# data[].attributes.headline
Video directions for recording a podcast on Anchor FM

# data[].attributes.subject
Video directions for recording a podcast on Anchor FM

# data[].attributes.attachment_link.title
Anchor - The best way to make your podcast.webm

# data[].attributes.attachment_link.readable_text
NO PURCHASE NECESSARY TO ENTER OR WIN. OPEN TO LEGAL RESIDENTS OF THE FIFTY (50) UNITED STATES AND THE DISTRICT OF COLUMBIA, AGE EIGHTEEN (18) OR OVER. VOID WHERE PROHIBITED.

1. SPONSOR. The NPR Student Podcast Challenge (the "Contest") is sponsored by National Public Radio, Inc. ("NPR"), a District of Columbia nonprofit corporation with principal offices at 1111 North Capitol Street NE, Washington, DC 20002 (the "Sponsor").

2. OVERVIEW. The Contest is a podcast submission contest where 5th - 12th grade teachers can submit an audio file created by their student(s) for an opportunity to (a) have NPR and/or station reporters come to their school to meet and interview them and their student(s) and (b) have the winning podcast discussed in a news segment that will appear on an episode of NPR's All Things Considered or Morning Edition. By participating in this Contest, each participant agrees to be bound by these Official Rules and to the decisions of the Sponsor and the judges selected by the Sponsor, which are final and binding on all matters relating to the Contest. The Contest will operate as described below, on or about the stated dates:

The Contest submission period begins at 12:00 a.m. EST on January 1, 2019, and ends at 11:59 p.m. EDT on March 31, 2019. To be eligible, submissions must be submitted in accordance with Section 4 of these Official Rules.

The Contest judging period begins on April 1, 2019, and ends on or about April 21, 2019. Eligible submissions will be reviewed by up to two (2) panels of judges selected in the sole discretion of the Sponsor, and will be judged in accordance with Section 5 of these Official Rules. Two (2) Winners (as described in Section 7 below) will be selected.

Sponsors will attempt to contact each Winner, or an alternate if necessary, on or about April 22, 2019, and in accordance with Section 6 of these Official Rules.

The Winners will be publicly announced on or about April 23, 2019.

3. ELIGIBILITY. The Contest is open only to individual 5th - 12th grade teachers who are legal residents of the fifty (50) United States or the District of Columbia (each an "Entrant"). Each Entrant must be at least eighteen (18) years of age at the time of entry. Void in Puerto Rico and all jurisdictions other than those stated above and where prohibited or restricted by law.

The following individuals are not eligible to enter: (a) employees, representatives, agents, directors, and officers of the Sponsor and its parent, subsidiary, or affiliated companies, member stations, and other parties involved in the administration of the Contest; and (b) each of the immediate family members or other persons living in the same household as such excluded individuals.

Entry constitutes each Entrant's certification that the Entrant meets the eligibility requirements set forth in these Official Rules. The Sponsor reserves the right to verify and confirm each Entrant's compliance with eligibility requirements. An Entrant may be required to submit further information to assist in the judges' verification of eligibility. Winning a prize is contingent upon fulfilling all requirements set forth herein.

4. HOW TO ENTER. To enter, an Entrant must submit an audio file featuring the Entrant's student(s) discussing a topic of her, his, or their choosing (the "Submission"). The Submission must be both "original" (as defined by copyright law) and unique (meaning it must have been created for the sole purpose of entering the Contest). Submissions must comply with the following requirements:

Submissions must be between three (3) and twelve (12) minutes in length.

Submissions must be created specifically for the Contest.

Submissions must be the original work of the Entrant's student(s).

Submissions must be uploaded by the Entrant to SoundCloud (in any format acceptable to SoundCloud) with the ability to download the Submission enabled.

Submissions must comply with SoundCloud's Terms of Use.

Submissions must not include any music (either original compositions or third party songs).

Submissions must not contain material that violates or infringes another's rights (including, but not limited to, material that violates privacy, publicity, or intellectual property rights).

Submissions may be on any topic; however the following prompts are offered as suggestions:

Tell us a story about your school or community: about something that happened there - recently or in the past - that you want your audience to know about.

What is a moment in history that all students should learn about?

Show us both sides of a debate about an issue that's important to you.

What do you want to change about the world? What's a big change that you want to make in the future?

Explain something to us that kids understand and grownups don't.

An Entrant must upload a publically viewable and downloadable Submission to SoundCloud between 12:00 a.m. EST on January 1, 2019, and 11:59 p.m. EDT on March 31, 2019. Each Entrant will be required to sign-in to SoundCloud to post a Submission; if an Entrant does not already have a SoundCloud account, that Entrant will be required to create one. After uploading the Submission, an Entrant must complete the submission form available at http://www.npr.org/studentpodcastchallenge (the "Submission Form").

On the Submission Form, each Entrant must provide: an explanation of the Submission (limited to 200 words); Entrant's name, e-mail address, and phone number; the name of the school where Entrant teaches (or a designation that Entrant is a home school teacher); the grade and primary subject that Entrant teaches; a link to the Submission hosted on SoundCloud; a certification that Entrant meets the eligibility requirements stated in Section 3 above and agrees to these Official Rules; and a certification that Entrant has received permission from a parent or legal guardian of each student who contributed to the Submission, agreeing that (a) the student's work and recorded statements may be submitted to this Contest; (b) the student may participate in recorded interviews with NPR or NPR member station journalists if your Submission is selected as a Winner; and (c) Sponsor and the Sponsor's member stations may use the Submission and any recordings of interviews conducted with the student, on a worldwide, perpetual, gratis and royalty-free basis in any media and for any purpose. Each Entrant must indicate whether the Submission should be judged in the 5th - 8th grade or the 9th - 12th grade bracket of the Contest.

By completing the Submission Form, each Entrant agrees to be bound by NPR's Terms of Use and Privacy Policy. Each Entrant must comply with all Submission requirements. Entry is not complete until an Entrant has uploaded the Submission to SoundCloud and submitted a complete Submission Form. An Entrant must completely and accurately submit all required information to enter, and must timely cooperate with all requests for additional information or documents that the Sponsor may request in order to verify eligibility and compliance with these Official Rules.

The Sponsor's clock is the official timekeeping device for the Contest. The Sponsor is not responsible for late or unsuccessful attempts to enter. Incomplete, corrupted, untimely, or unintelligible Submissions or Submission Forms will be disqualified. If for any reason an Entrant's entry is confirmed to have been erroneously deleted, lost, or otherwise destroyed or corrupted, that Entrant's sole remedy is another entry in the Contest to the extent the submission of an additional entry is deemed feasible by the Sponsor, in its sole discretion. The Sponsor reserves the right to determine, in its sole discretion, which entries have satisfied the entry requirements and to disqualify any Submission it believes is not consistent with the spirit and theme of the Contest.

AN ELIGIBLE ENTRANT MUST SUBMIT AN ENTRY IN ACCORDANCE WITH THESE OFFICIAL RULES. NO OTHER METHOD OF SUBMISSION WILL BE ACCEPTED.

5. JUDGING. Judging will begin on or about April 1, 2019, and will end on or about April 21, 2019. There will be two (2) rounds of judging. Initially, all Submissions that meet the requirements listed in Section 4 above will be reviewed by a panel of preliminary judges selected in the Sponsor's sole discretion, that will consist primarily of members of NPR's Education Team (the "Preliminary Judges"). The Preliminary Judges will judge Submissions on the following criteria:

40% Information and Structure

Does the Submission tell a compelling story or teach us something new and important? Is it structured in a way that makes sense and keeps listeners engaged? Can we easily follow the story you're telling or the information you're explaining? Have you spent time editing - cutting out unnecessary information or repetition and making sure the main ideas come through clearly?

40% Personality and Creativity

We want to listen to this Submission and hear your voices. Do we hear the unique voices of your class and community? Does it have personality, or does it make us want to "fast forward"? Does it make us laugh or cry or leave us deep in thought - FEEL something? That's what we're looking for.

20% Production Quality

We're not judging you on how fancy your equipment is and we don't expect you to be an expert on recording and editing sound, but we hope you'll try. Some Submissions may use sound, or audio, in creative ways. Others may be more of an interview format. If you use sound, does it add to the story you're telling? Did you layer the audio and narration? These are some of the things we'll be looking for.

The Preliminary Judges will select approximately ten (10) Submissions in each of the two grade brackets as finalists. A panel of at approximately ten (10) judges, including NPR staff and industry experts selected by the Sponsor in its sole discretion (the "Final Judges") will then judge these finalists and select one (1) Winner from the 5th - 8th grade bracket and one (1) Winner from the 9th - 12th grade bracket based on the same criteria as was used by the Preliminary Judges.

6. WINNER NOTIFICATION. Each of the two (2) potential Winners, as determined by the Final Judges, will be notified by e-mail (via the e-mail address listed on the Submission Form) on or about April 22, 2019, and will be required to respond (as directed) to the notification attempt. Failure to respond timely to the notification may result in forfeiture of participation in the Contest and, in such case, the Sponsor will select an alternate Winner according to the Final Judges' results. Each potential Winner may be required to execute and return a notarized affidavit of eligibility (where legally permissible) or other documents required by the Sponsor within a reasonable amount of time, as determined by the Sponsor in its sole discretion. If a potential Winner cannot be contacted by e-mail after the first attempt, that potential Winner will be disqualified and an alternate entry will be selected in its place from all eligible entries received according to the judging criteria described above.

The Winners will be publicly announced on or about April 23, 2019.

The Sponsor reserves the right to extend or modify the winner notification and announcement schedule as the Sponsor deems necessary, in its sole discretion, to complete the verification process contemplated by these Official Rules and/or to select an alternate Winner.

7. PRIZES. Each of the winning Entrants (each, a "Winner"), will receive the following "Grand Prize":

An NPR and/or member station journalist or journalists will visit each Winner's school in or around May 2019 to meet with and interview the Winner and the student(s) who contributed to the winning Submission.

NPR will air a segment on an episode of NPR's

A trophy!

The approximate retail value of each Grand Prize is One Hundred Dollars ($100.00).

