1. For those who are unfamiliar with your background, you have done everything from manage a literary magazine (McSweeney’s) to write and design a digital novel (The Silent History). Your work is innovative and experimental, often pushing the boundaries of a particular genre or medium. In that sense, it is perhaps not surprising that you’re experimenting with podcasting, but I was curious about your decision to work specifically within this medium. What drew you to podcasting and why did you feel it was the right fit for a project like Homecoming?
Why improvise audio fiction? Why not just sit down and write an ordinary script? In the radio of our times, whether documentary or fiction, we often search for methods to sound "as ourselves." If we want to reach out to listeners today, it is central to create what the critics of podcasting sometimes refer to as ”babble” or ”waffle.” Babble is the sound of the authentic, as if everything we say is invented spontaneously in the moment. One tool to achieve this is improvisation, and in this essay I will describe how we worked with improv in the podcast series The Dinner Party (2016) at Swedish Radio Drama.
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
We're excited to announce the 2018 Sarah Awards Winners! This year is the most international yet, with winners from Belgium, UK, Canada, Croatia and the U.S. Find out who won what at our Sarah Awards Ceremony on Monday, April 23rd at The Players Club. That evening we will also be announcing the winner of The Brave+Bold Contest. Hope you can join us! 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