help WFAE’s Listen Here bring new listeners to public radio

A new tumblr "showcases the best of public radio according to those who make it." It's a great play list, and you can make your own recommendations by following the submission guidelines below. See their first ten picks here, including my all-time favorite, David Isay's Ghetto Life 101.

WFAE is pleased to announce Listen Here (, a digital project designed to bring new listeners to public radio. Listen Here is a compilation of the public radio pieces that are most likely to draw in people who do not currently listen—the best, most interesting, most compelling public radio out there—and we want your input. We’re seeking submissions by hosts, reporters, and producers, as well as freelancers and member station staffers. We don’t want this to come across at overly self-promotional, so please submit work that is not your own. The playlist will be updated frequently beginning with the launch on Wednesday February 5th.

If you would like to participate, please send the following information to Katie Herzog at

•            Your name

•            Your job/station/show

•            A link to the piece you would play for someone who doesn’t listen to public radio but should (if you can’t find a link, the show/title is fine)

•            A sentence or two about the piece and why you love it

•            Links to any website/social media you want to promote

Please feel free to forward this to your colleagues and friends in public radio. The more submissions we get, the better the playlist, the more new ears.

Katie Herzog

Social Media Coordinator/Online Producer

WFAE Charlotte’s NPR News Source


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Applications Being Accepted for the 2014-2015 Rosalynn Carter Fellowships

Applications are now open for the 2014-2015 Rosalynn Carter Fellowships for mental health journalism. Details below. Deadline April 14.

Feb.18, 2014
Contact: Paige Rohe,, 404-420-5129

Applications Being Accepted for the 2014-2015 Rosalynn Carter Fellowships for Mental Health Journalism

ATLANTA…Applications from U.S. residents are now being accepted for six one-year journalism fellowships with the Carter Center's Mental Health Program. These fellowships aim to enhance public understanding of mental health issues and reduce stigma and discrimination against people with mental illnesses through balanced and accurate reporting. The deadline for applications is April 14, 2014, and the fellowship recipients will be announced July 11, 2014, on the Center's website, The 2014-2015 fellowship year begins in September 2014.

“For nearly two decades, Carter Center fellows have accurately and sensitively covered mental health issues around the world, helping communities better understand illnesses that affect so many people,” said former First Lady Rosalynn Carter. “Too often we only hear about mental health in the news following a crisis or tragic event. Yet, every day, millions of Americans living with these illnesses go to work, care for their children, and contribute to their communities. They are valuable members of society, and their stories deserve to be told.”

Each fellow is awarded a $10,000 stipend and provided with two required expense-paid trips to The Carter Center in September 2014, and again in September 2015, to meet with program staff and advisers.

Fellows also receive access to an exclusive area within the Mental Health Media Forum ( to facilitate direct dialogue with current and former fellows on mental health reporting.

Since its establishment in 1996, the program has awarded nearly 150 fellowships. Throughout the history of the program, fellows have produced a considerable amount of content, including books, television mini-or full-length documentaries, hundreds of newspaper, magazine, and online pieces, hundreds of minutes of radio and television airtime, as well as creative and innovative uses of multimedia.

Shedding Light on Issues and Creating Change

Fellows are not required to leave their employment during the fellowship year and are encouraged to undertake timely projects that may educate the public and raise awareness about important mental health issues. Through their reporting, Carter Center fellows have: investigated the use of North Carolina state prisons as de facto psychiatric hospitals; inspired policymakers in a major American city to allocate millions of dollars to address homelessness; and exposed the complex and devastating mental health challenges faced by returning Iraq and Afghanistan veterans.

On several occasions, fellowship projects have been nominated for the Pulitzer Prize. Multiple fellowship projects have been nominated for regional Emmy Awards, and others have received the Peabody Award, the Edward R. Murrow Award, awards from the Association of Health Care Journalists and American Psychiatric Association, as well as recognition from mental health consumer advocacy organizations such as Mental Health America and the National Alliance for Mental Illness.

