Okay. So you don't have months to craft a perfect story. You have hours. But don't throw away everything you've learned at Third Coast just because you're on a tight deadline. (more)

(aka: State of the Re:Union’s Secret Recipe for Serious Place-based Storytelling… in Practically No Time!) (more)

Back in 2009, one German documentary won both of Europe’s most coveted radio prizes – the Prix Italia and the Prix Europa. (more)

Alessandro Bosetti talks of the tremors felt while approaching somebody else's life with a microphone in-hand, when fears of exploitation combine with implacable curiosity and the possibility that neither you nor your interviewee will understand each other's intentions. (more)

Flying across the last 50 years of international feature production is like looking out of an aircraft at night. Looking down you see the illuminated cities, the many shining villages, but far more than everything else you see the sparkling spots of individual talent. (more)

Documenting somebody else's life is one of the hardest challenges producers face in their work. Over an extended period of time relationships intensify, stories often change drastically, and the line between personal and too personal blurs easily. (more)

Radio transmissions are heard all over the world, from the largest urban centers to the smallest mountain villages. But what defines radio from a particular place, and what makes it different than radio from elsewhere? (more)

Matt Hulse presents short audio works by a diverse range of inventive audio artists and filmmakers, created specifically for "a darkened cinema." (more)

How can a producer prepare to make radio stories about distant lands and the people who live there, and why tell those stories anyway? (more)

It's common enough to learn about youth culture through the observations of experts and adults, but so much more intriguing to hear it straight from the hearts and minds of the teenagers navigating through their own worlds. (more)

David Isay and Alex Kotlowitz both try to discover extraordinary stories in "ordinary people." (more)

Who needs the Academy Awards when you have the Third Coasties? (more)

(Or: We couldn't change the world, so we changed radio.) (more)

Producers come to editors with their tape, a vision, and a piece in various stages of completion. Editors bring their skills, a fresh set of ears, a fat red pen, and often the mandate of an established show format. (more)

In early 2010, the Third Coast teamed up with the incomparable pop / indie / experiemental band The Books, and issued an open invitation to make radio. (more)

How do documentary producers and artists address the most common issues in the news and shed new light on them? (more)

Over the past year, we've seen several major scandals cutting to the heart of journalistic and documentary ethics. (more)

Narrative deceptions, perverse fictions, audio portraiture: this conversation between feature-makers Natalie Kestecher and Susan Stone explores the interplay of story, character, and music, as well as the delights of creative ambiguity and communication in Kestecher's luminous, protean work. (more)

More than 20 years ago, musicologist Ned Sublette attended the Missouri Auction School in Kansas City, and brought along his tape recorder. (more)

Documenting somebody else’s life is one of the hardest challenges producers face in their work. Over an extended period of time relationships intensify, stories often change drastically, and the line between personal and too personal blurs easily. (more)