Julia R. Barton
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5.24.12
5.22.12

Class in the Shadow of Ukraine’s Orange Revolution

By Julia Barton May 22, 2012

Like her country, Olena Koshil has been running non-stop for 20 years. At only 32, she manages a TV production company in Kiev. She speaks several languages and has been working in national TV since she was a teenager. In 2004, like many other urban professionals, she became involved in the political upheavals known as the Orange Revolution.

In November of that year, on Kiev’s Independence Square, Olena felt her life change for good. She was among thousands who crowded into the square to protest results of the presidential election.

“At one moment everybody understood that it’s the moment you can decide, and you have to take part,” Olena recalls. “And it was a very new feeling for me, for example, and I think for many people.”

That night, Olena and her husband Denis Samygin made up flyers and drove to the outer reaches of Kiev to paste them on bus shelters.

“Don’t go to work, just go to Maidan, because tomorrow, it’s our last chance,” Olena wrote on the flyers.

Olena and the other protesters believed the vote had been rigged in favor of a candidate from the industrialized Eastern part of Ukraine, Victor Yanukovych. The campaign had been incredibly bitter, and opposition candidate Victor Yuschenko had even been poisoned.

After two weeks of protests, the Ukrainian government allowed new elections to take place and that time, Yuschenko won.

Olena was thrilled—and for about a year, she says, the country seemed transformed. But slowly, she watched the energy of the Orange Revolution fade. Three years ago, when new elections came around, Ukrainians elected the candidate who’d been defeated in the Orange Revolution, Victor Yanukovych.

The new government has put some Orange Revolution leaders in jail. That’s upset the European Union, and upset the middle class Ukrainians, who want more links with Western Europe. At this point, Olena is both frustrated and defiant.

“I don’t think that we lost. Because you never lost your experience, you never lose your experience. If you lived the experience, you have that, and this is yours,” she says.

But meanwhile, Olena has a lot to think about in her own life. She has two children. And a few years ago, she and Denis got a mortgage to buy in an apartment in a 100-year-old building in central Kiev. They renovated it to take out all of the Soviet-era touches. The closet-sized bathroom became…a closet. And the old kitchen is now the bathroom.

“It’s very great to have bath-ROOM,” Olena laughs. “Because ‘bathroom’—you have to have to have a room. To have a bathroom with a window, and so big, it’s like extraordinary.”

Olena says she and her circle of friends define “middle class” as having enough money to own an apartment and a car, and to travel abroad. She and her family live comfortably, but for Denis, this sense of comfort pretty much ends at their front door.

“What’s lacking for the middle class is any kind of social protection, as far as health care is concerned, or the legal system,” Denis says. What’s more, he says government bureaucracy makes it hard to run a business. He should know—he’s co-owner of a public relations firm. He says things are getting more corrupt again under the Yanukovych regime.

“More people are talking about how it’s pointless to live here,” Denis says, “and it would be better to leave.” But he and Olena have no plans to go. They care too deeply about Ukraine. After their children were born, Denis even switched from his native Russian to speaking Ukrainian all the time. Denis says this means his wife will usually get the upper hand when they argue, since she’s a native Ukrainian speaker.

Olena grew up in a provincial city southeast of Kiev. Her mother was a pediatrician, and her father an engineer. They were solidly middle class. Except this was the Soviet Union, so the middle class didn’t really exist. Olena remembers going to Soviet military parades with her family.

“From somewhere my father brought these balloons and I [thought] it was a miracle, these balloons. I liked it very much,” Olena recalls.

Balloons felt like a miracle because her parents didn’t have much. In 1991, when Ukraine became a new country, they suddenly had even less.

“My parents were not paid on their work. It was very difficult. There was no money, like there’s no money at all,” she says.

Still, Olena’s parents insisted that she to go to a good school in Kiev. Olena paid her rent in the city by bringing food from the countryside on a two-hour train ride. It eventually paid off: Olena got into university in Kiev and started working as a journalist. Within ten years, she went from hauling plucked chickens on the train to being a national TV editor.