8. PRIZE RESTRICTIONS. Each Winner will be solely responsible for any and all federal, state, and/or local taxes resulting from acceptance of a Grand Prize. A Grand Prize cannot be transferred or assigned to another person, class, or school. No prize substitution or changes are allowed except at the discretion of the Sponsor. A Grand Prize cannot be substituted or redeemed for cash. Each Grand Prize is provided "as is" without warranty of any kind.

9. GRANT OF RIGHTS. In consideration for an Entrant's Submission being reviewed and evaluated for this Contest, each Entrant hereby grants to the Sponsor and the Sponsor's member stations a non-exclusive, perpetual, worldwide, irrevocable, fully paid, universal license to use, copy, sublicense, transmit, distribute, publicly perform, publish, delete, make derivative works from, or display such Submission, or any portion thereof, in any media now known or hereafter devised and for any purpose.

By entering the Contest, each Entrant warrants that a parent or legal guardian of each student who contributed to the Submission has agreed that the student's work may be submitted to this Contest and that the Sponsor and any of the Sponsor's member stations may use the Submission on a gratis and royalty-free basis in any media and for any purpose, as described herein.

10. ENTRANT REPRESENTATIONS, WARRANTIES, AND RELEASE. By entering, each Entrant represents and warrants to the Sponsor that: (a) the Submission is completely the original work of Entrant and their student(s) and was created solely by Entrant and their student(s) without assistance from any of the Sponsor's member stations; (b) the Submission is an original work and is not copied from any other source or previously distributed or disseminated in any media or format; and (c) the Submission is not in violation of or in conflict with the trademark, copyright, rights of privacy, rights of publicity, or any other rights of any kind or nature of any other person or entity. By submitting an entry, each Entrant agrees to release the Sponsor and its parent companies, affiliates, subsidiaries, promotional partners, member stations, and agents, and all others associated with the development and execution of this Contest, and the officers, directors, and employees of each of the foregoing, from any and all claims and liabilities arising from or in connection with participation in this Contest, including, without limitation claims for injury, loss, or damage of any kind resulting from participation in this Contest or acceptance or use of any prize, and claims based on rights of privacy, rights of publicity, false light, defamation, copyright, and/or trademark infringement relating to the submission or exploitation of Entrant's Submission. If an Entrant is a California resident, such Entrant hereby waives California Civil Code Section 1542, which states: "A general release does not extend to claims which the creditor does not know or suspect to exist in his or her favor at the time of executing the release, which, if known by him or her must have materially affected his or her settlement with the debtor."

Each Entrant further agrees to release SoundCloud from any and all liability associated with this Contest or receipt or use of any prizes.

WITHOUT LIMITING THE FOREGOING, EVERYTHING REGARDING THIS CONTEST IS PROVIDED "AS IS" WITHOUT WARRANTY OF ANY KIND, EITHER EXPRESS OR IMPLIED, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, OR NON-INFRINGEMENT. SOME JURISDICTIONS MAY NOT ALLOW THE LIMITATIONS OR EXCLUSIONS OF LIABILITY FOR INCIDENTAL OR CONSEQUENTIAL DAMAGES OR EXCLUSION OF IMPLIED WARRANTIES, SO SOME OF THE ABOVE LIMITATIONS OR EXCLUSIONS MAY NOT APPLY. CHECK LOCAL LAWS FOR ANY RESTRICTIONS OR LIMITATIONS REGARDING THESE LIMITATIONS OR EXCLUSIONS.

11. GENERAL TERMS AND CONDITIONS. The Sponsor reserves the right to terminate, modify, or suspend this Contest due to any of an act of god; unavoidable accident; epidemic; fire; blackout; act of public enemy; war, riot, or civil commotion; enactment, rule, order, or act of government, governmental instrumentality, or tribunal; strike, lockout, or other labor dispute; inclement weather; the recapture of any time period scheduled for the live broadcast of a program for an event of national importance or emergency; failure of technical facilities; failure of third-party software or services; failure of essential production or technical personnel to appear or be available for production or broadcast; or other cause beyond the Sponsor's control. The Sponsor is not responsible for lost, late, illegible, incomplete, damaged, mutilated, misdirected, misdelivered, or delayed entries, or for technical or human errors or failures of any kind in connection with the submission, transmission, processing, or judging of entries.

THE SPONSOR WILL NOT BE OBLIGATED TO AWARD ANY PRIZE THAT RELATES TO OR ARISES OUT OF IMPROPER OR MISTAKEN PRIZE NOTIFICATION, OPERATION, OR FUNCTION OF THIS CONTEST.

THE SPONSOR RESERVES THE RIGHT TO CHANGE ANY TERM OF THESE OFFICIAL RULES OR TO ADDRESS ANY ISSUE THAT ARISES WITH UPDATES OR AMENDMENTS TO THESE OFFICIAL RULES AT ANY TIME UP TO THE DATE THAT THE GRAND PRIZE WINNERS ARE SELECTED.

ALL DECISIONS BY THE SPONSOR AND JUDGES ARE FINAL AND BINDING.

12. GOVERNING LAW. This Contest is governed by the internal laws of the District of Columbia without regard to principles of conflict of laws. All cases and claims pertaining to this Contest must be brought in a court of competent jurisdiction in the District of Columbia.

13. PRIVACY POLICY. Any personal information supplied by an Entrant to the Sponsor will be subject to NPR's Privacy Policy and the supplemental terms of these Official Rules. By entering the Contest, each Entrant grants the Sponsor permission to share that Entrant's e-mail address and any other personally identifiable information of the Entrant with SoundCloud solely for the purposes of administering the Contest and prize fulfillment. Each Entrant agrees that the Sponsor may share information submitted by Entrant with the Sponsor's member stations. The Sponsor will not sell, rent, transfer, or otherwise disclose an Entrant's personal data to any third party other than as described above herein or in the Sponsor's privacy policy.

14. OFFICIAL RULES AND WINNER'S LIST. For a copy of these Official Rules, visit www.npr.org/studentpodcastchallenge or send a self-addressed, stamped envelope for receipt by March 31, 2019, to: Official Rules, "NPR Student Podcast Challenge," ATTN: NPR Education Team, c/o National Public Radio, Inc., 1111 North Capitol Street, NE, Washington, DC 20002. For a list of the Winners, within sixty (60) days after April 23, 2019, send a self-addressed, stamped envelope to: Winners List, "NPR Student Podcast Challenge," ATTN: NPR Education Team, c/o National Public Radio, Inc., 1111 North Capitol Street, NE, Washington, DC 20002. Requests received without a self-addressed and stamped envelope will not be fulfilled.

This Contest is in no way sponsored, endorsed or administered by, or associated with, SoundCloud. Any questions or comments regarding this Contest should be directed to the Sponsor and not to SoundCloud.

# data[].attributes.attachment_link.title
NPR Student Podcast Challenge: Official Rules

# data[].attributes.attachment_link.description
NO PURCHASE NECESSARY TO ENTER OR WIN. OPEN TO LEGAL RESIDENTS OF THE FIFTY (50) UNITED STATES AND THE DISTRICT OF COLUMBIA, AGE EIGHTEEN (18) OR OVER. VOID WHERE PROHIBITED. 1. SPONSOR. The NPR Student Podcast Challenge (the "Contest") is sponsored by National Public Radio, Inc.

# data[].attributes.body
When you finish, add your podcast to this padlet. Type your name and Podcast Name where it says title. Then click the link button and paste your podcast.

# data[].attributes.headline
Suggestions for planning a podcast from Youth Radio

# data[].attributes.subject
Suggestions for planning a podcast from Youth Radio

# data[].attributes.body
A podcast can tell a story, analyze a song, discuss an athlete or a particular play in a game, review a movie, interview someone, tell how to do something, and so much more. When you start to plan don't forget to consider your audience.

# data[].attributes.attachment_link.readable_text
Why Make a Podcast?

Podcasts are EVERYWHERE.

Case in point: YR Media just launched our own, Adult ISH, a first of its kind, culture and advice podcast produced by those who are almost adults. Subscribe!

Podcasts come in all sorts of varieties - comedy, music, journalism, fiction - there are even podcasts about other podcasts! So whether you're a Serial addict, a 2 Dope Queens fan, a proud RadioLab supporter, or none of the above, rest assured there's still something in the podcast world for everyone.

In fact, we're living in what many people are calling a new "Golden Age" for audio. We've already seen that audio CAN go viral (ahem, Serial, S-Town...) in podcast form. And thanks to our cell phones, most of us are carrying around a kind of digital audio player and recorder with us all the time. Today more people than ever are getting creative with podcasting as a form of intimate, engaging storytelling. In other words, people are listening - not just to journalists or comedians, but also to ordinary people who decide to share their stories, expertise, and ideas.

So are you ready to try your hand at podcasting? Get the skills you'll need by checking out the five steps we've laid out for you below.

1. Coming Up With an Idea

First, you should familiarize yourself with the basics of podcasting and practice coming up with a brief pitch for a podcast of your own.

Determine Your Podcast Personality

There are a lot of different types of podcasts out there: comedy, music, how-to, journalism, fiction, to name just a few. To determine what kind of podcast you might like to make, we suggest you start by listening to a variety of different podcasts and get a sense for what you like. You can browse what's popular on iTunes, look for productions by your favorite media personalities, or explore by topic.

