“An intimate form of storytelling”

Gabriella Adair
“I really want to give people an experience”

Merlin Domirnick’s photo

One day she was in a studio NRC todayGabriella Adair, the voice editor of the day, is touring Qatar. In collaboration with sports editor Joris Koeman, she creates the new Norwegian Refugee Councilaudio notation Qatar coup. Previously, Adair had already made cocaine fever And the Dutro shadow.

In audio, you want to “really give the listener an experience” with “the right dose of information”.

what do you mean by that?

Adèr: You can name a lot of numbers, but that doesn’t get stuck in the sound. But if a particular scene makes the results of those numbers tangible, it works better.

„I am making now with Joris Koeman Qatar coup. His approach as a writing journalist is different. The challenge is to find the right balance between conveying as much information as possible and at the same time maintaining a narrative line that the listener can stick to.

“A lot of research is also needed for the podcast, but not everything ends in the episode, it simply doesn’t fit. When I listen to a podcast, I want the creator to take me into the story. I don’t want to be overwhelmed with details.”

How does the press change when you talk about it?

“In sound, you have to evoke the ambiance and draw the listener into the scene. Dutro’s shadow It really is an audio documentary. There is a scene where I am in a class with forty children and she asks if they feel any fear after Dutroux. You cannot write down the feeling of that moment.

“Also with cocaine fever Do you have that difference in text and audio. I don’t care if you hear hundreds of names from the Marengo trial. It is about influence. in cocaine fever I wanted to emphasize the personal aspect and the phenomenon.

“I also see the podcast as more than just a supplement to the newspaper. Making is really a craft.”

Jean Meuse
“Emotion on paper is hard”

Merlin Domirnick’s photo

Jan Meos has been writing about organized crime for years Norwegian Refugee CouncilAnd now he’s also busy with podcasts. make mews the second season of cocaine feverIt looks at how the Netherlands has evolved into a European distribution center for cocaine in ten years.

However, most people know Meus, at least according to what he sees, from his tears in the podcast NRC todayAfter the murder of Peter de Vries.

What were the reactions after that podcast?

Meos: “I’ve made countless pieces about the misery in organized crime, but once you shoot a podcast and you get a lot of reactions. Emotional audio compositions. I get responses from the Minister of Justice. Those feelings are unimaginable in a written story.”

Can feelings be conveyed well through sound only?

“It’s very hard to convey feelings on paper, it’s practical in podcasts. I felt it happen. I was moved, not because I had a great relationship with Peter, but because I know someone who is a victim of this violence. That way you can understand how it affects their environment. But Hey, I’m just a crying baby too.

Why are podcasts an added value to NRC?

I wrote a story about corruption in the IRS. In the written article outlining the background, in the podcast you can take the reader into how the piece should look. listeners like that.

As a journalist, you are actually absent from the story. With podcasts, especially if you’re the narrator, you’re very present. Even people will review your voice.”

and how is your voice

“in VINK: The Netherlands Podcast Guide (NPO Radio 1) It was called practical and sultry.” Meus laughs.

Anna Korterink
“I will never write that I am nervous”

Merlin Domirnick’s photo

Anna Korterink works as an audio editor for NRC today Especially behind the scenes, but up front Rijswijk’s secreta ten-part podcast series about the murders of three musicians in 1985, starred as a true detective.

Audio is “a very intimate form of storytelling.” She sees that young people in particular are accustomed to listening to something. “It’s a completely different experience from the written story, which is why it reaches a different audience.”

How does the press change when you talk about it?

“For example, I would never write that I’m nervous. With audio, you have to say a lot and provide context. With audio feedback, you still think carefully about what you’re going to say. But when shooting Rijswijk’s secret, the way I ask questions sometimes…” Korterink laughs. “Then I really think: I should have been better. You can’t do that again.

Do you act differently as a journalist?

I think the execution is different, but the principles are the same. Bee Rijswijk’s secret I was aware of the press law of Norwegian Refugee Council. While facing other dilemmas of the sound. For example, when recording a telephone conversation. His voice can be crucial to your story. You actually have to ask for permission beforehand, but with audio this is only possible sometimes when someone has already picked up the phone.

“I was also hesitant to speak from I’s perspective. But with the voice, you often have to play a part in the story yourself. You do it less quickly in the papers.”

Korterink finds a value-added voice for Norwegian Refugee Council. Hope the editorial team continues to grow. “I hope we can become an independent editorial team and get more investigative journalists who know a lot about sound. You can’t see sound as something in it. Sometimes, writing journalists underestimate the workload.”

Gus Falk
“You have a different relationship with the audience”

Merlin Domirnick’s photo

Calling himself the “early adopter” of the podcast world, The Hague Editor-in-Chief Joss Falk. After his first podcast in 2016, he can now call himself an experienced podcast host. This year he did a podcast series for Norwegian Refugee Council About Pim Fortuyn, pimping. Valk can also be heard regularly on podcasts Hague Affairs.

Journalism without a tie, this is how a podcast feels Falcon Corporation. “You wear a tie, so to speak, when writing a ‘festive’ story. And you take it off again when you go into the studio.”

Why don’t you have a “tie” in the studio?

Falk: “We listen differently than we do reading. Bee Hague Affairs Sometimes a rumor creeps in. If you want to write this down, you have to check out three sources. You have a different relationship with the audience. The facts must also be true in sound, but the listener understands that you are looking for answers and therefore sometimes take a different path.

„We took the last time Hague Affairs In the case of Khadija Arab. It was in response to the rebuilding of the newspaper. Provided the story and facts. in Hague Affairs You can go into more detail about the press considerations. Why did we want to do this? How do you deal with photography after reconstruction? You don’t have answers to that right away, you have more to say about it.”

So Haagse Zaken wouldn’t fit into the written form, but what about the audio documentary on Pim Fortuyn?

“I wrote a story about it in the newspaper and maybe I could write a book about it, but oddly enough I don’t have the materials for it. See: What’s the best form of storytelling? The ‘Search’ story fits better with audio, if you want to make a point, you can write it more formally. better. That sound was competing with the written stories, but that’s really nonsense. When you’re in the car, you don’t read the newspaper, right? “

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