Serendipity Ep 8:
Quadraturin by Jon Earle and Emma Wiseman
This episode features the Best New Artist Winners Jon Earle and Emma Wiseman for their story "Quadraturin."
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2016 The Sarahs Winners: 1st Place
Almost Flamboyant by Rijn Collins and Lea Redfern
A group of ravens is an unkindness. A gathering of rhinos is (appropriately) a crash. So what do you call a flock of flamingos?
2016 The Sarahs Winners: 2nd Place
Can You Help Me Find My Mom? by The Truth
A little girl is lost and can't find her mom. Why won't anyone help her? This short audio drama hinges on a twist that is as heartbreaking as it is surprising, and offers a fresh perspective on an experience shared by countless people the world over.
2016 The Sarahs Winners: 3rd Place
Our Time is Up by Erin Anderson
Our Time is Up tells the story of Jake and Helen McCleary, an elderly couple struggling to save their troubled marriage. Unlike a conventional audio drama, the voices of the two main actors are constructed from fragments of oral history recordings: Erin Anderson's late grandfather, Josiah Patton (1919-2009) and Juanita Bowman (1900-2000).
2016 The Sarahs Winners: Best New Artist
Quadraturin by Jon Earle and Emma Wiseman
A young woman is offered a special gift – a substance with the power to enlarge her tiny New York apartment. "Quadraturin" is the story of how some things really are too good to be true. Based on a short story by Sigizmund Krzhizhanovsky translated by Joanne Turnbull.
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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
