“The key to writing fiction and screenplays in terms of character is conflict, just like it is in non-fiction. And you have to come up with what is the thing that’s going to test that character. And how are you going to make evident what they’re all about? If you can’t make it evident through action or the results of action it’s not believable.”
Author of Out on the Wire: The Storytelling Secrets of the New Masters of Radio
Just a few years ago as the economic dipped and newspapers and magazines started to go out of business or lay off thousands of journalists, some colleges started to drop journalism as an undergraduate or a graduate degree.
Then an interesting phenomenon happened. Podcasts helped revive a new type of audio storytelling. This American Life, Radiolab, and Serial are currently in the top ten on the iTunes chart and are great examples of audio storytelling/reporting at its best.
In her podcast Out on the Wire, host Jessica Abel explores what radio masters like Ira Glass go through in developing their stories. You may or may not be surprised that the questions are the same ones screenwriters, filmmakers, producers, and studio executive ask when developing their stories.
—What’s the hook?
—What does your protagonist want?
—What’s the inciting incident that disrupts the protagonists life?
—What’s the arc of the story?
—What’s the central conflict?
—Where’s the special sauce?
—Why is it interesting?
—How are the stakes raised?
—What’s universal about this story?
—How will it resonate with an audience?
—What’s the focus sentence? (More on that tomorrow.)
—Is there mystery, surprise, and irony?
—Is there a “You won’t f-ing believe it!” moment?
—Who or what changes?
—What’s the theme? What’s the takeaway when it’s all over?
—How do you make the story land most effectively?
Over the years since graduating from film school I’ve worked professionally in film, television, newspaper, photography, radio, and video production (and non-professionally in theater), which possibly makes podcasting my next frontier to explore creatively.
The tools for working in audio (a microphone, a recorder, headphones, an XLR cord, computer/editing software and batteries) are cheaper to acquire than what’s needed for shooting video/film projects. That and the fact you can work solo, you don’t have to have a college degree (or even have finished high school yet), perhaps explain the rise in individual podcasts.
Sure there’s a gap in storytelling quality between the person just starting out and This American Life, but even Ira Glass said he was bad for a long time before he became good, and eventually great.
On Episode 1 of On the Wire Jessica interviews Stephanie Foo () a former young skateboarder who once had a podcast with a few listeners called Get Me on This American Life (that she says wasn’t legit but got her press passes). That opened an opportunity to work on Snap Judgment, and she now is a legit producer at This American Life.
In that interview I think they hot on a universal truth; in the world of storytelling it is not only the protagonist who struggles toward their goal, but the storyteller does as well.
Jessica Abel: What do you want to say to the skateboarding girl who was pretending to journalist, who had a podcast Get Me on This American Life?
Stephanie Foo: “I wouldn’t talk to that girl because she was excited. I would talk to the girl who was at Snap Judgment producing five stories in a week and feeling like her head was going to explode, and that she was crazy and not good at her job. And I would just say you’re in it. This what it takes to be good. And it’s working. And you might not feel like it’s working, because you might be buried in a million stories. And you might not be able to find your way out. And the bosses might be like arguing with you, and everybody at work might be an absolute chaotic mess. But that’s what it takes. That’s what everybody goes through to become good. Getting completely messy, feeling completely lost is absolutely necessary to finding your way out and becoming good.
Jessica: The German Forest.
Stephanie: Yeah, the Dark Forest, exactly. Getting completely lost, over and over and over again. Because each time you find different paths out. And so at a certain point you can go almost anywhere and know how to find your way back. It’s kind of nice.
Stephanie is also the creator of Pilot podcast which according to its website: “Is a podcast that seeks to explore and expand possibilities in audio storytelling across formats and genres. Every episode will be a pilot for a different type of podcast.”
P.S. If you want to do some workshops or gather info on audio storytelling check out the Transom website located in Woods Hole, Massachusetts.
Conflict, Conflict, Conflict
Ira Glass on Storytelling
The Major or Central Dramatic Question
Commitment in the Face of Failure
Finding Authentic Emotions “Just because it’s a worthy cause doesn’t make it interesting.”— Alex Blumberg
Scott W. Smith
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