Programs/Publications

Member Spotlight: Stasia DeMarco

May 3, 2007

Stasia DeMarco manages to keep her public radio sensibilities sharp and current even as she works regularly with a commercial station and tries her hand at various web-based productions. From producing commercial station KYW's on-demand podcast to creating audio stories for the web-based magazine Dragonfire, Stasia demonstrates how our audio skills can mesh with the media of the present and, likely, the future. Based in Philadelphia, Stasia got her radio start at KBOO in Portland, Oregon while in grad school.

Transcript


Amy Mayer: Let's get started, then. Stasia, start us off with this: how does your work in commercial radio influence your public radio work?

Stasia:  good one, it works both ways.  First you have to forget you work in public radio entirely when you put on a commercial radio hat b/c commercial radio is 100% different in the mindset in how news is produced...

Stasia: so when I do long format features now I am psyched to be able to let my creative side show.  But commercial podcasting is really getting fun

Amy Mayer: do basic tenets like short sentences and active verbs still apply?

Stasia: Basic Tenets?  One of my positions is radio editor and you NEVER actually edit a thing...   there are no rules universally.  You DO what your boss wants and constantly ask yourself, Would people in Philly care to hear this?  And the scary part is often NO

Amy Mayer: if you don't edit, what do you do?

Stasia: I edit the web site.  I do arts/commercial features that are on-air with a podcast attached on the web

Amy Mayer: how long's a commercial feature?

Stasia: OH I do PSA

Julie Sabatier: How much do you know about the technical aspect of podcasting?

Stasia: I'm about to learn a lot more for a class I am teaching but right now it's an mp3 feature uploaded into a news program and a technician or manager places it on our podserver

Julie Sabatier: Oh...I wish KBOO would get with the podcasting wave.

Amy Mayer: Great question Julie, I've been wondering how technical we need to be to segue into podcasting. Barry has a question for you, Stasia

Stasia: Yes?

Barry Rueger:  Stasia, I'd love to know how your commercial radio co-workers look on public radio people. I know that up here in Canada most private radio people haven't the foggiest notion what happens at the CBC.

Barry: And vice versa of course.

Karen Lewellen: That is a good question Barry, do the commercial folks remain devoted to radio at all?

Stasia:    My commercial radio coworkers listen to the BBC on their way into work and they are appointment listeners to public radio but I took a BEATING for my "public radio  sensibility" when I first started

Amy Mayer: what's an appointment listener? they're assigned to listen to WHYY?

Stasia:    They listen to the BBC at 9am.  TAL, Le show, etc

Barry:  And I have to ask, how does one define a "public radio sensibility"? No Monster Truck ads??

Amy Mayer: Oh, thanks. I guess I'm guilty of the "public radio sensibilities" line by which I only want to get at the fact that producing 3-6 minutes with lots of audio elements is different from :30-:60 second spots w/ phone tape (which, of course, pub radio also does)

Stasia:    Afghanistan. I wanted to lead with a story in 2004 -- second day there.  Everybody says WHO CARES.  Next week Pat Tillman dies and EVERYBODY cares b/c he was an NFL star

Julie Sabatier: Yuck.

Amy Mayer: I actually had sort of hoped Stasia insider view might IMPROVE my impression of commercial radio. Guess not. ;)

Stasia:    I needed to make money and I got double an hour by selling a certain part of my soul...

Amy Mayer: how much has the job compromised your ability to produce pub radio stuff?

Stasia: I had to reduce my hours and take a big financial hit in order to get back into longer format stuff I believe in so I now do about 24 hours of commercial and fill in the blanks from there

Barry: Just guessing Stasia, but I'd bet that writing those crazy short bits for commercial radio tightens up your public radio work too.

Amy Mayer: Good point, Barry, just as pub radio writing improves one's print work.

Amy Mayer: does commercial radio really pay well, or just better than piecemeal public radio freelancing?

Stasia: OK writing first -- yes any type of commercial reporting, when you work with talented people and I DO, you see how creative it can be in 40 seconds. Commercial radio pays well.  NPR pays better if you are full-time.  We are all in AFTRA and WOW is that expensive

Stasia:    But I freelance so my boss can reduce my hours at will and then --as y'all know-- nothing seems to pay enough.

Julie Sabatier:  No kidding.

Amy Mayer: So you're not guaranteed 24 hours?