We've put together a short list of some of our favorites. If you have the time, take a listen and figure out what kind of podcast you might like to make yourself.
If you're a public radio junkie:

This American Life (WBEZ)

Snap Judgement (WNYC)

99% Invisible (Radiotopia)

Latino USA (NPR)

Nancy (NPR)

If you love a good mystery:

Serial (WBEZ)

Welcome to Night Vale (Welcome To Nightvale Presents)

Criminal (Radiotopia)

Limetown (Two-Up Productions)

My Favorite Murder (Feral Audio)

If you're a proud STEM nerd: If you're a history/language arts buff:

Revisionist History (Panoply/Slate)

Allusionist (Radiotopia)

Stuff You Missed In History Class

Song Exploder (Radiotopia)

LaVar Burton Reads (Stitcher)

If you love comedy/pop culture:

Comedy Bang! Bang! (Earwolf)

2 Dope Queens (WNYC)

Radio Menea

Mystery Show (Gimlet)

The Read (Loud Speakers Network)

Guided Listening - Figuring Out What You Like

Now that you've got a basic idea of what this podcasting thing is all about, you'll need to come up with an idea for one of your own. Use our guided listening questions to come up with a new idea for a podcast

1. What do I personally like to get out of listening to a podcast? (example: I like to be entertained, I like to be informed about new things, I like feeling inspired, etc)

2. What kind of podcast tone appeals to me? (example: light-hearted, serious, scripted, conversational, etc)

3. What kind of podcasting structure do I like best? (example: based on a theme, based on current events, narrative [like a book], 10-minutes or less, released in seasons, etc)

4. What kind of person do I want my podcast appeal to? (example: other teachers, people who are interested in a particular hobby, etc)

5. What elements make up the podcasts I like? (example: interview, musical segment, reported story, scene, etc)

6. What might make my podcast stand out compared to what's already out there? (example: add a new storytelling element, use a different premise or style, cover a topic people want to know about, etc)

Vetting Your Idea

You've got an idea for a great podcast... or at least you think it's a great podcast. How can you tell whether your idea will be a hit or fall flat? We've got some helpful tips, from finding inspiration to vetting your ideas and turning them into brief, punchy pitches.
T.A.G.S. - That's A Good Story
Coming up with a good story (and presenting it well) is harder than it seems! Even experienced journalists and producers often struggle with coming up with fresh ideas that editors (and listeners) will respond to. In general, here are some qualities that set fresh story ideas apart from stale ones:

Twist / trend -
A good podcast takes a familiar idea and adds a new angle to make it fresh.

Adds to / Advances the story -
If your podcast is covering a familiar topic or style, make sure the way you present it takes the listener's understanding to the next level.

Grounded in experience / expertise -
How will you make sure your podcast feels genuine? Start with the things you actually know about, or at least are really curious about.

Surprising -
Your podcast should include new, unexpected information, techniques, or elements that make people sit up and listen (and, of course, share your podcast with all their friends).

Common Pitfalls of Pitching

You're almost there! As you finalize your podcast/story ideas, check out these common pitfalls and try to avoid them!

"The Columbus"

"The Long-Distance Pitch"

"The Aspirational Pitch"

"The Thesis"

"The Stereotype"

"The Fake Trend"

Now that you're pretty sure you have a fresh podcast concept, we'll learn how to turn your idea into a brief pitch.

Pitching Practice: The One-Graf Pitch

A pitch is essentially a paragraph description where you make the case for why your story is awesome and interesting. To practice, you're going to write the pitch for the first episode of your podcast.

When writing your pitch, focus on the essentials - What is your podcast/the episode about, and why will people want to listen? Emphasize the T.A.G.S. (see above) of your story, or why people should be excited about it. And keep it conversational! Write your pitch as if you were talking to a friend. This will keep it from becoming stuffy or formal.

For example, here are a few successful pitches from YR stories:
PITCH: Out of the nearly 900 emoji options available to U.S. teenagers, the pistol emoji is one of the most popular (#75). Teens use it to express boredom (another math test: gun), prompt people to respond faster (are you there? text me: gun), or vent frustration (this line is taking forever!: gun). And most of the time, it seems pretty harmless. But even if the message is benign, the question remains why so many of us feel we have to use violent imagery to express ourselves - often without thinking about it. In this podcast episode, Youth Radio's Tylyn Hardamon tracks the linguistic and technical history and use of the pistol emoji, quizzing young people on how and why they use it. Are Teens More Narcissistic Than Before? (Youth Radio) PITCH: Are teens today more narcissistic than ever before? Some psychologists are pointing to a personality test called the Narcissism Personality Inventory, which seems to indicate that millennials have a historically high sense of self-obsession. But not everyone thinks the test is a great tool to use on teens, who may need an inflated sense of self to protect themselves against the natural pitfalls of puberty. In this week's podcast replay, Youth Radio's teen reporters turn the lens on themselves as they investigate their own narcissism scores, and interview an expert on what this trend might mean for the success of the next generation.
2. Getting to Know Your Equipment

Sound is everywhere. From the moment we wake up to when we go to sleep, our days are filled with noise. Even so-called "silence" is actually full of sound - the hum of an air conditioner, the distant rush of traffic, the whoosh of our own breath. By collecting and weaving together high quality recordings of our interviews and scenes, we can bring the story closer to listeners - their ears and imaginations allowing them to enter entire worlds of sound.

Choosing Your Recorder

When it comes to recording sound, not all equipment is created equal. But even if you can't afford a top-of-the-line audio kit, there is a wide range of devices that you can use to gather sound for your stories. In the end, whether you're using a Zoom H4N or a Fisher Price Cassette Recorder, it's still the audio you gather that truly makes your story compelling.

Smartphone

Most smartphones today have a built-in microphone and recording function (example: iPhone's voice memo), and can be used in a pinch to conduct interviews and gather sound. Here are a few tips for using your phone effectively as a recorder:

Find a quiet room - preferably one with carpet, lots of furniture, etc. - for interviews. Unplug or remove all devices that click, tick, ring, hum or buzz.

Make sure your phone has enough space. You don't want to gather awesome sound only to find out there's nowhere to save it!

Have the person being interviewed hold the device's receiver a few inches away from their mouth. If you want to capture multiple people's voices, ideally each person will have their own phone. If the phone is too far away, their voices will be hard to hear.

Consider investing in an external microphone. If you need to gather higher quality sound, there are many setup options (like this one) that allow you to record and edit via your phone. External microphones can also help if you want to gather characteristic sounds of a particular scene.

Check out some broadcast/recording apps. There are many free or inexpensive mobile apps that allow you to customize the levels and quality of the sounds you record on your phone. Two popular options are Hindenburg and Transom - though new ones are popping up every day!

Can't go there in person? Record your phone calls. "Phoner tape," as it's called in audio editing circles, isn't the highest quality sound - that's why many radio studios use tape syncers (locals with audio equipment who can gather sound in-person) to do remote interviews. But if your source lives far away and you're on a budget, there are still ways to preserve that audio. Check out inexpensive apps like Tape A Call or Recorder. Free options are possible using Skype and Google Voice.
If you're doing a phoner, try asking the person you're interviewing if they have a smartphone. If so, they can record using the voice memo option on their device (using the tips above) and then email you the audio afterwards.

Computer (desktop or laptop)

Built-in computer microphones generally aren't as high quality as the ones in smartphones, but you can always pair them with a good external microphone to get decent sound. Check out Transom's guide to setting up a basic home studio for tips on mics and software. Free audio editing software mainstays like Audacity and Garageband are excellent programs for beginners.

Portable Digital Recorder

Outside of a professional studio, a high quality portable digital recorder is your best bet to get broadcast-quality sound - but expect to shell out a few hundred bucks. Transom has a comparison guide geared toward professional storytellers that may help you make your choice.

Other Equipment

A Sound Dampener - When you're recording narration or an interview, you want to reduce outside sounds and prevent echo. If you've got the $, you could get a vocal shield or set up your own studio. If you're on a budget or just getting started, try recording in your closet (the clothes help to muffle outside noise), or in a carpeted room under a sleeping bag.

Headphones - One great way to know you're getting awesome audio is to LISTEN to it as it comes in. You don't even need pricey headphones - just make sure you can hear what's going on clearly and you ALWAYS wear them when you record.

An External Microphone (Optional but recommended) - It's not that you can't get great sound with the microphones built in to your devices (check out Youth Radio's guide to gathering high quality audio using your phone), but it can be difficult. Built-in microphones are more likely to pick up "handling noise," meaning the sounds your hands make when they make tiny shifts in your grip, gusts of wind, or echos from a room. There are entire sites dedicated to picking a fancy microphone that best fits your needs, but in general you could upgrade your sound game by getting some type of external microphone (one you plug into your recorder).

A windscreen/pop filter for your external microphone - Wind makes noise. And, if you do any of your recording outside, it has a tendency to interrupt the sounds you're trying to capture. A windscreen is a soft, cushy cover for your microphone that helps prevent that dreaded WHOOOSH noise. It also is known as a pop filter, which refers to the normal but gross-sounding noises we make with our mouths when we pronounce certain words. If you're just getting started and you're recording indoors, feel free to skip the filter. Or you can be nerdy and make one yourself (see above).

What Sounds To Gather

So now you have the equipment to start recording. Awesome. But to make a great podcast, what exactly should you be listening for? From interviews to interactions, here's a brief rundown of some of the types of sound you might want to gather.

Scene - In audio, a scene takes you to a place where some sort of action is happening that relates back to the narrative. A scene is comprised of elements such as characteristic sounds, room tone, interaction, and emotion. The goal is an audio soundscape that allows your mind to recreate whatever is going on.

Characteristic Sounds - These are sounds that help transport the listener to a particular place. Examples include the buzz of a drill at a dentist's office, a moo at a cattle ranch, the late bell at a school, the gavel noise of a courtroom. If possible in a scene, any action that creates sound should be recorded closely to bring the listener into the moment.

Room tone (ambient noise) - Even if you think you are recording in a silent space, every room has its own brand of quiet. At the beginning or end of each scene/interview, record between 30 seconds and 1 minute of room tone during which you and your source do not talk.

Stand-up - A stand-up is when a reporter does a brief, live description of what is going on and/or what they are doing in the field. Stand-ups often address the 5 W's or reporting - who, what, where, when and why. They may also include narrative elements, such as how the reporter is feeling or thinking.

Interview - This is when a reporter/interviewer asks a source a series of questions. When recording an interview, you want to try to gather the "cleanest" sound possible, meaning minimal background noises. Seek out a quiet space, even if it means asking someone to turn off music or devices.

Levels - Levels represent the sensitivity of your recording device - in other words, it sets the amplitude of the sound you gather. When setting your levels (which you should do before each interview or scene), you want to make sure the amplitude of your sound stays in the mid-range for your device. If your levels are too low, you will not capture the sound you may need. If your levels are too high ("peaking") the sound will be distorted. For step-by-step instructions on how to set, check out online tutorials like this one.

