STAY CONNECTED! Third Coast has gone digital in 2020, and we’re bringing you new programming celebrating the art & craft of audio storytelling. Whether you are a producer or an audio fan, sign up for our newsletters to be the first to know about what we have in store.


The 2020 call for entries is now closed. Stay tuned for what's next!

[A quick COVID-19-related note from Third Coast HQ]

A warm hello from us to you! The world is confusing and pretty wild right now, and we're constantly thinking about how we can support all of you. As a convener & community-builder in the audio field, we're working on transforming our in-person programming into digital programming that keeps that spirit of connection alive. We're also planning for an unexpected, totally new (and a little bit scary) Third Coast future. We so appreciate this community, and we have faith that we can get through this together.

So, without further ado, we're introducing our first major digital program:

Announcing the 2020 Call for Entries!

The annual Third Coast / Richard H. Driehaus Foundation Competition is here. Stay tuned for all the Competition updates, posted here and in Producer News.

The TC/RHDF Competition awards the best narrative audio stories produced across borders and languages, inviting producers from across the world to enter their best work from the past few years. At Third Coast, the Competition is an engine for our programming and community-building, and a snapshot of the world in audio. Since 2001, the Competition has celebrated masterful, experimental, groundbreaking, and radical works in audio storytelling, and has awarded over $300,000 in cash prizes to many of the most innovative makers of the past two decades. The winners are celebrated across the audio industry, receive cash prizes up to $5,000, and are selected by a cohort of judges — all makers themselves — invited by Third Coast.

This year we will award eleven winners in the following nine categories: Best Documentary (Gold, Silver, Bronze), Best Serialized Story, (NEW) Best Documentary: Short, Best New Artist, Best Documentary: Non-English Language, Impact, (NEW) Audio Unbound, Director’s Choice, and Best News Feature.

New in 2020

We're excited to fill you in on a few big changes, and a lot of smaller evolutions, to better support boundary-pushing audio work all around the world:

Makeover for pricing & fees

We’ve restructured our pricing to make the TC/RHDF Competition more affordable for independent and freelance makers, as well as first time entrants working in countries underrepresented in our Competition. For complete information about pricing and fees, click here.

Two new categories:

We’re introducing two totally new categories, and we've paused the Skylarking Award—more on that in the FAQ! (Note that we still very much welcome works that are out-for-fun across all categories in our Competition.)

Audio Unbound

We’re breaking audio out of the podcast feed & the broadcast airwaves! It’s time to honor all the audio work that experiments with embracing other mediums, and artists from other mediums embracing audio. Click here for details.

Best Documentary: Short

We hear some of our favorite audio storytelling in short work — 10 minutes or less. We believe short documentaries are just as powerful as the rest, and deserve a bigger platform and spotlight. Click here for details.

Language-Agnostic Categories

The TC/RHDF Competition has accepted Non-English Language entries since 2016; now these entries will be considered for all eligible Award categories, in addition to the Non-English Language category. Click here for details.

Honoring finalists

For the first time, Third Coast will publicly honor finalists of the Competition in addition to the cohort of award-winners.

Expanded Eligibility

We’ve updated and expanded the length requirements for many of our classic categories, to better serve the breadth and flexibility of work made in the field. Click here for details.


Call for Entries [now closed]

Questions? Email

Winners Notified & Announced

Fall 2020

Why Submit?


Award winners receive: industry-wide recognition, a cash prize of up to $5,000, a handcrafted radio that plays your winning piece, the chance to get to know other winners and Third Coast Judges, celebratory recognition at the Third Coast Awards Ceremony (virtual or in-person, stay tuned), and national audience reach on Third Coast’s radio show & podcast(s), including our annual Best of the Best national broadcast.

Read more about each of the awards for all eleven categories, here.

Audio as an art form

Entering the Third Coast/RHDF Competition is an opportunity to win an award, but it’s also a way to support the work of Third Coast, be recognized in the field, and push the boundaries of audio as an art form in a variety of ways. During a year when so much about our world is being disrupted, we believe the Competition is a critical way to claim space for the kind of groundbreaking, influential, international and experimental work we want to hear across the field.

Be part of Third Coast. Third Coast staff listens to every single entry submitted to our Competition. Third Coast will feature standout work — including and beyond the cohort of winners — in our virtual programming (which we're working on & will announce soon)!

Get heard. The finalists of the Competition get heard by not only the staff of Third Coast, but also a panel of expert Judges from across the industry.