Olena needed determination and energy to succeed in the face of historic change. But now things have started to slow down—and Olena’s not sure she likes that. She describes her current state, half-humorously, as a kind of stagnation, an “existential crisis.”

“Because everything has happened already,” Olena says.

Exciting as her life has been, Olena doesn’t want her children to feel the same pressures she did. Her daughter Sonja, who’s six, has a mobile phone, and 3-year-old Marco knows how to navigate a laptop computer. After Sonja asked for a dog for three years, Olena got her one.

“She has to experience that dreams—if you want something, dreams come true. Just to experience this in her life,” Olena says.

And in the children’s bedroom, the floor is covered in balloons.

5.22.12
5.21.12
5.01.12
3.26.12
2.15.12

Evangelizing in Ukraine

Ukraine’s Embassy of God Evangelical Church Struggles With Founder’s Controversy

When it comes to going to church, Ukraine is mostly Orthodox Christian, but Protestant churches are gaining a foot-hold there.

One of the biggest now is the evangelical Embassy of God, based in the capital Kiev.

The church’s founder, Sunday Adelaja, originally hails from Nigeria and he represents an unusual success for Africans in the former Soviet world.

Adelaja, who grew up in a poor Nigerian village, said couldn’t afford to go to college. Then in 1986, he got a rare offer.

“Of course, thinking about it now looks kind of funny, because I got a scholarship from the Communist party of the Soviet Union,” Adelaja said. “The whole idea was to give scholarships to Africans — young, dynamic Africans who are brilliant — so that they may go back to Africa and do Communist and socialist revolution.”

Adelaja laughs at this because he kept a secret from the Soviet Communists. Before moving to the officially atheist Soviet Union, he became an evangelical Christian. He kept his faith under wraps until the USSR fell apart in 1991.

“I just knew that God was pressing me, pressing upon my heart, to step up from the boat, and step into the water, and try to just offer the word of life, the gospel, to the nation of Ukraine,” Adelaja said.

It wasn’t easy at first. Adelaja said that’s because he’s black.

Africans still face frequent harassment in Ukraine and other parts of the former Soviet Union, and you can still find racist depictions of blacks in the media.

Still, Adelaja managed to get his own Sunday morning television show in the mid 1990s. And his church, Embassy of God, began to grow.

Embassy of God worshippers  (Photo: Julia Barton)

(Worshippers sing a hymn in Russian at an Embassy of God church in suburban Kiev. This branch of the church meets in a Soviet-era auditorium. Photo: Julia Barton)

It now claims to have 100,000 members, though that number is hard to verify. Adelaja preaches the so-called “prosperity gospel,” that God intends the faithful to have financial wealth and happiness. It’s in contrast to the Orthodox Church emphasis on reward in the afterlife.

Adelaja no longer has a TV show, but his church is sprouting branches around Ukraine and beyond.

In suburban Kiev, about 100 Embassy of God members meet in a wood-paneled, Soviet-era auditorium. It’s extremely cold out, and the worshippers keep their coats and hats on as they sway to the music in the sanctuary.

Their pastor, Ruslan Mahmedov, pulls up the day’s Bible verses, in Russian, on his iPad and projects them on a screen behind him.

Many here say Embassy of God helped them when no one else would. Yuri Shostak says that four years ago, when he got out of prison, he was living in the storm sewers. Then he got into a drug rehab program run by the church, and now works there helping other addicts.

“For me, it’s a miracle that I’m here now,” Shostak said. “I have everything. I have clothes, I have shoes. I have people that I love. I’m so grateful that Pastor Adelaja took us in, that he came here to Ukraine.”

But not everyone is glad Sunday Adelaja is in Ukraine. Authorities in the Orthodox Church have condemned him. They say Embassy of God is nothing more than a cult with a charismatic leader. According to Ivan Bodnaruk, a Kiev attorney, it’s worse — the church is a financial scam.

“What is Sunday Adelaja doing in Ukraine? I’ve asked myself that question,” Bodnaruk said. “I think he came here to make money and maybe build a political career.”