Skills You Need For Gathering Great Sound
*A note on gathering levels: rather than asking your interviewee to say something artificial like "check check 1 2 3," have them answer a basic descriptive question like "what did you have for breakfast?" This will make sure they're speaking within their normal range of volume.
Before you press record on your actual podcast, you're going to want to make sure you have a couple of basic recording skills down. Gather your equipment together and make sure you're comfortable doing the following:

Complete set up (headphones on, cables and microphone attached)

Turn on recorder

Set recording levels to mid-range*

Proper mic placement (for interviews: fist-width distance from mouth, slightly off to side of mouth)

Start recording

Gather room tone (ambient noise)

Turn off recorder

Complete break down (headphones, cables and device stored properly)

We've also made a one-page checklist and a graphic to help you remember what skills to practice when you go out to record sound on your own.

Recording Practice: Gather the sounds of your room

To practice field recording, you can use your recording set-up to gather three different sounds that help define the room you're in. The goal is to get a sense for how you can use sound to build a portrait of a place.

Take a look/listen around the room you're in currently (or pick one nearby that you can easily access). What are three characteristic noises that help to define the space you're in? For example, if you're in a classroom, you might hear the ring of the school bell, the laughter of students coming in, and the creeeeeeak of the chair as you sit down.

Using your recording equipment, gather no more than ten seconds of each sound. Save each sound file and play it for your friends!

3. Getting Great Interviews

Interviewing is the foundation on which most podcasts are built. Great interviews are conversations that suck the listener in and leave them feeling included, informed, and more connected to the story than before.

Interviewing is more than a skill - it's an art. The order of your questions, the way you phrase them, and the tone of your voice all affect the way a person will respond to you. By carefully crafting your interview questions and paying attention to how your source responds, you'll be more likely to gather compelling, engaging tape for your podcast.
Someone-You-Know Interview
The style of a given interview depends a lot on your relationship to the person you're talking to. If you're interviewing an expert, you'll use different words, tone, even posture than if you are talking to a friend. You'll also use different interviewing strategies depending on the angle of your story - if you feel your source is hiding something, for example.

Types of Interviews

In normal conversations, we "interview" people we know all the time. But casually saying hello to a friend or relative can feel really different than sitting down with them with a goal in mind. You'll want to capitalize on your familiarity with your interviewee to get the best stories and answers as possible, but also keep in mind that your conversation shouldn't be so filled with inside jokes and references that other people won't understand what you're talking about. To set the scene for a strong interview with someone you know, it's a good idea to:

Even though you know the person you're interviewing, you're going to want to spend some time writing questions ahead of time. Check out: YR Tips For Interviewing Someone You Know.
Expert Interview
Listening Example: YR's Maya Escobar interviews her dad about whether or not he thinks he's addicted to his cell phone

-

When we think of the word "expert," many of us picture a doctor, lawyer or professor. But an expert can be anyone who has a lot of knowledge or experience that you can to tap into for a particular story. We often interview experts when we need a complicated process explained, or if we need someone to speak about broader trends for a story. When looking for the right expert to talk to, think about someone who is:

Good at explaining things and/or a dynamic storyteller

Acknowledged in the field, meaning he or she has written about the topic or has been recommended by others as a knowledgeable source

Representative of the diversity of the population. For example, women and people of color are often underrepresented in the media as sources of analysis and expertise. You have an opportunity to change that.

Once you find your expert, you're going to want to spend some time researching him or her, and writing questions ahead of time. Check out: YR Tips For Interviewing Experts.
Something-To-Hide Interview
Listening Example: YR's Kasey Saeturn interviews a representative from the Federal Housing Authority, asking him to explain why it's so hard for young adults like her to get public housing

-

The phrase "something to hide" makes it sound like we're talking about interviewing a spy or super villain about their plans for world domination. But really, "something to hide" interviews are about getting information that a character may be hesitant to share. This doesn't mean they are good or bad people, but it does mean you should tread carefully when structuring your interview. Examples of "something to hide" interviews include:

While it can feel awkward to probe someone for hidden information, know that it's part of your mission as a journalist to report as accurately and thoroughly as possible. You are doing your readers/listeners a service by asking thorough questions, and getting to the truth is a powerful reward.

Check out: YR Tips For Something-To-Hide Interview.

Listening Example: YR's Malachi Segers interviews a representative from Spirit Halloween about whether some of their costumes are racist

4. Writing Your Script

Now that you have field recording and interviewing down, you're all set to start gathering awesome elements for your podcast. The next step is learning how to put it all together, turning your raw audio into an edited audio piece.

Essential Audio Editing Vocabulary

Tape - even though most of us use digital recorders now, not cassette tapes, most audio nerds still refer to all the sounds/clips/interviews you capture as "tape."

Transcribe Tape - This means you listen to tape and write down everything that you hear. It can be time consuming (you'll probably need to listen multiple times), but it's really useful to have a full transcript of your interviews, scenes, etc. when you are starting to organize and edit your audio files for a podcast.

Log Tape - to "log" tape, means you listen to your raw audio and then select and isolate your favorite cuts. Then, you can transcribe the "best tape."

Actualities (AXX) - Actualities or "AXX" as some people call it, are non-scripted sound clips from interviews or scenes that you've gathered. Think of it like, actualities come from ACTUAL life.

Tracks (TRAX) - Tracks or "TRAX" refer to sound clips that you recorded in the studio from a script. Many podcasts consist of alternating AXX and TRAX.

Ambient Sound/Room Tone - Every room (even the quiet ones) has its own particular sound. Whether it's a slight hum from a studio, or the background sound of traffic from an on-the-street interview, you'll want to capture ambient sound in your recordings and run them under your AXX to help hide your edits.

Scene Tape - Scene tape consists of the characteristic sounds and sequence of noises that help the listener associate the story with a particular place or action. For example, if your podcast is about cooking, you might have "scene tape" audio of a chef preparing a meal. This audio is action-filled, narrative, and tells the story of someone doing something in the moment.

Finding Your Editing Flow - Organize Your Audio

Once you start gathering interviews, scenes, etc. for your podcast, start organizing your tape right away! You want to be listening for tape that sticks out for various reasons (see graphic above).

1. After you gather your audio, immediately download your audio and save it in a safe place. Name each file in such a way that you can quickly identify each file and what it contains (example: DATE_PODCAST_SOURCENAME_INTERVIEW.wav)

2. Before listening back, take a few minutes to write down what you most remember from each scene or interview - those are probably the bites/ acts/ cuts/ tape you want to pull.

3. Now open up your audio files in an audio player or audio editing software such as Audacity and listen back. Make a note of the time codes of your favorite pieces of audio (logging your tape).

4. Transcribe your audio in a separate document, marking the time codes as you go along. If you have time, you can transcribe the whole thing. If you're on more of a deadline, transcribe only your favorite clips.

Structuring Your Podcast

When it comes to arranging your best clips into a script, there's no pre-set format for how to structure a podcast. On the one hand, that's awesome! You get to be creative and experiment with your storytelling! But it can also be intimidating when you're not sure how to get started.

We suggest you start by making an outline:

1. Print out the transcripts of the tape you logged. Cut each clip/AXX (usually a few sentences or less) and clearly label them so you know who is talking.

2. Line up your clips/AXX in the order you think makes sense. Try it a few different ways to play with the structure.

3. Write your host lede - meaning the introduction to the story

4. Double-check your facts

5. Edit your script and prepare to record your narration!

Formatting Your Script - An Example

YR Reporter Amber Ly's parents own a donut shop in the Richmond district of San Francisco. She interviewed her mom as part of her feature about "the model minority."

Once you get your outline together, you'll write in and out of the clips you've selected, giving additional information, transitions, context, etc. You'll also want to format your script so that it's easy to read (see our voicing unit).

Check out this script (below) by YR's Amber Ly about how the Asian-American model minority stereotype has affected her experience in the classroom.
How Model Minority Myth Shortchanges Asian-Americans YR's Amber Ly NPR's Here & Now
You can listen along to the final story here.

-

INTRO: Today there's news out of the Supreme Court (striking down/upholding) affirmative action. That suit was brought by a white student who claims she was discriminated against. Meanwhile, up north, Ivy League colleges face claims from a coalition of Asian American groups who say Asian-Americans have to score higher on the SATs to get accepted. Youth Radio's Amber Ly (AM-bur LEE) is Asian-American, and she's been thinking a lot about how racial stereotypes affect her experience in the classroom

SCRIPT:

There's a joke that an A minus is an Asian F. It's a play on the idea that all Asians are smart. We get good grades. We work hard.

Jokes like this can be pretty frustrating for Asian teens. For one thing, it makes us sound like a bunch of high-achieving robots.But moreover, it's just not true for everyone. How well immigrants do in the US often corresponds to

MOM: I come here with nothing. I don't have English, no English at all.

That's my mom.

MOM: Our family, it's not like have a good education from the country.

My parents never got a formal education. They came here in the early 1990's from Cambodia to escape the Khmer Rouge.

The dropout rate for Cambodian-American kids like me is actually really high-35 percent. It shouldn't be a newsflash that not all Asian-Americans do well in school, but the model minority stereotype makes the actual problems in these communities invisible.

For the last 19 years now, my parents own a donut shop in San Francisco.

My dad carries flour into the back of our shop in 50 pound bags. Both of my parents labor over heavy machinery and boiling oil. They work hard at keeping their business afloat, and by extension supporting our family.

So they're not exactly tiger parents hovering over my homework. But when I'm at school, my teachers and peers still treat me like I'm supposed to be some kind of genius. And I'm not the only one.

RHEA: I feel like I was always expected to be, like, the top student. I mean in middle school and in elementary school, I worked really hard to meet that standard. Because I felt that was like what everyone expected of me and I didn't want to let them down.

That's 15-year-old Rhea Park. For her, the model minority myth can make it harder to get the help she needs at school.

RHEA: Like even with teachers... Whenever I needed help like, they're like "Oh, it's okay. You can figure it out."

I get this too. The pressure I feel about school doesn't come from my family at all. In fact, my mom doesn't even know the stereotype that's supposed to be about her.

