Latino USA call for pitches

Pitch Latino USA!

Buenos dias, AIR:

Below is a list of new show themes coming up on Latino USA over the next few months.

Please pitch your ideas directly to:

Your pitch should include the main story arc, brief context and an idea of the characters, scenes and ambi you envision for the piece.

If you’re pitching for the first time, please tell us a little about yourself and include a couple of samples of your audio work.

Features generally run 4-7 minutes and pay $125 a minute, with any expenses negotiated in advance.

Thank you!



Leda Hartman

Editor, NPR’s Latino USA



Abuelos (Grandparents):
Stories about older Latinas and Latinos, our relationships with them, and the things we learn from them. Also welcome are stories about surprises in family histories, coverage of elder healthcare, and elders who live unusual lifestyles (for example, re-entering society after being incarcerated, serving as figurative grandparents, etc.).

Highlighting Latin@ literature for people of all ages, but also including stories about perception and misperception.

Stories about being gagged, muzzled or pressured about what to say or not to say. We also want to look at how ethnic media in the US are sometimes censored or edited in ways mainstream or white media is not. And we’re interested in stories about the relative dangers of being a journalist or writer in a Latin American country.

I Woke Up Like This:
Stories about confidence (or the lack of it), including shyness in schools, stage fright or brilliance, and learning to deal with issues like identity and mental health.

Crazy in Love:
We love love stories. ‘Nuf said.

Playing with words: we hear about an “influx” of immigrants all the time; our identity as a country is in flux, and other stories about transitional periods.

The Transportation Show:
Stories about cars, planes, trains, and getting around (figurative “getting around” is all right, too).


We’re looking especially at rural communities in California and issues related to their health, as well as water scarcity and how Latinos are dealing with it. We’re also searching for stories that help us make links when it comes to the “school to prison pipeline”—all the way from being suspended, lacking job skills and dropping out of school, to the lives of prisoners themselves and how they came to be where they are. We also want to examine who stands to profit when people are incarcerated.

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Rough Cuts Announces Call for Entries for March, deadline Feb 17

Announcing a Call for Entries for Rough Cuts in March!


Deadline is Tuesday, February 17th

Rough Cuts is currently seeking documentaries in post for our next event on Tuesday, March 10th at the Dolby Screening Room in San Francisco 

We are seeking long-form works with a final running time of 40 minutes or longer. Principal photography should have been completed, and we encourage filmmakers to submit cuts that are in the later stages of post-production (i.e. NOT first or second cuts).


Also, filmmakers who submit are eligible for Fine Cuts, our new editorial consultation program.

Filmmakers can now submit two ways—eletronically or via mail (including UPS, Fed Ex, etc.)


To submit, visit:


And for more details about Rough Cuts and our programs, visit:



Upcoming Rough Cuts Events in 2015


Tuesday, March 10th

(Deadline to submit is Tuesday, February 17th)


Tuesday, May 12th

(Deadline to submit is Tuesday, April 21st)


Wednesday, September 9th

(Deadline to submit is Wednesday, August 12th)


Tuesday, November 3rd

(Deadline to submit is Tuesday, October 6th)

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Seminar – Audio Walks and Site-Specific Storytelling, Feb 13-15, Brooklyn