Stasia: NO...I was hired to have at least 24 hours but I was working 32 hours over 5 days in a 24 hour rotation... I couldn't take 2a-10a on Sat/Sun, 4a-8a on Mon/Tues and 4p-12a on Wed.  I was a lunatic

Amy Mayer: That does sound miserable. So, let's talk more about that work you care about then, but first: if  anyone wants to ask Stasia something, jump in or private message me that you would like to ask something...

Amy Mayer: So, what's something interesting that you're currently working on?

Stasia: Designing an audio course in one paragraph by tomorrow

Stasia: I want to address something I got privately...

Julie Sabatier:    I can ask my question publicly if you'd like. I just didn't want to interrupt.

Stasia:    I think that the market you are in can be a big factor when it comes to freelancing.  I often think Portland is an awesome city but really small.  I left KBOO to try bigger...and it is better money. But if you can make a niche for yourself you can sell the same story to NPR and CBS

Amy Mayer:    Have you stayed in Philly b/c the opportunities have been good or do you have ties to Philly that keep you there and so you've had to FIND opportunities?

Julie Sabatier:    I don't think I'd ever want to work at KBOO again, but it's a great place to volunteer and I'm podcasting my show now so it has a wider audience. Still...no money there. I've been doing a lot more print than radio work but still feeling like I'm hitting some kind of a ceiling in Portland.

Stasia:    I stayed more b/c I own a home and don't know where else to go plus I can commute to NYC and would.  Portland is a great place to start.  KBOO is a gem and I WISH I could do community radio again.

Stasia:    KBOO taught me that I was NOT a Lefty

Karen Lewellen:  It is funny you would bring up Market, I am in NYC, and because there is such little pub radio wonder how folks work here.

Stasia:    WNYC employs them all :>)

Amy Mayer: It's hard for me to imagine Portland as small because I spent five years in Fairbanks, Alaska and now it's been four in Amherst, MA--both rural and remote in different ways. So I imagine ANY city brims with more options than I've had, but I also recognize the value of, as Stasia said, carving out a niche and that can be easier in a small town.

Stasia:    I meant that I applied for the producer position at TAL recently.  Heard not a peep which is fine but I was willing to jump on Amtrak for $1000 a month

Amy Mayer: It is funny that with its population NYC doesn't have proportionately more pub radio stations, though certainly more producers! ... I can't believe TAL would pay just $1000/mo!

Stasia:    NO I WOULD pay $1000 a month to commute to NYC to work for TAl...

Karen Lewellen:  Hi, when you have a chance ask her about her work with Voice of America?  how does one file with them? ... Oops, so much for sending that privately to amy.

Stasia:    Voice of America... I am currently working on a feature on Obesity for them right now and filed a resale to fit within the human interest side of the VA tech shootings. ... Talking about Market. Right now VOA has huge numbers in Africa and India so you need to think of stories they would want to hear but the government is slowly dismantling VOA Radio and going TV/Internet soon.  They just did a round of buy-outs

Amy Mayer: how did you connect with VOA?

Stasia:    VOA found me at WHYY.  Faith was looking for a stringer for two stories and she has been stuck with me ever since.  I love Faith Lapidus and just ignore the politics at VOA

Amy Mayer: Ignoring office/agency/station politics is a major bonus of being independent! What sort of feedback, if any, have you gotten from VOA's global audience?

Stasia:    Absolutely...I hate being called into the newsroom anymore. I Google myself to see who picks up the stories.  VOA can't tell you anything.  I never even know when my stories run

Stasia:    The thing with VOA is you can put months into a feature and it's always $300.  But I pitched NPR recently, got shot down and VOA gave someone else the story...so go figure...I pitch NPR and lost a VOA story

Karen Lewellen:  Hang on a moment, VOA's numbers are strong in the third [world], and they think these folks have internet connections?

Stasia:   They cut Arabic b/c "nobody listens" and VOA's English programming is in their mission so it stays on the air but the resources are being slashed away

Amy Mayer: I don't think Congress has any idea what to do w/ VOA

Stasia:    among other things...I wonder does everybody think podcasting has longevity?

Amy Mayer: great question... I was just going to switch the subject back to podcasting. Anyone? Barry, our humble web guru?

Stasia:    Julie, you, I assume, have a lot of listeners but no advertisers?

Julie Sabatier:    Yeah. That's pretty much it.

Stasia:    Sorry to turn the tables. I actually wanted to be an entertainment lawyer first in the 80s..thent he 90's happened and well...

Julie Sabatier:    I really have no way of tracking my listenership either since I podcast through a free web service

Karen Lewellen:  I recall there was a session at a recent conferece suggesting otherwise, I think it is a fad, after all radio still reaches 99% of us households.

