Who is the "you" telling this story now?" 

Chenjerai Kumanyika delivered the goods. Rob interviewed Chenjerai on stage at the recent On Air Fest where Chenjraie was passionate, animated, and electric as he talked about a question he sees as essential for anyone in audio storytelling to consider. We're sure you'll be as transfixed as the audience.

Just recently, Hillary Frank relaunched her popular podcast The Longest Shortest Time. This archive episode takes us back to Hillary's early days, when she was just finding her way in podcasting -- as we all were. 

You want scenes in your story. But, reporting in the field isn't an option. What then? Simon Adler, a senior producer at Radiolab has an answer: interview for scenes using "the layered approach." 

Nichole Hill pitched her show idea again and again. And, again and again, podcast companies said "no." But, that didn't stop Nichole. She said "I'm doing it myself!" Our Ancestors Were Messy, a podcast featuring hidden stories from the archives of historic, Black newspapers, launches February 5th. Sound School has the backstory to how Nichole dialed in the format for the show and why she chose a mix of chat and narrative styles. 

Just over 50 years ago, in 1974, NPR took to the airwaves for a 25-hour-broadcast that Rob thinks may be one of the most tedious recordings he's ever heard and one that was also an incredible broadcast service. What is it? You'll have to listen. Trust us. It's worth it. 

Rob's interview with Misha Euceph is one of his favorites. As he says, she's very clear, engaging, and insightful about the craft of audio storytelling. On this archive episode of the show from 2019, they discuss why Misha believed it was important to start each episode of her podcast "Tell Them, I Am" with a personal anecdote.  

Let's state the obvious: Daniel Alarcón is a gifted writer. It's evident from the writing in "The Good Whale," the latest series from Serial that Daniel wrote and hosted. Rob put his writing under the microscope and heard a lot of satisfying maneuvers -- and a couple that weren't so satisfying. 

Nothing seems guaranteed these days for creative audio makers. "Short Cuts" was recently cancelled and "Pretendians" is seeking funding for a second season, two shows on this episode of Sound School that are high on Rob's must-listen list because they elevate the craft and deliver essential storytelling. 

WCAI, the public radio station for Cape Cod, has been told it needs to move -- to leave the home it broadcasts from. An actual home. A former captain's house. News that the house had been sold startled the station staff and the community. In this episode, Rob laments what would be a strike against the station's deep commitment to local service. 

The story from Slovenia on this episode of Sound School is hyper-local -- so local, you might not catch all the cultural references. But, the reporter, Ajda Kus, says that's okay. The key to telling a great local story is to give weight to universal themes so that all listeners can still relate to the piece. 

When should a reporter turn around a leave? At what point do should they say "I won't report on these people. They need their space, not a stranger with a microphone." Jay Nathan faced that exact situation some years ago reporting on a man who was dying of cancer and the friend taking care of him. But, instead of turning around and leaving, Jay stayed. Jay is still haunted by the decision. 

Robert Krulwich, formerly of Radiolab, once said "how you write is basically who you are." It's a profound statement, a kind-of koan. It requires a little bit of thought. Krulwich can be that way. But, it leads to an essential question for anyone who writes: "Who are you as a storyteller?" 

"To play and to fail and to get to know each other and to celebrate the craft of making audio... What's better than that," Jasmin Bauomy asks. When inspiration struck, Jasmin put together a four-day audio retreat for about a dozen producers from Berlin. She called the retreat "The Ecco" and it yielded some fantastic storytelling. 

We tell stories in sound for many, many reasons. For our listener's hearts and minds. For community. For self-expression. For the democracy. For listener's ears. Yes. Their ears. On this episode of The Sound School Podcast, Rob relishes the ear catching qualities of work from Delia Derbyshire (BBC), Michel Martin (NPR), and the Making Gay History podcast. 

Say you're listening to a great narrative podcast. The host has really grabbed your attention and you're pulled in. Then, out of nowhere, the narrator swears. Not once. Not twice. But three times. Including f-bombs. Is that a turn off for listeners? Should narrators swear? Dan Taberski defends his swears in his latest podcast. 

