AIR’s Pitch Page lists people and places that acquire work from freelancers. See below for our list. To have your program or project listed, and to receive pitches, please fill out this short form.
New to pitching? There are a few resources just for you:
• “Getting to Yes,” an archived webinar about pitching radio pieces with Marketplace’s John Haas and successful indie producers Ann Heppermann and Yowei Shaw.
• Our pitch panel at the 2013 PRPC, featuring editors from Studio 360, Marketplace, and Life of the Law (and moderated by Ann Heppermann).
• How She Got to Yes (Celeste Wesson/Marketplace on AIR’s annual “perfecting your pitch” panel).
• AIR’s Bitchin‘ Pitchin‘ panel (Day One and Day Two) at the 2016 Third Coast Conference, with editors from “This American Life,” “Snap Judgement,” “Radio Lab,” “Reply All,” and “99% Invisble,” with WNYC’s Emily Botein and Katie Bishop.
America Abroad is a monthly radio documentary program that covers foreign policy and international affairs. We explore one topic in depth for the full hour so we don’t accept unsolicited pitches. Each program we use 3-5 freelance stories from around the world on the topic we’re covering.
• What are we looking for in a script?
A sense of place – this means striving to have at least sound rich scene that gives listeners a sense of where this story is being reported from. Interviews with people with local accents or can give local flavor or can share personal anecdotes that augment interviews with officials and experts.
• What do we mean by ambient sound and texture?
Unless you are recording an interview in an soundproof room you should be including ambient sound from ever place you record.
• Sound FX and other ambi anything interesting: Good to get things like street scenes, people singing, any type of performance, people making sounds while working or playing, children, inside a restaurant, or echo-y building, night sounds of insects or any animals, babies. Anything you can capture that is distinctive and would add to your narrative.
• Varying sound bites:
Try not to have your story be A/B A/B voice tracks/actualities. Think about doing things like having tease clips or butt cuts, or recording a stand up somewhere, maybe stringing together montage. Look for variations to keep your listeners engaged.
shows: 1 hour, monthly
segments: 5-7 minutes
contact: Rob Sachs, executive producer
American Homefront Project
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 Veterans Administration, 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.
STORIES MUST BE COMPLETED BY MAY 31, 2017. Story pitches must be well-developed ideas that lend themselves to sound-rich in-depth stories. Radio stories should be accompanied by web text and photos. We maintain network-quality standards for both our journalism and our audio. See and hear examples of our work at www.americanhomefrontproject.org.
segments: 3 – 5 minutes
compensation: $1,000 plus expenses.
pitch: By email
contact: Adam Hochberg, Editorial Project Director, firstname.lastname@example.org
mailing address: 120 Friday Center Drive, Chapel Hill, NC 27517
APM Reports (formerly American RadioWorks)
Investigations and documentaries that strive to raise awareness, trigger debate and prompt positive change.
APM Reports currently does not currently commission, acquire or distribute documentaries from independent and station-based producers.
Each week, the show chooses a topic and tells stories, conducts interviews, and shares insight on how that topic has played out through American history. We’re looking for features that have a couple key components: First, a story. Your characters might be alive, or they might be long dead. Either way, you should still have some character(s) with something at stake. Second, when pitching your story, think about ways to bring these characters to life. We’re open to re-enactments, experts telling the story second hand, oral histories, all the typical stuff. But don’t be afraid to think outside the box. Questions we’re always going to ask are: Why did this happen when it happened? What does this reveal about America at the time? Why should we care about that now? Most of themes will have a news peg of some sort. You can see some of the themes we plan to produce at our independent producers.
show: one hour/weekly
segments: 2-8 minutes
compensation: $200 – $500+ depending on difficulty and skill of the producer. All the rates below are flexible, but are meant to give you a sense of what we offer.
Level 1 Piece: $200-$350
– May include a snapshot essay of a particular moment in history, typically with simple production requirements.
– May be a shorter, 2-3 minute sound rich “audio postcard” style piece.
Level 2 Piece: $350 -$450
– Medium length story with at least one interview and some reporting.
– May include some field tape. Probably requires little travel
Level 3 Piece: $450 – Negotiable
– Longer feature with multiple interviews.
– Significant research and creative use of sound and/or content.
pitch: Email Associate Producer Kelly Jones at email@example.com, with the word “PITCH:” in your title. The more concise your pitch, the better. Include what, if any, sources you would use in your story and how you would produce them. Also include what you think this piece would sound like (field tape, scoring, effects, readings, those kinds of things). We love to get a sense of what the arc of the piece will be, and are less keen on ‘investigative’ pitches. We’re open to non-narrated features, written essays, and reported pieces. Please include a couple of links to your best stuff.
contact: Kelly Jones, Associate Producer: firstname.lastname@example.org (email preferred)
mailing address: 145 Ednam Drive, Charlottesville, VA 22903
Brooklyn, USA is a BRIC RADIO podcast that launched in 2017, and features stories and sounds from and about Brooklyn. The stories are compelling, evergreen, and are produced by a curated and rotating group of producers, journalists, storytellers and radio professionals. The sounds are portraits of a particular place and time and aim to transport a worldwide audience to the borough we call home. The marriage of the two reflects the diversity of Brooklyn and each episode is tonally and topically distinct.
We’re looking for evergreen feature stories that bring us into hidden corners of Brooklyn or those right in front of our eyes. We are also open to pitches for recurring features, etc. This is not the show for breaking news or profiles of programs or organizations; it is a show about Brooklyn and for Brooklyn—all of Brooklyn. But those are the only parameters. Consider it a place for stories that are not heard elsewhere, and a home for all of those stories you see, witness, experience daily. It can be with or without narration, personal or not, but it must have journalistic merit and be journalistically sound and accurate. Each episode of Brooklyn, USA is approximately 30 minutes long and typically includes at least 3 individual pieces that relate to the episode’s overarching theme. Voiceover and sound design provide transitions between pieces.
show: ~30min, monthly
pitch: Email preferred.
contact: Sachar Mathias, executive producer, Brooklyn, USA at email@example.com
mailing address: 647 Fulton Street, Brooklyn, NY 11217
California Report Magazine
The California Report, produced by KQED 88.5FM in collaboration with public radio stations throughout California, is a statewide radio news program. The California Report provides daily coverage of issues, trends, and public policy decisions affecting California and its diverse population. It is carried by more than 20 public radio stations, from Arcata to San Diego. Many local station reporters are regular contributors to the program. The morning daily edition of The California Report, a nine-minute broadcast airing on KQED 88.5FM Monday — Friday at 6:50a.m. and 8:50 a.m., updates important news from the weekend and spotlights events and issues expected to develop during the coming week. The Friday edition, airing on KQED 88.5FM at 4:30 p.m., 6:30p.m., and 11:00 p.m., is a 29-minute news magazine that provides in-depth analysis of the week’s top news stories and includes newsmaker interviews, debriefings with reporters and editors, and commentaries.
show: 8 and a half minutes weekdays; plus a 29-minute magazine on Fridays
pitch: By email preferred.
contact: Victoria Mauleon, firstname.lastname@example.org
fax: (415) 553-2897
mailing address: The California Report, KQED-FM, 2601 Mariposa Street, San Francisco, CA 94110
We’re looking for stories that:
-tell real stories about real people, not organizations and programs
-use an intimate, narrative approach to explore a range of subjects of interest to Californians (for example: the arts, culture, science, politics, sports, food, history, health, education, immigration, inequality, criminal justice, the environment)
-have a central character/characters driving the narrative
-make the listener feel something
-take the listener on a journey through storytelling, action and sound
-take a creative and experimental approach to storytelling
-include lively and conversational writing that’s more like natural speech than “reporter-speak”
-include moments of fun, delight, emotion, surprise, sadness, etc.
-reflect the ever-changing California identity and culture
-bring a California focus to issues and questions that have a broader national and international context
-create a space for people who don’t always make it on the airwaves
-help the listener discover communities and places around the state they might not otherwise hear about
-bring greater depth to current news events
We are not looking for stories that:
-react to breaking news or that will expire after a few days; remember, we air around the state Friday, Saturday, Sunday and Monday
-focus on talking heads and policy without including real people
-be brief (2-3 paragraphs)
-include central character(s)
-give us a sense of place
-map out scenes/ideas for sound
-include context: why is it important to tell it now?
-provide a unique take on a topic (if the story has already been reported, how are you advancing it?)
-what justifies returning to it now, if it’s a story we’ve covered?