Help us. Entering work into the Competition is a key way that you can support Third Coast during this very difficult time for our organization. And yes, Third Coast staff listens to every single entry. The work we hear is a critical engine for inspiring our year-round programming, and the way we think about the industry at large.



Entries paid for with institutional/organization support

  • All categories (except Best Serialized Story): $105
  • Best Serialized Story: $255

Entries paid for without institutional/organization support

  • All categories (except Best Serialized Story): $75
  • Best Serialized Story: $125

Special rate for international entries

  • This special price is available only to first-time Competition entrants from countries outside the US, Canada, UK, Ireland, Australia, New Zealand and Scandinavia: $15

EARLY DEADLINE (MAY 1ST, 5PM CST) (This deadline has passed.)

Entries paid for with institutional/organization support

  • All categories (except Best Serialized Story): $80
  • Best Serialized Story: $225

Entries paid for without institutional/organization support

  • All categories except Best Serialized Story: $45
  • Best Serialized Story: $100

Special rate for international entries

  • This special price is available only to first-time Competition entrants from countries outside the US, Canada, UK, Ireland, Australia, New Zealand and Scandinavia: $10

2020 Categories

There are eight categories in the Competition, and a single entry may be eligible for more than one category at no additional charge. The submission form will guide you through which category to enter. (Please keep in mind that Third Coast may move your entry to another eligible category without notifying you, if we feel the entry will be more competitive in that category.)

Note: Your entry must have been produced and available publicly for the first time on radio, podcast, internet, or in a public setting (including but not limited to a theater, gallery, museum, classroom, etc) between April 7, 2018 and May 25. The only exception to this is for the Audio Unbound category: in its inaugural year, we are accepting entries that have been produced and available publicly for the first time between April 7, 2016 and May 25, 2020.

Best Documentary (3 Awards: Gold, Silver, Bronze)

Best Documentary (BD) is one of the founding categories of the TC/RHDF Competition. This category awards narrative audio stories grounded in documentary and non-fiction storytelling. These often include, but are not limited to: longform journalism, investigation, documentary, personal essay, and audio portrait. We welcome work that blur styles, including the lines between “fact” and “fiction.” We’re interested in stories that innovate, inform, and inspire; we’re interested in stories that haven’t been told before — or are now being told in a new way. Eligibility: 10-75 minutes

Best Serialized Story (1 Award)

Created in 2018, Best Serialized Story (BSS) awards narrative audio stories told in multiple episodes, chapters, or installments. In a serialized story, each episodic part must build on a larger narrative. For example, the entirety of Missing and Murdered: Finding Cleo which won our 2018 BSS Award. Also eligible are limited series created by ongoing shows, such as Silent Evidence , which was a mini-series produced by The Heart in 2016. Finally, a BSS can be a single season of an ongoing show that follows one narrative, such as Start-Up Season 4 about Dov Charney (7 episodes total). Eligibility: Multiple episodes that, in combination, equal 75 minutes-10 hours.

Best Documentary: Short (1 Award)

New award! Best Documentary: Short (BDS) awards stories that are short on time, but not short on craft or ambition! We created this category because we believe that short form audio stories deserve a platform and a spotlight—and are a different conceptual beast than longer documentary projects. We are looking for stories that accomplish the extraordinary in a short period of time. Eligibility: 0-10 minutes.

Best New Artist (1 Award)

The Best New Artist (BNA) award is presented to an outstanding emerging producer (or producers) who entered the audio field between April 2018 and May 2020. Eligibility: no length restrictions. To qualify for this category, the entrant(s) must have recorded, written, and mixed the entry on their own; Individuals or teams may have worked with an editor or editors, as long as they contributed to the entry in an advisory capacity only. Co-productions between groups of Best New Artists, per the definition above, who are collaborating in recording, mixing, and editing are permitted. Co-productions involving a new producer but made up of more seasoned producers who are also recording, mixing, and editing are not eligible in this category. See the FAQ for more specifics.

Best Documentary: Non-English Language (1 Award)

Through the Best Documentary: Non-English Language Award (BNEL), Third Coast celebrates outstanding audio work produced in languages other than English, from anywhere in the world. (Formerly known as the Best Documentary: Foreign Language award) New update! Entries in non-English languages will be considered for other categories where they are eligible. However, this category remains a place to specifically award a single excellent work in a language other than English. Eligibility: no length restrictions. Must provide a translated transcript with time codes.

