Status
Available
Call number
Collection
Publication
Crown (2015), Edition: Illustrated, 240 pages
Description
"Go behind the scenes of seven of today's most popular narrative radio shows and podcasts, including This American Life and RadioLab, in graphic narrative. Every week, millions of devoted fans tune in to or download This American Life, The Moth, Radiolab, Planet Money, Snap Judgment, Serial, Invisibilia and other narrative radio shows. Using personal stories to breathe life into complex ideas and issues, these beloved programs help us to understand ourselves and our world a little bit better. Each has a distinct style, but every one delivers stories that are brilliantly told and produced. Out on the Wire offers an unexpected window into this new kind of storytelling--one that literally illustrates the making of a purely auditory medium. With the help of This American Life's Ira Glass, Jessica Abel, a cartoonist and devotee of narrative radio, uncovers just how radio producers construct narrative, spilling some juicy insider details. Jad Abumrad of RadioLab talks about chasing moments of awe with scientists, while Planet Money's Robert Smith lets us in on his slightly goofy strategy for putting interviewees at ease. And Abel reveals how mad--really mad--Ira Glass becomes when he receives edits from his colleagues. Informative and engaging, Out on the Wire demonstrates that narrative radio and podcasts are creating some of the most exciting and innovative storytelling available today"-- "This graphic novel takes readers behind the scenes of their favorite radio shows and podcasts to show the storytelling techniques and ideas that produce these beloved programs"--… (more)
User reviews
LibraryThing member thmazing
I started this a loooong time ago. Perhaps as far back as March. I read the first few dozen pages and liked what I read but eventually got bored and set it aside. Time passed. Then I mentioned it at a party and promised to lend it to someone so I picked it up and read the remaining sixty or seventy
If I were to scan a page and put it here (I'm not going to) it would be from the end, where Abel's avatar talks about the difficulty of working out a long, complex, deeply researched bit of nonfiction about people working out long, complex, deeply researched bits of nonfiction. Of course, she's doing it through comics rather than radio/podcasts, and that interplay of mediums is actually part of what makes the book's frisson so fascinating. I don't work in either medium, but I'm fascinated by them both. And I'm fascinated by this sort of meta-art. The premier (in both senses) example of which in comics is Scott McCloud's Understanding Comics, but what Abel's attempting here is in some senses more complex in that she has to juggle actual interviews with actual people---her work is also journalism (her endnotes are a fascinating variation when you look closely). Frankly, I would have liked more inventiveness in her visual metaphors, but given her presumably broad, not necessarily fully comics literate, intended audience, I can't blame her restraint.
I wonder what the legions of active amateur podcasters make of this work?
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percent in the last week. And I'm glad I did!If I were to scan a page and put it here (I'm not going to) it would be from the end, where Abel's avatar talks about the difficulty of working out a long, complex, deeply researched bit of nonfiction about people working out long, complex, deeply researched bits of nonfiction. Of course, she's doing it through comics rather than radio/podcasts, and that interplay of mediums is actually part of what makes the book's frisson so fascinating. I don't work in either medium, but I'm fascinated by them both. And I'm fascinated by this sort of meta-art. The premier (in both senses) example of which in comics is Scott McCloud's Understanding Comics, but what Abel's attempting here is in some senses more complex in that she has to juggle actual interviews with actual people---her work is also journalism (her endnotes are a fascinating variation when you look closely). Frankly, I would have liked more inventiveness in her visual metaphors, but given her presumably broad, not necessarily fully comics literate, intended audience, I can't blame her restraint.
I wonder what the legions of active amateur podcasters make of this work?
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LibraryThing member sonyagreen
It's so satisfying to see radio made. The format and storytelling style in this book are illuminating. It's like ... the opposite of 'watching the sausage being made'. It's wonderful and makes listening to NPR even more interesting.