-include proposed airdate and time sensitivity
-include ideas for online treatment of the story
-tell us why this is a story as opposed to a host interview
-include links to previous work
-acceptable sources of audio: recorder, (iPhone or Skype, if necessary)
-record 48K 16 bit mono .wav files
-include at least two minutes of ambient sound from every place you record
-record active ambient sound to help place the listener there: capturing/interviewing your subject at work or at play (tuning a guitar, operating a forklift, preparing a meal
-look for ways to break from standard format: butt cuts, montages, stand-ups in the field, sound fx, music scoring
Once we take your pitch:
-send first draft of script as Google doc to your editor and prepare to play audio over the phone (or in person)
The Cultural Frontline from BBC
The Cultural Frontline is a new arts programme for the BBC World Service.
In 26 and a half minutes every week, The Cultural Frontline will carve out a space for journalistic responses to cultural moments and culturally informed reflections on current affairs, unfolding across the world. This programme is a fresh opportunity on a prestigious network for international writers and reporters to draw on their first-hand experience of culture where they are, with reactions that transcend both the traditional arts review and the news bulletin.
Typically airing between 3-5 items a week, we will commission a mixture of spoken word dispatches, pre-recorded features and presenter-led interviews with cultural correspondents.
We’re looking for producers to pitch packages that illuminate the cultural stories behind the news headlines – and that’s culture in broad terms so can include architecture, language, public space etc as well as more traditional art forms.
The key thing is that the packages should feel authored and personal, but illuminate something cultural too. Whether that’s authored by the producer, or by the contributor, we are keen to have a single voice, unmediated by an interviewer posing questions, more montage style.
The idea of the show is ‘culture meets the news’ and rather than interviewing artists, writers etc directly about their work, there should be a thoughtful/topical spin which makes it more than a promotional interview. Below are clips of a few features we’ve had so far which worked really nicely.
The fee will depend on the time spent and what state the piece arrives in (mixed, edited or raw audio)
show: 26 minutes per week
segments: 5-7 minutes
pitch: via email
contact: Ellie Bury at email@example.com
phone: +44 203 614 1729
mailing address: Zone D, 7th Floor, New Broadcasting House, London W1A 1AA
The Disaster Collectivism Podcast from Shareable
The Disaster Collectivism podcast will share stories of how some communities have responded to weather and climate-driven crises, both in their immediate aftermath and over a period of months and years.
For the pilot season, we’re looking for stories about community-led disaster recovery projects in Puerto Rico (Hurricane Maria in 2017), California (fires in 2017), Louisiana (Hurricane Katrina 2005), and New York (Hurricane Sandy in 2012). We’re looking for four audio producers who are currently based in each of these states, ideally with deep ties to the affected regions, to tell these stories. We’re seeking a 6-8 week turnaround time, from the time your proposal is accepted, though there’s some flexibility. The anticipated release for the first episode is late spring. This is part of the “Stories to Action” project, a collaboration between Shareable, Post Carbon Institute, Upstream Podcast, Transition US, and NewStories.
Submission deadline is March 2nd, 2018
The podcast will unpack common themes and lessons learned from a range of communities, including:
– how community members take care of each other’s needs in the aftermath of a natural disaster, regardless of government response
– how communities can find the balance between the desire to get back to “normal” as quickly as possible and rebuilding in ways that ensures greater resilience and sustainability
– how disasters disproportionately impact the most vulnerable and what can be done to respond and rebuild in a just and equitable way
– how communities can prevent “disaster capitalists” (those who seek to profit through rebuilding/recovery efforts) from preying on communities in the aftermath of a crisis.
series: 3-4 episodes
segments: 29 minutes
compensation: $1,000 per episode
pitch: Please use the Google Form link at the bottom of this page: https://www.shareable.net/disaster-collectivism-podcast
contact: Robert Raymond, producer,
Distillations: Stories of Science & Culture
Distillations is a podcast produced by the Chemical Heritage Foundation in Philadelphia. It explores the human stories behind science and technology, tracing a path through history in order to better understand the present. Our hosts are Michal Meyer, historian of science and editor in chief of Distillations magazine, and Bob Kenworthy, CHF’s in-house chemist. Each month we examine the intersections of material science, technology, culture, and history.
We publish our podcast on iTunes and PRX. Please see previous podcast episodes at podcast.distillations.org
show: 45 min/monthly
segments: 4-6 min
pitch: Distillations is looking for imaginative, well-researched pitches for scene based reported stories (6-10 minutes) for our monthly podcast about materials science, technology, culture, and history. Each show opens with a scene-based story and is followed by a studio interview with our hosts and guests. Our guests include neurosurgeons, archaeologists, psychologists, historians, farmers, physicians, and artists. We’re looking for pitches based on the monthly theme (to be shared on AIRdaily) that are sound-rich and include one or two interviews. Please submit pitches or ask any questions with DISTILLATIONS PITCH in subject to firstname.lastname@example.org
contact: Mariel Carr, multimedia producer, email@example.com
mailing address: 315 Chestnut St., Philadelphia, PA 19106
The Doc Project on CBC Radio
The Doc Project showcases the best new radio documentaries from across Canada and around the world. We like docs that break the rules; stories that transport listeners to unexpected places or allow you to eavesdrop on someone else’s life.
segments: Documentaries run between 12 – 24 minutes
compensation: Standard Canadian Media Guide Rates
pitch: We welcome original pitches and acquisitions from experienced radio producers. To us, a good pitch is one that’s character-driven, with strong sense of personal inquiry. Some of the most successful docs that have aired on this program are intimate, first-person stories that inhabit a character’s world. Your pitch shouldn’t just give us a sense of what the story is, but what it actually sounds like. Where will we go? Who will we meet? What will we feel?
contact: Julia Pagel, Associate Producer
phone: (416) 205-6018
mailing address: Julia Pagel / c/o The Doc Project / CBC Radio / 205 Wellington St. W. / Toronto ONTARIO / M5V 3G7
Evolve celebrates life in motion. We believe challenges are to be chased and embraced, and that collecting experience is more important than collecting stuff. We believe that physical well-being is paramount, and that we are interconnected in ways far too complicated to comprehend, but far too important to ignore. We believe in the value of living outside our comfort zones.
We are a fully digital publication, releasing new issues monthly on iOS and Android tablets and smartphones.
We’re looking to find stories that might fit in one of a few broad categories: Travel/Adventure, Sport, Food/Nutrition. They can be journalistic or first-person narrative/memoir.
segments: 4-12 minutes
pitch: Please email firstname.lastname@example.org, with the subject line Audio Pitch, with a brief description of the story or stories, and relevant links to any previous work.
contact: Patrick Cummings, Editor in Chief, email@example.com (email preferred)
mailing address: 1 Design Center Place, Suite 848, Boston, MA 02210
Fascination: Strange Confessions, Unspoken Truths, and Stories Told Behind Closed Doors (updated 10/2015)
The Fascination Podcast is piloting programs for an early 2016 launch and is actively seeking great stories that dance at the edge of discomfort. We are intrigued by subtext: The truth not normally told, the version of a story whispered to a complete stranger after the bartender yells “last call.”
Hosted by bestselling author and entrepreneur Ramit Sethi, we are looking for contributors that can help us forge a new voice for narrative podcasting that merges documentary with confession and commentary. It will be fast-paced and engaging with a focus on human stories over traditional reportage.
Our audience is millennial and leans male. They are interested in self-development, the psychology behind success and failure, and the titillation of a lurid story. We are piloting episodes on Internet trolling, Tinder, and porn, seeking to discover stories of people acting out of context, hidden stories that tell us something about human nature and that twist expectations.
For this podcast, entertaining will always win out over cerebral. We are looking for funny, engaging, surprising material that makes us feel incredulous, empathetic, and everything in between.
show: Piloting 3 episodes / launching weekly in 2016
segments: 8-15 min
pitch: By email preferred: firstname.lastname@example.org – written pitches and appropriate, previously produced material available for licensing accepted. Please also provide links to previous work.
contact: Khristina Kravas, Sr Product Developer/Executive Producer, email@example.com
Gravy: A Podcast from the Southern Foodways Alliance
Gravy does longform (15-25 minute pieces) narrative audio storytelling that uses food as as a lens to tell stories about the South.
We don’t profile star chefs. We don’t pander to cookbook authors. We don’t narrate recipes. What we do is tell stories of people and place through food. Our focus is regional, but the reach of our stories is national. The South claims a unique place in American history and cultural imagination. The history hereabouts is complicated, and so is the present.Gravy showcases a South that is constantly evolving, receiving immigrants from across the world, adopting new traditions and lovingly maintaining old ones. We use food to dig into the lesser-known corners of the region, complicate stereotypes, document new dynamics, and sing the unsung people who grow, cook, and serve our daily meals.
At Gravy, what we eat is a window into who we are. Through that window, we glimpse how race, class, gender, faith, and environment play out in the region and across the nation.