AMBER: Have you ever heard about tiger moms? MOM: No. What's mean tiger mom? AMBER: So yeah, like this is what a tiger mom is. It's like you are super strict. Like, Oh my God you have to go study right now. No playing with your friends. You can't go outside. Like you have to go do-you have to study, play piano, do the violin. Mom: Ohh. I cannot do that. Because I saw you trying to work hard by your homework or your everything, your tests. You always try hard by yourself.

My mom says whenever I talk to her about my grades, I make it sound like I'm failing. I've spent the last four years in high school, feeling ashamed because I'm a B student. And lately, I've come to see that this invisible pressure I feel is the model minority myth at work.
BACK ANNOUNCE: Amber Ly (AM-bur LEE) recently graduated from high school in San Francisco. Her story was produced by YR.
This is how racism operates. It erases our individuality. It tells us how we should act, how we should perform in school. And when we miss the mark, we're failures. That's how even positive sounding racial stereotypes cause damage.

For Here & Now, I'm Amber Ly.

Tips For Writing For Radio

As you start filling in the TRAX between your clips, you'll want to keep your writing style super simple, conversational, and clear. In other words, DO NOT write as if you were composing an essay or academic paper. If you listen to how people actually talk, you'll notice a few trends:

Use small, casual words, not big, formal ones.
For example, say "car," not vehicle. "But" not "however," "said," not "expressed," etc.

Use short words/sentences, not long ones.
This is not Scrabble. Long words do not earn you more points. Short sentences are punchy, clear, and engaging. Even sentence fragments are OK in radio scripting!

Avoid acronyms, long organization names or formal titles, lots of exact numbers, etc. unless you absolutely have to.

Assume everyone's memory is really short.

So if you're introducing a new voice, identify them right away (you might need to break a long clip into smaller pieces to do this).

If it's been awhile since you heard from someone in the piece, re-introduce them when you hear them again (ex: that's Joe again, the guy from the laundromat).

Don't make your AXX and TRAX too repetitive.
It's good to reinforce important points with phrases like "in other words," or "hey did you catch what she said there?" But if your narration just repeats the same core concept as your interview clips, the listener will get bored.

When possible, use the present tense.
Audio is an intimate media format. You are whispering directly in the listener's ear! Using the present tense will make the listener feel like he or she is there in the moment with you.

Practice Editing: The Basics Of Mixing

Once you get a script together, you'll want to line up your tape in an order that matches the script using some type of audio editing software. We suggest checking out Audacity, a free, open source program available for both PC and macs.

In this make, you'll get familiar with the program by recreating Amber Ly's piece that you listened to above, her script and audio files that we provide for you.

1. Download Audacity. You can download the program for free here.

2. Download the YR audio files from Amber's piece. We've put them into three folders: AXX (Amber's narration), TRAX (her interviews with other people), and AMBI (room tone or scene tape). We've named them in the order they appear in the script.

3. Start by importing your audio. There are lots of great tutorials available online that will walk you through how to do this. Here's a good one that goes through a couple of techniques for importing audio, as well as showing you how to record audio directly into audacity (which we'll do during the voicing module).

4. Arrange your audio into the order it appears in your script. Here's another Audacity tutorial on audio editing that will help you with the technical details. Do you best to mimic the pacing of the original piece.

5. Voicing Your Script

You've done the research, you've written your podcast script... now it's time to step up to the mic and read. But if you really want to breathe life into your podcast, you can't just read it- you have to perform it. So what goes into a good vocal performance? How do you sound like you're talking to a friend, when you're actually reading off a paper?

What Is A "Radio Voice?"

Journalist and podcaster Eric Simons is the Editorial Director of Bay Nature Magazine and co-host of The Field Trip Podcast. He's also been featured on the popular science podcast RadioLab. YR reporter Sophie Varon sat down with Eric to ask him how podcast makers can put their best voice forward - from tips for sounding like yourself even when reading a script, to keeping conversations casual while covering complex topics.

Supplies for Voicing

When you record yourself (or someone else) reading a script for a podcast or radio story, it's known in the industry as "tracking." When you track, you'll first want to make sure you have a good location to record. As you learned in the recording module, be sure to have:

A quiet place - that means unplugging any devices that make sound such as clocks, phones, refrigerators, etc.

A sound-dampened environment - to eliminate echo, choose a padded place like a studio, a small room with carpet and lots of furniture, a closet full of clothes that you can sit in with the door closed, or even a quiet corner with a sleeping bag over your head.

Headphones - to hear yourself and make sure the sound quality is good.

A recording device - Try to avoid laptops microphones unless you have an external microphone. You may also choose to use your phone (hold it close to your mouth) or an audio kit.

An external microphone - Ideally you are using an external mic, but if you don't have one, try to minimize handling noise by keeping your hand as still as possible and listening for noise during each take.

A partner/producer - tracking by yourself is hard because you're having to talk and listen to yourself at the same time. It's much better to find a buddy and have them coach you on your read and take notes on your cut sheet (see below).

A copy of your script - unless you have a REALLY good memory... just kidding, you'll need a script no matter what. Make sure it includes not only the parts you are recording but the transcript of any audio you are reading in/out of (such as interview clips, scene tape, etc).

A pen or a pencil - you'll use this to mark up your script with notes, change tricky words, and make notes on which takes you like the best.

A cut sheet - this is a piece of paper where you write down the time codes for your best takes of each section of your script. You can add notes for each cut to help you remember what you liked about each time you read your script.

Mark Up Your Script
/ = breathe or pause here Underline ALL CAPS = really emphasize this word because it is absolutely essential to the meaning of the sentence = pay attention to this word because it is an operative word in the sentence. You may want to draw it out or modulate it with your voice.
Voicing is more than just talking - it's a form of performance. If you simply read your script aloud, chances are it will sound very flat. But the goal of podcast voicing is to sound as if you're not reading at all. To make your voice sound natural and engaging, you're going to have to put a little extra effort into your read. One technique many professionals use is to "mark up" your script. This means you'll add notes to help you know which places to breathe and which words to emphasize, slow down, modulate, etc.

Here are some common symbols for marking up your script:

You may also want to add notes indicating the pace, mood, or tone you think would be appropriate for each part of the script.

Here's an example, from a commentary (a short, first-person opinion piece) by YR Reporter, Billy Cruz. Listen to his commentary as you look over his marked-up script.
ADDITIONAL RESOURCES
Using Your Voice Effectively

Now that you've got your set up, marked up script (and hopefully a partner to help you track), it's time to start talking!

Get at least 3 different takes of each part of the script.

At Youth Radio, we usually have reporters start by reading the script all the way through, then they break it into parts and do each part 3 times, and then they do one last full read-through.

With each take, try different reads. If you're a fast reader, try doing an intentionally slow take. Or if you're a flat reader, try doing an extra dramatic take. It may sound silly to you, but it will improve your read as you find a happy medium.

Pay attention to pacing, pronunciation, emphasis, tone, volume, energy and phrasing -If your partner sounds stiff: ask him or her to try these techniques:

Recite the story as if you're telling it to a friend

Turn over the script and do it from memory

Make eye contact with you

Stand up and see if that position gives the read more energy

Watch for "upspeak," the term used to describe when your voice goes like it does at the end of a question

Intro: Why Make A Podcast?

Podcasts come in all sorts of varieties - comedy, music, journalism, fiction - there are even podcasts about other podcasts! So whether you're a Serial addict, a 2 Dope Queens fan, a proud RadioLab supporter, a WTF with Marc Maron aficionado, or none of the above, rest assured there's still something in the podcast world for everyone.

At Youth Radio, NPR's official youth desk, podcasts are one of the first forms of media that we teach. They're great for a couple of different reasons. Compared to traditional news radio, podcasts are pretty free-form (they can range from a few minutes to over an hour), creative (lots of sound design and music), and personality-driven. Also, compared to media products like video or animations, they are simple and don't require a lot of special equipment to get started. But despite their low bar to entry, podcasts are one of the most popular forms of storytelling in today's media ecosystem.

In fact, we're living in what many people are calling a new "Golden Age" for audio. We've already seen that audio CAN go viral (ahem, Serial season 1) in podcast form. And thanks to our cell phones, most of us are carrying around a kind of digital audio player and recorder with us all the time. Today more people than ever are getting creative with podcasting as a form of intimate, engaging storytelling. In other words, people are listening - not just to journalists or comedians, but also to ordinary people who decide to share their stories, expertise, and ideas.

So are you ready to try your hand at podcasting? Get the skills you'll need by checking out the five steps we've laid out for you below.

Step 1: Coming Up With An Idea

First, you should familiarize yourself with the basics of podcasting and practice coming up with a brief pitch for a podcast of your own.
If you're a public radio junkie: If you love a good mystery:
Determine Your Podcast Personality
If you're a proud STEM nerd: If you're a history/language arts buff:
There are a lot of different types of podcasts out there: comedy, music, how-to, journalism, fiction, to name just a few - there are even podcasts about other podcasts! To determine what kind of podcast you might like to make, we suggest you start by listening to a variety of different podcasts and get a sense for what you like. You can browse what's popular on iTunes, look for productions by your favorite media personalities, or explore by topic.
If you love comedy/pop culture:
We've put together a short list of some of our favorites. If you have the time, take a listen and figure out what kind of podcast you might like to make yourself.

Mystery Show (Gimlet)

Serial (WBEZ)

Welcome to Night Vale (Welcome To Nightvale Presents)

Criminal (Radiotopia)

Limetown (Two-Up Productions)

My Favorite Murder (Feral Audio)

The Memory Palace (Radiotopia)

RadioLab Presents: More Perfect (WNYC)

You Must Remember This (Panoply/Slate)

The Moth (The Moth Radio Hour)

Stuff You Missed In History Class

Love + Radio (Radiotopia)

Grammar Girl

Revisionist History (Panoply/Slate)

Allusionist (Radiotopia)

Song Exploder (Radiotopia)

Guided Listening - Figuring Out What You Like
T.A.G.S. - That's A Good Story
Now that you've got a basic idea of what this podcasting thing is all about, you'll need to come up with an idea for one of your own. Use the guided listening questions above to come up with a new idea for a podcast

Vetting Your Idea

You've got an idea for a great podcast... or at least you think it's a great podcast. How can you tell whether your idea will be a hit or fall flat? We've got some helpful tips, from finding inspiration to vetting your ideas and turning them into brief, punchy pitches.