LibraryThing member Artymedon
It is telling that this book, an ode in comic form to radio as a form of creative expression, opens up with a splash box drawing of the "frying pan" in Paris. This is the monumental building which housed the State monopoly on French radio and television inspired by General de Gaulle and the Office
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de radiodiffusion-télévision française (ORTF) that envisioned radio as a monopoly of public service for the culture, education and entertainment of the public. It is also an interview of the Author then living in France that opens up a Pandora box of questions over how this medium is made. This means that we have the luck to travel with her as she draws and meets with producers who explain all the components of a radio production while demystifying it for the reader. The drawings are at times amusing especially when they depict the author travelling in this exploration of a medium, and its black and white spreads are a pleasure to follow. Show Less
LibraryThing member nicole_a_davis
A really interesting behind-the-scenes look at how some of the most popular public radio shows and podcasts get made. The visual format of the graphic novel was a fun way to see some of the faces of people you normally only hear. Abel also used the illustrations to show metaphorically some of the
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difficulties and challenges of storytelling. A must-read for anyone with aspirations of a career in public radio or podcasting. Show Less
LibraryThing member literary.jess
I love the premise and approach of this book. Abel applies one of the most current "buzz worthy" genre techniques in written non-fiction (graphic novel) in the service of explaining the processes behind the currently resurgent art of non-fiction audio storytelling. This would certainly be
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appreciated by those who love NPR and other public radio storytelling (Radiolab, This American Life, Snap Judgement, etc.), but I see that it also appeal to those who are interested in the creative process regardless of medium. With all of the movement in the radio storytelling genre (new podcasts seem to be being created every day, many by major players already in the field), this is the kind of book that will be calling out for a second edition almost before it hits the shelves. Show Less
LibraryThing member jazznoir
In her latest graphic novel, cartoonist Jessica Abel literally illustrates Ira Glass’ idea that “Radio is a very visual medium.”
By interviewing several radio producers and writers from such podcasts as Radiolab, The Moth and Planet Money, Abel successfully expands her original 1999
There is great insight into the technical structure of how a radio show is made and aired -- from journalistic theory, the interviewing process, editing, sound checking -- all the aspects of making a compelling narrative for the listening audience to understand and stay engaged.
This handbook is a good resource for all storytellers, be it writers, cartoonists, journalists, keynote speakers, conversationalists --heck, even book critics.
By interviewing several radio producers and writers from such podcasts as Radiolab, The Moth and Planet Money, Abel successfully expands her original 1999
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journalistic comic, “Radio: An Illustrated Guide,” which was published for Ira Glass’ This American Life.There is great insight into the technical structure of how a radio show is made and aired -- from journalistic theory, the interviewing process, editing, sound checking -- all the aspects of making a compelling narrative for the listening audience to understand and stay engaged.
This handbook is a good resource for all storytellers, be it writers, cartoonists, journalists, keynote speakers, conversationalists --heck, even book critics.
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LibraryThing member mzkat
You might think you could breeze right through Out on the Wire lickety split because it is, after all, a “comic” full of pen and ink sketches and people speaking in those little balloons. But you’d be wrong. You slow down and pay attention assuming you have any interest in the topic revealed
That’s the interesting thing about graphic books like this one by Jessica Abel. You can pack a lot of information and emotion in those boxes stacked across the page. The strips move sequentially but your eye scans up and down, and sideways to take in all the voices and details of a scene.
Abel’s work is the perfect complement to the type of radio programs she covers. Both rely on visuals, with the radio programs using sound to elicit the listener’s imagination to “see’ the story. Abel uses her accomplished artistic skills to create visuals to advance and deepen her story which wouldn’t be as interesting if told in a conventional narrative. She, like the radio producers she features, wants to connect more emotionally with the reader. Abel wants her reader to understand the emotional investment of building a great story. And she does.
If someone wanted to know how you produce a radio program or podcast like Ira Glass’s This American Life on National Public Radio, this book is a crash course or primer on how that is done. Although This American Life is the big name here and the book starts out with this show, Jessica also introduces us to other shows like The Moth, Radiolab, Planet Money, Snap Judgment, Radio Diaries, and 99% Invisible. If you are a fan of This American Life but don’t know these others, your curiosity will be piqued.
Abel tries to explain what makes these types of shows unique by interviewing key writers and producers of the shows. Each program may run a few minutes but hours and hours of labor-intensive work is behind each one. Although many of us view writing as the heart and soul behind a good story, Abel’s investigation hones in on the critical role of editing. Criticism by your writing team is intense. Picture an Iowa Writers Workshop where a story idea which got your creative juices flowing is often turned upside down, inside out and every which way but its original form. Picture writers being shredded by their peers all in the service of a good story.