The key point is that food is the vehicle to stories about a whole range of other aspects of life in the South. Stories on Gravy need to have that bigger point, an aim and subject matter beyond what’s just on the plate. Make sure your pitch gives some hints as to what that would be for your story.
segments: 15 to 25 minutes
compensation: $800 to $1,000 per story
pitch: Send all pitches to firstname.lastname@example.org
“GroundTruth,” an award-winning podcast produced by The GroundTruth Project, in partnership with WGBH, is accepting pitches through the GroundTruth Podcast Incubator, a program that provides editorial support and production resources, as well as $1,500, to audio producers/reporters whose pitches are selected.
We’re open to great stories of all kinds, but have a particular interest in stories that connect to issues of social justice, human rights, health or the environment. We’re interested in 15- to 30-minute audio documentaries that may be local, national or global. Series ideas will be considered in exceptional cases. More info, guidelines and how to apply here: http://thegroundtruthproject.
show length/frequency: 15-30m episodes
segments: 15-30m pieces
compensation: $1,500 plus editorial and production support/resources. Additional funds may be made available in some cases to cover expenses.
submission guidelines: http://thegroundtruthproject.org/pitch-audio-story-groundtruth-podcast-incubator/
pitch: Fill out this form.
Reporting and analysis at “Illinois Issues” takes the audience beyond the daily news and provides a deeper understanding of Illinois.
Formerly a print magazine, Illinois Issues is looking for journalists who can produce audio features with text for digital posting. Stories should explain Illinois and the major issues it needs public policy to address. About to begin using Hearken so some stories could be assigned to report.
show length/frequency: Weekly
segments: One-to-two four-minute audio features with in-depth text
compensation: $500 – $800 depending on audio treatment
submission guidelines: A contract has to be signed before any work can begin.
pitch: Email the News Editor, Maureen McKinney, at email@example.com
Israel Story podcast is a new radio initiative aimed at introducing high quality, long-form non-fiction content to, and about, Israel. We started out as the first hebrew documentary style radio program, and have recently partnered with Tablet magazine to produce the English version of our show. Together, our primary goal is to tell the story of a different, diverse Israel: To amplify voices that are rarely heard on the mainstream media, to showcase and celebrate the plurality of local communities and traditions. By bringing you multi-faceted narratives on thought-provoking themes. We don’t want to talk about Bibi, Lapid or Bennett. We’re kind of tired about hearing about the threat of the Iranian bomb or the Security Council resolutions. Instead, we hope to present a cross-section of ‘Israeliness,’ entering communities that are typically sidelined and silenced, and to tell stories that are not aired anywhere else.
See more and listen to all our English episodes: http://tabletmag.com/tag/israel-story
show length: 20-40 minutes
segments: 5-40 minutes
compensation: Slightly below AIR’s rate guides
submission guidelines: A pitch should be formulated to a few paragraphs, up to a page. In general, the best pitches should answer these questions:
1. who is the main character, or main characters? what do they bring to the story? why do we care about them?
2. what question does the story pose, so that we keep listening to figure out the answer? of course the answer may not (and probably should not) be straightforward, but we should get some satisfaction from the end. in other words, what is the story about that will make it of broad interest?
3. what are the main turning points in the narrative? what is surprising about this story?
4. what are the moments in the story in which the characters need to make a decision about something, and how can we, as listeners relate to their choices?
5. what do you anticipate we will hear in the piece? this means a rough outline of what you think the piece will sound like, what the narrative trajectory might be, etc. this might change as you actually go out and record, or at some other stage of the production, but you should go in with some sort of vision.
pitch: Email Senior Editor Julie Subrin at firstname.lastname@example.org
The Knowledge Drop
The Knowledge Drop is educational in nature. The topics should be related to political governments only. The topic should teach, in an interesting manner, something about a political system or function of government that is not currently known, or, is widely misunderstood. An example topic maybe the Electoral College or how the Security Council operates. Also, it could be historical; for example, how the United States went from in-direct to direct election of senators. Although we are open to interesting ideas, the design is as follows: (1) What is it the topic; (2) What is the Misconception about the topic; (3) How did we get that misconception; and (4) what is the actual truth. Think “I am Just A bill” (http://www.youtube.com/watch?v=tyeJ55o3El0) except this is for adults. Be creative. This should not be boring or have the “feel” of sitting on the soft. It should be alive.
segments: 4-7 minutes
compensation: $125 – $400+ depending on experience of the producer
pitch: Send all pitches in email form to: email@example.com
NPR’s Latino USA is an award-winning weekly, hour-long public radio program and podcast that presents content about one of the fastest-growing demographic segments of the American public. The show’s main focus is on Latinos – where they live and what they experience – but there’s also room to explore how Latinos intersect with other cultures in the country.
Each show is structured along the lines of a specific theme, and we regularly send out a call for pitches along those lines. But we’re also looking for unexpected story ideas from all parts of the US and also Latin America, as long as there’s a strong US connection. We encourage reporters to approach stories as creatively as possible, using lots of ambient sound and verite, and to write in lively, conversational language that’s more like natural speech than “reporter speak.”
Pitches: Your pitch should include the general story arc and a description of the characters, sounds and scenes you envision for your piece. It’s also helpful to include context to show why the story is important or how it fits into a particular show theme.
• Please send all story ideas to www.latinousa.org/submit.
• If you’re pitching for the first time, please include a couple of samples of your audio work.
Rates: $125 per broadcast minute for regular features (usually 4-7 minutes long); $25 for one photo for the web site; $125 for a tape synch; Mileage (requested and approved in advance) at $.57.5 per mile
show: weekly, one hour
segments: Flexible; generally 3-10 minutes
pitch: By email. For pitch/reporter guidelines, visit: http://latinousa.org/submit/
contact: Natalia Fidelholtz, at firstname.lastname@example.org
mailing address: Latino USA, 361 West 125th Street, 4th Floor New York, NY 10027
Life of the Law
Life of the Law is a national podcast that explores law and its effect on people and society with a curious, critical eye.
Themes we consider: sex, money, health, environment, love, science, culture, justice, design…and law. We release a new episode every two weeks on Panoply (Slate’s network of podcasts) and our team regularly accepts pitches from experienced reporters on a rolling basis.
Before you pitch, listen to a few of our stories. Then, tell us a story. We aren’t looking for a “traditional public radio voice” — we want your voice. The pitch doesn’t need to be long (two to three paragraphs are enough), but it must include a strong, central character, first stage reporting (sources, research, national impact, newsworthiness) and scenes that will propel the story and compel us to listen.
Be sure to include two links to your published stories so we can get a sense of your reporting.
We have an open time frame, with most feature reports coming in at around 15-25 minutes (but they can go as long as the story is strong); we publish every two weeks
compensation: $1,000-$1,600, depending on length, level of experience, and depth of reporting.
segments: 15-25 minutes; we publish every two weeks
compensation: $1,000-$1,600, depending on length, level of experience, and depth of report
pitch: By email preferred: email@example.com.
contact: Nancy Mullane, executive producer
address: 2001 Fillmore Street, San Francisco, CA 94115
Living on Earth
PRI’s Living on Earth is public radio’s longest running environmental program, broadcast on some 250 stations nationwide. Our focus is broad, though energy, climate change, water, wildlife and chemical issues occupy a lot of the program. Pitches for field reports are welcome; rates are negotiable.
shows: one hour weekly
segments: varies; most pieces are 4 to 10 minutes
pitch: By email preferred. Please include a brief description of yourself and the proposed piece. Elements it might include (interviews, sound/scene possibilities); news peg, if appropriate; link to some previous work.
contact: Managing producer Helen Palmer at firstname.lastname@example.org
phone: 617-287-4125/ 617-642-2207
mailing address: 100 Morrissey Boulevard, Boston, MA 02125
Making Contact (National Radio Project)
National Radio Project produces Making Contact, an award-winning, 29-minute weekly magazine/documentary-style public affairs program heard on 140 radio stations in the USA, Canada, South Africa and Ireland. National Radio Project distributes Making Contact to non-commercial radio stations and online listeners without charge. We train independent journalists and community members in radio skills, improving popular access to the media. Through our community collaborations, National Radio Project increases the media capacity of community groups and helps amplify the voices of those working and organizing for social justice.Making Contact is committed to in-depth critical analysis that goes beyond the breaking news. Showcasing voices and perspectives rarely heard in mainstream media, Making Contact focuses on the human realities of politics and the connections between local and global events, emphasizing positive and creative ways to solve problems. Making Contact is FREE to noncommercial stations.
shows: 29 minutes, weekly
segments: 8-10 minutes, 13 minutes, full length documentary (length depends on type of show we’re producing)
compensation: Varies by level of difficulty and experience of producer. Please see our rates:http://radioproject.org/production/subguide.html
pitch: Write a one or two paragraph description of your pitch. This should include the elements of your story including potential interviewees, actualities, ambient sound, music etc. If you haven’t submitted work to Making Contact before, please send links or mail samples of your work. Making Contact is not a “weekly” news program; it delves deeper into the economic, social, and political issues underlying the news headlines. Stories should avoid time-dating and should be relevant three to six months after broadcast. Before pitching a story, please be familiar with the mission of National Radio Project. We’ll try to respond to every pitch as soon as we are able. If you don’t hear back from us within two to three weeks, please feel free to email us again or call us.
