No Brother of Mine

Diane Richard and her husband Todd Melby sure know how to pick a project with a long, uphill road to the finish line. Diane and Todd recently finished a one-hour radio documentary on sex offender policy in the United States. It’s called “No Brother of Mine.” The lengths they went to complete the project are surprising and inspiring.

On this addition of the Saltcast, I talk to Diane and Todd about the insane amount of tape they collected  (150 hours) following offenders in and out of prison over four years, the pittance of pay they received for the amount of work involved ($5k), and the effort they made to protect their safety.

There were a couple of things we chatted about that I couldn’t fit into the Saltcast so I thought I’d post a few notes here.

One of the toughest jobs a journalist will face is leaving your pesonal opinion at home. Whether its your political point viewpoints or, in this case, your distaste for the person you are interviewing — a sex offender. Both Diane and Todd say you just have to dive in, be open, and ask tough questions.

Todd: Just like any other story, there are people that I like and people that I don’t like. As I’m doing the interview, it doesn’t matter whether I’m liking the person or not liking the person.

Diane: I don’t like what these guys did. At all. But, I like them as human beings. (Long pause.) Some more than others.

At one point in the documentary, Todd asks a question that made my stomach churn: “What is it that sexually attracted you to this child?”  How do you ask a question like that?!

Todd: It’s super difficult. But we had to get to the heart of the issue. We were interviewing sex offenders. And, as part of that, we needed to have them tell us about the crime they committed… And we needed to figure out why they did what they did… from their point of view. And certainly the acts were reprehensible but we needed to ask those questions. It wasn’t easy.

Diane: We were in prison for almost four hours one day interviewing possible participants and asking that question over and over. And I felt SO numb at the end of it. You could have pierced my eyes with a needle and I wouldn’t have noticed. It was a really traumatic day. So, we went out for French fries afterwards (laughs) which became a pattern of ours. When ever we did a series of tough interviews, we’d treat ourselves to French fries (laughs).

It doesn’t really tax me to ask questions. People at my work make fun of me because they say there is nothing I won’t ask. If someone wants to answer it, I’ll ask. I’m doing it to represent the listener… I’m just kind of the conduit.

Todd: It’s just sort of facing your fear and talking to people. You know, once a person has agreed to be interviewed, you can pretty much ask them anything until they tell you to go away.

Diane – And in our case, since we were wanting to establish a long-term relationship with these guys, if I had let my disgust show in that first meeting. They would never have opened up to us. They would never have wanted to take our calls.

On a different note, Todd and Diane spoke about working together as a married couple. Diane says since they know each other so well, there’s a kind of “pretty dance” they engage in allowing each other’s strenghts to come to the fore. But, they’ve established a few boundaries to make sure work and personal life don’t mix all the time.

Todd: I do rent an office about four blocks from the house so we’ve at least got our little production studio out of the house.

Diane: And little is little! We’re talking about a closet-sized (office). So when we’re together and the dog’s in there, there’s no square footage for anything else in this little space. But there is a physical entity that we talk to which is helpful.

Todd: And then as far as the separation of personal life from radio life, I’ve tried to say “Let’s not talk about it tonight.” We’ve definately had troubles with that at times.

Diane: We just have to be really explicit. When you are working on a story it’s what you’re thinking about. It’s what wakes you up in the middle in the night. And if the person you are working with is right there it’s just hard not to talk about it… It’s really tricky and it’s not for everybody.

And the up side is, when Todd and I are really excited about a project, it totally engages us. I kind of feel sorry for married couples or partnered people who don’t have a common passion. Because what do they talk about? The dog? I suppose there’s things to interest them, but when we’re running on a story, it’s really, really fun.

Check out Todd and Diane’s work at 2BelowZero.org. And, listen to all of “No Brother of Mine” at PRX.

Happy listening, Rob.


Left for Dead

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The Guerrette family of Pittston, Maine – William, Nicole, and Melanie. Photo by Sarah Craig.

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The story featured on today’s Saltcast is not easy to take. People listening to the piece at a recent gallery show at Salt shook their heads in disbelief and cringed at the gory details.

In 2008, two thugs broke into the Guerrette family home in Pittston, Maine and attacked William and his daughter Nicole with a machete. Melanie, the mom and wife, escaped out a second story window fleeing for help. She left her husband and daughter behind thinking they were dead.

Eventually, the attackers were caught and sentenced to many decades in jail.

In 2010, Salt radio student Bradley Campbell spent several weeks with the Guerrette’s. He tells the story of the attack and the current day-to-day challenges of family life. The story is called “Left for Dead.”

Most, if not all, of the news reporting on this story focused on the details of the break-in and the court cases. Little information was published about the Guerrette’s struggles to regain stability. Bradley’s story captures that angle and “moves the story forward” in a manner not reported by the local press.

Bradley worries, however, that the tone of the story is too dark, too depressing, too honest for public radio. Let us know what you think. Please post your thoughts.