Impact (1 Award)

The Impact award recognizes a single audio story that has significantly impacted an individual, group or community. We are looking for work that has directly created definable change. This can be an investigative report that influenced public debate or a radio story that changed the course of an individual’s life, or something else entirely. Eligibility: no length restrictions. Must provide a statement of the work’s impact.

Audio Unbound (1 Award)

New award! Audio Unbound (AU) awards audio works that experiment with format, function, genre, and go beyond the typical podcast feed or broadcast airwaves. We are interested in boundary-breaking multimedia uses of sound, objects, imagery, and/or experiences. This is a call to audio producers, as well as to artists of all stripes: performance, installation, sound, and more!

Above all, this category awards creativity and innovation anchored in audio but that tells a story or delivers a narrative across mediums and platforms, broadly defined. You can also think of this category as being: “beyond the podcast feed.” Entries to this category may be unbound from the words we usually use to describe audio and may include, but are not limited to: audio installations, audio-based theater, audio tours, and non-definable projects that forefront audio in new and interesting ways. Please see the FAQ for further details. *Eligibility: 0-3 hours. You may choose to upload additional files for this category (images, video, websites, text), but one single audio file (.mp3) is still required. Must also provide an artists’ statement outlining why the work should be considered for this category. For the first year of this category, we are accepting work made between April 7, 2016 and May 25, 2020.

Director’s Choice (1 Award)

Unlike the rest of our juried awards, the Directors Choice award is a unique opportunity for Third Coast staff to award an exceptional work that they believe is critical to the current and future landscape of audio storytelling. Eligibility: all entries are automatically considered for this award, regardless of length or language.

Best News Feature (1 Award)

The Best News Feature (BNF) award honors exceptional news features reported worldwide. Submissions should be stories (local, national, international) produced in response to events and issues. Enterprising work that brings new stories to light is also encouraged. News Shorts may include journalistic formats beyond traditional documentary, including the two-way, essay, or other forms used via radio and podcast. Eligibility: 0-20 minutes.

How To Enter

To enter your work, you’ll submit your audio, and additional information about the entry, with our entry form here.

Further instructions will be provided on the entry form itself, but in order to prep, make sure you’ve completed this entry checklist before submitting:

Audio File

  • If applicable, please remove any host ledes or introductions; the audio portion of your entry should consist only of the actual story.
  • If applicable, please remove any ads before and in the middle of your entry. (Ads or promos that appear in the final credits are fine.)
  • Please export your audio file in the .mp3 format.

Additional Materials

  • Prepare a text summary of the entry (125 words maximum)
  • Prepare a text summary of any content warnings for your piece (50 words maximum)
  • For Impact entries only: Prepare a Statement of Impact (500 words maximum)
  • For entries in primarily a non-English language : Prepare a bilingual transcript according to the guidelines in our FAQ.
  • For Audio Unbound entries only: please prepare an Unbound Statement (500 words maximum) and assemble any additional materials in addition to audio that go with your piece (images, etc.)

Entry Payment

  • Be ready to make a payment for your entry. The entry form will prompt you for payment on the final page.

When you’re ready, click here to submit an entry to the 2020 TC/RHDF Competition. Each individual entry will require its own entry form submission. There is no limit to the number of entries a producer or organization can submit.

Questions? Check out the FAQ.


At Third Coast, accessibility is at the core of everything we do. We believe that everyone should have access to the art, craft, and resources of audio storytelling. We’re committed to making our programming and the audio industry at large a more equitable and inclusive space, and we remain in dialogue with you, our community, with the belief that there is always more work to be done.


The Third Coast/Richard H. Driehaus Foundation Competition (lovingly nicknamed the "Oscars of Radio") has awarded the most groundbreaking and influential documentary work in the audio storytelling industry, thanks to the generous support of our founding supporter, the Richard H. Driehaus Foundation. Throughout its 20 year history, the TC/RHDF Competition has become a living archive of work that adapts, responds to, and reflects changes in the field and in our world. While the Competition is one of the oldest in the country, Third Coast takes particular pride in recognizing work that questions what has come before, and pushes the medium forward.