This workshop looks SO good! Friday, February 13 – Sunday, February 15, 10am-6pm, UnionDocs, Brooklyn
STORIES TAKING PLACE: Audio Walks and Site-Specific Storytelling
An intensive 3-day seminar.
This seminar has been specially designed to teach and encourage audio producers and creative writers to reimagine the world around them, foster their creativity and sharpen their writing skills. To produce a successful audio program many skills are required, from research and journalism to sound storytelling to app designing, in addition to a considerable dose of observation, creativity and writing.
Produced by UnionDocs in partnership with Mathilde Walker-Billaud and Pejk Malinovski, the seminar will go into the various creative practices of site-specific audio interventions. It will offer technical tools and skill sets for navigating through this medium and finding your own path in this emergent art.
Radio audiences today have been liberated from the time and space limitations and can listen to audio anywhere at anytime: at home or at work, in the subway or in the streets, while queuing at the stores or taking a walk along the river. Technological developments have sparked a new generation of tours and sonic experiences through site-specific audio programs that are easily downloadable on mobile devices: a recorded and intimate voice guides an individual in a place and plays with the body, the imagination, the memory and the surroundings.
Over the course of three days, 10 to 14 participants will learn from a team of seasoned guest speakers and practitioners — radio auteurs, theater artists, writers, entrepreneurs, documentarists. The seminar will explore site-specific storytelling, sound design, audience engagement, instruction-based practice and more. Workshops, discussions, exercises, walks in the city (Field trips on Friday and Saturday) and a work-in-progress critique will help put this new knowledge into practice.
Pejk Malinovski, radio producer and poet, will lead the seminar as main instructor.
When: Friday, February 13 – Sunday, February 15, 10am-6pm

Where: UnionDocs, 322 Union Avenue, Brooklyn, NY 11211
Who is eligible?
Open to everyone. We are looking for students, radio producers, media artists, app designers and writers interested in places, audio practice and writing.
Give us an idea of who you are and why you are coming. When you register you will be asked for a short statement of interest that should briefly describe your experience in audio practice and a project idea (if you have one), plus a bio. There’s a spot for a link to a work sample and CV, which would also be nice, but is not required.
Please note: Participants are accepted on a first-come, first-serve basis. Focus is on discussions, observation, imagination and writing. The goal is to develop your project conceptually.
$385 early bird registration by January 30th.
$450 regular
Please note that the service charge is waived if payment is made via check.
Checks can be made out to UnionDocs and mailed to 322 Union Ave, Brooklyn NY 11211.
Technology Requirements:
In order to keep costs down, this workshop is a b-y-o-m, bring your own material (laptop, headphones, recorder). Students must be fully proficient using and operating their computers.
(subject to change)
Day 1: Site-specific storytelling
Main Instructor: Pejk Malinovski
Guest Instructor : Alexandra Horowitz
The first day of the seminar looks in-depth at the ways we can tell stories about neighborhoods and specific places. It will include one field trip.
Day 2 : On-location participatory projects
Guest Instructor: Ant Hampton
The second day of the intensive focuses on writing and producing live interventions in an urban context. It will include one field trip.
Day 3 : The listener’s experience
Guest Instructor: Kara Oehler
The third day explores the multiple ways to build an audio itinerary and the possible tools to interact with the walker/listener. The afternoon will include exercises, discussions and project critiques.
Each day follows this general structure, with some minor variations and substitutions:
10:00a    Warm up, inspiring references, listening exercises, ear training.
10:30a    Presentation
11:45a    Discussion
12:30p    Share / Discussion / Exercise
1:00p      Lunch (on your own – lunch will be provided on Friday)
2:00p      Presentation
3:15p      Discussion
4:00p      Workshop Exercise
5:00p      Workshop Critique
5:30p      End
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IRP’s Reporting Fellowships, deadline March 16

Your opportunity awaits. Info on IRP Reporting fellowships HERE and below.

Apply Now for Reporting Fellowships

Rolling applications are due by March 16, 2015

Fellows 2015

By Melody Wilson Schreiber

January 15, 2015

The International Reporting Project (IRP) is now accepting applications for reporting fellowships on two different topics:health/development and religion

These fellowships are intended to provide in-depth coverage of important, under-covered international issues.

Applicants may choose only one area of focus per application; if you would like to apply for both health/development and religion fellowships, you must submit separate application forms for each.

Ecuador street scene.
Ruxandra Guidi and Bear Guerra reported on health and development in Ecuador in 2014.


Applicants may propose stories that examine maternal and child health; poverty; HIV/AIDS, TB, malaria, and other infectious diseases; nutrition and food security; education; access to roads and electricity; sanitation and water; sustainability; technology; equality and women's rights. 