Coming up with a good story (and presenting it well) is harder than it seems! Even experienced journalists and producers often struggle with coming up with fresh ideas that editors (and listeners) will respond to. In general, here are some qualities that set fresh story ideas apart from stale ones:

Twist / trend -
A good podcast takes a familiar idea and adds a new angle to make it fresh.

Adds to / Advances the story -
If your podcast is covering a familiar topic or style, make sure the way you present it takes the listener's understanding to the next level.

Grounded in experience / expertise -
How will you make sure your podcast feels genuine? Start with the things you actually know about, or at least are really curious about.

Surprising -
Your podcast should include new, unexpected information, techniques, or elements that make people sit up and listen (and, of course, share your podcast with all their friends).

Common Pitfalls of Pitching

You're almost there! As you finalize your podcast/story ideas, check out these common pitfalls and try to avoid them!

"The Columbus"

"The Long-Distance Pitch"

"The Aspirational Pitch"

"The Thesis"

"The Stereotype"

"The Fake Trend"

Now that you're pretty sure you have a fresh podcast concept, we'll learn how to turn your idea into a brief pitch.

Pitching Practice: The One-Graf Pitch
PITCH: Out of the nearly 900 emoji options available to U.S. teenagers, the pistol emoji is one of the most popular (#75). Teens use it to express boredom (another math test: gun), prompt people to respond faster (are you there? text me: gun), or vent frustration (this line is taking forever!: gun). And most of the time, it seems pretty harmless. But even if the message is benign, the question remains why so many of us feel we have to use violent imagery to express ourselves - often without thinking about it. In this podcast episode, Youth Radio's Tylyn Hardamon tracks the linguistic and technical history and use of the pistol emoji, quizzing young people on how and why they use it.
A pitch is essentially a paragraph description where you make the case for why your story is awesome and interesting. To practice, you're going to write the pitch for the first episode of your podcast.

When writing your pitch, focus on the essentials - What is your podcast/the episode about, and why will people want to listen? Emphasize the T.A.G.S. (see above) of your story, or why people should be excited about it. And keep it conversational! Write your pitch as if you were talking to a friend. This will keep it from becoming stuffy or formal.
EXAMPLE: PITCH: Are teens today more narcissistic than ever before? Some psychologists are pointing to a personality test called the Narcissism Personality Inventory , which seems to indicate that millennials have a historically high sense of self-obsession. But not everyone thinks the test is a great tool to use on teens, who may need an inflated sense of self to protect themselves against the natural pitfalls of puberty. In this week's podcast replay, Youth Radio's teen reporters turn the lens on themselves as they investigate their own narcissism scores, and interview an expert on what this trend might mean for the success of the next generation. Are Teens More Narcissistic Than Before? (Youth Radio)
For example, here are a few successful pitches from Youth Radio stories:

Listen to the final piece below:

https://s3.amazonaws.com/media.youthradio.org/wp-content/uploads/2015/05/2048821_YouthRadio_GunEmoji_mix.mp3

Listen to the final piece below:

https://s3.amazonaws.com/media.youthradio.org/wp-content/uploads/2014/02/YR_Podcast_Narcisist.mp3

Step 2: Getting To Know Your Equipment

Sound is everywhere. From the moment we wake up to when we go to sleep, our days are filled with noise. Even so-called "silence" is actually full of sound - the hum of an air conditioner, the distant rush of traffic, the whoosh of our own breath. By collecting and weaving together high quality recordings of our interviews and scenes, we can bring the story closer to listeners - their ears and imaginations allowing them to enter entire worlds of sound.

Choosing Your Recorder

When it comes to recording sound, not all equipment is created equal. But even if you can't afford a top-of-the-line audio kit, there is a wide range of devices that you can use to gather sound for your stories. In the end, whether you're using a Zoom H4N or a Fisher Price Cassette Recorder, it's still the audio you gather that truly makes your story compelling.

Find a quiet room - preferably one with carpet, lots of furniture, etc. - for interviews. Unplug or remove all devices that click, tick, ring, hum or buzz.

Make sure your phone has enough space. You don't want to gather awesome sound only to find out there's nowhere to save it!

Have the person being interviewed hold the device's receiver a few inches away from their mouth. If you want to capture multiple people's voices, ideally each person will have their own phone. If the phone is too far away, their voices will be hard to hear.

Consider investing in an external microphone. If you need to gather higher quality sound, there are many setup options (like ) that allow you to record and edit via your phone. External microphones can also help if you want to gather characteristic sounds of a particular scene.

Check out some broadcast/recording apps. There are many free or inexpensive mobile apps that allow you to customize the levels and quality of the sounds you record on your phone. Two popular options are Hindenburg and Transom - though new ones are popping up every day!

Can't go there in person? Record your phone calls. "Phoner tape," as it's called in audio editing circles, isn't the highest quality sound - that's why many radio studios use tape syncers (locals with audio equipment who can gather sound in-person) to do remote interviews. But if your source lives far away and you're on a budget, there are still ways to preserve that audio. Check out inexpensive apps like or . Free options are possible using and Google Voice .
If you're doing a phoner, try asking the person you're interviewing if they have a smartphone. If so, they can record using the voice memo option on their device (using the tips above) and then email you the audio afterwards.

Computer (desktop or laptop)

Portable Digital Recorder

Other Equipment

A Sound Dampener - When you're recording narration or an interview, you want to reduce outside sounds and prevent echo. If you've got the $, you could get a vocal shield or set up your own studio. If you're on a budget or just getting started, try recording in your closet (the clothes help to muffle outside noise), or in a carpeted room under a sleeping bag.

Headphones - One great way to know you're getting awesome audio is to LISTEN to it as it comes in. You don't even need pricey headphones - just make sure you can hear what's going on clearly and you ALWAYS wear them when you record.

An External Microphone (Optional but recommended) - It's not that you can't get great sound with the microphones built in to your devices ( check out Youth Radio's guide to gathering high quality audio using your phone ), but it can be difficult. Built-in microphones are more likely to pick up "handling noise," meaning the sounds your hands make when they make tiny shifts in your grip, gusts of wind, or echos from a room. There are entire sites dedicated to picking a fancy microphone that best fits your needs, but in general you could upgrade your sound game by getting some type of external microphone (one you plug into your recorder).

A windscreen/pop filter for your external microphone - Wind makes noise. And, if you do any of your recording outside, it has a tendency to interrupt the sounds you're trying to capture. A windscreen is a soft, cushy cover for your microphone that helps prevent that dreaded WHOOOSH noise. It also is known as a pop filter, which refers to the normal but gross-sounding noises we make with our mouths when we pronounce certain words. If you're just getting started and you're recording indoors, feel free to skip the filter. Or you can be nerdy like Youth Radio producer Teresa Chin and make one yourself (see above).
*A note on gathering levels: rather than asking your interviewee to say something artificial like "check check 1 2 3," have them answer a basic descriptive question like "what did you have for breakfast?" This will make sure they're speaking within their normal range of volume.
What Sounds To Gather

So now you have the equipment to start recording. Awesome. But to make a great podcast, what exactly should you be listening for? From interviews to interactions, here's a brief rundown of some of the types of sound you might want to gather.

- In audio, a scene takes you to a place where some sort of action is happening that relates back to the narrative. A scene is comprised of elements such as characteristic sounds , , interaction , and . The goal is an audio soundscape that allows your mind to recreate whatever is going on.

- Levels represent the sensitivity of your recording device - in other words, it sets the amplitude of the sound you gather. When setting your levels (which you should do before each interview or scene), you want to make sure the amplitude of your sound stays in the mid-range for your device. If your levels are too low, you will not capture the sound you may need. If your levels are too high ("peaking") the sound will be distorted. For step-by-step instructions on how to set, check out online tutorials like one.

Skills You Need For Gathering Great Sound

Before you press record on your actual podcast, you're going to want to make sure you have a couple of basic recording skills down. Gather your equipment together and make sure you're comfortable doing the following:

Complete set up (headphones on, cables and microphone attached)

Turn on recorder

Set recording levels to mid-range*

Proper mic placement (for interviews: fist-width distance from mouth, slightly off to side of mouth)

Start recording

Gather room tone (ambient noise)

Turn off recorder

Complete break down (headphones, cables and device stored properly)

Recording Practice: Gather the sounds of your room

To practice field recording, you can use your recording set-up to gather three different sounds that help define the room you're in. The goal is to get a sense for how you can use sound to build a portrait of a place.

Take a look/listen around the room you're in currently (or pick one nearby that you can easily access). What are three characteristic noises that help to define the space you're in? For example, if you're in a classroom, you might hear the ring of the school bell, the laughter of students coming in, and the creeeeeeak of the chair as you sit down.

Using your recording equipment, gather no more than ten seconds of each sound. Save each sound file and play it for your friends!
Someone-You-Know Interview
Step 3: Getting Great Interviews

Interviewing is the foundation on which most podcasts are built. Great interviews are conversations that suck the listener in and leave them feeling included, informed, and more connected to the story than before.
Expert Interview
Interviewing is more than a skill - it's an art. The order of your questions, the way you phrase them, and the tone of your voice all affect the way a person will respond to you. By carefully crafting your interview questions and paying attention to how your source responds, you'll be more likely to gather compelling, engaging tape for your podcast.

The style of a given interview depends a lot on your relationship to the person you're talking to. If you're interviewing an expert, you'll use different words, tone, even posture than if you are talking to a friend or classmate. You'll also use different interviewing strategies depending on the angle of your story - if you feel your source is hiding something, for example. In this activity, we'll learn to identify different styles of interviews and cover a few tips for improving your interviewing style for each one.