How to Apply

The program is open to journalists working in all media forms with a minimum of three years professional experience. Projects are tailored to the experience and interests of the fellows. Fellows are not required to leave their current employment.

Unlike in previous years, the full application now must be completed and submitted online. The application for the 2014-2015 Rosalynn Carter Fellowships for Mental Health Journalism is available at Interested applicants should submit the following: 

– Resume: The resume should include: a list of representative publications; membership in professional organizations; major journalism prizes; and/or awards and year awarded.

– Objectives for Fellowship and Project Description: An informal essay not to exceed 1,000 words describing the applicant's professional reasons for applying and how the fellowship would benefit the applicant's body of work.

– Samples of Professional Work: Up to three examples of the applicant's work may be submitted. At least one of the samples should be in the media form proposed.

– Letters of Recommendation: Two letters of recommendation from people familiar with the applicant's work should comment on the applicant's abilities and potential as a journalist. Recommenders will be asked to submit their letters online once the applicant has completed the application process, no later than April 28, 2014.

– Letter of Support: One letter from the applicant's publisher, editor, producer, manager, or director, supporting the application is required. If the applicant is self-employed, the third letter must come from an individual familiar with his or her work. This individual will be asked to submit his or her letter online once the applicant has completed the application process, no later than April 28, 2014.
All application materials must be submitted online by April 14, 2014.

Additional Resources:
Read about previous fellowship projects in our archives section:

Learn about Rosalynn Carter's more than 40-year career in mental health leadership:

Direct all application inquiries to:
Rebecca Palpant Shimkets, M.S.
Assistant Director
The Carter Center Mental Health Program
453 Freedom Parkway
Atlanta, GA 30307
Tel: (404) 420-5165


"Waging Peace. Fighting Disease. Building Hope."
A not-for-profit, nongovernmental organization, The Carter Center has helped to improve life for people in more than 70 countries by resolving conflicts; advancing democracy, human rights, and economic opportunity; preventing diseases; and improving mental health care. The Carter Center was founded in 1982 by former U.S. President Jimmy Carter and former First Lady Rosalynn Carter, in partnership with Emory University, to advance peace and health worldwide.

Visit our Web site
Follow us on Twitter @CarterCenter
Like us on Facebook
Join us on Causes
Watch us on YouTube
Add us to your circle on Google+

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Nate Silver’s FiveThirtyEight seeks freelancer writers

Nate Silver's FiveThirtyEight is looking for freelance writers. Details HERE and pasted below.

FiveThirtyEight Seeks Data-Driven Freelance Writers

We've hired our initial team of staff writers and editors, and we’re well on our way to building our team of visual, computational and database journalists. We can't wait to show you their work. But we’re also looking for a few good men and women to contribute writing and analysis to FiveThirtyEight on a freelance basis.  

Let me be a bit more specific about what we’re looking for.

First, and most important, we’re looking for freelance features and articles that involve original research, analysis, or reporting — specifically those that involve statistical analysis, data mining, programming, data visualization, or other data-journalism methods. FiveThirtyEight is not the right outlet for “smart takes,” opinion pieces, or long-form essays that don’t involve some data component. We would potentially have interest in features that involve shoe-leather reporting (i.e., interviewing, first-person observation) if they are numerate as well as literate, and help our readers put data and statistics into context.

Second, we’re looking for freelancers to cover relatively specific subjects — e.g. hockey, weather, the economics of food — as opposed to generalists. A list of subjects that we know we’d be interested in is included below.

Third, as the site has not yet launched, we’re thinking ahead and looking to develop relationships with writers to produce recurring series of articles for FiveThirtyEight. As a general guide, this might mean writing anywhere from once every other month for FiveThirtyEight to once every week or two. The articles might typically be somewhere between 750 and 2,000 words in length.

Fourth, we’re looking for authors who have a track record of publishing work under their byline. This could mean at The New Yorker, in an academic journal, or at an obscure blog. But we’ll want to be able to evaluate published examples of your work and consider how it might fit into our plans.