Submission guidelines: http://radioproject.org/production/subguide.html
contact: Pitch our editors, email@example.com
phone: (510) 251-1332
mailing address: National Radio Project/Making Contact, 1714 Franklin Street, #100, Oakland, CA 94612
Marketplace is public radio’s daily magazine of business and economics. Produced and distributed by American Public Media.
show: five days/week: 30 minutes evenings, five 9-minute Morning Reports
segments: 2.5-5 minutes
compensation: Flat rate based on level of expertise involved. See our rate structure for more info.
pitch: By email to firstname.lastname@example.org
pitch guidelines: http://www.marketplace.org/submissions-and-pitches and also Marketplace tips.
* The frame or angle is crucial – what’s the import, the context, and the approach
* It’s now, it’s news, it’s fresh
* It’s about money, business, the economy – or uses those as a lens on how we live
* It’s clear why people all over the country would care
* It’s written clearly, conversationally, even cleverly – and gets to the point
Here’s a list of things that may inspire your pitch. But by themselves, they aren’t enough:
* A question
* An idea
* An overview
* An issue
* An event (especially not a conference)
* A character
* An anecdote
* An unattributed paragraph from a newspaper story
phone: (213) 621-3500
fax: (213) 621-3508
mailing address: Marketplace, 261 South Figueroa Street, Suite 200, Los Angeles, CA 90012
Modern Notion is stories for the ultra-curious. We want any interesting story from history and stories about emerging technology and its impact. We’re a daily, hourlong show out of WCGO in Chicago, and we’re looking for stories of national interest. Many of the segments from the radio show will also be podcasted in smaller, themed podcasts.
show: One hour/daily
segments: 1 to 15 minutes
compensation: Commentary/essay – $125; 2-3 minute audio postcard – $125-$150; 2-5 minute story with at least 1 interview – $150-$250; 5-8 minute feature – $250-$800+ depending on length and complexity
pitch: By email. Pitches should include 1-2 paragraphs about your story, approximate length, which category/ies the story would fall into, and a link to your previous work.
Here are the themes, but please feel free to submit a story even if it doesn’t fall into one of these categories:
• What If – a story revolving around a hypothetical question that’s popped into our heads, and sure, it’s totally crazy, but what if… Think about people in history who have asked a what if question, or ask one yourself and bring in experts to answer it, or what if history had gone differently. Or for futurists: What happens when you can download your brain to your computer? What happens when we find definitive proof of parallel universes? What happens when we make contact with aliens?
• Thank God for Science – Stories and topics focused around the intersection of science and religion and the not-so-clear boundary that exists between the two
• Builders – Stories from people who’ve built things with their hands or minds they never imagined they could
• Lost – About all the things and non-things we’ve lost: languages, ideas, documents, people, information, etc.
• Heirlooms – The things we pass down: traditions, objects, morals, manners, etc.
• Conspiracies, Cults, and Creeps – Checking into a conspiracy theory, retelling a creepy story, or exploring a cult
…. or anything that doesn’t fit into these categories.
contact: Emma Morgenstern, producer, email@example.com
mailing address: 63 N. 3rd Street #304, Brooklyn, NY 1249
National Public Radio
National Public Radio Programming
shows: Morning Edition / All Things Considered
segments: vary from show to show
compensation: varies by level of difficulty and experience of the producer: see our rates page for more info.
pitch: Before pitching, see helpful hints at NPR Submission Guidelines. If you already have pitch contact(s) at NPR, pitch to the appropriate one. To pitch a longer breaking news or quick turnaround story, contact your regional bureau chief. Northeastern Bureau Chief (ME, VT, NH, MA, CT, RI, NY, NJ, DE, MD, DC, PA) Andrea De Leonadeleon@npr.org Southern Bureau Chief (WV, NC, SC, GA, FL, AL, TN, MS, LA, AR, TX, OK, VA, KY) Russell Lewis firstname.lastname@example.org Midwestern Bureau Chief (OH, MI, IN, IL, WI, MN, IA, MO, KS, NE, ND, SD) Ken Barcus email@example.com Western Bureau Chiefs (CA, AZ, NM, UT, CO, NV, WA, OR, WY, ID, MT, AK, HI) Jason DeRose, firstname.lastname@example.org. Reporters wishing to file international news stories should send pitches to the Senior Supervising Editor, International Desk, Will Dobson @email@example.com
For help in framing a pitch and identifying the appropriate recipient at NPR or another acquirer, contact NPR’s Stacey Foxwell at firstname.lastname@example.org or 202-513-2207.
To pitch a newscast spot (:45) on breaking news, call Newscast Unit (800) 433-1277.
New Program Ideas: NPR does not accept unsolicited program submissions.
Typically, NPR programs are either developed in house or developed by NPR member stations. You may try approaching a member station, but you should be aware that they are constantly inundated with program submissions. If you have a demo produced, the Public Radio Exchange at www.prx.org is a great place to post work for exposure across the public radio community.
mailing address: NPR, 1111 North Capitol Street, NE Washington, DC 20002
“NEXT” is a weekly public radio show and podcast about New England, produced at WNPR in Hartford, Connecticut and powered by the New England News Collaborative. The program is a mix of interviews by host John Dankosky, two-ways with public radio reporters around New England, and produced features. We cover energy, immigration, public health, infrastructure, and more. We air on WNPR, VPR, NHPR, NEPR, WNHH in New Haven, and Maine Public Radio, and are hoping to expand to more New England public radio stations in the near future. Our most frequent need is for soft features: coverage of events, audio postcards, glimpses of culture, historical narratives, personal stories that we put in the C segment of our show. We also accept pitches for hard features. Everything we put on the air reflects a sense of place in our region or a part of it.
segments: 3-8 minutes
compensation: $550 for a feature (includes original reporting, multiple voices and scenes. Most interviews, if not all conducted in person. Edited by “NEXT”/NENC staff), $250 for a day of field reporting (for a story on which someone else is the lead reporter. May include interviews and sound collecting. More than a tape sync. This is also our rate for stories that have been previously commissioned by other outlets—a payment system similar to NPR’s Here & Now.), $150 for a tape sync. We reimburse for trips on public transportation, and mileage at the IRS rate. Please clear travel plans with editor in advance.
pitch: Email NEXT producer Andrea Muraskin at email@example.com and copy NENC editor firstname.lastname@example.org. Include “freelance pitch” in the header of your email. If your story requires travel, give us a sense of how much travel would be required.
contact: Andrea Muraskin, producer
phone: (860) 275-7420
On the Media
On the Media explores the interplay between the press and the public,and explores all things media, from the internet to the telegraph. The show is produced by WNYC and distributed by National Public Radio. We are always looking for reported pieces that make rich use of sound and explore the media in an unconventional way.
show: one hour weekly
segments: up to 10 minutes
compensation: $100 a minute.
pitch: By email. Please put PITCH in the subject line, be as succinct as possible about the voices and sound of your proposed piece and please listen to the show in order to understand our tone and previous pieces. Please also include a couple of links to your past work.
contact: Katya Rogers, Senior Producer, email@example.com
mailing address: 160 Varick Street, 9th Floor, New York, NY 10013
Only a Game
Only A Game is NPR’s sports program, produced by WBUR in Boston.
You don’t need to be an expert on sports to pitch to WBUR and NPR’s Only A Game, but you should be an experienced narrative-style radio reporter with excellent writing and technical skills and a conversational delivery style. Our features have a plot — and use sports as a lens to tell stories about larger societal issues. We are not looking for game reports or team profiles. If it’s the kind of thing you’re likely to hear about on traditional sports talk radio, it’s not going to work for Only A Game.
segments: 8-12 minutes
pitch: All pitches should be sent via email to firstname.lastname@example.org. Please title your email “Story Submission” to keep it from being lost in the sea of spam. Your pitch should answer the following questions: Who is your main character or characters? What’s your story arc? Our stories have a plot — and should describe some sort of change that happened over time. What are the larger themes of your story? Our themes generally transcend sports. All pitches should be accompanied by a 2-3 links to your recent radio stories. This is not optional. For more detailed information, see: http://onlyagame.wbur.org/submission-guidelines
contact: Karen Given, senior producer
The Organist podcast from KCRW / McSweeney’s / Believer is getting ready to launch our fourth season in February.