Editing emerges as the critical ingredient shaping the stories. There’s even a very specific term to describe the meetings where the collaborative but critical eye is focused on the story’s primary writer/developer. This is an edit, and it’s actually considered separate from editing.
As Abel goes through all aspects of bringing these stories to the public, you see there is a twinship between the radio programs and her own graphic storytelling. Both seem so simple but are not. The story seems natural and straightforward, but extensive editing is behind that.
Fans of these programs and graphic storytelling will appreciate Abel’s considerable craftsmanship. Anyone interested in radio production will also learn a lot here and in a more enjoyable way than reading a textbook about it. Abel’s book may have a narrow niche but she fills it quite well.
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in the book’s subtitle: The Storytelling Secrets of the New Masters of Radio. That’s the interesting thing about graphic books like this one by Jessica Abel. You can pack a lot of information and emotion in those boxes stacked across the page. The strips move sequentially but your eye scans up and down, and sideways to take in all the voices and details of a scene.
Abel’s work is the perfect complement to the type of radio programs she covers. Both rely on visuals, with the radio programs using sound to elicit the listener’s imagination to “see’ the story. Abel uses her accomplished artistic skills to create visuals to advance and deepen her story which wouldn’t be as interesting if told in a conventional narrative. She, like the radio producers she features, wants to connect more emotionally with the reader. Abel wants her reader to understand the emotional investment of building a great story. And she does.
If someone wanted to know how you produce a radio program or podcast like Ira Glass’s This American Life on National Public Radio, this book is a crash course or primer on how that is done. Although This American Life is the big name here and the book starts out with this show, Jessica also introduces us to other shows like The Moth, Radiolab, Planet Money, Snap Judgment, Radio Diaries, and 99% Invisible. If you are a fan of This American Life but don’t know these others, your curiosity will be piqued.
Abel tries to explain what makes these types of shows unique by interviewing key writers and producers of the shows. Each program may run a few minutes but hours and hours of labor-intensive work is behind each one. Although many of us view writing as the heart and soul behind a good story, Abel’s investigation hones in on the critical role of editing. Criticism by your writing team is intense. Picture an Iowa Writers Workshop where a story idea which got your creative juices flowing is often turned upside down, inside out and every which way but its original form. Picture writers being shredded by their peers all in the service of a good story.
Editing emerges as the critical ingredient shaping the stories. There’s even a very specific term to describe the meetings where the collaborative but critical eye is focused on the story’s primary writer/developer. This is an edit, and it’s actually considered separate from editing.
As Abel goes through all aspects of bringing these stories to the public, you see there is a twinship between the radio programs and her own graphic storytelling. Both seem so simple but are not. The story seems natural and straightforward, but extensive editing is behind that.
Fans of these programs and graphic storytelling will appreciate Abel’s considerable craftsmanship. Anyone interested in radio production will also learn a lot here and in a more enjoyable way than reading a textbook about it. Abel’s book may have a narrow niche but she fills it quite well.
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LibraryThing member elenchus
Abel conveys a wealth of information about "narrative journalism" (Ira Glass's term), interviewing various radio shows to illustrate her points. I'm convinced Abel is best able to write her book using the comic format, but not persuaded this specific topic is best covered that way. Yet her story
Insights into specific programs aside, most impressive is Abel's close scrutiny of a number of broader ideas: the creative process and its capacity to be enriched through guidelines or games; best practices in sound production (mic technique, the necessity of capturing dead air in specific spaces for later use when editing interviews, general approaches to sound editing); and, basic tenets of storytelling, whether oral or in prose.
Perhaps the larger point emerging from Abel's format is radio's counterintuitive potential to be visual: in structure, in scripting, and also sound design. Not all radio is: the standard news headline show, for example, conjures little visually, and if a specific reporter provides a story that is visual, it adds to the program but is hardly necessary. This potential is perhaps most widely recognised in niche programming: radioplays, sports broadcasts. Radioplays are no longer mainstream, though enjoying something of an artisanal rennaissance. Sports seem relegated to radio only as a supplement to television, though baseball play-by-play is famously visual, the very purpose to bring the listener onto the field, and to paint a picture of the action. The programs showcased in Out on the Wire (99% Invisible; The Moth; Planet Money; Radio Diaries; Radiolab; Snap Judgment; This American Life) each seems to have a similar aim, and demonstrate the visual aspect of radio could be better utilised generally.