Stasia:    and most Africans love their radios...2008 will be a new VOA again.  I hear the Carter days were rough :>)

Amy Mayer: Julie, Do you have a paypal button? I've heard that simply putting up a button so that anyone who wants to give you money can actually generates revenue, crazy as it sounds (I have not tried this).

Julie Sabatier:    I think podcasting is the wave of the future. All media is moving in the "on demand" direction with Tivo and now video podcasting. I'd rather listen to my favorite shows on my own time rather than tune in to hear them when my local station decides to put them on.  I don't have a paypal button, but I'll look into that.

Barry:    I'll agree with Julie that some form of on demand media is the future. Whether it's podcasting as we know it I doubt, a but a change is happening.

Karen Lewellen:  Tracking podcast listeners is not likely to change, because it is a personal thing.

Stasia:    that's good to know because I am designing an audio course for college and I think I am relying heavily on podcasting styles.   Feature reporting is best on the Internet by the way...

Barry:    At the last IMA that I attended it seemed that the real challenge was making your podcast stand out from the ten thousand frat boys.

Julie Sabatier:    I still think of my show primarily as a radio show, even though a I know most people access it through the podcast.

Barry:    Then again, the frat boys that were podcasting two years ago have all moved on to YouTube :)

Amy Mayer: The thing with on-demand is that it strips away the sense of being connected. What I mean is, if I've got the radio--the real radio--on and something MAJOR happens (presidential assassination, 7.0 earthquake, etc.), I'm going to find out as soon as it hits the AP wire, whether I'm in my car, my kitchen or at my desk. Anything that requires a computer will only interrupt me if I've told it to.

Karen Lewellen:  I keep thinking that if the fight went back to reducing station ownership in so few hands Radio would turn around. You cannot grab a podcast in an emergency, when your computer is down.

Julie Sabatier: I still listen to the news on the radio during the day, but when I want to settle in for an episode of TAL or On the Media or Radio Lab, I do it when it fits my schedule.

Amy Mayer: It's coming up on 9:00. At the top of the hour, we'll pause for 2 minutes...

Karen Lewellen:  Being local is the clue, the podcast listeners I talk too say there is room for both if someone would take the time.

Julie Sabatier: I think that's true.

Barry: Yes, local. I believe that.

Barry: Trouble is the big media guys think that as long as some of the commercials are local, that's enough.

Stasia:    my local podcasts that I do for the commercial station do well.  And they are just on mic two-ways with a lot of ambi b/c I do arts reports. Internet Magazines rock...11 minutes is fine with them.

Amy Mayer: I'm also very curious about the increasing desire of corporations to have proprietary podcasts for their customers. Fascinating to see the medium as a vehicle on par with custom magazines.

Stasia:    I know a woman charging close to $2000 a day to consult on that topic and she was in print media internationally for years. You need a proposal and I am so slow at getting that stuff done. We should make a dummy document section available to members or do we already and I sound silly?

Amy Mayer: That's a great idea. I don't know what all we've got other than, I think, some sample contracts.


Stasia:    Barry do you find the proposal is the way to sell services to the for-profit sector?

Karen Lewellen:  Wow! that much for what seems kind of well cheesie?  Podcasting as I understand it technically is little more than the mp3 thing....still if the market knows this not nehahaha!

Stasia: audio on Internet sites seems to be open season right now

Julie Sabatier: Podcasting is as high quality as you want it to be.

Stasia: I agree. And I can't stream.  I spend most of my life in front of a computer.  I don't have an iPod but that's a finances thing.  Ironic that we podcast without the device itself

Amy Mayer: I don't have an iPod either. Yeah, the irony.

Karen Lewellen:  That made me think of the president of the cable association who could not get cable.

Amy Mayer: Stasia, what was producing audio for the web like before the grand POD factor?

Stasia:  I started with Tompaine.com in 2003 and it was great you could resell and Sharon Basco was a great editor and then they lost their funding and now more sites are incorporating money into their budget for audio reports--not podcasts but the money is not competitive enough. I find Internet sites don't pay a per-minute rate

Amy Mayer: Oh, yeah, I did a Tompaine.com piece back in 2002 or 2003. Totally poor audio quality--they wanted it right away and so recorded me on the phone in a hotel room when I could have produced it... but it was fun. Maybe that's a sea change from internet audio to podcasting--there exist some podcasts that pay well (though they're generally advertising, I think)

Stasia: I think the idea is to be able to keep up with new technology and demand higher rates but it is rough because people, especially in pub radio, will work for too little

Amy Mayer:  And because people from new media (or other places) are coming into podcasting w/o our audio skills but with other technical skills

Stasia: And then meet the audio slide show where the photog gets more than you

Amy Mayer: Stasia, I've got a question from the masses: why do you think it is that pub radio folk will work for so little.

