The American Homefront Project is seeking pitches for 3 -5 minute radio stories of national interest. The Project is a CPB-funded collaboration of North Carolina Public Radio/WUNC, WUSF-Tampa, and KPCC-Los Angeles. Our stories are available free to every public radio station through PRX.
The American Homefront Project reports on military life and veterans issues. We visit bases to chronicle how American troops are working and living. We meet military families. We talk with veterans — in their homes, on their jobs, at school, at VA hospitals — to learn about the challenges they face.
We cover major policy issues at the Pentagon and Department of Veterans Affairs, and we report on the family issues that service members and veterans experience in their daily lives. From the youngest military recruits to the veterans of World War II, we're reporting in-depth stories about Americans who serve.
We seek well-produced, sound-rich, in-depth stories. We maintain national standards both in our journalism and audio quality. We require web text and photos with all stories.
Compensation is $1000 per story, plus pre-approved travel expenses. ALL STORIES MUST BE COMPLETE BY MAY 31, 2017.
Read and hear more at www.americanhomefrontproject.
Hi Bay Area Producers,
*I upped the time to 5:30 to give us a chance to settle in before starting promptly at 6:00pm!
IMPORTANT: Please call/text Tony Gannon or Max Miller when you arrive in order to let you in!
Tony: (347) 200-9179
Max: (646) 391-2716
Please feel free to bring snacks or something to drink!
**UPDATE: One of our pieces will be in Spanish, so all multi-lingual folk please join!
WBUR, invites public radio journalists age 35 and under to submit entries for the annual Daniel Schorr Journalism Prize. Eligible works will have been broadcast or published between Jan. 1, 2016 and Dec. 31, 2016. The $5,000 Schorr Prize – sponsored by WBUR and Boston University, and funded by Jim and Nancy Bildner – recognizes a rising star in public radio and seeks to inspire a new generation of journalists to stretch the boundaries of the medium.
Submissions may focus on any local, national or international news issue significant to the listening public. The work may be presented in the form of a produced news story, podcast, news feature, documentary, series on a single topic or an investigative report. Complete guidelines are online at wbur.fm/schorrprize.
The award is named after the late Daniel Schorr, who gave American journalism a lifetime of commitment through his insight, intelligence and integrity. Schorr believed strongly in supporting talented journalists as they rose through the ranks of public radio. The selected Daniel Schorr Journalism Prize winner will be honored at the annual WBUR Gala which takes place on May 15 at the Royal Sonesta in Cambridge, Mass.
Past winners include WAMU Reporter Patrick Madden (2015); Reporter Devin Katayama, now a reporter for KQED, San Francisco (2014); WBEZ producer Becky Vevea (2013); KUNC reporter Grace Hood (2012); NPR host David Greene (2011); NPR reporter Ailsa Chang (2010); reporter Chana Joffe-Walt, who covers global economics for NPR’s multimedia project “Planet Money” (2009); former NPR defense correspondent Guy Raz, now the host of the “TED Radio Hour” (2008); and NPR investigative correspondent Laura Sullivan (2007).
All entries must be received at or before 5 p.m. EST on Friday, March 3, 2017.
Sam from 99% Invisible here. I’m reaching out because I would like to encourage you to pitch our show, and help you do so successfully.
Since the beginning, 99% Invisible has benefited from freelance contributors. In years past, at least one or two stories a month would come from a freelancer; in 2016, we only had ten for the whole year. Why? Because we just aren’t getting as many pitches as we used to.
Our working theory is that it must be it’s because everybody has jobs now. Jobs are great! Yay jobs! But we miss you guys, and we miss your pitches. And so if you’ve ever wanted to get a story on 99% Invisible, read on, I’m here to help.
First, let’s talk about what we look for in a pitch:
We tend to go for stories that reveal something surprising about the built world. We tend to avoid stories about things that are cool in their own right—we look for the cool thing inside of the mundane or overlooked thing. And our “cardinal rule” is “no cardinals,” i.e. no stories about nature or science; we focus on things built by humans.
Consider a few freelance stories that worked well for us:
Awareness (reported by Audrey Quinn). Tells the surprising and moving story of the AIDS crisis through the history of a simple object, the awareness ribbon. http://99percentinvisible.org/
Longbox (reported by Whitney Jones). Reveals the surprising connections between an obscenity lawsuit and a massive voter registration movement, all playing out in the physical packaging of an REM album. http://99percentinvisible.org/
Pagodas & Dragon Gates (reported by Chelsea Davis). Revealed the surprising history of a thing we see everywhere—orientalist architecture in Chinatowns across the country—and how it actually first emerged as a tool to resist anti-Chinese politics. http://99percentinvisible.org/
America’s Last Top Model (reported by Ryan Kailath). Tells a story of a fascinating place, teaches us about physical watershed models, and reveals something surprising about technology: that physical models are still better than computers. http://99percentinvisible.org/
What do all these have in common?
A designed object/building (or class of objects/buildings) + surprise + joy and wonder about the built world.
Now let’s say you’ve found something that fits the above criteria. Hooray! The next step is to write up a pitch. A good pitch tells us what the story is and who the people are you’d want to interview (ideally you will have already talked to them on the phone to hear if they’re good talkers and are game to be interviewed). You don’t need to have an ending or a structure totally worked out, but you should be able to show a richness of detail and get us to care about something we otherwise would not have thought twice about.
Pitches are usually about a page long, single-spaced. If we haven’t worked together before, please include some info about your experience level, where you’re based, and your phone number.
Once you’ve got your pitch written, head over the contacts page of our website: http://99percentinvisible.org/
Those submittals go into an email box that I check. I read every pitch. Seriously—every single one.
I generally check that inbox every 7-10 days, and when I come across your pitch, I’ll email you a pre-written form letter saying that we’ve received your pitch and that we’ll get back to you within two weeks if we’re interested. This email was sent by me, a real human, and I, a real human, will take it to the next pitch meeting. (If for some reason you submitted a pitch and didn’t get the form letter within two weeks, please write to me directly at email@example.com. But please do allow us two weeks to get back to you).
Next, I take your pitch to the team, and if there’s interest, I’ll follow up with you to greenlight your story and we’ll discuss next steps.
If not, I’ll try to personally let you know that we’ve passed on the story, though I’m not always able; if it’s been two weeks since you got the form letter saying your pitch has been received, it’s safe to assume we’re passing on the story and you should feel free to pitch the story elsewhere. If you get an email saying that we’ve passed on your story, please don’t ask for more details why, as we generally don’t discuss our decision-making process with non-staffers. If there’s anything I can tell you about why we’re passing on the story, I’ll volunteer that info.
So, that’s the process. It can sometimes take about a month between submittal and a response, and I’m sorry for that, but that’s realistically the fastest we can go.
If you have any questions about the process, feel free to email me directly at firstname.lastname@example.org.
I hope this was helpful, and I hope you pitch us soon!