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Reality Radio, Second Edition: Telling True Stories in Sound (Documentary Arts and Culture, Published in association with the Center for Documentary Studies at Duke University)
Free PDF Reality Radio, Second Edition: Telling True Stories in Sound (Documentary Arts and Culture, Published in association with the Center for Documentary Studies at Duke University)
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Review
How could something so good get better? Well, John Biewen and Alexa Dilworth have managed to do just that. Reality Radio will remain required reading for all my students--especially given the addition of essays from some of my radio heroes like Alix Spiegel, David Isay, and Sarah Koenig.--Rob Rosenthal, independent radio producer and lead instructor at the Transom Story WorkshopSomehow in this manic digital age, Reality Radio—a mere book!—is more relevant than ever. Form and function manifest, here is the story of contemporary documentary audio, thoughtfully composed and offered straight from its most respected producers. Reality Radio is required reading for anyone at the beginning of her audio career. Or in the middle. Or finishing up. And for all invested listeners. This is radio canon."—Julie Shapiro, executive producer, Radiotopia from PRX
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About the Author
John Biewen directs the audio program at the Center for Documentary Studies, where he teaches and produces/hosts the podcast Scene on Radio. His reporting and documentary work have taken him across the United States and to Europe, Japan, and India.
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Product details
Series: Documentary Arts and Culture, Published in association with the Center for Documentary Studies at Duke University
Paperback: 272 pages
Publisher: The University of North Carolina Press; 2 edition (February 13, 2017)
Language: English
ISBN-10: 1469633132
ISBN-13: 978-1469633138
Product Dimensions:
6 x 0.5 x 9 inches
Shipping Weight: 14.1 ounces (View shipping rates and policies)
Average Customer Review:
4.0 out of 5 stars
1 customer review
Amazon Best Sellers Rank:
#760,009 in Books (See Top 100 in Books)
A collection of essays on audio documentary making from the genres top practitioners. This is the second edition, with five added essays that cover recently relevant topics like podcasts. The essays cover techniques for editing radio programs as wells as techniques of great storytelling. The book starts with a Foreword by Starlee Kine, who describes that she developed her first idea for This American Life during a funeral when a movie of her aunt’s dad’s life played. She then did interviews with those who made these funeral videos, but the interviews were too flat: “Our best interview was a guy walking us through, step by step, how to assemble a digital slideshow.†Then, on the last day, they encountered a dramatic movie-star-like character who told them he was gay and that he got into the business because his father was a funeral director, and then showed them the photos he hoped would eventually play at his own funeral. She later learned that the first set of tapes ended up being blank, and the only surviving tape was of the dramatic actor that talked about his family and personal problems. She used this story because: “I wanted to create a show that you experienced instead of just heard told to you†(xi-xiv). There is something odd about this story. In my experience when all but one tapes turn up blank… somebody’s dog must’ve eaten their homework… If this is the case, this seems like an odd way to start a book about the hard work of radio production…The stories in this collection take the reader to different parts of the world and into different cultural, economic, political and other concerns that matter to these creators. Most of the essays are conversational, and are written as if a pal is trying to convince the reader to feel intellectually attracted towards the author/ him or herself. Bits touch on the history of radio or a given radio program. Other bits include well-known radio segment transcripts that demonstrate how the audio managed to appeal to listeners. There are also technical instructions, such as notes from Chris Brookes on how he searched for a “sound that suggested the way that radio static would have struck the ear a century ago†(16). He explains that there was no automatic pre-recorded statistic he could have used, and he had to go to some length to invent this sound to use it on the air.The book is written as an instructional manual for potential future radio personalities. Anybody who hopes to create a podcast or to start a career in radio should read this book. Some of the advice might be less helpful than other bits, but anybody that reads this book closely and with skepticism should be greatly enriched. --Pennsylvania Literary Journal, Volume IX, Issue 1
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