Revisiting: My Kingdom for Some Structure

"I think of radio stations as musical instruments." That's what Steve Junker, the managing editor at WCAI said to Rob over a couple of drinks one night. Soon after, Rob put Steve in front of a mic and asked him "What the heck are you talking about??" 

It's time for Leila Fadel at NPR to receive another award for her reporting. Last December, her stories from Syria after the fall of Assad were essential listening. And, as Rob notes in this episode of Sound School, her writing was top-notch. 

There's a reason why serialized podcast episodes often start with "Last time on (insert name of podcast)" followed by a montage of quotes. It works. It's an effective way to help bring a listener back into a story. But it's used *far* too often. Surely, there's a better way, right? Rob spotlights the way writer and reporter Basia Cummings avoided the trope in "Pig Iron."

A dear friend of Transom and all creative audio producers passed way last month -- Larry Massett. This episode of Sound School joins the chorus of voices on Transom marking Larry's passing. Rob presents "A Trip to the Dentist,"  a legendary story Larry made in 1977 for NPR. Easily one of the most hallucinogenic stories aired on the network. You'll want your headphones on for this episode. 

I don't care how much good tape you have. I don't care if the scoring and mixing are superlative. I don't care if the narrator is a solid storyteller. If a story lacks strong writing, the story will fall flat. Great writing is essential. On this episode of Sound School, the brilliant writing in the podcast Noble.  

You've got all the good tape you need. Now what? How do you structure the story? Bradley Campbell has a few suggestions. He sketched them -- on cocktail napkins! 

Take a short walk into deep radio history. Julia Barton and Sarah Montague join Rob to talk about two audio storytelling classics from the 1930s: "Seems Like Radio Is Here to Stay," an homage to radio by Norman Corwin, and the anti-fascist play "The Fall of the City," by Archibald MacLiesh. Old school radio at its best!

The best way -- sometimes the *only* way -- to describe an element in a story that is disruptive and distracting for listeners is this: chicken bomb. This year, 2025, is the 20th anniversary of "chicken bomb" entering the lexicon of audio storytelling. What exactly is it? With help from Ira Glass, we'll explain. 

In this bonus episode, Rob takes his conversation with Chenjerai Kumanyika one step further. He digs in a bit more to the big question from the last episode: Who is the "you" telling this story now?" 

Chenjerai Kumanyika delivered the goods. Rob interviewed Chenjerai on stage at the recent On Air Fest where Chenjraie was passionate, animated, and electric as he talked about a question he sees as essential for anyone in audio storytelling to consider. We're sure you'll be as transfixed as the audience.