For the health/development fellowships, we have a strong preference for in-depth reporting from countries we've traveled to recently–India, Zambia, Tanzania, Brazil, Ethiopia, Mozambique–as well as other countries of focus–Nigeria, China, South Africa, Indonesia, Malaysia, and Papua New Guinea, among others. 

The health/development fellowships are supported by a grant from the Bill & Melinda Gates Foundation.


Applicants may propose any stories that relate to religion, including its role as a source of tension or conflict; its relationship to politics, economics or access to health, housing or clean water; its impact on art and culture, religion and human rights; or other issues. 

For the religion fellowships, we encourage applicants to propose stories and destinations not covered by recent IRP fellows.

The religion fellowships are supported by a grant from the Henry Luce Foundation.

More Details

Applications will be considered as they are submitted on a rolling basis until Monday, March 16.

The time spent in the field is flexible; fellows may propose to report for two to seven weeks. Fellows may also choose to extend their fellowships at their own cost.

IRP will purchase the fellows' roundtrip air tickets to and from their homes and destinations, but all other travel must be arranged and paid by the fellow. IRP will offer a stipend based, in part, upon the budgets that all applicants must submit.

Travel on these fellowships must take place no sooner than two months, and no later than four months, after the fellowship is awarded. For example, someone awarded a fellowship on March 30 may not begin travel before May 30 and must initiate travelno later than July 30.

Prayerful politicians.
Jason Plautz reported on evangelicals in Brazil in 2014.


Applications are open only to journalists from Australia, Brazil, Canada, China, Egypt, Ethiopia, France, Germany, India, Indonesia, Ireland, Japan, Kenya, Nigeria, Norway, Malaysia, Mozambique, South Africa, Tanzania, Thailand, United Kingdom, United States and Zambia.

Staffers and freelancers alike are encouraged to apply, and special attention will be paid to innovative forms of storytelling and projects involving new media.

Depending upon the proposal, teams of journalists may be considered; in that case, each journalist would apply separately, and mention their intention to work with another applicant in their essay.

The fellowships are intended for professional journalists who have worked for years as professionals and who have a record of outstanding achievement in reporting for influential media outlets. 

This fellowship is not intended for students or for recent graduates without much professional reporting experience. 

How to Apply

All applicants must fill out an application form.

Each proposal must include an essay of at least 1,000 words describing the stories they would produce during the fellowship. All essays must be in English. However, the stories and other updates produced by the international Fellows may be in English or in other languages. IRP encourages stories in a variety of media, including print, online, radio, television, photography, blog posts, social media and video.

Applicants are also required to submit a budget, which assists in determining the amount of the stipend. Typical costs include domestic transportation; fixers or translators; hotel accommodations; visas; food; and any other expenses related to reporting internationally. Fellows are not required to submit receipts or post-fellowship expense reports.

A telephone interview with finalists will also be a part of the selection process.

All of the fellows’ stories will be republished on the IRP website and co-owned by the fellow (or his/her distribution partners, depending on agreements) and the IRP.

Read our frequently asked questions and apply for a reporting fellowship now!

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SEJ CALL FOR ENTRIES, deadline April 1

Deadline to enter: April 1, 2015

Instructions for Entering:

FIRST: It will help us if you  REGISTER ON SEJ.ORG(Why?)

To access the entry forms, click on the entry forms below. If you register on and are signed in, your contact information will autofill. Please note that registrations are not automatically approved. SEJ will make every effort to approve your registration on in a timely way, but if you register after 11pm eastern time, you will most likely have to wait until morning to be approved.

Already registered? Sign in to enable autofill on your entry form. To reset your password, get help here . If you forget your username, email the SEJ office.

Below you will find the definitions and entry forms for SEJ’s 2015 categories.  When you have selected your category, prepare the materials you will need for entering. Once your materials are assembled, click the name of the category (below) to open the online form. Follow the instructions at the top of the form.  Some fields have instructions written below them. Please take note of all instructions!