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did not suffer in the telling, and the format made for interesting reading. I would not have been prompted to pick up her book elsewise, despite a general interest in radio.Insights into specific programs aside, most impressive is Abel's close scrutiny of a number of broader ideas: the creative process and its capacity to be enriched through guidelines or games; best practices in sound production (mic technique, the necessity of capturing dead air in specific spaces for later use when editing interviews, general approaches to sound editing); and, basic tenets of storytelling, whether oral or in prose.
Perhaps the larger point emerging from Abel's format is radio's counterintuitive potential to be visual: in structure, in scripting, and also sound design. Not all radio is: the standard news headline show, for example, conjures little visually, and if a specific reporter provides a story that is visual, it adds to the program but is hardly necessary. This potential is perhaps most widely recognised in niche programming: radioplays, sports broadcasts. Radioplays are no longer mainstream, though enjoying something of an artisanal rennaissance. Sports seem relegated to radio only as a supplement to television, though baseball play-by-play is famously visual, the very purpose to bring the listener onto the field, and to paint a picture of the action. The programs showcased in Out on the Wire (99% Invisible; The Moth; Planet Money; Radio Diaries; Radiolab; Snap Judgment; This American Life) each seems to have a similar aim, and demonstrate the visual aspect of radio could be better utilised generally.
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LibraryThing member detailmuse
If people don’t get out on the wire...well out on the center of that wire, where it’s bouncing...if they just walk across the floor...people won’t listen.
This “documentary comic” (think graphic novel) is about how the best “sausage” of today’s radio storytelling is made. It’s
• where ideas come from and the difference between a topic and a story;
• how character, voice and story structure are used to generate and maintain interest; and
• the critical aspects of sound and editing.
There is excellent information here but be forewarned that it’s visually dense -- packed with detailed comix illustrations and balloons of tiny text. It's not something to read in an hour; instead, read a section at a time and let it percolate before moving on.
This “documentary comic” (think graphic novel) is about how the best “sausage” of today’s radio storytelling is made. It’s
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basically a meta-interview where writers and producers talk about their stories from This American Life, Radiolab, The Moth and others (including a terrific excerpt from “Radio: An Illustrated Guide,” Abel's 1999 look behind-the-scenes at This American Life). In the process, it illustrates:• where ideas come from and the difference between a topic and a story;
• how character, voice and story structure are used to generate and maintain interest; and
• the critical aspects of sound and editing.
There is excellent information here but be forewarned that it’s visually dense -- packed with detailed comix illustrations and balloons of tiny text. It's not something to read in an hour; instead, read a section at a time and let it percolate before moving on.
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LibraryThing member Jaylia3
Back in 1999, cartoonist and writer Jessica Abel wrote a slim but very interesting graphic novel-like book--maybe you’d call it a nonfiction comic book--about how the radio show This American Life creates its often irresistible stories, stories that lead to “driveway moments” where you’ve
At 200+ pages Abel’s new book, Out on the Wire: The Storytelling Secrets of the New Masters of Radio, includes other American radio shows with high quality narrative nonfiction, shows like Snap Judgement, Radio Lab, Planet Money, The Moth, 99% Invisible, and Radio Diaries. The people who work on these shows are characters in the “story” of how they put together their various radio pieces, and Abel uses graphic images in ways that I didn’t expect but that really work well on several levels.
She shows herself interacting and in conversations with many of the radio people she interviewed for the book, creating dialog and pictures that give a sense of the personalities involved while also conveying information about the sometimes varied story processes the shows use--Snap Judgement and This American Life have very different philosophies for instance. Some of the picture panels are set in radio offices, meeting rooms, or broadcast areas, but Abel also puts her characters in a myriad of other more dramatic locations, including wandering around lost in a dense “German forest” and scaling a treacherously steep a rock cliff, images that vividly and charmingly illustrate the creative steps the characters are struggling through.
It’s both amazing and fascinating how much goes into making these shows as compelling as they are--it might take hours or even a whole workday to get 20 seconds right. I’m a big fan of radio, I think it’s natural for a bibliophile to treasure a medium where words play such a key role, so I already loved many of the radio shows in the book but I’m listening now with a lot more alertness and insight into the techniques behind the finished products.
