Ellie Gorden-Moershel's piece "The Record", was selected as the first winner for The Sarah Awards 2015 Very, Very Short, Short, Stories Contest. It was inspired by Sarah Lawrence writing faculty Mary Morris' prompt, 'The Gem Sisters slept in the order they were born." Here is what the judges had to say.
“In 2 minutes and 45 seconds, Ellie Gordon-Moershel puts us in the seat of an unknown main character, waiting to travel, somewhere, we don’t know. Through this recording we get a glimpse of her life, where she has been, and who she has known. The script is elegant and moving, light and deep at the same time. With a simplistic and brilliant sound design Ellie Gordon-Moershel creates a true gem.”
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