Materials needed:

• PDFs* or links to each story, commentary or photo
• Radio entries: MP3 files, 20MB max.
• Confirmation that your entry ran or aired during the contest period: 3/1/2014 – 2/28/2015, or that your book was published in 2014. **
• Broadcast transcript if you enter radio or television stories, or if your online entry includes audio/video components
• Broadcast run time
• Credit card for immediate online payment. (You can opt to send a check on the online payment site.)

Note: Cover letters are no longer required. If you want to include a cover letter, you can upload it along with other supplemental materials in the space provided.

* 20MB max file size. Multiple PDFs for one day must be combined. See Help with low-resolution or combined PDFs

** Series that begin or end during the designated contest period qualify in their entirety.

If you are unable to reduce your file to 20MB, email Awards Director Chris Bruggers or call her at (502) 641-1844.

Book entries: Enter the contest using the online entry form below. After submitting your form and payment, ship four copies of your book and a printout of the online entry form to Chris Bruggers, Director of Awards (address below). Note: even if you ship your entries, you must still complete an online form. ELECTRONIC BOOKS: Include detailed instructions on how to access the book. Please include the formats available to read the book. If a special reader app is needed, supply the name of the app to seach for in the entry form’s “Reader App” field. If your book cannot be accessed without payment, you must supply the cost of four books plus $1.38 for postage so the director can send reimbursements to judges. If the reader app must be purchased, include the cost for four purchases. Make your check out to Christine Bruggers, SEJ Awards Director, and send to the address listed below. Please don’t make your check out to SEJ or send to the SEJ office because this will cause delays in getting your book to judges.

Print entries: low-resolution PDF of your entry stories. (Check your category for the allowable number of stories and other details.) (Help with low-resolution or combined PDFs) If you are unable to supply links or low-res PDFs, you may ship four copies of your entries to awards director Chris Bruggers at the address listed below. Please include a printout of the online form. Be sure to follow the preparation rulesNote: even if you ship your entries, you must still complete an online form.

Online and broadcast entries: web links to Internet pages where your television, radio or online news story can be viewed or listened to. Radio entries may upload MP3 files (20MB maximum) (Check your category for the allowable number of stories and other details.) If you are unable to supply links, you may ship four copies of your entries to awards director Chris Bruggers at the address listed below. Please include a copy of the online form. Be sure to follow the preparation rulesNote: even if you ship your entries, you must still complete an online form.

Shipping address:

SEJ Awards
C/O Chris Bruggers, Awards Director
186 North Bellaire Ave
Louisville, KY 40206

Follow the preparation rules for preparing your entries for shipping. Shipped entries that are incorrectly prepared will not be sent to judges. Please pay special attention to the instructions, since your payment is non-refundable.



 After completing your entry form, the payment site will open. Please pay your fee immediately after submitting your entry form. For those needing to pay by check, the payment site includes a check option. Your entry will not be processed for judging until payment is received. 

$40 US Funds:  Member Rate
You must already be a member of SEJ to enter at the member rate. If you are unsure of your membership status, please contact SEJ at or (215) 884-8174.

$80 US Funds:  Prospective Member Rate
To enter SEJ’s awards contest at this rate, you must complete a membership application.  Please note on your application in the comments field at the end that you are applying for membership with your contest entry.) Please complete your membership application as soon as possible after submitting your entry.

This special discounted $80 fee is only for non-members who are joining SEJ for the first time. It covers your first year of membership (discounted) as well as the contest fee.

$100 US Funds:  Non-member Rate



Deadline to enter: April 1

Read the descriptions carefully, then click on the name of the category you want to enter to open the corresponding entry form. Have your electronic files and web links ready. You can save a draft of the entry form to complete later, but once you click submit, you won’t be able to access the form. If you need to change or add anything, contact Chris Bruggers.