Bodnaruk represents hundreds of Ukrainians in a civil case against Adelaja and members of Embassy of God.

It all goes back to an investment fund that church members started here in 2006. The Kings Capital fund promised high dividends. But it turned out to be a Ponzi scheme that bankrupted many investors — people like Elena Urbanskaya. She mortgaged her apartment to invest in King’s Capital. She said Embassy of God members coached her through the whole process. Then the fund collapsed and she lost everything.

“It was a terrible shock for people, because within the church, people trusted each other,” Urbanskaya said.

Embassy of God church (Photo: Julia Barton)

(The main sanctuary of Embassy of God in Kiev is still a temporary structure. The church has been raising funds to build a modern mega-church, but Pastor Sunday Adelaja blames bad publicity from a legal case for hampering their capital campaign. Photo: Julia Barton)

Ukrainian prosecutors maintain that Adelaja ran Kings Capital from behind the scenes. They’re pursuing charges that could put him in prison for up to 12 years. Adelaja denies any involvement.

“Just prove what I have done! I don’t even know what I have done. I’ve never visited the company. I don’t even know where it is,” he said.

Adelaja added that his goal was never to make money and amass power, but to save souls. Now, he said, he can’t walk the streets without someone shouting insults at him, or worse.

“Believe you me. For every day I stay in the Ukraine, I die a thousand deaths,” Adelaja said.

Perhaps it was the below-zero temperatures, but on a recent Sunday morning, the main chapel of Embassy of God was only a third full.

It’s an inflatable structure, like those that house tennis courts. It’s supposed to be temporary.

Embassy of God hopes to build a new mega-church. But that’s on hold for now. Membership and donations are way down. Adelaja blames that on bad publicity from the legal case.

The case could take years to resolve.

2.04.12

Pro-Putin, Anti-Putin

Writing the Best Known Pro-Putin and Anti-Putin Songs

By Julia Barton February 3, 2012

PRI’s The World

Thousands of protesters plan to gather in Russia on Saturday to call for political reform. But Moscow will also host competing rallies, some in support of Russia’s current prime minister and top presidential candidate, Vladimir Putin.

Putin’s supporters and detractors both have pop songs to sing about him. But oddly, Russia’s best-known pro-Putin and anti-Putin songs were written by the very same songwriter.

Alexander Yellin sits in an expensive café in downtown Moscow. The 53-year-old lyricist is partly bald – what’s left of his graying hair is tied back in a pony-tail.

Yellin writes songs that others sing. Ten years ago, he bet a friend $200 that he could create a hit song in Russia on the cheap.

Yellin won the bet. His pop song “A Man Like Putin” became so huge that it’s been translated into English.

When “A Man Like Putin” came out, Putin had been president for two years. Yellin said his song reflected the country’s admiration for the man.

“At that moment, there was such euphoria that there was this new, young leader who’d move the country forward,” Yellin said. “The song was a bit ironic. It wasn’t opposed to Putin—it was written in a way to depict Putin as the ideal man, even the ideal husband for women.”

Yellin may have written “A Man Like Putin” as light satire, but it wasn’t taken that way. Vladimir Putin made it his anthem and even played it at rallies. Yellin, who’d been a dissident rocker in Soviet days, seemed a bit uncomfortable with the embrace.

But even just a few years ago, he told foreign journalists there was no point writing anti-Putin songs—no one would listen to them.

All that changed last September, when now-Prime Minister Putin announced he was running for president — again. A political opposition leader asked Alexander Yellin if he’d write a different kind of song now, one that reflected the country’s disgruntled mood.

Yellin came up with “Our Madhouse Votes for Putin”, which is from the viewpoint of a patient in a psychiatric ward. “Why is there a hole in my head, and in the budget?” he asks his doctor. “Why instead of tomorrow today is yesterday?

“It’s all so complicated!” the patient concludes. “It’s just too messed up. Our madhouse will vote for Putin, and with Putin we’ll be happy.”

Alexander Yellin said mental illness provides an obvious metaphor for the way Russians view their leaders.