TC/RHDF evolutions

In 2001, the TC/RHDF Competition was created by Third Coast founding directors Johanna Zorn & Julie Shapiro, and honored its first set of award-winning stories. In 2011, Third Coast honored the first award-winner-made-originally-for-podcast. In 2015, Ira Glass inspired the Skylarking award to recognize the most compelling narrative audio stories that were out for fun. In 2016, former Artistic Director Sarah Geis introduced the "Best Documentary: Foreign Language" award—now the "Best Documentary: Non-English" award—to honor the incredible work being made around the world, in languages other than English. Over the years, the Competition has elevated several works that pushed the boundaries of the medium in blurring documentary & fiction — this was particularly true in 2019, when we honored several winning stories that blurred the lines of fact and fiction. Listen to those stories — and all of last year's winners – here.

What we value in 2020:

  • We are prioritizing accessibility in our Competition (and all of our programming) in several ways;
  • We've restructured entry fees to help lower the barriers of entry to the Competition.
  • We consider who is paying to enter work, with the understanding that independent producers often have fewer resources than institutions.
  • We believe that the Competition can be an essential catalyst for building worldwide audio community unconfined by borders. This year, we're taking the Competition & judging process completely virtual! (And working on taking the rest of our programming virtual, too).
  • We seek to recognize and elevate work that challenges the past and ignites the future of storytelling.
  • We see the hundreds of entries to the Competition as a historic body of work, that reflects the state of the medium in 2020.
  • We hope to reach a wider, more global audience than ever before, and showcase audio storytelling that truly comes from across the globe.

If you'd like to support our mission, you can donate to Third Coast here.


Please read through our FAQ to see if your question has already been asked & answered. If you can't find it, reach out to


1. Is there a limit to how many entries I can submit?

There is no limit to how many times you enter our Competition, as long as each entry meets the category requirements and the eligibility window (April 7, 2018 through May 25, 2020). The only exception to this is the Audio Unbound category which, for its first year, is April 7, 2016 through May 25, 2020.

2. May I enter a program or show that includes a number of separate stories and interviews?

Each story within a program that presents multiple stories is a separate entry (such as stories within typical episodes of All Things Considered or Snap Judgment ). Enter the strongest stories, and if any of them wins a prize, the program will be recognized too.

3. Can I enter my story in multiple award categories?

Yes, provided that it meets the eligibility requirements of each category and that you provide any necessary additional information for each category. The entry form will help guide you through this process.

4. Can I enter a piece that includes fictional elements?

The Third Coast/RHDF Competition is aimed to award the best works in non-fiction, and featuring documentary technique. (We know—a person could write a thesis on what that means.) If your non-fiction work contains elements of fiction, or plays along the fuzzy line of fact/fiction, we do encourage you to enter it. (Last year’s winners included several works that played with the boundaries of fiction and nonfiction, listen here!)

5. May I enter the same piece two years in a row?

Yes, as long as your entry fits into our window of eligibility—meaning it was first presented publicly on a podcast, broadcast, online, or in a public setting (including, but not limited to, a theater, gallery, museum, classroom, event space, etc.) between April 7, 2018 and May 1, 2020 (if entering the Early Deadline) or between April 7, 2018 and May 25, 2020 (if entering before the Final Deadline.) Repeat entries have won awards the second time around.

6. May co-producers submit an entry together?

Yes! And new this year: co-productions are eligible for the Best New Artist category, as long as each of the individual producers meet the New Artist eligibility requirements.

7. May I submit work produced for commercial radio and other commercial venues?

Yep! But please remove any ads that aren't part of the work itself.

8. When will winners be notified?

Winners will be notified in the fall of 2020.

9. When will the winners be announced?

We'll announce the winners publicly in fall 2020, but won't reveal which specific award they've won until the Awards celebration. (TBA on date & location.)

10. Can work that has been featured on and/or Re:sound be entered to the Competition?

Yes. Work featured on and/or Re:sound is eligible for entry into the Competition.

11. What happened to the Skylarking category?

Over the years we noticed that again and again, the pieces submitted to the Skylarking category were becoming finalists in the Best Documentary Competition, and as the field—and our Competition—expanded, the lines of Skylarking were starting to become blurred, even for us! So we’re putting a pause on the category, with the knowledge that we’ll carry the intention (and the history) of the category into our critical dialogue within the Competition. (Thanks, Ira.) If you were considering submitting your piece into Skylarking, please consider submitting into one of the other categories.

12. What is the deadline by which my audio work should be published publicly to be eligible for the Competition?

Your audio work should be published by the Final Deadline of May 25.

