two tape sync requests – one near Santa Cruz, one in VA

Hey folks. I don’t know anything about this company or what their day rate is, but if you’d like to inquire about the gig, contact info is below.

———- Forwarded message ———-

Tape Sync near Santa Cruz
Looking for an audio producer to record a 30-45 minute tape sync in Capitola, CA on Thursday March 2 at 2pm PST. Will pay date rate and transportation.
Tape Sync in Virginia
Looking for an audio producer to record a 30-45 minute tape sync at Washington & Lee University on Thursday March 2nd in the early afternoon. Will pay date rate and transportation.

Ashley Walters
Story Producer and Sound Designer, Pacific Content Company

call for audio stories from the American Homefront Project

This looks super interesting. Pay is pretty reasonable too. Spread the word!

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

For more information or to submit pitches, contact Editorial Project Manager Adam Hochberg at or 919-238-9664.


15% DISCOUNT for 5-week radio storytelling class in SF, class begins MONDAY

Hey FC! Our friends at Writing Pad are officering FC folks a 15% discount on their next radio storytelling class which begins next week in San Francisco. Check it out!


Writing Pad <> has a great series of podcasting and radio storytelling courses coming up next week. They're based in LA and SF but offer online courses too. Check out their latest from Snap Judgement’s <> Davey Kim. 

PLUS, friends of Freelance Cafe get a discount. 
15% off the class by using the code FREELANCE.


Davey Kim is a producer of Snap Judgment and a radio journalist who has been on multiple NPR shows.Not only is he an amazing teacher with a great ear for story, he is really supportive and inspiring! Also, because of our radio storytelling classes, 10 students have gotten on the radio and have gotten paid). You could be next!

Davey’s latest student success is Scott Brody who got on NPR’s All Things

In this class, Davey shares the Snap Judgment guidelines, themes and help you craft a pro radio story. He helps you transform a real-life event into a deep, moving tale. You workshop it twice plus get performance notes. On the last class, you record your story at Snap Judgment studios. It will make you feel like a rock star and you will get a professionally recorded clip from Davey (that you can send out to This American Life or Snap Judgment too).

Sign up and details are here:
Mar. 6, 13, 20, 27, April 3 (4 Mon. nights, 1 recording session),
6:30-9:30 p.m., SF

FC West listening event TONIGHT, 5:30pm, Oakland

The listening events live on! Details below and on Facebook:

Wish I could be there!

Hi Bay Area Producers,

I'll be hosting another listening event out of my shared workspace this coming Thursday Feb. 16th from 5:30pm-8pm. Please come listen to and discuss ongoing work by local producers. We'll also be hanging out from 8:30-10pm at The Miranda. Details below:

Location: 344 20th St, Oakland, CA 94612
Presentations/Discussion: 5:30pm* to 8pm
Post discussion: 
8:30-10pm or so @ THE MIRANDA
1739 Broadway
Oakland, CA 94612
b/t 19th St & 17th St 

*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!

10th annual Miller Audio Prize from The Missouri Review, deadline March 15

The Missouri Review’s 10th Annual Miller Audio Prize


Entry Fee: $30, $24, $16, or $10. You choose what you pay. Your entry fee includes a one-year digital subscription to the Missouri Review, which normally costs $24.

Length: All entries must be 15 minutes or shorter.

Eligibility: Previous first-place winners are not eligible to win again. Multiple entries must be accompanied by a separate donation for each. Previously published or aired pieces are acceptable as long as you, the entrant, hold the rights.

Deadline: March 15, 2017



Files should be mp3 format only, under 20MB. Use Chrome, Firefox, or Safari to submit.


By Mail

Submit the following:

  • a completed Audio Prize Entry Form
  • a copy of your entry on a CD, labeled with writer/ producer, title, and length
  • an entry fee of $30, $24, $16, or $10 (make checks out to the Missouri Review)

The Missouri Review Audio Competition
357 McReynolds Hall
University of Missouri
Columbia, MO 65211



Submit an original poem or collection of poems as a single audio file. Entries may be solely author-read or contain other voices, sounds, or music.


Submit a short story or piece of creative nonfiction. Entries may be solely author-read or contain other voices, sounds, or music.


Submit your funniest poem, story, or piece of creative nonfiction. Entries may be solely author-read or contain other voices, sounds, or music.

Audio Documentary

Submit an audio documentary on any subject. Documentaries can be presented in a variety of forms including narrative, interview, or documentary play.

Listen to past winners of the Miller Audio Prize here.

Questions? Please visit our FAQ. If your question isn’t answered there, email us: mutmrcontestquestion AT missouri DOT edu

Daniel Schorr journo prize for pub radio superstars age 35 and under, deadline March 3

Hey youngsters – go for this prize!

Daniel Schorr Journalism Prize: Call for Entries

daniel-schorrWBUR, 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

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.


Media Contacts:


Karen Laverty

Phone: 617-275-6516

learn better pitching and production from NPR Training guides, PLUS webinar on 3/22

Check out the amazing resources below from NPR Training. Plus, attend their March 22 webinar to improve your audio skillsSign up here. (Also, I got 6/6 on this audio quiz. How about you??)



There’s been a flurry of activity at NPR Training the past couple of weeks. We’ve been posting, hosting and sharing like crazy as we try to help you improve your craft.

How can you pitch effectively?
Learn from the pros. Our Training team colleague Alison MacAdam gathered advice from editors at NPR for this guide to story pitching. If you are involved in pitching — or fielding pitches — be sure to check it out.

Improve your ears!
We recently released The Ear Training Guide for Audio Producers, which covers two dozen of the most common audio problems.

There are many ways to use the guide:

  • New to audio production? Take your time moving through the guide and learn how to hear — and prevent — each problem.
  • Newsroom manager or experienced producer? Use the guide as a starting point for a larger conversation about audio quality. Listen to the examples together, discuss the problems you’ve encountered, the tools you have available and share tips. How might you help each other prevent these problems in the future?
  • Elbows-deep in production and running into a problem? Look it up in the guide and learn more about a potential solution.
  • Too busy to do anything right now? Come back to it when you have time. Try to listen to a new example each week to keep your ears sharp!

We will host a webinar about recognizing and preventing common audio problems on Wednesday, March 22Sign up here.

We also put out this fun audio quiz, meant to challenge your ability to hear audio problems. Did you pass? Let us know!

Rob Byers (@robbyers1)
Production Specialist, NPR Training

PS We always like to hear from you. You can always reach us via email (, our websiteTwitter, and Facebook.

Feet in Two Worlds workshop focuses on immigrant FOOD stories, app deadline March 3

Feet in 2 Worlds is accepting applications for our second workshop focused on telling food stories from immigrant communities. It’s a great opportunity for food writers who want to produce audio, audio producers who want to report on food, and food professionals who want to focus on story-telling. Plus, food journalism is a powerful entry-point for reporting on immigrants in the current political climate.  
Attendees to our first workshop in 2015 produced stories for PRI’s The World, NPR’s The Salt, OkayAfrica and the Charleston Post and Courier among others.
Here is the link with more information and how to apply:

The New School

99pi wants your pitches! Here’s how to do it.

Hey folks! 99pi wants your stories. See below for detailed instructions about how to pitch them. Go for it!




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.

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.

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.

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.

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: Paste it in the text field, and be sure to select “Reporter Pitches” from the dropdown subject tab. Click send and you’ll get an auto-response on the page telling you it’s been submitted.

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 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

I hope this was helpful, and I hope you pitch us soon!

Sam Greenspan

Sam Greenspan
Managing Producer
99% Invisible