What is audio fiction?
Audio fiction is the next wave of radio drama. By using the term “audio fiction” we hope to expand the definition of narrative fiction made for the ears. These are not just works of fiction read out loud: we’re talking dramas, mockumentaries, sound designed monologues and poetry, and forms we’ve never even heard before. To help you get a sense of what we’re looking for, you can listen to the pieces on our podcast Serendipity and past Sarah Awards winners. However, we're also interested in hearing works that we've never been heard before. Our ultimate goal is to inspire people to create audio fiction for the 21st century.
Is audio fiction the same as an audio book?
No. While we do love a good audio book, we do not accept works that are simply printed stories read out loud. However, that doesn’t mean you shouldn’t try to re-interpret a printed piece into a work of audio fiction. Some of our favorite works of audio fiction have been re-interpretations.
I am a writer/producer/musician; can I work with a producer/musician/writer to create a piece?
By all means, yes! We encourage writers, producers, and musicians to collaborate. Just make sure you when you enter either our Very, Very, Short, Short Stories Contest or The Sarahs Award you name the members of your team who created the piece.
I created a series, can I submit it?
Each piece will be judged separately. However, if you want to combine your series into one long piece, go ahead. It just has to be under 60 minutes.
My work sounds true, but it’s actually fiction. Is that OK to submit?
Of course! We love it when people mix fact and fiction to create a work. Just know that by entering your piece for our Very, Very, Short, Short Stories Contest or The Sarahs Award you are admitting that the piece has fictional elements.
Can I submit more than one piece?
Yes. We encourage people to submit more than once for our Very, Very, Very, Short, Short Stories Contest and The Sarahs Award. Can I submit a piece to be considered for your Serendipity podcast?
Can I submit to the podcast Serendipity?
Of course! We’re always on the lookout for incredible audio fiction. Email us at email@example.com.
Do these jeans make me look fat?
Nope. You look amazing. Plus, that's a dumb question. You shouldn't even ask that.
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