The interview with Hillary Frank has been posted at Wauktown Radio.
Breaking into radio, as a writer or a producer, is easy. All you have to do is be able to dance backwards beautifully…..and in high heels…
It’s an old joke. But put some sound to the idea, and you have a good example of how competitive it is to get into radio. But, it’s just as compelling as it is competitive.
Hillary Frank, author/illustrator/and independent radio producer, said she got lucky with having an unsolicited story accepted by This American Life.
But, it took about a year of work to get to that big break. She details how she accomplished the feat in our interview. Also, make sure to read the essay on her website that explains how her pitches were even used as examples of what not to do!
While getting into radio does take effort, it is possible. After our interview, Hillary passed along by email the advice she gives to students when she teaches.
Start with a really good pitch. Or, even better, a great pitch, says Hillary. Find the show you are interested in, then send an email. “Show the editors in one paragraph that you know how to put together a surprising story in THEIR style,” Hillary recommended.
Each story should contain an element of surprise—something that the listeners hear and say “gee, I didn’t know that.”
Here’s an example from Hillary, which she said may offer a better explanation than the narcolepsy story she used during our interview.
“Recently, Studio 360 called me and my husband (also a radio producer) and asked us to put together a story for the 50th anniversary of Jack Kerouac’s On the Road. This was a huge challenge because we knew there would be a ton of media attention on this subject. How could we possibly do something new? Instead of approaching experts, we decided to take a personal approach.”
You can listen to the results, which Hillary says are “hopefully surprising” at http://hillaryfrank.com/radio31.html
Here’s a list of resources that Hillary uses in the writing for radio workshops she teaches:
- Transom.org (Transom.org) is a website for radio producers with all levels of experience. The site features guest artists, who participate in online chats, and new works commissioned from radio novices and experimental work from seasoned pros. “Their Tools column will give you the best advice out there on what tools you’ll need to make a radio story,” says Hillary.
- Radio Diaries (www.radiodiaries.org) teaches ordinary people how to keep audio journals, conduct interviews, edit tape, and produce stories for public radio. “Go to and check out the Teen Reporter Handbook, listed under ‘Resources’. This is a great guide for a radio beginner of any age, ” suggests Hillary.
- StoryCorps (www.storycorps.net) is a national oral history project doocumenting the stories from real people for public radio and for the Library of Congress. They have booths in New York City and a one that travels across the United States, where people can conduct their own personal interviews. “The StoryCorps Web site, has a ‘Question Generator’ tool, which guides you through a personalized list of questions for your interview,” says Hillary.
- The Third Coast International Audio Festival (www.thirdcoastfestival.org) helps spread the word about radio work. “If you want to break into radio, going to their annual conference is one of the most productive things you can do,” according to Hillary. The 2008 conference is this weekend in Chicago. Attendance is sold out for this year.
- The Public Radio Exchange (PRX) (www.prx.org) provides a place for anyone to post their completed audio work. “Pieces are reviewed by peers and are often licensed by stations nationally. PRX is also a great way to listen to a wide variety of work by independent producers and to get feedback on a new piece of your own,” Hillary said.
- “Also be sure to check out the This American Life Comic Book, Radio: An Illustrated Guide. It’s a step-by-step primer on how to make a radio story. Find it at www.thisamericanlife.org.”
Equipment is something Hillary said is best left to experts. It’s a very personal decision based on a number of considerations.
“Depending on your budget and level of commitment to radio, setups can vary widely,” Hillary said. She said the two best places to check are the tools page at Transom.org and the TAL comic book, even though that info is now a bit outdated .
Phew! You’ve made it this far. Welcome to radio. The editors loved your pitch and you’ve managed to record some good interviews and ambient sound to enhance the story. There’s only a little work left to do. Editing.
“Sound editing technology is not that hard to learn as long as you’re comfortable with learning new computer programs,” Hillary said.
If it all sounds too technical, make sure that pitch you made was really, really good. A good pitch will carry you far.
“If you’re not a computer person, you can still get a story on certain shows with a great pitch (TAL, Weekend America),” Hillary said. “The show’s producers will handle the technical side of it for you.”
