In the seven years since Max Linsky co-founded the Longform Podcast (with Evan Ratliff and Aaron Lammer), he has interviewed hundreds of storytelling luminaries: journalists, non-fiction writers and public figures. That includes “Wild” author Cheryl … Read more
In The Armies of the Night (1968), his “nonfiction novel” about the Vietnam War, Norman Mailer made himself a central protagonist. Far from being defensive about this radical breach of journalistic convention, he advocated personalized reportage with gusto. “I … Read more
The email response to my story pitch came from the senior producer. It read, more or less: We want this. But do you have a clue how to do it? The actual wording was kinder, but it was … Read more
When Jack Hitt got an assignment to write about Jerry Foster, a daredevil helicopter pilot who worked for a TV station in Phoenix in the ’70s and ’80s, he thought he had a plum adventure story. It turned out to … Read more
Sometimes, when the world is too much with us, we just need a love story or a laugh. This week, Storyboard obliged with lots of both. We talked to the writer of a viral Modern Love column in The New … Read more
She has a Groucho Marx tattoo on her left wrist, and a biblically tinged Sufjan Stevens lyric inked on her right arm. So maybe it makes sense that radio producer Lily Percy has been exploring how people use humor to … Read more
Empathy is one of the greatest gifts a journalist can have. If you come by it naturally, you can actually feel what your subject is feeling, and that can be a painful burden sometimes. But even if you have to develop … Read more
Nearly two years ago, I was one of dozens of Los Angeles Times reporters who took a buyout and left the paper. I liked my job almost all the time. Sometimes I loved it. But I’d done it for 23 … Read more
Just in time for the weekend, here’s a little list of some of the things I’ve been listening to and reading this week, some of it online — Storyboard included, natch — and some of it on vinyl or actual … Read more
Long-form, narrative radio—that’s the kind of radio many of us dreamed of doing when we started in the business, before so much of it, for reasons both economic and stylistic, became four and a half minute chunks of airtime filled with cribbed wire copy and bad phone tape.
Both the great radio and the mediocre get turned, often auto-magically, into mp3 files. Those files are then shoved up on a server somewhere for you to download to your PodBerry or whatever.
And this, they will tell you, is podcasting. Or maybe they'll be a little more truthful and call it "time-shifted" radio. I sometimes call it "recycled" radio.
Don't get me wrong. Recycling is good for the audio planet. It's great that you can stuff hours of potentially quality stuff onto a minuscule machine, encase it in a sweat-proof nano-sheath, and then listen to Diane Rehm while climbing Mount Kilimanjaro. (Remember, the p-o-d in podcasting stands for "Portable On Demand.")
But that's it? Seriously? That's all we are going to do with this amazing new medium for engaging unsuspecting audiences in unexpected ways?
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