Contest
2016 Very, Very, Short, Short Stories Contest!!
The 2nd Annual Very, Very, Short Short Stories Contest is ON! And this year we're very, very excited to announce that we're partnering with The Organist podcast.
News & Events
Enter The Sarah Awards!
On your marks, get set, go and revolutionize. The Sarah Awards are now accepting submissions for the first ever Sarah Lawrence College International Audio Fiction Award, aka The Sarah Awards.
Contest
2015 Very, Very, Short Short Story Winner!
We are excited to announce The Sarah Awards very first winner of its Very, Very, Short Short Story Contest. Congratulations to Ellie Gordon-Moershel for her winning piece "The Record."
The Sarahs and Serendipity on ABC's Radiotonic
The fantastic and wonderfully's creative Radiotonic, from ABC RN's Creative Audio Unit, featured The Sarah Award's initial podcast Serendipity along with Rick Moody's piece "Designer Heartbeats." Have a listen to the show here.
Enter our Very, Very, Short, Short Stories Contest!
In celebration of The Sarahs’ website launch, we invite you to participate in our first annual Very, Very, Short, Short Stories Contest. We asked Sarah Lawrence College writing faculty to provide sentences to inspire you to make inventive mini audio fiction. Learn more about it here. Deadline is October 1, 2015. You may enter as many times as you like. The winner receives $100 and a license for Hindenburg Journalist Pro editing software.
Latest
Serendipity Ep 17:
Very, Very, Short, Short Stories Finalists (Part 1)
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
Essays
Sarah Awards 2020 Judges
We’re excited to bring back the 2020 Sarah Awards with this talented trio of audio fiction judges. Read More
Reviews
Getting On with James Urbaniak
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