CLICK TO ENTER: Kevin Carmody Award for Outstanding In-depth Reporting, Large Market: An investigative  report or series on a single environmental topic, published between March 1, 2014, and February 28, 2015. Related stories published on the same day count as one part. TV & Radio stories must not exceed 60 minutes; Print and Online series must not exceed five parts. Multimedia links may be included as supplemental materials. Eligibility: Print media: circulation of 200,000 average daily circulation or more, according to the latest audited figures; TV & Radio: national networks in the U.S. and elsewhere and top 20 markets in the U.S. as determined by Nielsen; Online: Online news organizations with 50 or more employees. Small-market entities collaborating with large-market entities qualify as large-market. PDF or MP3 files, 20MB max, or links are accepted.

CLICK TO ENTER: Kevin Carmody Award for Outstanding In-depth Reporting, Small Market: An investigative  report or series on a single environmental topic, published between March 1, 2014, and February 28, 2015. Related stories published on the same day count as one part. TV & Radio stories must not exceed 60 minutes; Print and Online series must not exceed five parts. Multimedia links may be included as supplemental materials. Eligibility: All outlets and publications falling outside the large-market definition. Small-market entities collaborating with large-market entities qualify as large-market.  PDF or MP3 files, 20MB max, or links are accepted.

CLICK TO ENTER: Outstanding Beat Reporting, Large Market: Up to five broadcast or published news reports and/or commentary on a broad range of environmental topics published between March 1, 2014, and February 28, 2015. Entry must be the work of an individual, either alone or with a small supporting team. Related stories published or aired on the same day count as one story. TV & Radio entries must have a combined total running time of no more than 60 minutes. Eligibility: Print media: circulation of 200,000 average daily circulation or more, according to the latest audited figures; TV & Radio: national networks in the U.S. and elsewhere and top 20 markets in the U.S. as determined by Nielsen; Online: Online news organizations with 50 or more employees. Small-market entities collaborating with large-market entities qualify as large-market. PDF or MP3 files, 20MB max, or links are accepted.

CLICK TO ENTER: Outstanding Beat Reporting, Small Market: Up to five broadcast or published news reports and/or commentary on a broad range of environmental topics published between March 1, 2014, and February 28, 2015. Entry must be the work of an individual, either alone or with a small supporting team. Related stories published or aired on the same day count as one story. TV & Radio entries must have a combined total running time of no more than 60 minutes. Eligibility: All TV, Radio, Print and Online publications falling outside the large-market definition. Small-market entities collaborating with large-market entities qualify as large-market. PDF or MP3 files, 20MB max, or links, are accepted.

CLICK TO ENTER: Rachel Carson Environment Book Award: A nonfiction book, published between January 1 and December 31, 2014, covering an environmental topic. Memoirs and picture books are not eligible.

CLICK TO ENTER: Outstanding Feature Story: One environmental interest story not directly tied to a recent news event with an emphasis on storytelling, while also including an explanatory aspect that sheds light on our environment and gives details to concepts or ideas. Entries must be about environmental issues and published between March 1, 2014 and February 28, 2015. Multi-part stories, sidebars and other supplemental material are prohibited.  Eligibility: All TV, Radio, Print and Online entities.  PDF or MP3 files, 20MB max, or links are accepted.

CLICK TO ENTER: Outstanding Photography: Up to five photographs on one or more environmental topics, published between March 1, 2014 and February 28, 2015. Only photos published as photojournalism will be accepted. Entered photos must not be manipulated or digitally enhanced in a way that changes the content and/or context of the image. A caption that describes the event or situation captured in the photograph must be included for each photo entered. Photos must be submitted as JPEG files, maximum 2MB.

Back to the main Awards page.

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Destination DIY accepting pitches!

Destination DIY is going full steam ahead with monthly podcast episodes and we are currently accepting pitches. Below are our pitch guidelines. Questions? Hit me up at


Destination DIY is a monthly podcast and each episode focused on one particular story. If you are not familiar with Destination DIY, we encourage you to take a listen to some of the stories on our SoundCloud feed: In short, we are not a how-to show and our definition of DIY is intentionally very broad. We are most interested in good talkers and surprising stories about people who are taking on interesting projects without the help of a large institution of some kind. Even if the project itself does not seem fascinating, if there’s a great character behind it, it could be a good fit for us. We are looking for features of about 10-12 minutes in length, but can be flexible, especially with the podcast format. Our goal is to have a piece ready by the 10th of each month. We generally try to keep our stories “evergreen,” but if there’s a specific peg for your pitch, please let us know.