Types of Interviews

In normal conversations, we "interview" people we know all the time. But casually saying hello to a friend or relative can feel really different than sitting down with them with a goal in mind. You'll want to capitalize on your familiarity with your interviewee to get the best stories and answers as possible, but also keep in mind that your conversation shouldn't be so filled with inside jokes and references that other people won't understand what you're talking about. To set the scene for a strong interview with someone you know, it's a good idea to:
Something-To-Hide Interview
Listening Example: Youth Radio's Maya Escobar interviews her dad about whether or not he thinks he's addicted to his cell phone

-

When we think of the word "expert," many of us picture a doctor, lawyer or professor. But an expert can be anyone who has a lot of knowledge or experience that you can to tap into for a particular story. We often interview experts when we need a complicated process explained, or if we need someone to speak about broader trends for a story. When looking for the right expert to talk to, think about someone who is:

Good at explaining things and/or a dynamic storyteller

Acknowledged in the field, meaning he or she has written about the topic or has been recommended by others as a knowledgeable source

Representative of the diversity of the population. For example, women and people of color are often underrepresented in the media as sources of analysis and expertise. You have an opportunity to change that.

Once you find your expert, you're going to want to spend some time researching him or her, and writing questions ahead of time. To help, we've created this HANDOUT: Youth Radio Tips For Interviewing Experts.

Listening Example: Youth Radio's Kasey Saeturn interviews a representative from the Federal Housing Authority , asking him to explain why it's so hard for young adults like her to get public housing

The phrase "something to hide" makes it sound like we're talking about interviewing a spy or super villain about their plans for world domination. But really, "something to hide" interviews are about getting information that a character may be hesitant to share. This doesn't mean they are good or bad people, but it does mean you should tread carefully when structuring your interview. Examples of "something to hide" interviews include:

While it can feel awkward to probe someone for hidden information, know that it's part of your mission as a journalist to report as accurately and thoroughly as possible. You are doing your readers/listeners a service by asking thorough questions, and getting to the truth is a powerful reward.

We've put together some tips in this HANDOUT: Youth Radio Tips For Something To Hide Interview .

Listening Example: Youth Radio's Malachi Segers interviews a representative from Spirit Halloween about whether some of their costumes are racist

Practice Interviewing: 3-Minute Job Profile

Schedule an interview with someone you think has a fascinating job. This could be a person you know well, or someone you've never met before but are simply curious about. Your goal will be to conduct a three minute (yes, it's short) conversation with that person, trying to use your best interviewing techniques to capture what makes their role so interesting.

1. Write questions for that person (suggestion: at least 5 questions you think will prompt interesting answers). You may not get to them all, so have a sense for which ones are the most important.

2. Schedule at least a 10-minute interview slot. This will give you time to set up your equipment, get room tone, etc. Let your source know the interview is going to be only 3 minutes long, and let them know you might (politely) interrupt them for the sake of time.

3. Start recording! Do your best to stick to the time limit, but take the time to make your source as comfortable as possible. Remember to INTERACT and ASK FOLLOW UP QUESTIONS (see above)! These are the keys to getting great interview tape. If you get lost, remember to treat it just like a normal, engaging conversation - on a time budget.

Step 4: Writing Your Script

Now that you have field recording and interviewing down, you're all set to start gathering awesome elements for your podcast. The next step is learning how to put it all together, turning your raw audio into an edited audio piece.

Essential Audio Editing Vocabulary

Finding Your Editing Flow - Organize Your Audio

Once you start gathering interviews, scenes, etc. for your podcast, start organizing your tape right away! You want to be listening for tape that sticks out for various reasons (see graphic above).

1. After you gather your audio, immediately download your audio and save it in a safe place. Name each file in such a way that you can quickly identify each file and what it contains (example: DATE_PODCAST_SOURCENAME_INTERVIEW.wav)

2. Before listening back, take a few minutes to write down what you most remember from each scene or interview - those are probably the bites/ acts/ cuts/ tape you want to pull.

3. Now open up your audio files in an audio player or audio editing software such as and listen back. Make a note of the time codes of your favorite pieces of audio (logging your tape).

4. Transcribe your audio in a separate document, marking the time codes as you go along. If you have time, you can transcribe the whole thing. If you're on more of a deadline, transcribe only your favorite clips.

Structuring Your Podcast

When it comes to arranging your best clips into a script, there's no pre-set format for how to structure a podcast. On the one hand, that's awesome! You get to be creative and experiment with your storytelling! But it can also be intimidating when you're not sure how to get started.

We suggest you start by making an outline:
How Model Minority Myth Shortchanges Asian-Americans Youth Radio's Amber Ly NPR's Here & Now

1. Print out the transcripts of the tape you logged. Cut each clip/AXX (usually a few sentences or less) and clearly label them so you know who is talking.

2. Look over the clips/AXX and ask yourself;

1. What should the listener hear first? Oftentimes this is your strongest or most scene-driven tape.

2. What do you want the listener to leave with? Is there a natural ending?

3. Is there a narrative thread (meaning a natural beginning, middle, and end of the story) that you can reinforce?

4. Is there information that you feel is missing? If so, write it on a new piece of paper and put it in the place you think it belongs. Consider using narration (tracking) or contacting another interview/source to fill this gap.

1. Line up your clips/AXX in the order you think makes sense. Try it a few different ways to play with the structure.

2. Write your narration/TRAX in-between clips/AXX

1. Remember, you are the tour guide for the story. Start us out one place, and take us to another.

2. Tell the story your clips/AXX don't tell.

3. Describe scenes, introduce speakers, and explain confusing parts.

4. Note: you may decide to take out clips/AXX, rearrange the order and re-write narration a bunch during this process

3. Write your host lede - meaning the introduction to the story

4. Double-check your facts

5. Edit your script and prepare to record your narration !

Formatting Your Script - An Example

Youth Radio Reporter Amber Ly's parents own a donut shop in the Richmond district of San Francisco. She interviewed her mom as part of her feature about "the model minority."

Once you get your outline together, you'll write in and out of the clips you've selected, giving additional information, transitions, context, etc. You'll also want to format your script so that it's easy to read (see our voicing unit).

Check out this script (below) by Youth Radio's Amber Ly about how the Asian-American model minority stereotype has affected her experience in the classroom.

https://s3.amazonaws.com/media.youthradio.org/wp-content/uploads/2016/06/16144621/YR_Amber_ModelMinority_Audition.mp3

INTRO: there's news out of the Supreme Court (striking down/upholding) affirmative action. That suit was brought by a white student who claims she was discriminated against. Meanwhile, up north, Ivy League colleges face claims from a coalition of Asian American groups who say Asian-Americans have to score higher on the SATs to get accepted. Youth Radio's Amber Ly (AM-bur LEE) is Asian-American, and she's been thinking a lot about how racial stereotypes affect her experience in the classroom

There's a joke that an A minus is an Asian F. It's a play on the idea that Asians are smart. We get good grades. We work hard.

Jokes like this can be pretty frustrating for Asian teens. For one thing, it makes us sound like a bunch of high-achieving robots.But moreover, it's just not true for everyone. How well immigrants do in the US often corresponds to

MOM: I come here with nothing. I don't have English, no English at all.

That's my mom.

MOM: Our family, it's not like have a good education from the country.

My parents never got a formal education. They came here in the early 1990's from Cambodia to escape the Khmer Rouge.

The dropout rate for Cambodian-American kids like me is actually really high-35 percent. It shouldn't be a newsflash that not all Asian-Americans do well in school, but the model minority stereotype makes the actual problems in these communities invisible.

For the last 19 years now, my parents own a donut shop in San Francisco.

My dad carries flour into the back of our shop in 50 pound bags. Both of my parents labor over heavy machinery and boiling oil. They work hard at keeping their business afloat, and by extension supporting our family.

So they're not exactly tiger parents hovering over my homework. But when I'm at school, my teachers and peers still treat me like I'm supposed to be some kind of genius. And I'm not the only one.

RHEA: I feel like I was always expected to be, like, the top student. I mean in middle school and in elementary school, I worked really hard to meet that standard. Because I felt that was like what everyone expected of me and I didn't want to let them down.

That's 15-year-old Rhea Park. For her, the model minority myth can make it harder to get the help she needs at school.
BACK ANNOUNCE: Amber Ly (AM-bur LEE) recently graduated from high school in San Francisco. Her story was produced by Youth Radio.
RHEA: Like even with teachers... Whenever I needed help like, they're like "Oh, it's okay. You can figure it out."

I get this too. The pressure I feel about school doesn't come from my family at all. In fact, my mom doesn't even know the stereotype that's supposed to be about her.

AMBER: Have you ever heard about tiger moms? MOM: No. What's mean tiger mom? AMBER: So yeah, like this is what a tiger mom is. It's like you are super strict. Like, Oh my God you have to go study right now. No playing with your friends. You can't go outside. Like you have to go do-you have to study, play piano, do the violin. Mom: Ohh. I cannot do that. Because I saw you trying to work hard by your homework or your everything, your tests. You always try hard by yourself.

My mom says whenever I talk to her about my grades, I make it sound like I'm failing. I've spent the last four years in high school, feeling ashamed because I'm a B student. And lately, I've come to see that this invisible pressure I feel is the model minority myth at work.

This is how racism operates. It erases our individuality. It tells us how we should act, how we should perform in school. And when we miss the mark, we're failures. That's how even positive sounding racial stereotypes cause damage.

For Here & Now, I'm Amber Ly.

Tips For Writing For Radio

As you start filling in the TRAX between your clips, you'll want to keep your writing style super simple, conversational, and clear. In other words, DO NOT write as if you were composing an essay or academic paper. If you listen to how people actually talk, you'll notice a few trends:

Use small, casual words, not big, formal ones.
For example, say "car," not vehicle. "But" not "however," "said," not "expressed," etc.

Use short words/sentences, not long ones.
This is not Scrabble. Long words do not earn you more points. Short sentences are punchy, clear, and engaging. Even sentence fragments are OK in radio scripting!

Avoid acronyms, long organization names or formal titles, lots of exact numbers, etc. unless you absolutely have to.

Assume everyone's memory is really short.

So if you're introducing a new voice, identify them right away (you might need to break a long clip into smaller pieces to do this).

If it's been awhile since you heard from someone in the piece, re-introduce them when you hear them again (ex: that's Joe again, the guy from the laundromat).

Don't make your AXX and TRAX too repetitive.
It's good to reinforce important points with phrases like "in other words," or "hey did you catch what she said there?" But if your narration just repeats the same core concept as your interview clips, the listener will get bored.