13. I made a mistake when filling out the submission form. Can I edit my entry after I've submitted it?

Yes! Just email us at with your correction, and we'll make sure to update your entry to reflect it.


14. How do I know if my series is eligible for the Best Serialized Story category?

Ask yourself if the episodes in the series stand alone, and if they could be entered & judged separately even though they are on the same topic. If so, then the answer is no, and you should enter the strongest episodes or stories of your series into the Best Documentary category.

On the other hand, if your series is a single narrative, told over multiple parts, where each episode must be heard sequentially, then you should enter your series into the Best Serialized Story category. If you're still not sure, please write to us for clarification at

15. Can I enter my submission for Best Serialized Story (BSS) to be judged for other award categories as well?

A BSS entry may additionally be eligible for the Best New Artist, Impact, and Best Work in a non-English Language categories. To be considered for another award category such as Best Documentary or Best News Feature, you may enter a single episode of your series (if it would make sense to a first-time listener as a standalone episode). You will need to fill out another entry form for that episode. The episode will then be judged as a standalone piece under whatever award category you have selected.

16. How should I decide whether to enter my work as a Best News Feature (BNF) vs either: Best Documentary (BD) or Best Documentary: Short (BDS)?

BNF entries are 0-20-minute-long pieces that should be driven by an event or a news-peg, however big or small, and proceed from there. These stories are often locally-focused, community driven, and made on a short deadline. It's okay if, by the time of submission, BNF content feels dated from a news perspective; we’re interested in BNF entries capturing a moment in time. BNF entries are eligible to additionally be considered for Best New Artist and Impact.

If your piece falls outside of this description, it probably better qualifies as a BD or a BDS. And if we think you’ve mis-categorized your piece, and we think it would be more competitive in a different category, we’ll move it on our end.

17. How is the Audio Unbound category judged?

This prize is awarded to a piece of narrative work that uses audio as a primary element, but is best presented outside of typical audio distribution methods like radio and podcast, or complicates the notion of the radio or podcast feed in some way. As a new category, we’re excited to pilot this award in 2020, and to continue developing the judges process in the future! In 2020, we are seeking entries that incorporate experimental elements including, but not limited to: mixed media (images, videos, website, text); experiences (walking tours, participatory storytelling, etc.), performances (theater, dance, etc) and more!

18. Who are this year’s Judges?

Third Coast annually curates & personally invites groups of experts in the industry to serve as Judges for the TC/RHDF Competition. Judges are selected from a diverse pool of experienced makers, editors, and more to represent a breadth of perspectives and approaches to audio storytelling. We will announce the 2020 Judges soon!

19. What happens if there is a conflict of interest?

If a Third Coast staff member or Judge has participated in the creation of an entry or believes they are too close to the entry for another reason, they are asked to recuse themselves from any discussion that might influence final decision-making.

20. What categories should I submit my piece for? It could be considered so many different things!

First off, don't worry too much! You can enter your work in multiple eligible categories—the form will guide you through that process. Then, the Third Coast staff will consider your entry in the category that it fits best in and is most competitive in. We're rooting for you! (And we would never move your entry into a category that would make it less competitive.)

21. Do I count as a New Artist?

We measure whether or not someone qualifies as a “Best New Artist” based on whether they published their first narrative audio story before or after April 7, 2018. If you published your first audio story before April 7, 2018, you do NOT qualify as a Best New Artist entrant. If you published your first audio story after April 7, 2018, you DO qualify as a Best New Artist entrant. Answering the Best New Artist statement also helps us understand your journey into audio! We may ask you a few follow-ups, too. Remember that this is basically an “honor” system.

22. How do I know if my entry is eligible for the Audio Unbound category?

Our answer is three-fold. First: Since Audio Unbound is a new category for us, too, we're excited to see, and learn from, how you interpret it. (That's why we ask for a statement in the Audio Unbound category—if you can make a good case on the "unbound" nature of your work, that will go along way in convincing the judges, too!) Second: Third Coast designed this category specifically for work that explores the boundaries and intersections of audio as a medium, so we'd encourage you to articulate how your piece is pushing or blurring the lines between audio documentary and other kinds of creative work, especially in terms of form. Third: Once again, if you enter Audio Unbound, but the TC staff thinks your piece is more competitive in another category, they will simply move your piece into that category.


23. Should I include the audio of the host lede/intro that was read before my story aired, as part of my entry? Should I leave in the ads, promos, and billboards from the original show as part of my entry?