Payment: Destination DIY pays a flat fee for each piece – between $200 and $500 based on the length and complexity of the production as well as the skill level of the producer. Payment is negotiated on a case-by-case basis.

Submission guidelines: Please email pitches to with the word "pitch" in the subject line. Write up a short description of your ideas and who you plan to include in your piece. NO ATTACHMENTS PLEASE. Please let us know what kind of audio equipment and software you will be using and if you haven’t worked with us before, please provide links to your past work and at least 2 references.

More details on our process: Destination DIY will create the final mix for all the pieces. You will be expected to provide a rough mix along with your actualities, narration, room tone, and ambient sound as well as a final script and raw audio when necessary. If your pitch is accepted, please be prepared to submit a script and scratch track for editing before submitting any final audio. Our editing process usually involves a couple of script and scratch track edits. Independent producers retain all the rights to their work and are free to post it anywhere or pitch it to other outlets. We respectfully ask that you wait until it’s been released on the Destination DIY podcast.

Host, producer and creator of Destination DIY
Twitter: @DIYgirl

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Call for Nominations $20K National Academies Communication Awards, deadline Feb 9

Go for it! Podcasts are eligible, FYI. Deadline Feb 9.




The Keck Futures Initiative – a program of the National Academy of Sciences, National Academy of Engineering, and Institute of Medicine, with the support of the W.M. Keck Foundation – will award four $20,000 prizes in 2015 to individuals or teams (up to four individuals associated with the creation of the work being nominated) who have developed creative, original works that address issues and advances in science, engineering and/or medicine for the general public. Nominations are accepted in four categories: Book; Film/Radio/TV; Magazine/Newspaper; and Online. The winners will be honored in the Fall 2015 at an awards ceremony in Washington, D.C and are expected to attend in person.


To be considered for a 2015 Communication Award, the work should:

• be accessible and appeal to a broad, public audience;

• demonstrate clarity, creativity, originality, and accuracy;

• address issues and/or advances in science, engineering, and/or medicine;

• cover topics that have an impact on society; and

• have been published, broadcast, or released in 2014, in the United States and in English.


Call For Nominations Now Being Accepted

Nominations will be accepted through February 9, 2015. For more information about the process, please visit:



o   February 9 – Nomination process closes; all nominations must be submitted online.

o   February 13 – All supporting materials must be received or nomination is invalid. Please see specific                                category for required supporting materials.

o   Fall 2015 – Winners honored at a ceremony to be held in Washington D.C. Date to be determined.



The nominations process closes February 9, 2015; copies of the nominated work must be submitted as described for each category by February 13, 2015. Self- nominations are permitted; there is no nomination fee.  Nominators are encouraged to submit to the category that most closely describes the work(s) being nominated.  Supporting materials will not be returned. 

The criteria for each category are listed below.


Books must have been published in the U.S. in 2014 to be considered. Please submit two copies of the book. The publisher and year of publication must be printed on the book. Advance publication dates must include verification from the publisher.


Works in this category must have aired on a U.S. station or have been released in U.S. theaters or on DVD in 2014 and may include a single story or movie, a series, or as many as six brief, unrelated stories. Please submit three CDs or DVDs labeled with the nominee's name(s), the title(s) included on the DVD or CD, and the original airdate (with the name of the U.S. station and the program on which the stories aired) or release date. These must be submitted in protective cases and include authorization allowing the Keck Futures Initiative to reproduce the CD or DVD for review purposes (copyright release). Submission of copies of the program transcript is also encouraged. If you are not able to provide copyright release, please submit an additional 20 copies of the CD or DVD.