Patient privacy in medical settings is essential. So, how does a reporter convince a facility to let them in with a microphone and assure anonymity of the patient? Selena Simmons-Duffin has answers. She is a health policy reporter at NPR who recently reported inside a primary care facility that provides standard medical care as well as abortions.  

There are four kinds of luck. Unlucky. No luck. Lucky. And radio luck. On this archive episode of Sound School, Hillary Frank digs into the *incredible* radio luck she encountered reporting a story about teens and their "robot babies." 

David Weinberg pulls off a real radio feat mixing fantasy and reality in his documentary called "Grace of the Sea." In this archive episode, David explores the value of "magical realism" in audio storytelling.  

Rob plays "Story DJ" on this episode "spinning" excerpts from several excellent stories you'll definitely want to hear. It's an audio field trip taking you around the world: Macon, Georgia, Wales, Madagascar, Kenya, and a closet at an undisclosed IKEA. Bring your best headphones for this one. 

Don't leave an interview entirely to chance. Structure it like a good story. On this episode, Rob dissects an interview on The Daily revealing its effective inner story structure. 

Ira Glass of This American Life is a master audio storyteller. He's equally skillful at laying out the mechanics of creative storytelling and reporting, too. Rob unearthed a presentation Ira made back in 2001 at a radio conference that is signature Ira and brimming with incredibly helpful tips on writing, structure, reporting, and scoring. A good listen for audio 

It's illegal to be queer in Uganda and incredibly unsafe. Queer people risk violence, eviction, harassment, and arrest. How then does a producer protect the identity of interviewees, especially when someone's voice might be recognized. British freelance producer Mary Goodhart solved this problem and many other safety issues while working on an LGBTQ story for the BBC World Service Podcast "The Comb." 

There's a moment in this episode when Rob is gasping and holding his hand to his chest. Why was he so astonished? Listen to his conversation with Jess Shane as they dissect the ethics of her Radiotopia documentary "Shocking, Heartbreaking, Transformative."

Deadlines, production meetings, staff management, show scheduling... in any given day, there's rarely time to pause and consider the craft of audio storytelling. Of course, PRX and Transom hope Sound School provides an easy opportunity to do that. On this episode, we'd like to introduce you to another podcast with the same mission: Sound Judgment hosted by Elaine Appleton Grant and featuring an interview with Jonathan Menjivar about his podcast Classy.

Have NPR's news magazines occasionally been sounding more radiophonic lately? Rob thinks so. He's collected a handful of satisfying moments of writing, production, and reporting from several reporters: Daniel Estrin, Avery Keatley, Andrew Limbong, Barbara Moran, Ari Shapiro, and Andrea Shea.

"Ums." You're supposed to cut them out, right? But what if the "um" means something? Talia Augustidis noticed her boyfriend "ummed" when he was lying and she thought "radio story." Talia takes a deep dive into the importance of not cutting out all the "ums" as well as the backstory to her piece for the BBC's Short Cuts called "What's In An Um?"

One of the top three questions Rob often hears when he's teaching is, "Should I record in stereo?" Rob says mono is usually the way to go. But on this archive episode of Sound School, former NPR engineer Flawn Williams evangelizes about the value of stereo recordings, and he brought along several sound-rich examples.

In the tsunami of serialized documentary making over the last decade, what happened to the short story? Where are the one-off curious and creative sound portraits or essays or found sound or audio postcards or.... ? Last year Transom commissioned a dozen short stories as part of "Small, Random, and Meaningful." Rob features his three favorites.

In honor of World Radio Day this week, The Sound School Podcast is celebrating with a story that exemplifies the power of radio to evoke striking images — a story reported from a remote hillside in Slovenia.  

Katz Laszlo says writing and tracking for herself is complicated enough. But it's an even greater challenge writing for and tracking with the two co-hosts of The Europeans podcast. Katz lays out how she and the hosts wrangle it all on the latest Sound School.