Best,
Rob

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Just Another Fish Story

You didn’t hear this from me, but sometimes the best approach to working on a story is to not have much of a plan. (cough)

I actually can’t believe I just wrote that.

I’m a firm believer in working with a penciled-in plan before embarking on a story. Starting out, a producer should have a pretty good sense of who to talk to, where to record active tape (people doing stuff), and a rough idea of how the story might be told. It’s advice I doggedly offer students at Salt.

Producer Molly Menschel ignored most of those recommendations and ended up assembling what I believe is the best student piece produced at Salt. Molly followed her instincts rather than the rules.

Inspiration struck after she stumbled across a ten-year old story about a beached whale in Lubec, Maine. Armed only with a little preparation, she grabbed her microphone, some camping gear, and her curiosity then drove four hours to Lubec and interviewed anyone she could find for four days straight.

The result is “Just Another Fish Story.” Have a listen.

Best,

Rob

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Portrait of a Psychic as a Young Man

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Nathan Dyer focuses hard — really hard — on the chandelier. Photo by Morrigan McCarthy.

Ninety-nine percent of the time, using the pronoun “I” in a story is a journalistic no-no.

The reasons for this prohibition are many. One is objectivity. Remaining aloof and distant helps a reporter achieve the goal of objectivity, or so the conventional thinking goes.

Another is focus. The story isn’t about the reporter. It’s about the people they report on.

But sometimes, the pronoun “I” is a useful storytelling tool. For instance, “I” unlocks possibilities for framing and entering a story.

In the case of today’s feature on Saltcast, “I” (and it’s cousin “me”) allows the reporter to act as a surrogate for skeptical listeners when no character is available to play that role in the story.

Katie Mingle’s “Portrait of a Psychic as a Young Man” is a timeless tale of adolescence told through fifteen year old Nathan Dyer. Katie gently uses the first person in the story — sometimes directly, other times through carefully understated observation. She artfully achieves both objectivity and focus while employing “I.”

Just off the top of my head, I can think of two reporters who are masters of “I” —  Sean Cole and Neenah Ellis. They manage to navigate the tricky waters of objectivity and focus while writing in the first person.

Sean Cole has a lot of work posted at PRX. Many of his stories are archived at NPR.org. He also wrote an excellent essay on “I” for transom.org.

Many Neenah Ellis productions can also be found at PRX and NPR.org. I especially like Neenah’s opening piece in a series on centenarians.

Feast your ears on other stories by Katie Mingle at her website.

So much listening. So little time.

Ciao,

Rob

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Ghetto Life 101

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“You can do that with radio?!!”

That was my overwhelming response when I first heard “Ghetto Life 101.”  I still feel the same way even after listening to the piece dozens of times.

“Ghetto Life 101” is a high-water mark for radio documentary and the story featured on this edition of the Saltcast — our fiftieth!!

Dave Isay produced the piece in 1993. Dave gave tape decks to two teenage boys — LeAlan Jones and Lloyd Newman — to document their lives on the south side of Chicago. This diary-style production was one of the first in public radio and inspired a slew of other diary documentaries and youth radio programs (see below).

Dave no longer produces docs. Instead, he manages StoryCorps, perhaps the largest oral history project ever undertaken in the United States.

For the 50th Saltcast, Dave spoke briefly with me about Ghetto Life, some of the controversy that surrounded the broadcast, and how LeAland and Lloyd are doing now.

Wish us a “Happy 50th!” will ya?!!

Best,
Rob

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PS — Here are some resources on radio diaries, youth radio, and Dave Isay’s work.

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AUDIO DIARIES

The Life Stories series by Jay Allison are probably the first ever diary-style radio documentaries.

Joe Richman perfected the diary technique with his company Radio Diaries.

And here’s a good diary story on Transom — Not All Bad Things.

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YOUTH RADIO

Youth Radio Berkeley is the largest youth radio program in the U.S.

Blunt Youth Radio started in the mid-1990’s. In addition to producing a weekly talk show, Blunt teaches radio to incarcerated youth in Portland, Maine.

I’d be remiss if I didn’t include Radio Rookies in New York at WNYC celebrating ten years this year!!

And, I’d be doubly remiss if I left out Youthcast, the youth radio podcast produced by the Public Radio Exchange. PRX also has a nifty list of youth radio programs around the U.S as part of the Generation PRX project.

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DAVE ISAY

For many years, Dave’s production company was Sound Portraits. Most if not all of the work he produced can be heard on line.

StoryCorps pieces can be listened to at StoryCorps.org and on PRX.

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The Junk King

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Jerry Blackburn, “The Junk King” of the Downeast region of Maine.  Photo by Alexandra Marvar, 2006.

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You just might end your subscription to the Saltcast after the following pun: Producer Josh Gleason wrestled mightly with how to “frame” his profile (get it?) of Jerry Blackburn, “The Junk King.”