We recognize that these requirements are strict. But as disciplined as we are in our approach toward journalism, we’re hoping to apply it to a wide range of subjects in the news and in everyday life.

The following list of potential freelance topics is not exclusive: if you want to pitch us on an epic, eight-part series on the statistics of dog breeding, we’re happy to listen. But the subjects listed below are those we’re most likely to be interested in — especially those listed with an asterisk (*).

One major focus for freelance content is our science vertical. Potential subtopics within science include but are not limited to the following:

  • Weather* 
  • Health and medicine* 
  • Technology* 
  • Energy, climate and environment* 
  • Biology and neuroscience 
  • Psychology 
  • Hazards and disasters (e.g. earthquakes, asteroids) 
  • Geography
  • Philosophy of statistics and mathematics

Our lifestyle vertical is broad. We’d be interested in people who provide data-driven analysis of these topics, along with others:

  • Education* 
  • Travel and transportation* 
  • Food and drink* 
  • Sex, dating and romance* 
  • TV and movies* 
  • Parenting 
  • Music 
  • Crime statistics and criminal justice 
  • Games (video games or otherwise) 
  • Gambling 

Within our sports vertical, we have several writers on staff who provide coverage across multiple sports. But there are a couple of ways that we might expand upon their coverage, such as with writers who:

  • Focus on one sport in particular, e.g. 
  • Baseball 
  • Football 
  • Basketball 
  • Soccer
  • Ice hockey 
  • Tennis
  • Golf 
  • Examine the intersection between sports and other FiveThirtyEight verticals, e.g. 
    • Sports science
    • Sports economics and finance

    In politics, we have strong coverage of U.S. elections on staff, but we’d consider pitches in the following areas:

    • Congressional voting and behavior* 
    • Fundraising and lobbying 
    • Political rhetoric and media framing 
    • Demographics 
    • International elections 
    • National security and military strategy
    • The Supreme Court and legal affairs

    In economics, we have strong coverage of micro- and macroeconomic data on staff, but we'd be interested in someone with a strong understanding of:

    • Personal finance
    • Trading markets, or,
    • Overseas economies, particularly in the developing world

    These are paying assignments. We have a schedule of freelance rates that can vary depending upon the writer’s experience, the time commitment involved in preparing the features, and other factors.

    If you’ve been patient enough to read to the end of this post and have an idea that you think might be a great fit for FiveThirtyEight, we’d love to hear from you. Send us a note at 538FREELANCE AT GMAIL DOT COM. Give us a specific sense of what you’d like to write about, illustrated by sample headlines or short summaries. Tell us how you can do this in a differentiating and data-rich way. Include links to articles that you’ve published elsewhere. And let us know how to reach you. We look forward to hearing from you.

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    first-person audio storytelling workshop, March 15-16 CDS

    Two-day storytelling workshop at the Center for Documentary Studies in Durham, NC, March 15-16. Details here and below.

    Strategies for First-Person Audio Storytelling


    (Photo credit: Biff Jennings, Shooters-at-the-Beach)

    First-person documentary storytelling can be intimate, arresting, and deeply personal. Many of the most vivid radio pieces of recent decades have been made without a narrator—think of the Kitchen Sisters, StoryCorps, and Radio Diaries. The ingredients of a compelling non-narrated story, however, are distinct from those of a news story or narrated documentary. First-person pieces call for a fundamentally different “audio grammar” and a thoughtful new approach to everything from prep work to editing, from interviewing to production, from logging to storyboarding.