“Schizophrenia seems to me inherent in Russians,” he said. “On the one hand, Russians don’t love those in power, but on the other, they just go along with everything that’s done in the political arena.”

Yellin and his group Rabfak—a Soviet acronym for “Workers’ College”—released the song in October and the video went viral.

Rabfak performed at protest rallies here in Moscow last December. A group of Russian linguists named “Our Madhouse Votes for Putin” the Russian phrase of the year. The last time Yellin won that honor was in 2002—for the phrase “A Man Like Putin.”

All told, Yellin said he made about $8,000 off “A Man Like Putin,” plus the $200 bet. He doesn’t regret writing the song; he even hopes it might get recorded again.

“This time,” he said, “its satirical nature might come through.”

12.23.11
12.12.11

Uzbekistan’s Last Witness

When researcher Steve Swerdlow was on the ground in Uzbekistan in late 2010, Human Rights Watch got a rare glimpse into this isolated, repressive regime. Courageous lawyers, torture victims and their relatives took great risks to tell their stories in a series of audio interviews. Soon after, Human Rights Watch was effectively expelled from the country.

Audio [.mp3] produced by Julia Barton for Human Rights Watch, 12/13/2011.

11.17.11

Soviet Art, Country Music

Why does a country music megastar and all-American guy like Ronnie Dunn — half of what was Nashville’s biggest act, Brooks & Dunn — have a house full of paintings from the Soviet Union? It’s a long story.

Twenty years ago, in the fall of 1991, the Soviet Union was being dismantled, and its highly managed art world vanished in a puff of smoke. Unchanged since Stalin’s time, the government-run Artists Union practiced Socialist Realism as the official style, timid in theme and precise in execution. If you weren’t a member of the Artists Union, tough luck — you couldn’t even buy real paints. When the free market came in, the tables turned fast. For Western collectors, who had the money, dissident and underground art (Grisha Bruskin, Komar and Melamid) was hot; official art (Sergey Gerasimov, Nikolai Timkov) was not.

“We found a lot of paintings that were pulled out from under a bed,” recalls Ray Johnson, a Minneapolis collector who went hunting for official art in the decaying empire. Johnson was emphatically not looking for Communist kitsch. “Maybe five to ten percent of the pieces were purely propaganda, or pieces that the government thought they could use to their advantage. But most of the work the artists did they did for themselves and remained in their studios, until people like myself came from all around the world to collect what was in the studios, as opposed to just what was presented by the museums.”

Johnson assembled the largest private collection of Soviet-era paintings outside Russia, and founded the Museum of Russian Art in Minneapolis with a financial assist from his client Ronnie Dunn. Still, Dunn knows that his passion for Socialist Realism clashes with his image as Nashville royalty. “I kinda don’t want the secret out, to be honest with you,” he tells Studio 360. “I gotta go work on my pick-up, change the oil on my truck. I don’t know anything about this art!”

PRI’s Studio 360 with Kurt Andersen, Nov. 18, 2011

9.19.11
9.16.11

Third Coast



THIRD COAST INTERNATIONAL AUDIO FESTIVAL

Title: Dallas, Pitiless Universe

Produced: Julia Barton

Presented: TCF/WBEZ 91.5, USA, 2011

Collection: Library Spotlight

Tags: First Person, Pop Culture

BEHIND THE SCENES with Julia Barton


Why did you choose this topic, and why now, specifically?

It was actually a commission from Studio 360. They’ve been running this great series called American Icons for years, re-exploring influential moments in American culture, from Moby Dick to I Love Lucy. At the end of this latest round, they asked listeners for their suggestions, and they liked the one about the show Dallas the best.


You interview so many different people for this story, including people in different countries. How involved was the production process and where did you start?

I grew up in Dallas, so I mostly knew whom to talk with there, starting with my best friend from childhood, who was an extra on the show once. And I knew I wanted to talk with the creator of the show, David Jacobs, who turned out to be a fantastic interview.