Stasia: Because we have been taught to feel like part of our reporting is "member support".  I used to think you took a vow of poverty to be part of the in-crowd then I decided no it must be trust funds...

Julie Sabatier: The more photographers I meet, the more I think I should have been born with good eyes instead of good ears.

Amy Mayer: Welcome, Guest! another time zone heard from!

Guest: Thanks! It's good to be here!

Amy Mayer: I started in photo. At least as rough a row to hoe and NOBODY remembers photo credits... at least some listeners recognize a reporter's outcue.

Stasia: I cannot take a photograph to save my life but it is HARD to get a photographer to shoot what you want people to hear, I find

Amy Mayer:    Thing is, you know at the top and mid-levels, people are doing just fine. Like all the familiar names to listeners, those folks are not struggling to pay their bills.

Julie Sabatier:    But they also have to deal with office politics, remember.

Amy Mayer: Well, there is that. But they also get health insurance and retirement for their troubles.. what kills me is that those are the people who will screw us out of a hundred bucks, when what's that to them?

Karen Lewellen:  You know, I am of a mind that there is an indy image problem.  Perhaps those of whom you speak do not understand the other side.  They just think you  do not want to really work  otherwise you would be at a station.

Stasia: But getting in is really hard and I think the feeling of insider baseball makes it difficult to get jazzed to get in and then get the lowest tier for what I hear is some SERIOUS editing

Guest: What do you mean by "serious editing"?

Stasia: And getting called for tape synchs for $75 is for college kids at feeder stations. I mean you need me to be available for multiple edits at any hour for an unknown period of time

Guest: Ah, yes, those are familiar.

Stasia: I often cannot commit to that.  Why not set some boundaries?

Guest: It's an interesting point.

Amy Mayer: Stasia, I don't want to let you go without addressing your fellowship--that elusive but cushy prize--from a few years back. Could you talk about the project you did on Muslims and Arabs in the US?

Stasia: Cushy? LOL...

Amy Mayer: oh, don't shatter my image of fellowships, please!

Stasia: Fellowships rock but they ARE like a mini-Phd in 5 days

Stasia:  Islam.  I covered an Islam conference, ICAN in 2002 for VOA and Tompaine.com and I just kept covering American Muslim stories and it is really hard...so I applied for the fellowship and found myself with 19 reporters 17 were from print and one was the guy who busted Bernard Law for Boston's pedophilia debacle.  NPR's Deborah Amos was there as a guide and it was amazing how much they put onto educating us about Islam in America from every angle art to the FBI...

Stasia: Funny story--I complained to Deborah Amos that when I pitched NRP on American Muslim stories, I often got Oh we do too many of them.  she told me she got the same response...from Syria and Baghdad.

Karen Lewellen:  How cool that must have been!

Stasia: It was awesome.  I wish I had the time and money to do more.  Third Coast is invaluable And my fellowship made me a much better reporter but didn't pay me or make me money in that I went and filed 10 more stories.

Stasia:    Some fellowships and awards do pay and that is great thing!

Amy Mayer: that's too bad that yours didn't, but perhaps not all that surprising. Are there any others that you have your eye on?

Stasia: It was so worth it.  I love to learn. Right now I thought I wanted a full-time job and now I really want to teach again so I can apply for a Fulbright [Yah I think small]

Amy Mayer: If you had another fellowship do you feel you'd approach the what-can-I-sell-from-this factor differently, or would you do an unpaid one again for the love of learning?

Amy Mayer: I typed that before you mentioned the Fulbright. You don't have to be employed to apply for one, you know...

Stasia: it's easier to get a Fulbright if you are teaching. I also need to get back to grant writing.  Fellowship writing is the same gig and that is quite a time eater. I often want to pay DEI to write for me.  Anybody done that?

Amy Mayer: DEI?

Stasia: I say this like I have money

Stasia: Izzie Smith's org.  They will charge a cheaper fee to indies writing grants.

Amy Mayer: Oh, very interesting. I have poured many hours into unsuccessful fellowship and grant apps.

Amy Mayer:

Stasia: Third Coast is really where I want to pay the money to go again.  DEI had a session in 2006 that is a must listen to on the third coast site.

