Howsound

The narrative arc in recent story about the drug epidemic by NPR's Rachel Martin was like being taken down into a basement and having the light turned off. The piece was bleak and the ending was, perhaps, the darkest point in the story. Rachel talks about that choice and offers other thoughts about story endings on this episode of HowSound.

Radio producers talk about the scenes in their stories all the time. "What are the scenes in your story?" "Oh, I got some great scene tape today." But what is a scene? On this episode, Rob dissects one of the best scenes he's heard in a while.

It's possible I love David Weinberg's "Louie Louie" doc because I love the song. It's "Louie Louie" for God's sake. But, really, what hooked me was David's writing. Especially the opening.

Three students. Three stories. One week. Hear what can be accomplished in a very short period of time with barely any sleep.

Select telling details... Mete out descriptions... Cast surprising characters... and other tips for dynamic and visual reporting on the arts from the legendary Susan Stamberg.

This year marks the 25th anniversary of one of the best -- if not the best -- radio documentary: Ghetto Life 101. Producer David Isay and editor Gary Covino recall their landmark work on this episode of HowSound.

All you need to know for this episode is this: Listen with your best headphones!

A few years ago, Chenjerai Kumanyika went to record his narration for his first-ever radio story. And he discovered a problem: "What should I sound like?" Several years later, Chenjerai found his voice on the Peabody Award-winning podcast "Uncivil."

How can you be fair during an interview with a suspect when a police officer is standing right there? Over the years as a law enforcement reporter for NPR, Martin Kaste has developed an approach to navigate this and several other challenges.

What do you do when the main character in a story is strange, bizarre, and weird? So crazy listeners might tune out? One answer is to find a sympathetic character, someone the audience can relate to. Producer Ann Heppermann explains how Glynn Washington was the perfect sympathetic character as the narrator of the "Heaven's Gate" podcast, the series about the cult that committed the largest mass suicide in the United States.

Bradley Campbell couldn't believe it when I told him I'd like to interview him about sports stories. He knows how much I hate them. But, a sports story he produced and other episodes of Gamebreaker are well worth the listen. Bradley explains why.

Megan Tan pulled the plug. She stopped producing Millennial at the height of the podcast boom. Her inspiring yet cautionary tale on this episode of HowSound.

One way to start a story is with a question -- one that focuses and animates the piece. Annie Minoff and Elah Feder of the "Undiscovered" podcast use focus questions as story starters to great effect. But, I had some questions about their questions.

"The Promise," a podcast from WPLN in Nashville, is an inspiring example of the journalism of empathy. And, it's easily some of the best local reporting I've heard in a long time. Meribah Knight explores this approach to reporting on this HowSound.

A shooter guns down twenty-six people in a church. Soon after, Debbie Elliott from NPR shows up, a stranger with a microphone. She says it's hard not to feel like a pariah when reporting in traumatic situations. So, how do you avoid that?

Planet Money's Noel King says the best way to write for radio is to not write. Instead? Tell.

Two solidly produced, fun stories from students at the Transom Traveling Workshop in Marfa, Texas. Both are well worth your listen.

"Radio is the most visual medium." Aviva DeKornfeld's story "After the Storm" is proof. So much so, it's just as much a photo essay as it is a radio story.

Jad Abumrad of Radiolab delivers the goods on sound design in radio stories. A must listen if you're thinking of sound designing your next radio story.

A recent story on NPR about the Confederate flag got Rob wondering about the practice of correcting interviewees in narration. Producer Zach Hirsch produced the story and he explains why he felt challenging the interviewee's viewpoints was necessary.