Then as luck would have it, I was headed to Moldova earlier this year to do some media training in a small town on the border with Romania. So I just googled “Dallas” and “Romania” and found out that the show had a huge influence there. And, better yet, a Romanian tycoon had built a sort of replica of Southfork ranch about three hours by car from where I was staying. So I hired a Moldovan guy with a Romanian passport to take me out there with an interpreter. It was fascinating and a little sad. This didn’t make it into the story, but the tycoon also put a small-sized replica of the Eiffel Tower on his property. He died last year a broken man, having bankrupted himself in his effort to be the J.R.of Romania.


Is it difficult to shape a story that doesn’t necessarily have a central character and narrative arc?  How do you go about giving a story like that structure?

It is tricky. Musical moments helped a lot with this. I knew I wanted the Dallas theme to blast out somewhere, and also to include Jimmy Dale Gilmore’s great song about Dallas. Then I found these other weird artifacts, like the Howard Keel song “J.R.! Who do you think you are?” from the album Dallas: the Musical Story. These are all great songs — some serious, some sad, some cheesy. And they’re all supposedly about the same place, but in name only. They helped me navigate through all the different versions of “Dallas” I wanted to explore.

At Southfork Ranch, this immigrant from the Democratic Republic of Congo sang me the Dallas theme song in French. Once I found the lyrics to that, I knew that was going to be the end of the piece.

But in between all the musical moments, my editor David Krasnow and I did a lot of anguished rewriting. I talked about some of this recently on Transom. It was really hard to get this story to flow in the right way, and we probably went through about 10 scripts.


This story is really funny, and it sort of subtly makes fun of Dallas while also giving it due credit. How did you think about using humor in this story or in your work in general?

Dallas is funny — come on. We took mercy on it by not including the infamous “It was all a dream” scene which turned the whole seventh season into one big delusion of Pamela Ewing’s so that Patrick Duffy could get back on the series after his character died. But a lot of people love Dallas and it’s had a huge influence both abroad and in my home town. The different effects it had are very interesting to me.

At the end of the piece you say that although Dallas still plays in other countries all over the world, it’s no longer on television in America because “we know the story too well, we all live in Dallas now.” Will you explain a little bit more about what you mean by that? And if Dallas is no longer the kind of entertainment we’re seeking, can you think of a show that would be the anti-Dallas?

I left Dallas in 1987 for college, but it’s followed me everywhere by expanding to fill the national space. In 1992, the three major candidates for president - George Bush, Sr., H. Ross Perot, and Bill Clinton - all came from a triangle centered on Dallas. George W. Bush lives there now, and Rick Perry may well carry Dallas money all the way through the next presidential race. What I meant by that line is that with Dallas now so politically and culturally dominant, it’s not an intriguing mystery for Hollywood to chew on anymore.

The anti-Dallas? Yes, I have that all mapped out. It would be 10-part miniseries about the followers of 19th-century French utopian Charles Marie Fourier. Fourier dreamed of a world where we would no longer follow the laws of man or religion, but realign our social structures according to the laws governing our inner passions, which Fourier had conveniently discovered and tabulated. Though dismissed in his day as something of a pervert and crank, his critique of modern life influenced Marx and intrigued many Russians thinkers, such as Fyodor Dostoyevsky. Fourier died in the 1830s, but many of his followers helped lead social revolutions in Europe in 1848. Then they were exiled or forced underground, and some decided to start a Fourierist colony in the United States.

It was a disaster. The differences between Fourier’s theories and reality on the ground led to a lot of tragic — and some very tragicomic — scenes. After the whole thing disbanded, the wealthier colonists went back to Europe, but many others had to stay and build new lives in a small town nearby called —

oops —

Dallas, Texas.

I recommend Owen Wilson for the lead. Please contact my agent.

Third Coast International Audio Festival Library Spotlight

7.21.11

Naptime

 

Just a little piece I did for the Third Coast Audio Festival in 2006. The rules were:

- each starts with some manifestation of: “To begin with, they never got along.”