Karen Lewellen:  Actually I write grants for others as a part of my nonprofit consulting hat... but I would  employ someone to do one for me personally.

Guest: What does DEI stand for?

Stasia: The acronym for the company...BARRY? Grants I think are what all indys need to go for to float and if you can write them...I took two courses and I know a lot but SHEESH

Amy Mayer: I looked up DEI and the website is deiwork.site.org but the acronym is not spelled out.

(editor's note: Development Exchange Inc.)

Stasia: Guest are you station based at all?

Guest:  Yes, I work at (a local station). I will check the DEI website. Thanks for the URL.

Stasia: What type of work do you do

Guest:  oh I'm a reporter and fill-in host but I do a good deal of freelancing.

Stasia:   I love hosting. I am doing the Public Radio Talent quest just to fulfill that love.  I got to host at KBOO.  Such fun.

Amy Mayer: Guest, what do you fantasize about when you consider leaving the steady paycheck for freelancing?

Guest:   ah.... not having to deal with the office politics, as Karen mentioned, setting my own hours and selecting all my own stories (which I do mostly anyway)... but also not being tethered geographically.

Amy Mayer: I got "removed" from a hosting job and it so frustrated me that it is the reason I, too, entered the Quest even though I have mixed feelings about it. I do miss hosting.

Karen Lewellen:  Such an education folks, thanks.

Guest: I didn't know you got "removed." Sounds lame and weird. I entered the Quest too, on a lark, with no real hopes or expectations out of it.

Amy Mayer: you may not be tethered in one sense, but there's always a trade off. You can choose where to live but it's a tough go to earn enough to travel from a fixed home base.

Guest: What have you all thought of the talent quest so far?

Amy Mayer: I've listened to very little and I think it's an interesting approach but sort of cheesy.

Stasia: I am entering blind.  I am confused by it.  I am hoping CPB is playing a strong leadership role so it will work

Karen Lewellen:  Hosting is mainly what I wish to do, with documentaries as side projects...have not tried for the Talent Quest though.

Amy Mayer: Documentaries strike me as rather GIANT side projects, Karen!

Stasia: Do the Talent Quest.  I am filing mine this weekend.  We are the people I think they should be looking at and we'll all hire each other if we get picked :>)

Guest: I will be very curious to see which 10 entrants are selected to move to the next round.

Karen Lewellen:  I think it is odd to use tax payers' money for prizes as they are planning.

Stasia: How much input do the "voters" really have?

Guest:  Voters select one of the ten finalists.

Stasia: Isn't there a panel of judges too?

Guest: Yes, the panel of judges select the other 9 finalists. I entered, with (another producer), mostly to get money for (our radio show).

Amy Mayer: Stasia--your point is mine. Why should the complete novices be in the same pool as those of us "within the system"? I think the powers that be overlook the vast talent pool of seasoned station-based and independent producers and this would have been a time to go out and find some of the best of those, perhaps in addition to something more public, but not putting all of us in the same pool. But I thought it was one person, one entry, how'd you enter together, Guest?
 
Karen Lewellen:  I will have to check it out, not sure if I can even get into the site.  PRX in general tends to be rather non-me friendly (grin).

Guest: (Another producer) and I entered separate entries -- but for the same goal. Yes, I have no idea how on earth they'd judge experienced folk, like us, with the podcasters and random folks with their political rants.

Stasia: I was hoping the names I "know" that are judges would help more than "points earned".

Guest: yes, Stasia, they likely would.

Amy Mayer: I did NOT send major emails asking people to vote for me. I don't expect to get more votes than my own for me. Frankly, I put up something I thought was fun and cute and that I am certain will get me nowhere. Which is fine. maybe not the best use of my time, but fine.

Stasia: There are people out there who have a lot of experience who have entered and I wonder how much the "age range" is a factor.  I'm 37 so...

Guest: I've had a minor issue with some of the comments that have been posted about people's entries. A few people have been a bit more negative than I think is merited.

Amy Mayer: Guest, I'm impressed that you still have ties to a college radio production you worked on in grad school. Stasia, what are some lasting values of your grad school experience?

Guest: Lol... I'm impressed by it too, sometimes. Mostly (the other producer) keeps it going and I try to support her. We actually don't air on (a radio station) anymore. We're on (another station) (Our city's 2nd tier NPR station) and the web and a podcast.

 
Amy Mayer: Wow! That's impressive. Is there any money in it? Does Tamara get paid?