Jerry salvages and sells junk. Lots of junk. More junk than you can possibly imagine. But, for nearly twenty years, Jerry has wanted to turn his junk dealership into a museum — “The Downeast Museum of Natural History.” Problem is, it’s never happened. Two decades after the idea sparked his imagination, no museum.

Josh mentally ping-ponged back and forth trying to get his head around the following conundrum: is the story of Jerry a story of a junk dealer who wants to start a museum, or a wannabe museum curator who salvages junk?

It’s a fine point but an important one.

On this edition of the Saltcast, I feature Josh’s story from 2006 and we chat about why one story frame worked, and the other didn’t. Josh also has some great insight on asking tough, personal questions.

Happy listening.

Best,
Rob

PS – If you like Josh’s feature, check out his other work at joshuawgleason.com.

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Roadway Renaissance Man

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There are lots of different ways to start a story. Maybe the most common is what I call “Here’s-how-things-are (or were)-here’s-how-they-are-different.”

Basically, the narrator describes what’s usual about a situation. Then they point to what’s different. A simple example is “Today was perfect. Bright sunshine. Light breeze. A couple of clouds. Then, out of nowhere, a deluge.”

The twist — the part where you point to what’s different — tells the listener what the story is about.

Carla Neufeldt’s “Roadway Renaissance Man” uses this technique to great effect. Take a listen to today’s Saltcast and see what you think.

As an added bonus, do yourself a favor. Listen to Carla’s piece once the whole way through. Then go back and check out how she “scored” the piece with music. Carla got pretty fancy in ProTools, the editing software we use at Salt.

Ciaodah,

Rob

PS – Here’s a great article by Nancy Updike about beginning stories and a whole lot more on writing for radio.

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Wicked Maine Limericks

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Thought the limerick was a dead artform? A remnant of “ye olde days” that little kids still find humorous? Think again.

Molly Haley brings us the story of a limerick revival, of sorts, in Maine. Beware, the poems featured in this Saltcast give ribald a new name.

The circle of dots above are something new I’ve been doing in class. To illustrate the need to produce a story about a subject matter or a person from a variety of view points, I’ll sometimes put a dot up on the board. I’ll label it — in this case, limericks. Then, I’ll plot some dots in a circle around the initial dot. The new dots represent people and organizations with a point of view on limericks. It’s the job of a reporter to connect those dots.

Take a listen to how Molly connects them on this week’s Saltcast.

Cheers,

Rob

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Nothing Predictable

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Icebergs ho! The bow of my kayak near Hay Cove, far northern Newfoundland.

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Here’s the dirty secret about the audio postcard featured on this Saltcast:

I recorded it twice.

Armed with binaural microphones and advice about safety from local fisherman, I recorded a kayak trip around some icebergs at the top of Newfoundland. I paddled about a half hour out to the bergs, tooled around between the two- and three-story ice chunks, then headed in. I narrated the whole way with headphones on and my minidisc recorder safely tucked into a shirt pocket underneath a Gore-Tex jacket.

On my paddle back, I pulled out the disc player to stop recording. Unfortunately, there was no need to press “Stop” — the gear was in “Record-Pause” the WHOLE time!

After cursing myself practically to oblivion, I pressed “Record” and went back out. So, the postcard is “take two” of my excursion.

There was a silver lining — a small one.  The weather changed. It was fairly calm first time through. But, the afternoon wind picked up for “take two” and that added some tension to the piece as you’ll hear.

In fact, the focus of this Saltcast is tension and narrative arc. I dissect the postcard, called “Nothing Predictable,” and describe the arc of the story each step of the way. Happy listening.

Here’s a couple of extra snaps for ya:

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How could that anvil-looking, tower of ice stay up like that?


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Still happy even after botching the first recording. Note the binaural mics with fuzzies clipped to my hat.

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Hot Lunch!

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Meatball sub anyone? Photo by Catherine Lovell.

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Ovens and sinks and a fridges, oh my.

No matter which way producer Audrey Dilling turned in the cafeteria kitchen at Biddeford High School, she was awash in sound, sound, and more sound. What’s a producer to do? Audrey has some answers on this Saltcast about hot lunch and recording.

One answer to the problem is to use two different mics — one for general ambiance, the other for specific sounds.

For general ambiance (and nearly all the sound you hear in Salt stories), Audrey used the reporter’s standard: Electrovoice RE-50. Works well in wind. Limits mic handling noise. It sounds good.

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The other mic Audrey used is the Audio Technica 8035. It’s shotgun mic with a much narrower pick-up pattern for focused sound gathering.

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If you are looking to buy only one mic, I recommend the RE-50. It’s a workhorse, takes a beating, and won’t disappoint. But, if you have some cash to invest in mics, having both of these can be a blessing. Ask Audrey.

Happy listening.

Rob

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