Howsound

Rob dissects an episode of 99% Invisible to reveal a common but effective story structure -- the 'e.'

Outside/In host Sam Evans Brown narrated the first few minutes of an episode of the podcast just fine -- really well, in fact. Then he switched gears and brought two colleagues into the studio to tell them a portion of the story. Why?

A son. A father. And an alien abduction. What more do you need to know?!

Approaching a stranger on the street for an interview, pretty easy. "Doorstepping," knocking on the door of a house or entering a business for an interview uninvited, not so easy. Producer Nina Perry on her "doorstepping" interview for More Perfect.

I dare you to listen to this story from Ryan Sweikert and not be moved. A perfect example of what he calls "subjective reporting."

There's blood on the floor. Rob skewers the writing in one of his first-ever radio stories to reveal how not to write.

Not everything has to sound the same. British/Danish producer Tim Hinman, of Third Ear, talks about tone and his podcast Sound Matters.

If you want to re-broadcast a doc from 20 years ago but don't like a lot of the writing, the mix, and the voicing, what do you do? If you're John Biewen, you re-do it! On this episode--the old and the new version of John's "Hiroshima Remembered."

Silence is a radio no-no. But what if you want to produce a story where the central focus is silence? Some answers on this HowSound.

Podcasters are free to produce without the confines of the public radio clock. So, why go so long? Short is beautiful.

A lot of public radio stations are wringing their hands these days about podcasting. "Should we or shouldn't we," they wonder? Wyoming Public Radio's Caroline Ballard says "Yes!"

When is it okay to trespass and use secretly recorded phone calls while producing a story? Not often. But, producer Jack Rodolico remained ethical while skirting the edges of what's appropriate for his documentary "A Mountain of Discontent."

Three early pieces from The Kitchen Sisters circa 1980, stories sparked by mistakes and chance encounters. Their DIY approach is inspired.

Sean Corcoran is a reporter's reporter. Straight-forward. Unbiased. Ethical. So why did he break some of his own rules on a story about opiate addiction?

Two more classics from Rob's vault of student-produced stories including one from 2003 by NPR's Gregory Warner, long before he became the network's east Africa correspondent.

How does your brain react when you drive through an intersection? Martine Powers answers that question and explains her clever sound design in her story "Driving In Circles."

It's rare when a reporter turns the mic on themselves. Stephanie Foo's essay "The Favorite" for This American Life is an excellent example of why it should happen more often.

When an interviewee is too nice, getting what you need as a reporter can be a challenge. Monika Blackwell relates how she navigated the "reporter/subject relationship" (& death of a rooster) during a Transom Traveling Workshop in the Virgin Islands.

Rob and his guest, audio engineer Flawn Williams, attempt to answer the question: Should I record in stereo?

Here's something you don't hear very often when talking about radio documentaries: magical realism. Producer David Weinberg talks about how he used magical realism in his doc "Grace of the Sea."