- each includes a discernible pre-recorded voice, rhythmic noise, and exclamation

- each lasts exactly 2:30 minutes

(Source: thirdcoastfestival.org)

6.21.11

The Editor in Your Brain

[Transom.org]

Animal, Vegetable, or Mineral?

by Julia Barton

Some of us have been lucky enough to work long past midnight on a radio feature that needs to air later that same morning. We finish the script at midnight and, not wanting to bother anyone, record the tracks and throw it together. Around two, we leave our desk covered with highlighted tape logs and greasy bits of take-out bok choi, go home to sleep for four hours and 33:30 minutes, and then turn on the radio. What we hear is utter crap. When the story is not excruciating and boring, it’s goofy and pathetic. It makes no sense. All that work for nothing.

I’m not being sarcastic when I say one is lucky to have this experience. In our age of digital tweaking and re-tweaking, not everyone gets sliced by the refreshing guillotine of broadcast deadlines. They force us to stop being producers and hear our work as listeners. Only when our minds stop composing and filling in blanks can they start to comprehend what is happening—and failing to happen—in an audio feature.

There are almost immutable rules that govern how we best absorb information and ideas via audio. But even the best of us have a hard time following these rules when we’re composing a story. I’m pretty convinced that’s because we are actually different people when we’re composing. We’re using a different side of the brain than what the listener is using when he or she hears our story.

David Krasnow
David Krasnow

If only there were some kind of formula we could all follow in our blindness. But there isn’t. Studio 360 editor David Krasnow has been doing this kind of work for 20 years. “Every piece feels like reinventing the wheel,” he tells me. Every story has its own constraints and its own best structure.

That said, you can get great insight into the process by reading the words of experienced producers. But one of the most relevant things I’ve read about our craft actually comes from playwright Tom Stoppard. “It’s about controlling the flow of information—arriving at the right length and the right speed and in the right order,” he recently told the New Yorker. “If the audience is made to do not enough work, they resent it without knowing it. Too much and they get lost. There’s a perfect pace to be found. And a perfect place that is different for every line of the play.”

For Stoppard, the long give and take of rehearsals and previews are part of the editing process. We should be so lucky in radio. Many of us get no editing at all, or a cursory deadline once-over for length and basic errors. So we, our own selves, may be the only editors in sight (unless certain members of Congress decide to take over this role).

Teaching Yourself to Listen

Longtime public radio editor Deborah George gave a great talk at Third Coast in 2008 about editing called “Just Listen to Yourself.” (When you have 48 minutes to spare, I urge you to listen to the whole thing.)

“As an editor, I have work that has come in and I can tell that the person has not really listened to it themselves,” George says. But, she admits, it takes some “mental trickery” to be able to do that.

She (and others) offer some exercises here to help us better get into the mindset needed to edit our own work. Even if you are working with an editor, teaching yourself to think like an editor is essential. George cites Radio Diaries producer Joe Richman, who says, “An editor can’t create your work for you.” An editor’s role is to take an already strong piece and “make it lovely,” as George puts it.

Before trying George’s exercises and others here, though, I think it’s best to figure out what kind of writer and producer you are. For lack of a better classification system, I like the one Carl Linnaeus used to divide up the natural world: Animal, Vegetable, or Mineral. In my work as an editor, I’ve come across two main types of producers in public radio: those who feel more comfortable working with ideas and information—let’s call those folks Mineral—and those who work more musically and intuitively, from the audio itself (Animals—why not?).

Producers by Type

You could call NPR science blogger Eliza Barclay a Mineral. She came to radio from writing for newspapers and magazines. “It’s really ingrained in me,” she says. “It is truly different….Writing tight for print, you can still do things that you can’t do in radio.” You can throw out a bunch of numbers, names, and titles, for example. But it’s deeper than that.

Barclay had a great piece on The World in November 2009 about Mathias and Guillaume Craig, brothers from the U.S. who single-handedly created sustainable sources of electricity in some of the remotest parts of Nicaragua. But “single-handedly” was the problem—the Craigs forgot to ask the Nicaraguans whether electricity was what they really needed. Their projects had unintended consequences, such as the newly electrified poor spending their life savings on TV sets.

The story was memorable, but Barclay spent four months with The World’s science editor David Baron getting it that way. She was kind enough to share the first draft of her script with us. You can view the draft here.