When possible, use the present tense.
Audio is an intimate media format. You are whispering directly in the listener's ear! Using the present tense will make the listener feel like he or she is there in the moment with you.

Practice Editing: The Basics Of Mixing

Once you get a script together, you'll want to line up your tape in an order that matches the script using some type of audio editing software. We suggest checking out Audacity, a free, open source program available for both PC and macs.

In this make, you'll get familiar with the program by recreating Amber Ly's piece that you listened to above, her script and audio files that we provide for you.

1. Download Audacity. You can download the program for free .

2. Download the Youth Radio audio files from Amber's piece . We've put them into three folders: AXX (Amber's narration), TRAX (her interviews with other people), and AMBI (room tone or scene tape). We've named them in the order they appear in the script.

3. Start by importing your audio. There are lots of great tutorials available online that will walk you through how to do this. a good one that goes through a couple of techniques for importing audio, as well as showing you how to record audio directly into audacity (which we'll do during the voicing module).

4. Arrange your audio into the order it appears in your script . Here's another Audacity tutorial on audio editing that will help you with the technical details. Do you best to mimic the pacing of the original piece.

Step 5: Voicing Your Script

You've done the research, you've written your podcast script... now it's time to step up to the mic and read. But if you really want to breathe life into your podcast, you can't just read it- you have to perform it. So what goes into a good vocal performance? How do you sound like you're talking to a friend, when you're actually reading off a paper?

In this module, we'll cover some of the tips we use at Youth Radio for putting your best voice forward.

What Is A "Radio Voice?"

Journalist and podcaster Eric Simons is the Editorial Director of Bay Nature Magazine and co-host of The Field Trip Podcast. He's also been featured on the popular science podcast RadioLab. Youth Radio reporter Sophie Varon sat down with Eric to ask him how podcast makers can put their best voice forward - from tips for sounding like yourself even when reading a script, to keeping conversations casual while covering complex topics.
/ = breathe or pause here Underline ALL CAPS = really emphasize this word because it is absolutely essential to the meaning of the sentence = pay attention to this word because it is an operative word in the sentence. You may want to draw it out or modulate it with your voice.
Supplies for Voicing

When you record yourself (or someone else) reading a script for a podcast or radio story, it's known in the industry as "tracking." When you track, you'll first want to make sure you have a good location to record. As you learned in the recording module, be sure to have:

A quiet place - that means unplugging any devices that make sound such as clocks, phones, refrigerators, etc.

A sound-dampened environment - to eliminate echo, choose a padded place like a studio, a small room with carpet and lots of furniture, a closet full of clothes that you can sit in with the door closed, or even a quiet corner with a sleeping bag over your head.

Headphones - to hear yourself and make sure the sound quality is good.

A recording device - Try to avoid laptops microphones unless you have an external microphone. You may also choose to use your phone (hold it close to your mouth) or an audio kit.

An external microphone - Ideally you are using an external mic, but if you don't have one, try to minimize handling noise by keeping your hand as still as possible and listening for noise during each take.

A partner/producer - tracking by yourself is hard because you're having to talk and listen to yourself at the same time. It's much better to find a buddy and have them coach you on your read and take notes on your cut sheet (see below).

A copy of your script - unless you have a REALLY good memory... just kidding, you'll need a script no matter what. Make sure it includes not only the parts you are recording but the transcript of any audio you are reading in/out of (such as interview clips, scene tape, etc).

A pen or a pencil - you'll use this to mark up your script with notes, change tricky words, and make notes on which takes you like the best.

A cut sheet - this is a piece of paper where you write down the time codes for your best takes of each section of your script. You can add notes for each cut to help you remember what you liked about each time you read your script.

Mark Up Your Script

Voicing is more than just talking - it's a form of performance. If you simply read your script aloud, chances are it will sound very flat. But the goal of podcast voicing is to sound as if you're not reading at all. To make your voice sound natural and engaging, you're going to have to put a little extra effort into your read. One technique many professionals use is to "mark up" your script. This means you'll add notes to help you know which places to breathe and which words to emphasize, slow down, modulate, etc.
ADDITIONAL RESOURCES
Here are some common symbols for marking up your script:

You may also want to add notes indicating the pace, mood, or tone you think would be appropriate for each part of the script.

Here's an example, from a commentary (a short, first-person opinion piece) by Youth Radio Reporter, Billy Cruz. Listen to his commentary as you look over his marked-up script.

https://s3.amazonaws.com/media.youthradio.org/wp-content/uploads/2016/04/28153017/BillyCruz_Height.mp3
Script: Four hours of classes with no real breaks, and they expect us not to get distracted - ridiculous. I'm Eli Arbreton with a commentary from Youth Radio. One time my math teacher was explaining a really confusing problem, and I tried to pay attention, but my head began leaning to the side. I woke up like, "Oh shoot, I just missed half the lesson." I tried to focus again but the same thing happened. When I woke up, I had missed the whole period. It's not that the class isn't interesting, it's just that after a couple hours of consecutive classes I really need a break. And the experts agree. A We had recess as kids, and PE in middle school, but now it's just, learn, learn, learn. Even adults need breaks. So as this new school year begins, I really hope that my school considers making changes to the schedule, so that I can have a more productive senior year. For Youth Radio, I'm Eli Arbreton. scientific paper on increasing productivity suggests splitting up your schedule into 90 minutes of working or learning, followed by 15 minutes of moving around and socializing. This is supposedly the best schedule to help people retain focus throughout the day.
Using Your Voice Effectively

Now that you've got your set up, marked up script (and hopefully a partner to help you track), it's time to start talking!

Get at least 3 different takes of each part of the script.

At Youth Radio, we usually have reporters start by reading the script all the way through, then they break it into parts and do each part 3 times, and then they do one last full read-through.

With each take, try different reads. If you're a fast reader, try doing an intentionally slow take. Or if you're a flat reader, try doing an extra dramatic take. It may sound silly to you, but it will improve your read as you find a happy medium.

Pay attention to pacing, pronunciation, emphasis, tone, volume, energy and phrasing -If your partner sounds stiff: ask him or her to try these techniques:

Recite the story as if you're telling it to a friend

Turn over the script and do it from memory

Make eye contact with you

Stand up and see if that position gives the read more energy

Watch for "upspeak," the term used to describe when your voice goes like it does at the end of a question

Practice Voicing: Reading A Commentary

Now, let's practice voicing using an early version of a script written by Youth Radio's Eli Arbreton about how he thinks high school could use more breaks.

Eli's natural way of speaking is deadpan, but not flat - as you can hear in the final version of his intern podcast (which he wrote, recorded, and edited himself) about recess in high school. When you read this early draft of his piece, you'll want to try to sound as much like yourself as possible!

Even though you didn't write this script, you can still use the principles of voicing to make it your own. Mark up the script and record yourself reading it three different ways. Then, listen back on your reads. Which one appealed the most to you? Why? What techniques work for you to get the best read? We encourage you to do this with a friend for the best possible outcome.

https://s3.amazonaws.com/media.youthradio.org/wp-content/uploads/2014/10/EliArbreton_Classroom-Breaks_KCBS.mp3

# data[].attributes.attachment_link.description
Making your own high quality podcast doesn't take a lot of tech -- just some creativity, a strong work ethic, and a little know-how. So what are you waiting for? Let's make a podcast!

# data[].attributes.attachment_link.description
Youth Radio dipped into its archives to bring you stories of teenage life across three generations: X, Y and Z. Grab your headphones and listen up!

# data[].attributes.attachment_link.readable_text
We Are Generation Z

Also Featured on All Things Considered

Gen Z is the generation that follows millennials-their oldest members are just going into college, and they have tons of buying power. In the billions. NPR's Sonari Glinton and Youth Radio teamed up to take you inside Gen Z in a series we're calling We Are Gen Z.

Together we're exploring the economic power of Gen Z-from their bedroom closets to car showrooms-to see what sets them apart from their predecessors. What we find just might surprise you.

Hear the stories on NPR's Morning Edition and All Things Considered this week:

Gen Z Slang: The Lowdown on Memes, Emojis, GIFs

https://s3.amazonaws.com/media.youthradio.org/wp-content/uploads/2017/12/04114656/GEN-Z-SLANG.mp3

Robert Fisher explores with NPR's Sonari Glinton how Gen Zers are redefining language and slang on their own terms.
Aired on NPR's All Things Considered on Monday December 4, 2017.
Gen Z Fashion: From YouTube To Your Closet

Rhea Park looks at how YouTube is influencing the fashion industry.
Aired on NPR's All Things Considered on Tuesday December 5, 2017.
https://s3.amazonaws.com/media.youthradio.org/wp-content/uploads/2017/12/04120551/GenZ_YouTubeFashion_RheaPark_YouthRadioMIX.mp3

Is Gen Z The First Carless Generation? Not So Fast, Say Automakers

Natalie Bettendorf examines just how Detroit automakers are adapting to Gen Z's ridesharing habits.
Aired on NPR's Morning Edition on Friday December 8, 2017.
https://s3.amazonaws.com/media.youthradio.org/wp-content/uploads/2017/12/04120132/GenZ_Cars_NatalieBettendorf_YouthRadioMIX.mp3

Want more on Gen Z, and how this generation separates itself from the ones that came before it? Youth Radio has been serving up teenagers' stories for the past 25 years. But what it means to be a teenager - you know, each generation's music, slang, fashion, and technology - has changed a lot in that time.

We've dipped into our archives to bring you stories of teenage life across three generations: X, Y and Z. So grab some headphones and prepare yourself for a nostalgia-filled, interactive trip down memory lane. Check out our Gen XYZ interactive here.

Support young journalists and artists

# data[].attributes.attachment_link.description
Explore the economic power of Gen Z--from their bedroom closets to car showrooms--to see what sets them apart from their predecessors.

# data[].attributes.attachment_link.description
Get to know Spotify for Podcasters, the free, all-in-one podcast platform for every creator.

# data[].attributes.attachment_link.description
Anchor.fm makes it easy for anyone to create a podcast and have it distributed to iTunes, Spotify, Google Play, Stitcher, Overcast, and Pocket Casts. Learn more at http://www.freetech4teachers.com/2018/02/anchor-30-provides-easy-way-to-create.html