    Whether your primary interest lies in making radio pieces, or oral histories, or recording favorite family stories for the grandkids, this course will give you a new set of storytelling tools. We’ll consider what stories work best without a narrator, and you’ll learn how to gauge, during the course of an interview, whether you’re getting the audio you need to make a first-person piece—or if you might need to try another tack. (12 hours/All Levels) 

    Since 2000, David Schulman has produced a wide range of radio programming for NPR, APM, PRI, and the BBC. He created and produced the Musicians in Their Own Words series, which was twice awarded national Corporation for Public Broadcasting grants. An early piece in the series was awarded the Best Documentary: Silver Award at the Third Coast International Audio Festival, andMusicians in Their Own Words has placed over 40 features on NPR’s Morning Edition, All Things Considered, Weekend Edition, and American Public Media’s The Story. From 2009 to 2011, Schulman was senior producer of the BBC weekly radio program Americana, and in 2012 he produced WUNC’s Pop-Up Music Club. A violinist and composer, David often collaborates with modern dance companies, and he released his first album, Quiet Life Motel, in late 2012. For more information, see

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    Producer job at Climate One, San Francisco

    Another full time gig. This from Climate One at the Commonwealth Club in San Francisco. Details below.


    Climate One holds about 35-45 events a year with live audiences ranging from 50 to 500 people. Its radio show is broadcast regularly on several stations in Northern California (KQED, KRCB, KSPB and KWMR) and other public radio stations. Its monthly TV show is broadcast on the fourth Sunday of the month on KRCB TV 22 on Comcast and DirecTV.


    The successful candidate will speak fluent “sustainability” and have 3-5 years covering clean energy, climate, and related beats. Climate One covers carbon from business, policy, advocacy and scientific perspectives. General knowledge of broad areas is more useful than deep and narrow expertise.


    We are seeking a journalist with experience leveraging media distribution platforms – text, audio, video, social – to help us package our content and grow audiences on the Internet and in the room. Ability to quickly write and grasp new ideas is a must. Also need to be comfortable using a wide skill set as a member of a small team in fast paced environment.



    Content Packaging and Distribution  

    Edit transcripts for segments on Climate One’s monthly TV program on KRCB TV 22.

    Direct Assistant Producer in editing of online video clips

    Review script and audio of Climate One California Weekly Radio Show.

    Write up post program summary to post on web site within 24 hours of live event

    Send thank you notes to speakers with appropriate links to post event materials

    Package audio and video from past programs into themed and newsy segments.


    Booking & Event Production

    Research topics and speakers for radio shows recorded before live audiences

    Write occasional invitations to speakers

    Assist Commonwealth Club public relations staffer in writing/editing media advisories

    Assist with production of live events directed by another producer


    Management & Administrative

    Supervise one Assistant Producer

    Light administrative work 1-2 hours a week.



    9:30am to 6:30pm Monday thru Friday. 10am to 8pm on days with programs (2-5 days a month). 


    Three weeks’ vacation to start plus full health benefits. 401k.





    To Apply:

    Send cover letter, resume and work samples to

    Include Climate One Producer in the subject line. Select applicants will be contacted in late February/early March for phone interviews. We anticipate filling the position in March/April. 

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    New health and science show at WHYY Looking for Stories

    New outlet for health and science stories from WHYY in Philadelphia:
    WHYY's new radio show "The Pulse" is looking for story pitches. We cover health and science. Got an idea? Email us at and If you want to check out the show to get a better sense of our sound,

    Stories don’t have to be produced / centered in this region (Pa, NJ, DE) but should at least have some local ties.

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    The Moth is Hiring, AP of video and social media, deadline Feb 28

    Ok – so it's a full time job, not freelance. But The Moth is awesome; I had to share. Details HERE and below. Deadline Feb 28.

    Associate Producer, Video and Social Media

    The Associate Producer of Video and Social Media has a hand in every aspect of video production and social media content creation at The Moth. This includes creating engaging video, written, and other content that can be shared and re-shared; managing our Tumblr, Facebook and Twitter accounts and responding to questions from our community; producing videos for our storytellers and our own YouTube channel; designing weekly live show announcement fliers; managing project workflow and timelines; and archiving video from across the country.

    We are looking for someone who is self-motivated, passionate, creative, and is able to multi-task in a sometimes fast-paced environment. This is a full-time job is located in our New York City offices.