What is The Organist? It’s a bi-weekly experimental arts and culture program. If there is an intersection between pop music, linguistics, acoustic architecture, and the study of the human sensorium, then The Organist podcast is the gray sedan idling absentmindedly at the green light. Programming has included …
-Interviews with George Saunders, Meredith Monk, Harmonie Korine, Judy Blume, David Cross, Devendra Banhart, Miranda July, Neko Case, St. Vincent, Sarah Silverman, and former police officer Frank Serpico, among others.
-Radio plays by novelist Jesse Ball, playwright Will Eno, and Lena Dunham, featuring the vocal talents of James Franco, Greta Gerwig, as well as actors from Top Gun and Mad Men.
-Original writing from Sam Lipsyte, Blake Butler, Alena Smith, Matthew Derby, Kevin Moffett, Nick Antosca, and others.
-Features on ASMR, contact microphone recordings, acoustic architecture as ‘a kind of hug’, the history of ‘gay voice,’ music that mimics the effects of tinnitus, religious cults, and outsider artist enclaves.
show: 30 minutes, biweekly
segments: Varying. Our “feature” pieces tend to be 15-20 minutes.
compensation: Our rates are commensurate with those recommended by AIR
pitch: Describe a bit about how you envision the arc of the narrative in your piece as well as its production elements and sonic qualities. We welcome non-narrated features, profiles, even radio plays.
Listening to the show is the best way to get a sense of the type of pieces we’re looking for. In your email, consider mentioning which of our prior segments your piece might be most similar to in terms of style or format.
Innovative pieces that make use of non-traditional approaches to the radio format are of particular interest.
Please include links to or examples of your best work / work that is stylistically related to how you envision this piece.
mailing address: 1900 Pico Blvd, Santa Monica, CA
Outside/In is a show about the natural world and how we use it. Host Sam Evans-Brown combines solid reporting and long-form narrative storytelling to bring the outdoors to you wherever you are. You don’t have to be a whitewater kayaker, an obsessive composter, or a conservation biologist to love Outside/In. It’s a show for anyone who has ever been outdoors. In short, it’s a show for *almost* everyone.
While Outside/In is distributed by New Hampshire Public Radio, our podcast has an international audience and we are on the lookout for stories and people that take us out of New England. Check out more details here:
segments: 12-30 minutes
compensation: $800-$2000 per story, depending on length, research, travel and experience level. Rate is negotiated and determined in advance.
pitch: By email
contact: Maureen McMurray, Executive Producer, email@example.com
mailing address: 2 Pillsbury St. Concord NH 03301
Performance Today (PT), from American Public Media, is a classical music magazine that recreates the thrill of live concerts recorded by world-renowned artists on stages around the world. Listeners can experience the finest solo, chamber, and symphonic works — not on CD, but performed in the concert hall by today’s foremost musicians. The daily two-hour program offers intriguing features, engaging interviews, and in-depth commentary by nationally known music experts to help listeners learn more about this rich art form and experience firsthand the creative vitality of the classical music world.
show: two hours daily M-F
segments: We’re looking for smaller scale pieces in the 3 – 8 minute range
pitch: By email is best, phone second.
contact: Suzanne Schaffer, Senior Producer: Mail@performancetoday.org
mailing address: 480 Cedar Street, St. Paul, MN 55101
Pitch is a critically acclaimed podcast about music. We have a devoted audience, and we’ve been featured in places like BuzzFeed, NPR, and The Atlantic. The stories we make are thoughtfully reported, highly produced, and they engage our audience to think expansively about the world of music.
We’re starting work on an ambitious new season, and we’re now accepting story pitches.
Who we want to receive pitches from: Musicians, academics, music journalists, investigative journalists, radio producers, and anyone else with stories that fit our criteria.
Stories that we want you to pitch us should: Speak to something larger about music. Have a unique perspective, viewpoint, or argument to provide. Feature a diverse set of voices and represent a wide variety of perspectives on each given topic.
Types of stories we’re looking for: From musicians: Stuff about music you’ve noticed, obsessed over, or have been curious about. Maybe the stories have never been reported on, or have been reported on poorly, incorrectly, or from a narrow perspective. You (and your interviewees) have a unique perspective to provide. From academics: Stories that make research into the nooks and crannies of music accessible in a more immediate/public way, and would make a great audio piece. From music journalists: Big, ambitious stories you’ve always wanted to do but have never had the time/resources/institutional support for. The stories would have a heavy focus on reporting or might be personal in a way that engages our audience to think expansively about the world of music. Or things you’ve written that could be better (or differently) served in audio. From investigative journalists: Anything you have where music plays a central role in your investigation. From radio producers and anyone else: Stories that you can tell from a unique perspective that engage our audience to think expansively about the world of music.
Things we don’t do: Review albums. Profile artists. Highlight projects. Curate content
Compensation: Rates competitive with major public radio programs.
Pitch: Email firstname.lastname@example.org. Your message should include (in about 500 words) answers to the following questions: What is the story? What is the central idea of the story? Who will you talk to? Why are you interested in reporting it? How does it connect to the criteria above?
We can’t respond personally to everyone who reaches out, but if we want to move forward with your pitch, we’ll be in touch within a few weeks.
Pop-Up Magazine is looking for pitches from radio producers across the country! If you haven’t seen it before, Pop-Up Mag is a live event that puts writers, photographers, artists, filmmakers and radio producers on stage presenting new nonfiction stories… with a live orchestra, and the images for the story projected on a movie screen. It’s like a glossy print magazine, come to life on stage.
We do three national tours a year (in the winter, spring and fall), and so are always on the look-out for new contributors. We’re looking for short reported stories (so *not* memoir-ish personal stories like The Moth).
show: 3x tours (of 5-8 shows each) annually
segments: 4-12 minutes
compensation: dependent upon length of piece, number of shows
pitch: Please pitch to us by email, and make sure to read our contributor guide.
contact: Tina Antolini, Pop-Up Senior Story Producer, email@example.com
The Pulse from WHYY
WHYY’s “The Pulse” is a weekly journey into the worlds of health, science, and innovation. Our goal is to take our audience on a journey, to humanize the inhuman, to celebrate with skepticism, to put people first, to surprise, to answer questions people didn’t even know they had, to empower them to take control of their health, and certainly to keep it weird. We’ve covered everything from the role of precision medicine in bridging the racial divide to the oddly fascinating history of the dimmer switch. We’ve documented the challenges of interstellar sex, and we’ve sat at an old grand piano in a hospital lobby as a young doctor played us a tune in her down time. We’re hungry for sound-rich stories that take us beyond headlines and into the heart of a story…sometimes literally. We’re very open to format and length.
show: one hour weekly
segments: 2-14 minutes
compensation: Approx. $100 per produced minute, commensurate with length and depth of reporting and reporter/producer experience.
pitch: Please pitch to us by email, and put “PITCH” in the subject line. Your pitch will get better if you listen to our show, so consider doing that before you hit send. Here’s a link to our archive:http://www.newsworks.org/
contact: Megan Pinto, executive producer, MPinto@whyy.org
mailing address: 150 N. 6th Street, Philadelphia, PA 19106
Radio Ambulante is a monthly Spanish-language podcast launching in early 2012, telling uniquely Latin American stories from across the Spanish-speaking Americas, including the US. Each half-hour episode will feature sound-rich audio pieces that introduce us to unforgettable characters, share compelling moments, and capture some of the complexity and diversity of Latin American life. We want pieces that surprise, that make us question our assumptions, and take us to places we never knew before, or even imagined could exist. We want to push past the usual mainstream media stories that portray Latinos and Latin Americans in one of two tropes: as the oppressed victim, or the dangerous other.
show: 10-30 minutes, biweekly
segments: 10-30 minutes
pitch: Send an email to firstname.lastname@example.org and write “Nombres”, “Juegos”, or “Mudanzas” in the subject line (depending on which episode you’re pitching). Send very specific, well-developed ideas for stories that can be told in 5-10 minutes, with creative sound elements and design.Tell us who the characters are, and what aspect of their trajectory you intend to tell.Please tell us a little something about yourself, your experience, and send links to previous work, if you have them. While it’s not essential that you be a native speaker, you should feel comfortable narrating your piece in Spanish, and recording your own sound. You’ll be sending us your logs, a script and a rough cut of your actualities and ambi; ideally you’ll be able to record your own tracks once you’ve been edited, too. We’ll remix.While it may take us awhile, we’ll be reading every pitch, so please be patient. We may write you back asking for more information, and if, in the end, the pitch isn’t right for us, or for the particular episode we’re producing, we’ll let you know. While our produced content will be exclusively in Spanish, we can accept pitches in English as well.