It's a brave thing to share the outtakes from a tracking session. All the blemishes are right there. But, Martine Powers and Rennie Svirnovsky from audio team at The Washington Post have graciously done just that. Hearing how they work as tracking partners is a real gift for anyone who wants to perform better in the mic booth.

While there were many great podcasts released in 2023, no one will remember the year as a good one for the people who make podcasts. There were far too many layoffs and cancellations including a show dear to our radio hearts at Transom, Heavyweight, hosted by Jonathan Goldstein. In honor of the show and Jonathan's remarkable writing, Rob revisits his chat with Jonathan where they talked about process, fonts, and a writing maneuver they jokingly dubbed "The Goldstein." 

Rob takes himself to task on this episode. He felt the beginning of the last episode of Sound School was so boring, he rewrote it. Compare the old version with the new version be sure to tell us at Transom which is the better open. 

Theo Greenly reports for a public radio station in the far-flung Aleutian Islands in Alaska. When he started, about two and a half years ago, he thought he'd hit the ground running reporting in-depth, documentary-style pieces. Instead, he learned he really needed to get his bearings first and just report the news. His stories about how to report -- and navigate all the transportation challenges -- in such a remote location are fun and insightful. 

Fiction should stay in its corner, non-fiction in its corner. Or so Rob thought until he heard producer Pippa Johnstone seamlessly and effectively mix the two in her memorable podcast "Expectant," where Pippa explores a remarkably uncomfortable question: In a time of climate change, is it okay to have children? 

Catherine Carr has turned vox into artful conversation with a deceptively simple question: Where are you going? That's also the name of the podcast she makes (a recent British Podcast Award winner) where she interviews strangers about where they're going and so much more.  

Studs Terkel is considered by many to be a patron saint of documentary radio journalism. It's been 15 years since his death. On this archive episode of Sound School from 2012, Rob talks to Syd Lewis who worked with Studs for 25 years. The show also includes a lengthy excerpt from "Working With Studs," a Transom Radio Special produced by Syd, Jay Allison, and Viki Merrick.  

Rob acts as a story DJ on this episode, featuring excerpts from stories he's recently found pleasing to the ear. His "playlist" includes work from "More Perfect," the BBC Radio 4 podcast "Seriously," "The Shortwave Radio Archive," and "That Intimate Feeling." Drop a needle on the episode and press play.

What do radio producers Phoebe Judge (Criminal), Zoe Chase (This American Life), Greg Warner (Rough Translation), Matt Kielty (Radiolab), Emily Kwong (NPR) and dozens if not hundreds of others you've heard on your favorite podcasts and radio shows have in common? Salt. They're all graduates of the Salt Institute for Documentary Studies in Portland, Maine. Salt turns fifty this year! Isaac Kestenbaum, the director of the program, joins Rob to celebrate the occasion and talk about what makes the Salt experience so unique. 

This year's Third Coast Festival winners and finalists produced incredible work. It got us thinking about winners from previous years. So, we dug up this fantastic interview with Rachel Matlow who won a "Best New Producer" award in 2016 for their thoughtful and creative story "Dead Mom Talking."

It's unusual for a producer to share a work in progress. It's rarer still to do it twice. Nina Porzucki updates Rob on the progress of Bird Talk, her comedy podcast in-the-making and the steps it took to make her second pilot funnier and more engaging. 

Rebecca Hersher, a climate science reporter at NPR, offers excellent tips on reporting on climate change. But, at the heart of Rob's interview with her is something more philosophical: the role of hope in climate change reporting. 

Summer means cicadas. Those crackly, buzzy bugs that drone and drone in the heat like a live electrical wire spewing sparks. Mair Bosworth and Fiona Benson took that sound and crafted "Magicicada," a stunning "sound poem," as they called it, marrying Mair's stellar recordings and sound design and Fiona's nuanced poetry.