The book is broken into chapters that explore how to: come up with story ideas that will work, find the right characters and voice, structure the story’s components, use sound and music to create images and scene breaks, and edit hours of tape (they still call it that, even in the digital age) into a tight radio segment. I think anyone interested in radio, the creative process, or what it is that makes stories riveting will find this book as fascinating as I did.
I received a free review copy of this book from the publisher through the website LibraryThing. Review opinions are mine.
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arrived home but can’t get out of the car because you must hear how those stories end. I’ve treasured my copy of Radio: An Illustrated Guide for years and now Abel has written a greatly expanded update. At 200+ pages Abel’s new book, Out on the Wire: The Storytelling Secrets of the New Masters of Radio, includes other American radio shows with high quality narrative nonfiction, shows like Snap Judgement, Radio Lab, Planet Money, The Moth, 99% Invisible, and Radio Diaries. The people who work on these shows are characters in the “story” of how they put together their various radio pieces, and Abel uses graphic images in ways that I didn’t expect but that really work well on several levels.
She shows herself interacting and in conversations with many of the radio people she interviewed for the book, creating dialog and pictures that give a sense of the personalities involved while also conveying information about the sometimes varied story processes the shows use--Snap Judgement and This American Life have very different philosophies for instance. Some of the picture panels are set in radio offices, meeting rooms, or broadcast areas, but Abel also puts her characters in a myriad of other more dramatic locations, including wandering around lost in a dense “German forest” and scaling a treacherously steep a rock cliff, images that vividly and charmingly illustrate the creative steps the characters are struggling through.
It’s both amazing and fascinating how much goes into making these shows as compelling as they are--it might take hours or even a whole workday to get 20 seconds right. I’m a big fan of radio, I think it’s natural for a bibliophile to treasure a medium where words play such a key role, so I already loved many of the radio shows in the book but I’m listening now with a lot more alertness and insight into the techniques behind the finished products.
The book is broken into chapters that explore how to: come up with story ideas that will work, find the right characters and voice, structure the story’s components, use sound and music to create images and scene breaks, and edit hours of tape (they still call it that, even in the digital age) into a tight radio segment. I think anyone interested in radio, the creative process, or what it is that makes stories riveting will find this book as fascinating as I did.
I received a free review copy of this book from the publisher through the website LibraryThing. Review opinions are mine.
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LibraryThing member bassocantor
"You have to Develop a Thicker Skin -- You Just Have to"
OUT ON THE WIRE is one of the most creative books I have read in recent times. Plus, it's just flat-out fun to read. The author, Jessica Abel, combines her love for radio with her expertise in design of comics. The artwork and illustrations
One of the fun things I learned from this book was the existence of several radio studios that happen to be located near me. I actually looked up two of the studios: "99 Percent Invisible" and Snap Judgment." They both happen to be located in Oakland, very close to where I live. It turns out, they produce some really innovative programs; glad I found out about them!
On the practical side, the author discusses the importance of audio quality in conducting interviews. It never occurred to me that the microphone was all that important, but the author explains why that is so. I did not know, for example, that one must always use an external microphone--not one of the cheap microphones built into your smartphone. Oops! Honestly, I had never thought of that. As another example of the practical takeaways from this book, Jessica explains the fine details of microphone placement. I did not know for example, that in order to avoid the "pops" from a microphone you have to place the microphone below the interviewee's mouth. Another great tip.
Jessica takes the reader behind the scenes to a number of different radio studios. You get to see what actually happens in the "edits" (i.e., editing sessions) as they are called. It turns out that a tremendous amount of time and energy goes on behind the scenes for even a short radio broadcast. One must be able to absorb a LOT of criticism.
The author interviews producers of radio shows, in order to understand the important parts of a good radio show. For example, one producer explains how important it is to hook the listener immediately. To see if you're on the right track, use this little test: Explain two things: "I'm doing a story about X. And what's interesting about it is Y."
√ All in all, OUT ON THE WIRE is a delightful, fun read--fully of interesting stories and adventures about what really happens behind the scenes in the world of radio. I actually found the book to be inspirational. I especially enjoyed hearing about the studios near where I live. At the end of the book, the author includes an extensive "Notes" section, in which she provides references for the main body of the book.
Highly recommend!
