Claim OwnershipSound School Podcast
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The Backstory to Great Audio Storytelling, hosted by Rob Rosenthal, for Transom and PRX.
377 Episodes
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Julie Shapiro and John Delore made a pilot for the Audio Flux podcast. Okay, now what? How did they go from pilot in 2024 to podcast in late 2025? On this episode of Sound School, a deep dive comparing the Audio Flux pilot to the first episode of the podcast and the thinking behind Julie and John's production choices.
Short Cuts said no. WNYC said no. Hell Gate said no. Even Transom said no. Finally, after about six months of pitching, Will Coley heard "Yes." Will regales us with his story of how he made it to "yes" with his pitch about public nudity on the latest Sound School.
Noel King says first things first. Before writing a story, take a friend to a bar and tell them the story. On this archive episode of Sound School, Noel says that's the approach she took back when she reported for Planet Money and it worked like a charm. Her writing was more like telling.
Twenty-one year old reporter Kabir Jagram says young men in South Africa are stoic. Holding back emotions is a survival mechanism in a country wracked with youth unemployment and that can lead to serious mental health issues. So, how then, as a young man himself struggling with expressing feelings, did Kabir manage to produce a captivating radio documentary about emotions?
We're starting the new year with an antidote to 2025 -- two episodes featuring inspiring early-career producers. On this episode, 28-year-old Anna Van Dine from Vermont who deployed an unusual storytelling maneuver that Rob hasn't heard in years.
Here's your New Year's resolution: Attend a Transom Traveling Workshop. That's right. You know you wanna. The year 2026 is the year to give yourself a treat -- a little radio self-love. For inspiration, here are two stellar stories produced by new and emerging audio producers at a Transom workshop in Nashville back in 2019.
If you're just beginning in audio storytelling or have some experience under your belt, you could toil alone making and making and making stories hoping to get better. And that might be the exact right thing for you. But, if you'd like a hand up from experienced producers, sign up for a Transom Traveling Workshop. For inspiration, listen to the story Champika Fernando produced at a Workshop this summer. And be sure to listen for the surprising maneuver they pulled at the end of the piece.
When you limit language, you limit thinking. When you limit thinking, you limit creativity. When you limit creativity, audio storytellers wind up making the same thing over and over and over again and that's not good. In this archive episode from 2022, producer Jazmine Green says we need new language to describe our work. And we can start by borrowing from art and architecture.
Audio reporter Samantha Broun says young people are "full of life, complicated, passionate, confused, and they want to talk and want to be heard." That's why Sam offers them her curiosity and her caring ear for her project "Small True Things." Rob spoke to Sam in October for Sound School on the mainstage at the annual Audio Festival in Ljubljana, Slovenia.
Susan Stamberg sang her own song at NPR. Her writing and her voice, you could always tell it was Susan behind the mic. She died at the age of 87 in October. In honor of Susan, we present this archive episode of Sound School where she lays out her best practices for reporting on the visual arts.
Neena Pathak produced a very touching story about grieving the death of her father. She says the humor in the story wasn't uncouth. It was how she captured the truth.
In this archive episode from 2018, legendary NPR reporter and raconteur John Burnett answers a perplexing question "How to make an immigration story visual when no mics are allowed in the courtroom?" Answer: Fill your note book with color notes.
"Host sits down with a reporter." That's a good way to describe how Radiolab stories are produced. Same with "two-ways" on NPR. You can hear those approaches everywhere. But, how else can a "host sit down with a reporter?" The Ghost of a Chance podcast from the Minnesota Star Tribune offers a solid example.
1Writing like it's a television drama complete with instructions for a camera operator. That's an unusual maneuver for a podcast. One I'd never heard before. Neither had Susan Burton until she wrote that way herself in the latest season of The Retrievals, a production from Serial and The New York Times.
NPR's Robert Smith says when he's writing and gets to the end of a story he has empty pockets. He's used all the good stuff and left nothing for the end. To combat that problem, Robert studied endings from some of his favorite reporters and put together a list of categories that broadly describe memorable story endings.
"Don't say rabbit, see rabbit." Write it on a sticky note and post it where you can see it at all times. It's a mantra that will save you from cheesy sound design.
A constant piece of advice for producers is "Find a good talker." But what about shy people? Given their reticence, they may not be great talkers but they may have a good story to tell. The question is "How do you help shy people open up?" Erika Lantz and her sister Elin Lantz-Lesser of The Turning podcast have answers. Good ones.
Zach Mack really put it to his father. For "Alternate Realities," a series from NPR's "Embedded" podcast, Zach asked his dad pointed questions about the conspiracy theories he believes in that are driving a wedge into the family. On this episode of Sound School, Zach talks to Sally Herships of Radio Boot Camp about the challenges of asking dicey questions.
"I think of radio stations as musical instruments." That's what Steve Junker, the managing editor at WCAI said to Rob over a couple of drinks one night. Soon after, Rob put Steve in front of a mic and asked him "What the heck are you talking about??"
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.
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