NEW! Try the Audiosear.ch Clipmaker

Episodes

02/08/2017Lewis Wallace was a reporter for Marketplace. "I think our listeners and audiences are strong enough to hold that I can have a credible voice in reporting a story, and a truthful voice in reporting a story, and also have a perspective."
01/24/2017Julia Barton is a freelance editor who edits for Revisionist History, The World, and Studio 360. She reports for Radiolab, Marketplace, 99% Invisible, and more. "If people think they might want to be an editor the first step is to pitch to places that have good editors and get edited and really pay attention to that process. ... But also the second thing is to just listen to work — work that you like and work that you don't like — and figure out how are you reacting to it. Like where am I bored? Where am I confused? Where am I checking Twitter? Alternately, why am I unable to do what I thought I was doing because the story is so damn good that I can't do anything but listen to it?"
06/27/2016Mike Pesca is the host of Slate's The Gist. "There was a time when the most intelligent guy in your town was just the guy who knew the most — he knew the family genealogy, he knew facts. We've gotten away from that. The facts are there on a computer. So I think the definition of intelligence has a lot to do with synoptical connections — the ability to make connections, the ability to make analogies. So I have these conceptual scopes — I find a way to tie seemingly disparate things together. This is how my mind naturally thinks, but this is also — since I have this show I know that I have to turn out content for it — this is how I've conditioned my mind to think."
06/21/2016Sruthi Pinnamaneni is a producer at Reply All. “It’s almost like me and the other person were learning about each other. And I don’t ever think about it like oh this is what makes this person weird or this is a weird moment. It’s just like moments where a thing feels real. You hear somebody tell you something and you feel like they’re telling it for the first time, and you just can’t get that quickly. It just takes time.”
05/24/2016Jonathan Menjivar is a producer at This American Life. "When I started in radio I imagined myself on the radio more. But I've come to a place where it doesn't matter to me. I just want to make stuff."
04/14/2016Emily Botein is the Vice President for On-Demand Content of WNYC. "I feel like as a producer, the whole goal is to have someone become more human, reveal something more personal, say something surprising. So it's your job to make an unrealistically good situation — everything has to be perfect for the host, you want the host to be super comfortable, whatever the host likes. And stupid things, from like what they want to drink, to how they want the mic positioned, to where they want to sit, to anything. It's like you want to make a heightened version of life because you're trying to create a moment. You're not just trying to go gather a story. Something is supposed to happen on the tape. So you need to do everything possible to think about what can happen, and how can you try to trigger it."
03/01/2016Jessica Abel is the author of Out on the Wire. "The group edit format, while emotionally difficult, actually is an incredibly efficient tool. In an hour, two hours, you can get the intellectual work done on a piece that could take weeks without it.”
01/26/2016Tim Howard is the senior producer of Reply All. "You can do radio stories without stakes they just have to be really fun."
12/09/2015Jacob Goldstein is a reporter for NPR's Planet Money. "I've never been that interested in the classic investigative story — here's this victim and here's this villain, and implicitly, I, the reporter, am the hero. ... They were never the kind of stories I wanted to read, they were never the kind of stories I wanted to write. I like profiles of weirdos and stories about systems."
10/12/2015Audie Cornish is the host of All Things Considered. "I ran a gauntlet of people who underestimated me. Every subject is like, "Are you the intern?" Every lawmaker is like, "I don't understand who you are?" People don't see me so when they finally meet me they're not sure what to think. And I think the only way you can get through this job, or any other job where people will underestimate you on arrival, is to just not on board it. Like I can't collect it. And so, maybe it means I've been successful because I can't remember any [moments of microaggressions]."