Advance copy provided for impartial review courtesy of the LibraryThing
OUT ON THE WIRE is one of the most creative books I have read in recent times. Plus, it's just flat-out fun to read. The author, Jessica Abel, combines her love for radio with her expertise in design of comics. The artwork and illustrations
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are really well done. (Of course, one would expect this from an author with it with extensive experience in in explaining how to write comics.)One of the fun things I learned from this book was the existence of several radio studios that happen to be located near me. I actually looked up two of the studios: "99 Percent Invisible" and Snap Judgment." They both happen to be located in Oakland, very close to where I live. It turns out, they produce some really innovative programs; glad I found out about them!
On the practical side, the author discusses the importance of audio quality in conducting interviews. It never occurred to me that the microphone was all that important, but the author explains why that is so. I did not know, for example, that one must always use an external microphone--not one of the cheap microphones built into your smartphone. Oops! Honestly, I had never thought of that. As another example of the practical takeaways from this book, Jessica explains the fine details of microphone placement. I did not know for example, that in order to avoid the "pops" from a microphone you have to place the microphone below the interviewee's mouth. Another great tip.
Jessica takes the reader behind the scenes to a number of different radio studios. You get to see what actually happens in the "edits" (i.e., editing sessions) as they are called. It turns out that a tremendous amount of time and energy goes on behind the scenes for even a short radio broadcast. One must be able to absorb a LOT of criticism.
The author interviews producers of radio shows, in order to understand the important parts of a good radio show. For example, one producer explains how important it is to hook the listener immediately. To see if you're on the right track, use this little test: Explain two things: "I'm doing a story about X. And what's interesting about it is Y."
√ All in all, OUT ON THE WIRE is a delightful, fun read--fully of interesting stories and adventures about what really happens behind the scenes in the world of radio. I actually found the book to be inspirational. I especially enjoyed hearing about the studios near where I live. At the end of the book, the author includes an extensive "Notes" section, in which she provides references for the main body of the book.
Highly recommend!
Advance copy provided for impartial review courtesy of the LibraryThing
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LibraryThing member kvrfan
There is a renaissance that's being happening in radio that has grown a small army of devoted fans over the past two decades. Having nothing to do with the Limbaughs and other bloviates, this renaissance has created a new genre that broadly might be called "narrative radio," which sets out to do
"This American Life." "The Moth." "Snap Judgment." "RadioLab." These are shows in the vanguard of the narrative radio movement. In "Out On the Wire," cartoonist Jessica Abel tells her own story of just how these shows are put together from concept to final edit in comic-book form.
Yes, comic-book form. And while a prospective reader interested in the topic might be skeptical about that approach, it works. While plenty of head-shots occupy the frames when the principals are explaining the process of putting a radio episode together, when they begin talking technology, we can see the equipment in the studios being put to work. Likewise, when Abel's interviewees begin lifting their descriptions onto the heights of metaphor, she can anchor their musings with fanciful sketches to illustrate what they're saying.
Those who are fans of "This American Life," "The Moth," and their sister shows are a natural audience for this book because it illustrates exactly what goes into producing them. But while it may be difficult to convince those who have never heard of any of them that they should also have an interest in such a book, anyone with a creative urge would certainly benefit from it. For to discover what is required to produce a compelling radio episode is to find essentially the same principles that feed any compelling work of art--prose, poetry, painting, film--essentially making it a guidebook to creativity for all.
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real-life story-telling in creatively aural ways. And while those drawn to the production of narrative radio may not rival the numbers who seek out film schools, they possess some of the most creative minds there are."This American Life." "The Moth." "Snap Judgment." "RadioLab." These are shows in the vanguard of the narrative radio movement. In "Out On the Wire," cartoonist Jessica Abel tells her own story of just how these shows are put together from concept to final edit in comic-book form.
Yes, comic-book form. And while a prospective reader interested in the topic might be skeptical about that approach, it works. While plenty of head-shots occupy the frames when the principals are explaining the process of putting a radio episode together, when they begin talking technology, we can see the equipment in the studios being put to work. Likewise, when Abel's interviewees begin lifting their descriptions onto the heights of metaphor, she can anchor their musings with fanciful sketches to illustrate what they're saying.