    ·      Edit and produce simple live story videos for our YouTube channel

    ·      Fulfill all internal and external video requests and orders

    ·      Archive and log all The Moth’s incoming video from its shows across the country

    ·      Coordinate with freelance videographers to ensure good video quality and speedy delivery

    ·      Manage all of the Moth’s social media, including our Tumblr, Twitter, and Facebook page

    ·      Make creative social media content

    ·      Design e-fliers for all upcoming Moth events

    ·      Maintain The Moth’s photo archive


    §  BA or equivalent experience

    §  Strong knowledge of Adobe Premiere (CS4 or more recent), Final Cut (Pro 7, Express 4, or X)

         or similar video editing software

    §  Strong knowledge of Photoshop (CS4 or more recent)

    §  Excellent written and verbal communication skills


    Please send a resume and cover letter to by Friday, February 28th.

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    Radio Operas in NYC, Feb 28 and March 1

    Awesome NYC event – Feb 28 and March 1. I'm thinking about going on Feb 28 if any NY folks want to join me. Here's a link to the Facebook event page.  


    February 28, 2014 – March 1, 2014 
    8:00 PM 
    Underground Theater

    TICKETS: $20.00



    Opera in Dialogue #2
    March 1 | 5pm

    Experiments in Opera returns to Abrons to premiere Radio Operas – a collection of six 10-15 minute works that explore a wide range of stories highlighting the composers’ interests in Modern abstractionism, science fiction, melodrama, satire, hallucinatory experiences, scientific discoveries, and pop culture icons.

    These are not nostalgic homages to the radio plays of yesteryear. EiO’s Radio Operas are daring new operatic works created by some of the premiere experimental composers of today and designed specifically with this format in mind. Rather than prioritizing stage design and visual storytelling, these opera vignettes feature sound effects performed live by a foley artist, spoken text, music and singing and will rely on the imagination of the listener to create the image of the stories.

    Additionally, in partnership with, composers and collaborators featured on Radio Operas will take part in a free public discussion – Opera in Dialogue #2 on Saturday, March 1 at 5pm in the Abrons Underground Theater – exploring the ideas behind this innovative program.

    The six RADIO OPERAS:

    Scored for soprano, percussion, viola and electronics, ‘Ping’ by John King is an adaptation of a Samuel Beckett short story written in a stream of abstract imagery and thoughts. This performance uses musical substitutions to punctuate the flow of the spoken text and will feature soprano Joan LaBarbara and electronics by John King.

    ‘The Mutt’ by Matthew Welch, takes as its subject freestyle skateboarder Rodney Mullen, who invented the vocabulary of modern skateboarding, endured family abuse in his youth, led a double life as a burgeoning biomedical engineer, and now is an established inventor. The music will feature James Moore and Taylor Levine, from the Dither electric guitar quartet, Matthew Welch on spoken word, and will involve electro-acoustically sequenced “Foley” skateboarding sounds by Steve Brush.

    ‘Thomas Paine in Violence’ by Paul Pinto is a mad psychedelic depiction of the final days of the American founding father's life. Paine—portrayed by a soprano spurting speech, operatic vignettes and a number of extended vocal techniques—transports “herself” through space and time, including on “her” deathbed in 1809, the Stock Market of 2008, and the future. Scored for soprano, electronics and drums and featuring soprano Joan LaBarbara, and foley artist Steve Brush.

    In ‘The Collector’ by Aaron Siegel, a character delivers a wild and delusional monologue detailing his dangerous obsession with stamp collecting. The natural rhythms of the spoken text are mimicked in increasing accuracy by the instruments in the ensemble. The Collector is scored for piano, soprano, vibraphone and actor and will feature pianist Karl Larson, percussionist Matt Evans, soprano Erin Flannery and Aaron Siegel as the collector.

    ‘I Need Space’ by Jason Cady and Ann Heppermann tells the story of a couple moving to a Martian colony but breaking up on the way there. It is set in an alternate present: 2014 as it had been imagined by science fiction writers in the 1950s. I Need Space is scored for two voices, guitar, piano, synthesizer and Foley artist and features tenor Vince B. Vincent, soprano Erin Flannery, guitarist Mary Halvorson, pianist Karl LarsonJason Cady on modular synthesizer and Foley artist Steve Brush.