Stasia: I went to grad school for Comm but studied feminist theory, linguistic and philosophy.  But I had an awesome print feature writing course as an elective and that's partially what got me into feature reporting.  I hate spot news :)

Guest:    We just won a PRX re-versioning grant, actually, and will be retooling a number of episodes for a PRX roll out. Oh no, none of us get paid anything. We can never really get that side of things together. For a while (a well known announcer) was hosting and we thought we were going to become a alt.npr podcast but it never happened. On the plus side though, I've been able to sell a number of stories I did for (my radio show). Stories that no one would have commissioned or that I wouldn't have been able to sell, probably, but since they were already "done", as it were, they just had to listen and then wanted the piece.

Amy Mayer: So, Stasia, your degree was more academic training than journalism training? With some reporting tossed in? Did you totally learn radio at KBOO? (I learned some in grad school.)

Stasia: Radio-TV-Film undergrad and then all KBOO. So Guest do you have a tight relationship with NPR?

Guest:  Me? I don't know if I'd use the word "tight." I think it's hot and cold, like for a number of people, depending on whether anything big is happening in (our city). When it's not, it's tough to stay on the radar, you know.

Stasia: It seems if you have an editor than life is easier to pitch NPR

Guest: Is that the case? ... How did you find it?

Stasia:  the people I know that file regularly are working with editors not bureau chiefs but editors also change

Guest: Oh. I've worked with editors from time to time, but no one regularly. Frankly, I never can tell if I'm supposed to pitch the editor or (people I know). I really have enjoyed working with the editors... people like Steve Drummond and Ken Rudin.

Stasia: Laura Bertran never took a pitch but was very gracious.  It seems like the more high profile NPR gets the harder it gets to know what they want

Amy Mayer: I never sold anything to Kate from Alaska (I was there pre-Alisa, I think.) I sold to other editors quite randomly. Just recently (after 4 years) did my first piece with "my" bureau chief...

Stasia: And I don't need to file for NPR but the fact that I can't makes me [want to] do it just ONCE.

Guest: Why can't you? Because they won't take the pitches?  Is your bureau chief Andrea de Leon?

Amy Mayer: I vacillate between "if NPR doesn't want me I don't want them" and "but this really is a great NPR piece!" Yes.

Stasia: Yes and we have met and she's friendly

Stasia:  Amy and I discussed this earlier...how much pre-reporting do you need to do to pitch?

Guest: Oh that's a tricky question.

Karen Lewellen:  I would think it depended on the topic, I got Tom Cole to take a pitch once with no pre-reporting at all.

Guest:  Sometimes I'll maybe put in and hour or two of pre-reporting, mostly just making a phone call or two, doing a bit of web research and trying to write up a succinct and solid pitch.

Stasia: I am getting ready to do that and I hope it gets a little more than... "We'll pass."

Amy Mayer: Sometimes I think I actually over report and then have too much I want to say to distill it down to one concise point, which is all they want in a pitch.

Guest: How long are your pitches, usually?  (I was just rereading what I wrote to make sure I'd been positive!)

Amy Mayer: I try to keep my pitches under 500 words, closer to 300 if I'm really paying attention. I think Marketplace maybe even wants more like 150...

Stasia: Two sentences...And I Paul Ingles was the one that advised on pre-reporting but it looks like they want longer pitches

Guest: I usually send two short paragraphs

Amy Mayer: I know you should be able to distill a story to one focus sentence, but I don't think a two-sentence pitch should be the standard.

Guest: I mean like 3-5 sentences a paragraph, but I also include a 5-7 word slug/headline

Amy Mayer: sometimes if I get feedback on a pitch I realize the rejecting editor has actually missed a point b/c I condensed too much!

Stasia: headlines are great ways to get attention.  My pitching average at VOA is HIGH.

Amy Mayer: Hey you guys, this has been great. I know Stasia has a deadline tomorrow. So, Stasia, Thank you so much for letting us shine the spotlight on you!

Guest:  Thanks for your time, Stasia.

Amy Mayer: I also want to remind everyone that this transcript will be cleaned up (removing HTML tags, etc) and then posted to the Airmedia site. I'll announce on the Daily when it's up. Stasia, thanks again, And Guest and Karen and everyone else who came along for bits here and there--thanks so much! Be sure to join the on-line legal seminar about music in the web-world next month. And send along other member suggestions for future Live Chats.  Good night all!

Stasia: Good Night and Good Luck

Karen Lewellen:  good night ladies!

Guest: Good night, Karen!

Barry: Hey - is everyone wrapped up?

Guest: yup

Barry: Cool, whoever leaves last, turn out the lights.