This is a pilot project, and we are in the process of raising money for acquisitions. Submission guidelines.
compensation: $500 once episode airs
contact: RA Editorial Team, email@example.com
mailing address: 1105 Wisconsin St., SF, CA 94107
Radio Bilingüe Radio Bilingüe is the leading Latino public radio network and content producer for the nation’s public broadcasting system. Its mission is to serve as a voice to empower Latinos and other under-served communities. Our news programs in Spanish are broadcast on community radio stations throughout the United States. We are accepting pitches for stories in Spanish for our news magazine Edición Semanaria.
show: 15 minutes
segments: 3-6 minutes
compensation: Vary depending on the amount of reporting, length of story and production required, but fees typically range from $2500 to $8000.
pitch: Send a one or two paragraph description of your pitch, including who you plan to interview, what kind of ambient sound you plan to record, and why this is a relevant national story for Latinos in the United States. If you haven’t submitted work to Radio Bilingüe before, please send links of your work.
contact: Zaidee Stavely, News Editor
mailing address: 5005 E Belmont Ave, Fresno, CA 93727
Radiolab believes your ears are a portal to another world. Where sound illuminates ideas, and the boundaries blur between science, philosophy, and human experience. Big questions are investigated, tinkered with, and encouraged to grow. Radiolab is heard around the country on over 200 stations.
pitch: By email. If you have ideas, please send them to firstname.lastname@example.org with STORY PITCH in the subject line. We’re a small team and read every one. If we like the idea, we’ll contact you within a week. If the idea isn’t quite right for us, we’ll try our best to let you know that quickly. If you don’t hear from us within a week, assume that we’re going another direction.
Reply All is hosted by PJ Vogt and Alex Goldman. It is part of Gimlet Media. We’re looking for stories with some sort of internet or technology tie-in, but we have a very elastic definition of what that includes. More than that we want character-driven stories where a strange series of events happened to a person and they will be able to talk about it on tape and say these surprising things. And we like when our reporters personally care about the story or have an argument about why we should be paying attention to it.
Many, many bonus points if it’s a story that zig-zags—a funny story that suddenly opens up into depth, or a sad story that veers for a moment into silly. Or a story that bounces from the studio to the world, or from the US to another country, or across time. We like movement and texture. If the unusual thing about the story is that people are doing something they used to do, but now they’re doing it on the internet, that’s probably not for us. If you pitch us a story about what happens to people’s Facebooks after they die, or about a person who keeps getting emails meant for another person, we will regrettably be forced to pinch you. Ideally, you have spoken to the main character(s), you’d have a sense of how they speak and you’d know the broad beats of the story. I.e., you can tell your story neatly enough that it works on your friends at the bar (they’re asking follow-up questions and aren’t confused.) We like all of these rules and we also like breaking them. One of our favorite stories we’ve done is about a missent email. We are excited to hear what you’re working on.
show: ~twice a month
segments: ~10 – 40 minutes
compensation: Varies, depending on experience level and segment type
Reveal is an award-winning weekly, hour-long public radio program produced by The Center for Investigative Reporting (CIR) and PRX. We air on more than 360 stations across the country. We bring investigative stories from CIR, and newsrooms around the country and the world, to the radio.
A Reveal story reveals something that we don’t know or is hidden from us. Our stories involve interesting characters. We like good talkers. Reveal takes us to a “place” – we are immersed in the narrative, we can hear what is going on, we try to “show, don’t tell.” We let our listeners hear what our characters are grappling with and what is going on in their environment. We like tape that conveys action, tells a story, is visual, and helps listeners experience high stakes. Our stories have a plot. They surprise and/or challenge our listeners and characters.
Your pitch should tell us how you will expose a hidden story, take us to a place nobody has ever been, or uncover a secret others want to keep under wraps, in sound.
show: weekly, one hour
segments: Flexible; stories can be anywhere from 6 – 8 min to the full hour
compensation: Vary depending on the amount of reporting, length of story and production required, but fees typically range from $2500 to $8000.
pitch: Please submit all pitches here: https://www.revealnews.o
contact: Taki Telonidis, editor: email@example.com
phone: 510-809-3160 (main line)
mailing address: Reveal at The Center for Investigative Reporting. 1400 65th St., Suite 200. Emeryville, CA 94608
Snap Judgment is a themed, weekly NPR storytelling show. We focus on presenting compelling personal stories – mixing killer beats with real drama to produce cinematic, dramatic and kick-ass radio.
show: one hour/weekly
segments: 8-20 minutes
compensation: $95/minute (first story) $105/minute (second story)
pitch: by email
contact: Joe Rosenberg, joe(at)snapjudgment.org.
phone: (510) 465-7627
mailing address: 405 14th St, STE 900, Oakland, CA, 94705
The 51 from DAME Magazine
Each season of The 51 takes a national issue and explores how it’s impacting women at the local level, in communities across the country. The first season is focused on food access. We’re looking for a reporter who can help give us a sense of what’s happening in Indiana (often listed as the country’s “largest food desert”) and a reporter (ideally Native American) who can help out with a story on food access in Native American communities.
show: 20 minutes, weekly during active season
segments: 10 minutes (looking for three bites, 2 mins each, and then the reporter would do an interview with me, the host)
pitch: Please pitch to us by email. If you’re located in the right spot and have some experience with audio reporting, I can work with you on the rest (if you’ve got an idea for the segment yourself, great, but if not we’ve done a fair bit of research as well).
contact: Amy Westervelt, The 51 Producer, firstname.lastname@example.org
website: iTunes page
The Spiritual Edge
The Spiritual Edge, a new series exploring the leading edges of faith, spirituality and religion, is seeking pitches from experienced radio reporters to help expand our reach to a national audience. A project of KALW in San Francisco, The Spiritual Edge is documenting change on theAmerican religious landscape. We think religion and spirituality are dynamic and underreported and our hope is to bring a respectful, yet inquisitive approach to fill a hole in current media coverage.
In terms of what we’re after: we care less about tradition than innovation. We’re more interested in people and communities than historical religious institutions. We’re fascinated by demographic shifts that are encouraging growth of a DIY spiritual culture and the way science, especially health, can intersect with religion. We’re also very interested in what happens when immigrant groups import their religions to the U.S.
We’re looking for radio stories that focus on something surprising that can take us to a place we’ve never been before. As we document the changes, we see TSE as an opportunity to educate listeners on history, culture and the ways in which people seek meaning, healing or connection in their lives. At KALW we also like to creatively use sound and music to more fully bring listeners into the experience.
Our intention is that each story will be broadcast locally in the reporter’s region, have a home on thespiritualedge.org, and be part of the Spiritual Edge podcast series that we will begin producing in Spring 2017. So far, our stories also have a great track record of airing on national programs such as PRI’s The World and NPR’s All Things Considered.
segments: 8-14 minutes on average
compensation: $1,000 plus $100 for expenses
pitch: Send pitches, a short bio and sample clips to thespiritualedgeradio@gmail.
contact: Judy Silber, Project Director, “The Spiritual Edge” contact email: email@example.com
mailing address: 500 Mansell Street, San Francisco, CA 94134
The Splendid Table
The Splendid Table, hosted by Lynne Rossetto Kasper, distributed by American Public Media and carried in over 400 public radio markets across the country. Audio is also available online and via podcast. The Splendid Table is a show about food — enjoying it, buying it, cooking it — and about eating out, entertaining, health and travel. We’re looking for professionally produced field pieces, or audio postcards, about food as a window to a culture; about meals as a memorable part of travel; about food producers (artisans and otherwise), the business of food, and new trends; about food and health; about the behind-the-scenes of restaurants or other food businesses; about festivals, family gatherings, holiday celebrations, and amazing parties — and about people with particular passions about food. Pieces with a quirky point-of-view or a sense of humor are encouraged. Pieces about local restaurants or other food businesses should focus on the exceptional people who run them, or have some other editorial focus which makes the story interesting to our national audience.
show: one hour, weekly
segments: 3-5 minutes on average
compensation: $500 for finished pieces
pitch: e-mail a brief description of your piece along with the edited and mixed audio (wav, mp3, audio link, etc) for our review and consideration. We will respond quickly with a yes or no, or with a proposed modification of the piece. If we say yes, we will send you an Agreement right away.
contact: Jennifer Russell, Producer, firstname.lastname@example.org
phone: (651) 290-1309 *PREFER EMAIL*
fax: (651) 290-1150
mailing address: American Public Media, The Splendid Table, 480 Cedar St., St. Paul, MN 55101
Studio 360 is a syndicated public radio show and podcast about the arts, pop culture, and ideas, hosted by novelist and journalist Kurt Andersen. It is produced by Public Radio International in association with Slate, and we’re based in Slate’s Brooklyn office. The hour-long show is split between host interviews and produced features. Pitch us counterintuitive stories about creative people and ideas. What makes artists tick? How did an unusual artwork or production come to fruition, and how is it resonating with audiences? What gives art and entertainment the power to transform, amuse and baffle us?