Work in this category must have been published in the U.S. in 2014, and may comprise a single article or as many as four articles that are unrelated or that constitute a formal series. Please submit three original copies of each article clearly showing the byline and the name and date of the publication and authorization allowing the Keck Futures Initiative to reproduce the article for review purposes (copyright release). If you are not able to provide copyright release, please send an additional 20 copies of the article(s), or a PDF file of the article(s).



Works in this category may include as many as six blog entries, hypertext documents, videos, podcasts, commentaries, data visualizations, interactive components, etc., or any combination thereof, created specifically for the Web that were posted online in 2014. Preference will be given to nominations that make the best use of the medium, including multi-media presentations that incorporate a combination of writings, features, and/or other capabilities unique to this communication medium. Include links to the unique URLs for each work(s). Links must be active through October 31, 2015.

Or if you would like to be on the awards ceremony invite list please email


Winners and finalists will be announced early fall 2015.

For More Information
Visit  for a complete listing of this year's Selection Committee, information about the awards and to nominate.

Kind regards,
~Rachel Lesinski

National Academies Keck Futures Initiative

100 Academy, 2nd Floor

Irvine, CA 92617


To unsubscribe please send an email to with UNSUBSCRIBE in the subject line.


This email is sent by INFOCUS Marketing on behalf of National Academies Keck Futures Initiative.





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FIJ Application Deadline Extended to Feb. 2

Note for any of you applying for this FIJ grant
The January 15, 2015 deadline for applications has been extended to Monday, February 2, 2015 at 5pm Eastern time. The Fund for Investigative Journalism is currently accepting applications for domestic and foreign investigations.

Sandy Bergo
Executive Director
Fund for Investigative Journalism
529 14th Street NW – 13th floor
Washington DC 20045
Selected for the 2011/2012 Catalogue for Philanthropy: Greater Washington

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Full-Time Position, Stanford Storytelling Project, Applications due Feb 1

Dream job?

The Stanford Storytelling Project, an arts program at Stanford University, is launching a search for a new, full-time Lecturer who would teach undergraduate courses, workshops, and help produce our radio show, State of the Human. Details about the position are below, but the basics are: an advanced academic degree, college-level teaching experience, and significant audio documentary production experience are required; start date is August 1, 2015; salary will be competitive.

If you're interested, please read the ad carefully and visit the link to the application page. More information about the Storytelling Project is at our website:

Thanks all,
Jonah Willihnganz, MFA, PhD
Director, The Stanford Storytelling Project
Stanford University



Office of the Vice Provost for Undergraduate Education (VPUE)

Stanford University is seeking a full-time Lecturer for the Stanford Storytelling Project, an arts program within the Oral Communication Program in the Office of the Vice Provost for Undergraduate Education. The initial appointment will be August 1, 2015 – July 31, 2016, with the possibility of re-appointment.

The Stanford Storytelling Project (SSP) provides students opportunities to develop skills in the narrative arts through a range of courses and projects. SSP sponsors courses, grants, events, a weekly workshop, and an award-winning radio program featuring stories produced by students. SSP explores in particular the power of performed stories, live or recorded, from myth and memoir to research-based narratives. More information is at

The SSP Lecturer will offer instruction in oral, audio, and multimedia storytelling craft in a variety of settings across the university and will support the activities and initiatives of SSP. Major duties include developing and teaching courses, designing and delivering workshops, training SSP student staff, mentoring students, and collaborating with faculty to design storytelling course components.

Requirements include:

Advanced degree (PhD preferred) in a field focused on narrative craft such as English, Creative Writing, or Documentary Studies. 3-5 years of experience teaching college-level courses in narrative craft, plus 2-3 years of experience mentoring others in creating stories for radio, podcast, or the web, and audio production. Qualified applicants must also have demonstrated knowledge of oral and audio storytelling forms, trends, and programs, understanding of up-to-date pedagogy in teaching narrative craft, and the organizational and leadership skills to help manage the production of the project’s radio show, State of the Human.

