THANK GOD that week is over.
To say the least, it was really overwhelming and I felt as though I was flung in the deep end with Project Brief 2.
I was really struggling with composing what it is I had in my head. And the stress of creating a visceral piece that was listenable was really hard for me, and ensuring all components were there.

Now for Brief 3…

We are now moving on to SOUND and this idea of SHOW RATHER THAN TELL.

In class we listened to a few pieces that really helped me with my concept of what sound can do, without relying on words to communicate.

“Contagious Laughter”- RadioLab
-overlapping the topic with original (re-created) speech.
– Uses music to support and tie in with the theme, then cuts directly back to the interview
– “laughter” behind the voice to set the scene and the tone
– music used in the interview
– spot sounds
– archival speech with musical score to lift it out of the story
-repitition acting as oral punctuation to keep us on track. If I use a sound that is not delibrate, play it over again to make it sound part of the story.

“Desert Mischief”- Kerry Fletcher
– an image is set up through noises and the piece is a realist way to express place and scene
– location noises
– voices and singing
– develops a space- a location but also tells us who is around= isolation
-sonically, there is a movement shown through contrast

“Trauma”- Kyla Brettle
– uses sounds and immediately you know where you are
– the sounds change the pace and tempo as the scene or situations change

“When Time stood still”- Sharon Davis
– organising principal of the narrative
– sound to go in between time zones
– reverb used on the voice from the past
– dramatisation
– transitioned spot sounds to move between scenes

Reading:
The 5 R’s of Creative Non-Fiction – Lee Gutkind

Gutkind’s article was something of relevance, particuarly as I am an avid writer, so his first “R”- the immersion or real life aspect is so very true in my experience.

The best type of writing is by observation. In some ways, it is very true that all pieces in one way or another stem from a real experience. And observing even the most basic and mundane activities are often the most beneficial in terms of character and ideas.

Important takeaways

-“gather and present information, to teach readers about a person, place, idea or situation combining the creativity of the artistic experience with the essential third “R” in the formula: “Research.” 

– The importance of action as an element in a scene

– “Intimate” is a key distinction in the use of detail when crafting good scenes”, and this is vital in radio as the viewer can not see or read important details. This intimacy needs to be created through sound, which is often the most challenging thing, but really effective when done.

– The framing of a piece is pivotal in the understanding of the story you tell, and the decisions you make in how to frame it says a lot, and makes your listener question you choices. Personally, I am comfortable using the standard, chronological format

Using this in terms of using this non-narrative thinking, a point he makes is something to keep in mind when using it to make radio documentaires and non-fiction pieces.

Listening:

Kyla Brettle- Affairs on the mind

Gripping – to the point I had it playing off my laptop in the car with me because I wanted to find out what happened.
I loved Kyla’s editing, it focused purely on the voice, and even though Kyla’s voice is heard at times (when asking questions), but there is a clear story, beginning-middle-end, and a strong relationship is built with the private detective as well as the wife.
Especially in the final scene where they “pounce” so to say, and are recording/taking photographic proof.

The music is not over used and is used to build tension and bring in the listener’s attention.

It is beautifully executed, and really supports this idea of a “story”- you can picture it as a book.

But I am so beyond frustrated with the woman for getting back with him. What is she thinking!?