We are also interested in lost histories, oral histories and anniversaries of cultural products like movies, music, and visual art that have been underappreciated, or whose origin stories have not been told with the passion and verve they deserve. These features can be narrated or non-narrated.
The show features established artists as well as emerging and obscure ones, and we are especially interested in hearing from far-flung freelancers about artists and movements that are taking hold in your hamlets.
Here are some recurring non-narrated segments that are particularly well-suited for freelancers:
A non-narrated feature where someone explains why they love something art- or culture-related that is deeply unpopular or unfashionable—or is just surprising because of who they are. The speaker has a personal connection to the Thing (expertise or experience) and can make a strong case for why it’s awesome and misunderstood. Like the indie rock musician who admits to loving “Already Gone” by the Eagles. Or the Paris Review writer who loves that widely reviled word, “moist.” Or the movie critic that actually likes the much-reviled “The Godfather, Part III.” Could also be a movie, book, TV show, podcast … anything. It can still be popular, but it should have many detractors. The subject must be able to argue the other side (“People hate this song/movie because…”) before convincing us why it’s just so darn good. Over the course of the piece, ideally, the listener goes from identifying with the people who hate the Thing to identifying with our subject who is defending and championing it. Elements of sound—scoring, clips, and sound design—should be included in your pitch. We like having celebrities do this sometimes, like Roseanne Cash saying why she loves “Do That to Me One More Time” by the Captain & Tennille or BJ Novack on why he loves “Fuller House.”
Not on Board
A non-narrated feature that is the inverse of a Guilty Pleasure. What is that thing that everyone seems to love but your interviewee dislikes? Here the subject would need to be able to say why, say, everyone loves “Hamilton” but she cannot abide the historic inaccuracies and what feels to her like the watering down of hip-hop music. These too will work best when the subject has a particular connection and insight into this, when she truly has a dog in this fight. For example, from a longtime theater critic who hates Shakespeare because he finds the plots preposterous and thinks students lose interest in theater when they see Shakespeare productions. Elements of sound – scoring, clips, and sound design should be included in your pitch. Celebrities and non-celebrities both excellent for this.
The “Aha Moment” is not just when someone realizes a work of art or song is moving or inspiring. It’s when that piece of art actually provokes a person to change the course of his or her life. Some of our favorite Ahas include this one, about a teenager in rehab who discovered David Byrne and fell in love with running. And this one, about a kid failing out of English class who’s first favorite poem helped him realize he was gay. And this one, about a woman who heard Lee Ann Womack on the radio and decided she’d give up on getting revenge on her boyfriend by becoming a real estate agent (it’s complicated). The best Aha Moments are unexpected and jump disciplines: it’s generally more interesting when someone watches “The Rookie” and decides to start a theater company, than it is to watch that movie and become a baseball player. But when famous people are involved (such as Jon Ronson, Sandra Bernhard, Devo) it can be fascinating to hear about what inspired them to pursue art – as long as there’s some change/dramatic tension central to the story.
What’s the job that someone does to pay rent while they pursue their creative passion? Is it an actor who works as an “unannounced standardized patient” going into hospital clinics undercover to evaluate residents on their performance? Or is it an opera singer who also works as a cue-caller: the person responsible for making sure an opera’s subtitles appear at exactly the moment when the performers onstage sing their lines? This is a non-narrated feature with more sound-rich scenes. The gathered tape could be a day-in-the-life of someone, or over a longer window, and should include recordings of these subjects performing both their regular and the creative one that is not quite paying the bills yet. Subjects will narrate themselves doing both pursuits and, later in the piece, will reflect how each pursuit might reflect on the other and how the balance both.
Unsung Heroes/Behind the Scenes
What’s a job that is essential to that movie or show you’re watching, or that exhibit you’re viewing, that never gets its due? Is is the person who figured out how to properly light a museum exhibit? Is it the person who made the props, or dressed the set, for a TV show or theater production? This shares some DNA with our Day Job feature, which also often turns out to be about interesting jobs, but is different in two ways. First, an Unsung Hero feature must be about a job in a creative field, while a ballet dancer who had a day job as an exterminator would be great as a Day Job. And second, this focuses solely on the job itself – what the subject does off the clock or as a second job is immaterial here.
show: one hour, weekly
segments: 6-12 minutes on average
compensation: $500-$1,000 mixed, depending on number of interviews, scope of research, and length.
pitch: Pitch your story (two paragraphs is ideal) by email to Andy Newman, email@example.com. The subject line of your emails should start with “PITCH” Include a one to two-paragraph summary of what the story would be, paying particular attention to key elements (interviewees, actualities, location tape, scoring, etc), what you anticipate will be the big moments and revelations, and your voice in the piece. You should also let us know whether the subject has been covered elsewhere. We respond to pitches as soon as we are able, but encourage you to check on the status in about two weeks.
contact: Andrew Adam Newman, Senior Editor, firstname.lastname@example.org
This American Life
This American Life is a bunch of stories — some are documentaries, some are interviews, some are fiction, some are something else. Each week we choose a theme and feature different writers, reporters and performers telling stories related to that theme. We seek surprising character- driven stories that generally follow a traditional literary structure. Pitches do not need to be geared to a specific theme as we generally build themes around the stories we’ve commissioned. We pay expenses and $300 a day; generally the artist owns their own work and TAL keeps re-broadcast rights.
show: one hour/weekly
segments: generally 6-20 minutes.
compensation: $300 a day, plus expenses.
pitch: By email. Submission Guidelines available. Please put “submissions” in the subject line.
contact: Zoe Chace, Producer, email@example.com
phone: (212) 624-5012
Transom.org is an experiment in channeling new work and voices to public radio through the Internet, for discussing that work, and encouraging more. Transom.org acquires pieces for about $300 a pop. We encourage and assist producers in getting their work broadcast after it appears on Transom: on NPR news shows, This American Life, and other venues. We also coordinate Transom features with PRX distribution. We sometimes anthologize pieces in The Transom Radio Hour.
We’re looking for great radio — things that are less heard, different angles, new voices, new ways of telling, and any other good pieces that haven’t found another way onto public radio. Editors evaluate material more by what it does than what it is. Some questions they’ll consider:
• On the air, would it keep you by your radio until it’s over?
• Is the maker someone of talent who should be encouraged?
• Does it push at the boundary of conventional radio in an exciting way?
• Will it provoke fruitful discussion online?
Submissions can be stories, essays, home recordings, sound portraits, interviews, found sound, non-fiction pieces, audio art, whatever, as long as it’s good listening. Material may be submitted by anyone, anywhere — by citizens with stories to tell, by radio producers trying new styles, by writers and artists wanting to experiment with radio. As long as it hasn’t already aired nationally, we’ll consider it.
show: up to one hour.
segments: up to an hour.
compensation: $300 or so
pitch: By online submission form (preferred): http://transom.org/about/submit-your-work/
Also accept submissions via snail mail (see below). They should be sent with a signed submission agreement form.
mailing address: Transom, 3 Water Street, P.O. Box 445, Woods Hole, MA 02543
UnFictional is a program of audio documentaries and long form storytelling, produced by KCRW, Santa Monica. It’s a part of KCRW’s Independent Producer Project, an initiative to support and cultivate independent and compelling voices.
show: half hour broadcast and podcast
segments: 5 to 25 minutes in length
compensation: $100 per broadcast minute is the base rate, with final compensation negotiated individually, based on complexity of the work and experience of the producer.
pitch: By email preferred. We’re looking for submissions that show a producer’s dedication to doing ambitious, unusual work and taking risks. Stories should be off-beat with a viscerally appealing log line. We want stories that sound new and freewheeling. We’ve done stories about mobsters on the lam, chronic dizziness, cults, narcolepsy, heavy metal, acid trips, etc, although we’ve done plenty of down-to-earth stories as well.
Our stories are firmly rooted in true events, if colored by the perceptions of the storyteller. The ideal UnFictional story should be one with a strong narrative, a sense of urgency, unexpected twists, and a MOMENTUM that holds the listener. It’s multi-faceted: intimate and emotional without being maudlin; If it’s a humorous piece, it should still have stakes and tension. The ideal submission should have elements of humor AND emotion.
