About The Sarah Awards
The Sarah Lawrence College International Audio Fiction Award, aka The Sarahs, celebrates the best audio fiction currently being made around the world. Every year, our judges will choose three winners. The winners will receive cash prizes—1st place $2,000, 2nd place, $1,000, 3rd place $500 and Best New Artist $250—at the award ceremony and be featured on our Serendipity podcast.
The award is sponsored by Sarah Lawrence College, an academic institution that fosters experimentation and playful creativity. Sarah Lawrence College has cultivated the talent of visionaries like Yoko Ono, Meredith Monk, J.J. Abrams, Alice Walker, and many others. The Sarahs —like The Oscars, The Tonys, The Bessies—honor the best of the best. It’s time for audio fiction to have its own red carpet.
About Sarah Lawrence College
Founded in 1926, Sarah Lawrence College is a prestigious, coeducational liberal arts college. Consistently ranked among the leading liberal arts colleges in the country, Sarah Lawrence is known for its pioneering approach to education, for its long history of impassioned, intellectual engagement, and for its vibrant, successful alumni. For more information, please visit www.sarahlawrence.edu.
Founder Ann Heppermann
Ann Heppermann is a documentary artist, reporter, and educator. Her Peabody award winning work has aired on numerous public radio shows including This American Life, 99% Invisible, and Radiolab. In 2011 she was named a United States Artists Rockefeller Fellow. She teaches audio fiction and narrative journalism at Sarah Lawrence College in its writing program. Bitch Magazine once called her a “sort of Goddess of podcasting.” She lives in New York. Email her at Ann@thesarahawards.com.
Co-Founder Martin Johnson
Martin Johnson is the creative director at Ljudbang productions in Stockholm and a radio producer, journalist, sound designer and author. In 2008 he won Prix Italia for his documentary “My Father Takes a Vacation.” His work has been broadcast around the world in England, Canada, USA, Germany, Hungary, Italy, Finland, Norway and Ireland. His collection of essays called “The Ocean” was published in 2012 with much critical acclaim and is translated into several Languages. He has written several radio drama plays, including this inspiration story for The Sarahs’ website launch. Email him at Martin@thesarahawards.com.
Writer Devon Taylor
Devon Taylor is an independent writer and producer living in New York City. She has written extensively about podcasts and audio storytelling, including for The Atlantic and The Radio Journal, as well as for The Timbre, where she served as the editor in chief. She currently works for Radiotopia's Millennial and The Allusionist and is producing a podcast series for The Guardian. She holds a law degree from Rutgers University and a Master of Fine Arts in creative nonfiction from The University of Memphis, where she was the senior nonfiction editor of The Pinch.
COPY EDITOR Hilary Scheppers
Hilary Scheppers is a writer from Los Angeles, CA, and the multimedia editor for LUMINA literary journal. She studied Humanities at Loyola Marymount University and is currently completing her MFA in Poetry at Sarah Lawrence College. She loves words, rhythms, and peanut M&Ms.
Serendipity Ep 17:
In this episode of Serendipity, we play 5 of the 10 finalists for our 2016 Very, Very, Short, Short Stories Contest. Featuring: "Bitterly Cold" by David Garland, "The Staging Area" by Jason Gots, "Noir" by Pa Ying Vang, "#blessed" by Jackie Heltz, and "Blinking" by La Cosa Preziosa. Read More
It is an exciting time for audio. The tumultuous growth of podcasting and the concomitant development of digital channels, multiple platforms, and user-driven content has not only expanded and re-energized the form, but forced public radio to loosen its stays and let down its hair.Where once we might have talked of “the system” or “the industry,” we can now confidently say we are part of “a culture.” But—we are missing two important components of a vital culture: a critical language, and with it, a critical practice. The language should be expressly designed to describe our forms, tropes, and themes, but with reference to the larger culture and world of ideas. And the practice should be constant, robust, and open, with critical tools wielded to help us better understand our work, and ourselves, and to help our public to better understand us as artists. Read More
James Urbaniak is the kind of podcaster that other producers love to hate. His show, Getting On with James Urbaniak, consists of nothing but a single voice reading a fictional soliloquy, often written by someone else. There is almost no elaborate soundscaping, no intricate plot development, little evidence of endless editing sessions to get the thing just right. Getting On sounds like Urbaniak cruised into the studio, an iced latte in hand, and finished recording before his drink grew tepid. None of this would be infuriating if the podcast in question wasn’t so good. Read More