No, no, and no. (And don’t worry, a lot of people get confused about this!) Generally speaking, the rule is to cut out any promotional material (unless that’s somehow part of the story) and any host-read ledes or credits that aren’t essential to understanding the story itself. Please see “Preparing Your Entry” in the dropdown menu, and follow those instructions to better prepare your entry.

24. Can I submit my entry as a .wav file?

No, please submit the audio as .mp3(s). Our form will only accommodate files that are 25mb in size. If you need to send larger files, please use the Dropbox link on the form.

25. I am submitting an entry in a non-English language. How should I format my transcript for submission?

All entries meant to be heard and understood in a language other than English must be accompanied by one easy-to-read PDF transcript in original language(s) AND English. The transcript should include: Regular time codes (at least one per page); Non-verbal cues such as music, sounds or effects (when possible); Page numbers. See an example transcript here. (Note: We love the artful elements of the cover page of this transcript, but that’s not a requirement for this category.)

26. Can I submit a video with English-language subtitles in addition to transcripts of the piece?

Yes, we love subtitled videos! Please include the link in the "Entry Summary." Alternately, if you run out of space in the Entry Summary, you can add a page or paragraph to your transcript PDF with a link to the video. Additionally, if you like, you are welcome to send us the video directly via a filesharing service like WeTransfer or Dropbox—whatever works best for you.

27. What information should I include in my Impact statement?

This Competition seeks compelling storytelling, and boundary-pushing work, but the strength of your Impact Statement is a key part of how the piece is evaluated, so tangible examples are helpful. Your Impact statement should take into consideration the many ways, in 2020, an audio piece can have an impact on a life, a community, a culture, even a digital space. Here is a sample statement from the 2016 Radio Impact Award winner.

28. What should I write for my Audio Unbound statement?

This is essentially an artist's statement to accompany your submission. It should explain how, in what format and where the work was originally presented, and some explanation of the audience for the work. In general, provide any further context needed for listeners to understand the entry (especially if it is particularly experience or place-based work that is harder to translate into a digital space). Please also explain how you see the work fitting into the Audio Unbound category.


29. I keep getting error messages! What do I do?

Sorry to hear that! We’ve tried to streamline the submission form as much as possible, but we know that technology (and we, for that matter) are not perfect. So if you’re receiving a repeated error message but you don’t know why, please email us ( and we’ll help find a solution.

30. I think I already paid the wrong amount OR the form is prompting me to pay the wrong amount

If you have not already submitted the form, please first try to fill out the form again from scratch. If you are still seeing multiple fees, please pay and submit the form. Once the form has been submitted, please send us an email with the following information: name of your entry, amount you paid, category(s) you wanted to submit to, as well as information about who is paying for the entry fee. If you paid too much, we will refund the difference.

31. I’m confused about the Release & Sharing Agreement. Can you tell me more about it?

This agreement provides Third Coast with the right to showcase your work in their programming. This includes sharing your entry in its entirety during live events (virtual or in-person), on the Third Coast website, social media, newsletter, and other marketing platforms in association with the TC/RHDF Competition. It does not take away your ownership of the piece, nor does it grant Third Coast the right to publish the entry on podcast or the radio. You’ll be notified if we choose to highlight your piece in one of these ways. In the case that your entry is chosen as a winner or finalist, we will ask you to sign a more comprehensive agreement that grants us the right to publish on radio & podcast.

32. My file is larger than 25mb! What do I do?

If you are entering a shorter entry (30ish minutes or less), please try to upload the audio file directly on the entry form (you may need to compress the file a bit). If you are submitting a larger file size, you can click the link on the form and upload to our special Dropbox. If you are submitting a Serialized Story, please upload here. If you are submitting in any other category, click here to upload your audio file. (Note that these links are also on the entry form, and we will not consider your entry until you have completed the entry form as well as the file upload.)

33. What counts as “institutional support”?

If you are entering work on behalf of an institution, or with support from that institution, then your entry is receiving institutional support. If you are entering work as an independent or freelance producer, and paying for the entry out of your own pocket, then you qualify for the independent/freelance rates.

34. Why can’t I upload my Serialized Story entry directly to the form?

Unfortunately, the file size limit on our form is 25mb, and most Serialized Stories are larger than this amount. You can upload your Serialized Story here. (Note that we will not consider your entry until you have completed the entry form.)


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