All the ideas are there, but we’re not really on a journey with anyone. And as listeners, we’re overwhelmed with all the details of how this development project came to be. It’s like looking at a pile of rocks without any clue to the scale of it.

Or what’s lurking beneath this pile of rocks. “A common issue I deal with is that I find reporters give too much away early in the story,” David Baron says. “There’s a tendency to want to say everything up front. That just robs the rest of the piece of mystery and tension. A well-structured story doesn’t just tell you what you need to know—there are things you want to intentionally withhold.”

Here’s the final script Barclay and Baron worked up together.

It flows: from the Craig brothers’ original urge to build windmills for coastal Nicaragua, to their technological successes, to a debate about whether they actually did any good. And in the end, we learn what they learned. We’ve been on a journey with them.

Listen
Listen to a clip from Eliza Barclay’s finished piece for The World

Barclay says she had to do more interviews, probing the Craig brothers about what went wrong, to get the tape that gave the story its impact.

But impact is not all you need. I often hear stories that have an emotional impact, or are trying to have one, but leave me just feeling vaguely manipulated. Or—and it’s hard to listen to a lot of public radio features once you recognize the pattern—they sound like nothing more than an amalgamation of zippy sound bites and atmospheric moments. A sure sign that an Animal producer (probably on a tight deadline) is at work.

“Often what reporters will do is sit down, take their best tape, and put it in order,” Baron says. The editor in all of us has to ask, “What is the story I need to know? It shouldn’t be about ‘This is the best tape I have, how do I order it?’ For the listener, it’s ‘What do I need to know next for this to make sense?’ It may sometimes mean a big block of copy. It may mean using not-great tape, but you need something else to make that point.”

I probably sound like a mineralized hard-ass at this point. But when I produce my own work, logic and ideas still go right out the window. Recently I did a piece for Studio 360 about the TV show “Dallas” for their American Icons series. I grew up in Dallas, so I knew who to talk with there to get great tape. And through dumb luck, I got to go to Romania and visit a “vacation park” modeled on Southfork Ranch. I wrote with complete confidence how the piece should begin and end.

I just forgot to put a whole lot of information between. Like, what was “Dallas” about? What is significant about it still, and why should you stick with me for 12 more minutes to find out?

Here’s the last page of one of the many drafts I went through with Studio 360 editor David Krasnow. You can see me and him trying to wedge all kinds of missing ideas between bits of tape.

The stuffing of the script.
The stuffing of the script.

And here’s the last two minutes of a scratch-mix I did of a later draft:

Listen
Listen to a clip from Julia Barton’s scratch-mix for ‘Studio 360’

Oh, please! Now that I’m getting to the ideas, I won’t shut up. Still, this stage of the process is vital, even if it results in messy writing that mostly will be cut. Without saying the big ideas out loud, you won’t know what they are. So if you think you’re an Animal-type producer, you need to lean on yourself early on to articulate more clearly what your story is about and why it matters. Even before you start reporting.

I got to sit down with David Krasnow before I went out into the field—if one can use that term when reporting about a dead soap opera. He urged me to write about “Dallas” in the same breathlessly amused voice I was describing it to him right there. That’s the other job of the features editor—to keep us from losing our personalities completely.

“You lose your voice just struggling with the Lego blocks,” Krasnow says. “When you go to the bar with a friend, you always sound like yourself. When you’re struggling with tape, you’re just a constructor.”

Here’s how our story turned out in the end.

Listen
Listen to Julia Barton’s finished piece for ‘Studio 360’

And I do mean “our” story. For all this advice about being your own editor, I don’t think we can produce good work alone. Radio is a two-way process, and I’ve come to relish the collaborative aspect of it.

So which are you, Animal, Vegetable or Mineral? I look forward to your thoughts below.

Yes, I did forget to define Vegetable. Vegetable is what you are after a rigorous editing process. But better that than the miserable you who just heard your unedited mess go out on the air.

Additional Resources

Advice for Cultivating Your Inner Editor

Writing for Radio: Ten Yellow Flags – by David Candow

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