Those who are fans of "This American Life," "The Moth," and their sister shows are a natural audience for this book because it illustrates exactly what goes into producing them. But while it may be difficult to convince those who have never heard of any of them that they should also have an interest in such a book, anyone with a creative urge would certainly benefit from it. For to discover what is required to produce a compelling radio episode is to find essentially the same principles that feed any compelling work of art--prose, poetry, painting, film--essentially making it a guidebook to creativity for all.
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LibraryThing member anyanwubutler
This graphic novel—it’s not a novel- I’m not sure what to call it, the author calls them journalistic comics, at one point, is about NPR’s programming like “This American Life,” “The Moth” and “Radio Lab” and podcasts that I don’t listen to, but am going to have to start
Ira Glass has no name for this kind of journalism, calling it ‘stories,’ or ‘narrative journalism.’ Rob Rosenthal of the Transom Workshop came up with a useful focus sentence. “Somebody (A character in motion. Doing something.) does something because ___(a motivation for doing that thing) but ___(A challenge to overcome.).” (52)
For an NPR junkie like me, this is terrific stuff! Received as an ARC from B/D/W/Y Books aka Random House (publisher) through Librarything 4/15/15
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listening to like “Snap Judgment,” “Radio Diaries, “99% Invisible.” Ira Glass has no name for this kind of journalism, calling it ‘stories,’ or ‘narrative journalism.’ Rob Rosenthal of the Transom Workshop came up with a useful focus sentence. “Somebody (A character in motion. Doing something.) does something because ___(a motivation for doing that thing) but ___(A challenge to overcome.).” (52)
For an NPR junkie like me, this is terrific stuff! Received as an ARC from B/D/W/Y Books aka Random House (publisher) through Librarything 4/15/15
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LibraryThing member kbuxton
If you love podcasts like This American Life, Radiolab and Planet Money, read this book. It's a look at how they tell their stories in comic book form.
I'll absolutely need to track down a copy of this once it's fully published since this Early Reviewers copy is missing the forward by Ira Glass and
I'll absolutely need to track down a copy of this once it's fully published since this Early Reviewers copy is missing the forward by Ira Glass and
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a few pages are not the final artwork. Show Less
LibraryThing member pbirch01
Writer and cartoonist Jessica Abel uses a graphic novel layout to tell the creative process of how some of the more popular podcasts are produced. I was hesitant at first but ultimately found this to be a really interesting approach to telling the story of both the people and the stories they are
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telling. I was able to learn much more about the creative process from many different viewpoints than I would have from a conventional chapter book. There are so many people interviewed that this would have been very confusing in any other print format. The book is well indexed which is helpful because many specific podcast episodes are referred to throughout the story and its nice to be able to go back and listen to them again. Show Less
LibraryThing member starrywisdom
This graphic novel might be meant for a niche group. If that is the case then I am part of that niche group. What am I getting on about? Well this non-fiction book written as a graphic novel or maybe as the average person might call it a comic book and the wonderfully creative people at NPR and
But if you think it won't be for you, then you should know that it is also a lot about the creative process. Yes it tells you how the shows are put together, but the lessons here can applied to other mediums on how to hold an audience.
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IPR.But if you think it won't be for you, then you should know that it is also a lot about the creative process. Yes it tells you how the shows are put together, but the lessons here can applied to other mediums on how to hold an audience.
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LibraryThing member jmgold
Abel's latest book actually serves a number of functions. On the surface it's a behind he scenes account of what goes into the creation of the modern NPR podcasting Renaissance. But beyond that this book is an astonishing manual on storytelling technique and the power of editing.
Abel's passion for
Abel's passion for
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the material comes shining through. Show Less
LibraryThing member Daniel.Estes
Out of the Wire is an interesting peak behind the scenes at the world of radio storytelling. My first impression was that it was overly wordy for a comic about concise storytelling. The dialogue boxes are less dense by the end, but the whole first chapter seems needlessly crowded. I think those
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readers more invested in the medium or the industry will be less bothered by it. Show Less
LibraryThing member laze
A graphic storytelling of radio storytelling that feels like documentary film storytelling. Quite enjoyable and clearly a labor of love.
LibraryThing member hamlet61
I am a long-time fan of comics and graphic novels. When I received my review copy of Out on the Wire: The Storytelling Secrets of the New Masters of Radio, by Jessica Abel, I was simultaneously intrigued and skeptical. I thought, “A comic book about how public radio is made? How is that possible?
