- Series: Documentary Arts and Culture, Published in association with the Center for Documentary Studies at Duke University
- Paperback: 272 pages
- Publisher: The University of North Carolina Press; 2 edition (February 13, 2017)
- Language: English
- ISBN-10: 1469633132
- ISBN-13: 978-1469633138
- Product Dimensions: 6.2 x 0.7 x 9 inches
- Shipping Weight: 14.1 ounces (View shipping rates and policies)
- Average Customer Review: 4.0 out of 5 stars See all reviews (1 customer review)
- Amazon Best Sellers Rank: #964,303 in Books (See Top 100 in Books)
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Reality Radio, Second Edition: Telling True Stories in Sound (Documentary Arts and Culture, Published in association with the Center for Documentary Studies at Duke University) 2nd Edition
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How could something so good get better? Well, John Biewen and Alexa Dilworth have managed to do just that. Reality Radio will remain required reading for all my students--especially given the addition of essays from some of my radio heroes like Alix Spiegel, David Isay, and Sarah Koenig.--Rob Rosenthal, independent radio producer and lead instructor at the Transom Story Workshop
Somehow in this manic digital age, Reality Radio—a mere book!—is more relevant than ever. Form and function manifest, here is the story of contemporary documentary audio, thoughtfully composed and offered straight from its most respected producers. Reality Radio is required reading for anyone at the beginning of her audio career. Or in the middle. Or finishing up. And for all invested listeners. This is radio canon."—Julie Shapiro, executive producer, Radiotopia from PRX
About the Author
John Biewen directs the audio program at the Center for Documentary Studies, where he teaches and produces/hosts the podcast Scene on Radio. His reporting and documentary work have taken him across the United States and to Europe, Japan, and India.
Alexa Dilworth is publishing director and senior editor at the Center for Documentary Studies at Duke University.
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Top Customer Reviews
The stories in this collection take the reader to different parts of the world and into different cultural, economic, political and other concerns that matter to these creators. Most of the essays are conversational, and are written as if a pal is trying to convince the reader to feel intellectually attracted towards the author/ him or herself. Bits touch on the history of radio or a given radio program. Other bits include well-known radio segment transcripts that demonstrate how the audio managed to appeal to listeners. There are also technical instructions, such as notes from Chris Brookes on how he searched for a “sound that suggested the way that radio static would have struck the ear a century ago” (16). He explains that there was no automatic pre-recorded statistic he could have used, and he had to go to some length to invent this sound to use it on the air.
The book is written as an instructional manual for potential future radio personalities. Anybody who hopes to create a podcast or to start a career in radio should read this book. Some of the advice might be less helpful than other bits, but anybody that reads this book closely and with skepticism should be greatly enriched. --Pennsylvania Literary Journal, Volume IX, Issue 1