    'These Walls Can Talk (Working Title)' by Jonathan Mitchell tells the story of a guy who has figured out a way to extract sounds from objects. By inserting a needle into a wall (for example), he can measure the microscopic effects of variations of air pressure over time, and hear conversations that took place in that room. He can do the same thing with stones from Egypt, or the Great Wall of China.

    The theme of ‘Radio Operas’ emerged from EiO’s interest in genre-oriented performance and innovative frames for short-form operatic works.

    This inversion of standard operatic presentation will be made complete when the six featured works are recorded at the studios of Q2 Music for world premiere webcasts and on-demand streaming. Q2 Music will share one opera on consecutive nights Monday through Saturday at 8 pm during a special week in March.

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    Audio Producer job at Pandora

    Hey Bay Area folks. Pandora is hiring an audio producer. I've heard mixed things about working there, but might be worth a look. Details below. -Mia


    We would like everyone to apply to this link:

    At Pandora, we're a unique collection of engineers, musicians, designers, marketers, and world-class sellers with a common goal: to enrich lives by delivering effortless personalized music enjoyment and discovery. People-the listeners, the artists, and our employees-are at the center of our mission and everything we do. Actually, employees at Pandora are a lot like the service itself: bright, eclectic, and innovative. Collaboration is the foundation of our workforce, and we're looking for smart individuals who are self-motivated and passionate to join us. Be a part of the engine that creates the soundtrack to life. Discover your future at Pandora.

    Pandora's Audio Production team plays a major role in the overall listening experience of the Pandora user. We create audio advertising for local and national campaigns, produce custom audio content, and manage a robust roster of in-house and external voice talent.

    We have an excellent opportunity for a skilled audio producer to join our team. You must have an outstanding ear for all types of audio, and be able to produce a high standard of audio in a demanding, fast-paced environment. Exceptional recording, editing and mixing skills are essential, as are flexibility and the ability to communicate with clients and coworkers alike.

    You will join a world-class audio team in a role that's crucial to Pandora's future growth and success.


    Record, edit and mix high quality, high volume audio spots in a fast-moving, deadline driven environment
    Master and provide quality assurance for externally produced audio ads
    Effectively coordinate and execute incoming audio requests
    Help manage and facilitate the work flow of our in house recording studio
    Provide proper direction for talent and be able to identify top quality performances
    Work collaboratively with the Advertising Operations team to ensure efficiency and client satisfaction

    Expert skill set in audio software and plugins; Logic Pro, Pro Tools
    At least 4 years experience working in professional audio environments including a minimum of 2 years experience working with voice over and dialogue
    Excellent communication skills
    Ability to remain calm and focused when handling multiple projects
    Ability to work well within a team
    Strong ability to balance efficiency and quality
    Excellent time management skills
    Experience in advertising or radio is preferred

    Pandora is an equal employment opportunity employer and considers qualified applicants without regard to gender, race, veteran or disability status

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    Enter Strange Beauty’s Aural Fixation, deadline March 15

    Love this quirky audio contest from Strange Beauty. They also accept film entries. Details below. -mia

    It's that time again – we're looking for audio for the 5th annual Strange Beauty Film Festival!

    The strange and beautiful does not reside only in motion pictures. We're pleased to announce an open call for entries for our audio-only section, the Strange Beauty Aural Fixation.

    Aural Fixation accepts audio work of any shape or form with a running time of 7 minutes or less. Pieces in the 90 second to 5 minute range are encouraged. The only requirement is that the work be strangely beautiful and/or beautifully strange. We are looking for stuff that strikes a chord, has an emotional impact, makes us think. If you feel your piece fits the bill, it probably does. We can't wait to hear it. Previous broadcast history is of no concern.

    Submit your work by March 15, 2014. Entry fee is $5.

    Entry instructions online here:

    Strange Beauty will be held June 12-14, 2014, in Durham, North Carolina.

    Questions? Contact me off-list.


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