About Stanford University

Stanford University, located between San Francisco and San Jose in the heart of California’s Silicon Valley, is one of the world’s leading teaching and research universities. Since its opening in 1891, Stanford has been dedicated to finding solutions to big challenges and to preparing students for leadership in a complex world.

We offer a competitive salary and benefits package. For a more comprehensive job description and to apply, please visit:

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Snap Judgment wants your love story!

From Snap!


We'll be sending out a longer list with our upcoming themes soon, but for now Snap Judgment is accepting pitches with a quick turn around time for Valentines day. If anyone has an already produced piece or a live story that might fit our general format (plot driven narrative arch, twists and turns, surprising ending) send that along too please. 

Below find some general instructions and inspiration about pitching to Snap. Please send any pitches or questions to me directly at

Looking forward to reading your submissions,


Why Should I Pitch To Snap?

1) We pay well.  $95/minute for your first three stories.  $105/minute after that.  We also give everyone a $250 kill fee.   And our stories are long (see next line).

2) We give you time to tell your story.  The average Snap piece is now 8-15 minutes.  That means fewer editorial puppies being killed, and more time being spent on scoring and mixing each piece.

3) Your story stands a very good chance of making it to air very quickly.  We have programming gaps for every single upcoming theme. That means if we like your pitch, we will not put it in a maybe pile for a year.  Once it's produced (provided it's not killed), it will in all likelihood be on the air shortly.

4) You still own the story and can create your own director's cut. You can't sell something (say on PRX) that's too similar to what we did on the show, but you can always put your own version on your website or resume if you prefer.  If you make a story that's substantially different, you can sell it to anyone after we air our version.

5) You can produce cool old stories with no pegs.  See next section!

Where Can I Find Stories For Snap?

Most people think they need to "stumble upon" a small, intimate, underground story for Snap Judgment.  This is simply not true.  Great stories can come from a newsletter, periodical, magazine, press release, obscure TV program, non-fiction book or documentary. If you have found ANY story with strong narrative elements which hasn't gotten too much press in the past few years and hasn't yet been turned into a radio piece (and one of the characters turns out to be a capable talker) you should pitch us.   Anytime you come across such a story, we are potentially interested.

How Do I Know The Story Is Right For Snap

1)    Is the story not just a story, but a tale?  In other words, does it have characters with wants and needs and hopes and fears, scenes that play out in a chronological order in which said characters make important decisions and discover new things, and some kind of central tension that gets resolved in an unexpected way over the course of a narrative arc?  If so, then it’s a tale, and we’re interested. 

2)    Is the story cinematic?  In other words, will it provide us with scenes rich enough in detail that the listener can see events playing out in their mind’s eye?  Because we’re not interested in narratives in which things happen on an abstract level.   We want the listener to be transported to a specific time and place.   

3)    Is there something new about it? Every Snap Judgment story needs to have an unexpected wrinkle, a new element, that makes the listener stop what they’re doing and pay attention.  Sometimes the new thing is just the fact that you’ve discovered a great talker, but nine times out of ten it’s a unique premise or plot element. If we feel like we’ve heard this one before (maybe not this precise story, but something super similar) we’ll probably pass.    


How Should I Structure My Pitch?

There's actually a really simple trick to this: Don’t pitch us a public radio story. Pitch us a MOVIE.  A typical public radio pitch invariably describes what a story is broadly about, more often than not some kind of compelling concept; a movie pitch summarizes a sequence of events.  Give us the enticing premise, introduce the compelling characters, then describe the thing that sets the story in motion, the rising stakes, the unexpected development, the third act twist, and the ending that somehow feels unexpected and inevitable at the same time.  Okay, it doesn’t need all those things, but you get the idea. Anything that sounds like a movie (or a short film) will definitely get our attention.   Because that’s what we do, we make cinematic stories that just happen to be audio-based — usually from a first person perspective.  And if you can’t pitch your story as a sequence of events?  Well, then, it probably wasn’t a Snap story in the first place.

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