Pieces can range in complexity from a single voice scored with music, to deeply researched, complex, multi-character stories. A final submission might come to us in the form of audio that’s been edited into a rough story, accompanied by a “paper” script, to be finished by us; or it could start with a simple one-line pitch, on which we and the producer will collaborate, building the story out of a thorough editorial process, at the end of which an experienced producer might deliver us a finished work.
contact: Bob Carlson, Producer, unfictional(at)kcrw.org
phone: (310) 314-4610
mailing address: UnFictional, KCRW, 1900 Pico Boulevard, Santa Monica, CA 90205
Compensation: National programs e.g. Health Show and 51%: $100 (flat per story)
Who's Gonna Drive You Home? (Planes, Trains and Automobiles)
We are accepting pitches for *everything* to do with self-driving cars for air/podcast within the next six months.
Each piece should cover a different aspect of society that will be impacted or disrupted, if not destroyed, in the transition to driverless cars. Examples are: auto insurance (there won’t be any, with Uber-without-the-dude most likely self-insuring its cars); real estate (you won’t need a garage if there’s no reason to own a car that will be driving around all day); auto repair and gas stations (owners of driverless fleets will obviously figure out how to gas up or charge their vehicles more efficiently than pulling into a station on the corner. Given that gas stations have replaced corner grocery stores, what will be the impact on food and conveniences?
Pieces should include experts in whichever field is being discussed (in-person strongly preferred over phoners), sound of entity being impacted (such as a gas station or State Farm commercial) and regular people.
show: 1 hour
segments: 2-10 minutes
compensation: $300-$1,000 depending on length and production quality (e.g., live sound vs. phoners
pitch: Generally, we’ll follow NPR’s submission guidelines as a start and tell you, in writing, where we deviate from them. They are: http://cdn.airmedia.org/PDFs/PitchPanel/NPRPitchGuidelines.pdf
All agreements must be signed and received before any work is to commence. All discussions on the project shall be considered confidential regardless of whether or not a producing agreement is reached.
contact: Robin Washington, executive producer, firstname.lastname@example.org
Women's International News Gathering Service
WINGS (Women’s International News Gathering Service) is a series of current affairs programs by and about women around the world, syndicated to community radio stations in English-speaking countries. We use raw tape from freelancers as well as produced pieces, but produced pieces tend to get preference. We want the content to be mainly the women covered speaking themselves, and for the scripts to be short and factual. We are looking for analysis, new ideas, eloquence and passion all rolled in together. Speeches, actualities from events are good but we also use interviews. We are especially interested in stories featuring non-U.S.women and minority women. Subjects often covered include feminist (broadly construed) and related activism and organizing; women and the law, politics, labour, health, economics, environment, and human rights; lesbian culture; reproductive rights; gender and sexuality; indigenous perspectives; war and peace, and –please! —feminist humour if you have it. We don’t require an exclusive.
show: 28:40 to 28:50 – weekly
segments: Full program content runs 27’40”
compensation: For raw audio used in program, $143.82. For substantially edited program, $203.82. Short pieces: $40-$45. Pay is only for material actually used in WINGS programs. We pay for non-exclusive one-time use of your audio. If your work is re-run you will be paid again.
pitch: By email. Producers’ Guide available: http://www.wings.org/submit.html (These guidelines are technically outdated right now, but the content guidelines are unchanged.) Programs should be news-related about women’s actions or conveying women’s views on world events — and must be of international interest. WINGS doesn’t use essays, editorials, publicity pieces, or self-help features. We want to hear women speaking for themselves, whether in interview, event actualities, or speeches – well-recorded, intelligent, and with energy and passion. Crowd sound, music from the event, etc. are a plus.
contact: Frieda Werden, Series Producer, email@example.com
phone: (250) 335-0356
mailing address: PO Box 4, Denman Island BC V0R 1T0 Canada
facebook page: www.facebook.com/wingsradio
Recent editions (names changed by the podcast editor, for some reason) can be auditioned at: http://rabble.ca/users/wingsradio
Word of Mouth
Word of Mouth is a one-hour magazine program that airs on New Hampshire Public Radio, with broader reach through social media and podcast. We would like to expand our team of stringers and freelancers, and to discover new voices to enrich our program.
show: one hour/five days a week
segments: 3 – 8 minutes
compensation: We are accepting pitches from independents. We take produced features (at $250 or $350 per story).
pitch: By email, or by phone at the number below. Phone pitches will only be taken between 2 and 4pm. Pieces can be in progress or finished, though we are more likely to accept a pitch if you have something we can listen to. Our format is flexible, and our content varied. We purchase freelance pieces about the arts, culture, technology, business, innovation, you name it – quirky storytelling is encouraged.
contact: Maureen McMurray firstname.lastname@example.org and Taylor Quimby email@example.com
mailing address: 2 Pillsbury Street, 6th Floor, Concord, NH 03301
The World is a multi-media platform of international news, events and culture, with a twist. We go beyond delivering “foreign” news to an American audience. What we do is showcase the ways in which we are all connected in the global community. It doesn’t matter whether a story comes from Alaska or Zimbabwe; whether it’s talking about Mexican chocolate in Chicago or dissecting the intricacies of Syria’s civil war. What we look for is a story that highlights how we intersect and interact with the wide variety of countries, cultures and nationalities that make up the world in which we live.
show: One hour, daily / M-F
segments: Lengths vary, but in general stories shouldn’t be more than 4:30. We could really use shorter pieces — some of our best, most seasoned reporters shine brightest in their 3-minute stories. We have also aired mini-documentaries as long as 15 minutes, but that is rare. All our stories include a web version as well as pictures. Payment is based on type of story, not length.
compensation: Our rates are based on regular and occasional contributors, and three types of stories – along with multi-media.
pitch: What we’d like from a pitch is a short, concise proposal that includes why your story matters to listeners. It doesn’t just state an issue or a problem, but gives us an idea of how that issue or problem is playing out in daily life.Pitching us a story about runaway inflation in Venezuela doesn’t help. We know that inflation there is bad. What’s new? What’s changing? What interesting examples have you found, and why do you want to tell the story now? Is there an anecdote that reflects this?
contact: Both Jennifer.Goren@bbc.co.uk / 617-300-2739 and Jeb.Sharp@bbc.co.uk / 617-300-2757. Pitch us by email; feel free to follow up with a phone call. NOTE: In common with other broadcasters, The World has recently restricted its freelance contributions.
World in Progress
World Link is a weekly, half-hour magazine that looks at globalization and development issues around the globe. The show is broadcast on DW (Deutsche Welle) , Germany’s international broadcaster that produces television, radio and online content in 30 languages. It provides a European perspective to its global audience and promotes intercultural dialogue. World in Progress goes out to a global audience.
Topics include: Globalization issues, interconnected world, clash/changes in cultures, social issues, development, human rights, globalization economics, health, education, ideologies, religions, interesting projects, ideas + people that make a difference etc.
Examples for stories: Indigenous group fighting dam in Brazil, Internet project connects slum dwellers in Nairobi with school in Sweden, People helping prisoners in Indonesia, Music in Senegal about the migration to Europe, global economic problems caused by corruption. Lighter globalization issues (food stories, soundscapes, attitudes etc.) also welcome.
We are looking for sound-rich magazine pieces, mainly from Africa, Asia, Americas for an international audience. We prefer lots of sfx, several intv. partners per piece and good storytelling.
Pay rate: €253 euros for a report up to 6 minutes, can go up for longer pieces. Additional fee for online article or pic gallery on the same topic, if requested.
Pitch: preferably by email to firstname.lastname@example.org / Anke.Rasper@dw.com
Contact: Anke Rasper, Editor/Producer
Phone: ++49(0)228 429 4576
Fax: ++49(0)228 429 4400
Mailing address: Anke Rasper, Deutsche Welle, Team Global Wirtschaft, Kurt Schumacher Strasse 3, 53110 Bonn, Germany
Website: www/dw.com/worldinprogress or the mediacenter on dw.com
The podcast is available on Itunes
Please submit your pitch with a lead sentence and several sentences to
explain the scope of the story. Indicate possible interview partners and
the sounds you would use. Do tell us why you think the story would be
interesting for an international audience. (More detailed instructions
will be sent by mail to people interested in pitching.)
Are you taking pitches?
To have your podcast, program, or project listed, please visit the
Pitch Page Submission/Update Listing Form.
AIR’s Pitch Page was founded by AIR producer Barrett Golding in 1999.
NO LONGER ACCEPTING PITCHES:
African Learning Channel
Deutsche Welle English – Spectrum
Here and Now
High Plains News
New England Public Radio
Prime Time Postscript
Prime Time Radio
Pulse of the Planet
Sirius XM OutQ News
World in Progress
World Vision Report
The Voice of America