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This better be good.” It was. Ms. Abel has given us a unique experience that is both well-drawn and verbally engaging. With excellent depictions of Ira Glass and herself and intricate panels that illustrate dark woods, mountaintops, and radio studios, Ms. Abel takes us on a journey of how most of our favorite public radio shows are created—both the physical creation and the thought behind how it is done. This might not seem like a worthwhile mission, however, much like public radio itself, Out on the Wire is curiously compelling—a page turner in its own right. In her introduction, Ms. Abel refers to “driveway moments.” Those are the moments when you are listening to radio in your car, you arrive at your destination but stay in the car to hear the end of the story. Out on the Wire had the same effect on me, as I found myself reading for just a little bit longer to “see” what would happen. When I finished the book in one sitting, I realized that Ms. Abel had accomplished her mission. A comic book about how public radio is made is not only possible, it is thoroughly enjoyable. Show Less
LibraryThing member Daniel.Estes
Out of the Wire is an interesting peak behind the scenes at the world of radio storytelling. My first impression was that it was overly wordy for a comic about concise storytelling. The dialogue boxes are less dense by the end, but the whole first chapter seems needlessly crowded. I think those
Show More
readers more invested in the medium or the industry will be less bothered by it. Show Less
LibraryThing member firewontquell
As an avid NPR listener, I loved this book! It really gave in insight into how podcasts are created, from the very early conception of an idea to the later editing, edits (there is a distinction, so I learned!), and final production. I also liked the advice in the book for general interviewing and
I've already leant the book out to another NPR fan. Highly recommended.
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story telling. (For example, when at a loss what to ask someone during an interview, ask "What did you expect to happen, and how is what happened different?") I listened to a bunch of This American Life episodes after reading this, and had new found insight into the episodes.I've already leant the book out to another NPR fan. Highly recommended.
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LibraryThing member detailmuse
If people don’t get out on the wire...well out on the center of that wire, where it’s bouncing...if they just walk across the floor...people won’t listen.
This “documentary comic” (think graphic novel) is about how the best “sausage” of today’s radio storytelling is made. It’s
• where ideas come from and the difference between a topic and a story;
• how character, voice and story structure are used to generate and maintain interest; and
• the critical aspects of sound and editing.
There is excellent information here but be forewarned that it’s visually dense -- packed with detailed comix illustrations and balloons of tiny text. It's not something to read in an hour; instead, read a section at a time and let it percolate before moving on.
This “documentary comic” (think graphic novel) is about how the best “sausage” of today’s radio storytelling is made. It’s
Show More
basically a meta-interview where writers and producers talk about their stories from This American Life, Radiolab, The Moth and others (including a terrific excerpt from “Radio: An Illustrated Guide,” Abel's 1999 look behind-the-scenes at This American Life). In the process, it illustrates:• where ideas come from and the difference between a topic and a story;
• how character, voice and story structure are used to generate and maintain interest; and
• the critical aspects of sound and editing.
There is excellent information here but be forewarned that it’s visually dense -- packed with detailed comix illustrations and balloons of tiny text. It's not something to read in an hour; instead, read a section at a time and let it percolate before moving on.
Show Less
LibraryThing member jreinhart
As a podcaster I looked forward to this book with much excitement. It is nicely drawn and has an interesting story. But, it is really just run of the mill nothing more than your average publication. Don't buy it until you find it on clearance.
LibraryThing member firewontquell
As an avid NPR listener, I loved this book! It really gave in insight into how podcasts are created, from the very early conception of an idea to the later editing, edits (there is a distinction, so I learned!), and final production. I also liked the advice in the book for general interviewing and
I've already leant the book out to another NPR fan. Highly recommended.
Show More
story telling. (For example, when at a loss what to ask someone during an interview, ask "What did you expect to happen, and how is what happened different?") I listened to a bunch of This American Life episodes after reading this, and had new found insight into the episodes.I've already leant the book out to another NPR fan. Highly recommended.
Show Less
Awards
Kirkus Reviews Best Book of the Year (Nonfiction — 2015)
Language
Original language
English
Original publication date
2015
Physical description
240 p.; 9.04 inches
ISBN
9780385348430