• Where do you think you’ve got the best pacing and articulation in a podcast you’ve done? Where is your pacing not that good? Where could the articulation be better? Be sure to explain why! Name the assignment and ID the rough time stamp for each good and not-so-good example. Be ready to share those excerpts with the class.

I think that throughout my podcast assignments, I see a consistent trend in a faster pace of my intro and outro, where I feel as though I am taking more time iterating my story in the “meat” of the podcast. Due to the short time constraints of the outro and intro often feel I need to cover a lot of land in a very short amount of time so my pacing increases. I also feel that I could be more articulate in my intro and in between ideas in my podcasts. I find myself cutting out a lot of filler words, as well as needing to re-record some sentences as I am not taking my time to articulate each thoughtfully. Specifically in my first peer interview (0:10-0:18). I feel as though this is an example where I am rushing to get through the intro. I don’t give a lot of context as to what this interview is about, introducing the host or interviewee. I feel as though even lacking all this information, I am still very rushed in my delivery. A good example of pacing is in my Audiopostcard Assignment (0:06-0:18). In this intro I sound more relaxed and not as rushed in my delivery. I also give more context as to what is going on, greet the audience, and introduce myself. 

• Feeling. Find your “best” moments of feeling in a podcast project you’ve done. Explain why it works so well, as you listen to it. Name the assignment and ID the rough time stamp.

A podcast assignment I feel really good about is my audio postcard assignment. I think the description of the beach I went to painted a very visible image in the listener’s mind. I also was slower in my delivery and it felt more relaxed compared to previous audio projects. Specifically from (1:07-1:42) where I am describing what I see on the beach, things feel relaxed and conversational, even though there is diversity in the cadence of my speech.

• In Outlining and Ad Libbing, Mike Eiman is trying to help us be a bit more critical about the value of off-the-cuff narration. The research comes into play. You’re working on your scripted story projects. Spend 15 minutes identifying the kinds of information/research you’ll need to really explore the project and pull together a story. You don’t need the outline or all the details. Questions are enough if you also name where you might go for answers. OK. Now, try to put some of that material in some kind of order – introducing some bits, digging deeper into details, order of some possible details, etc.

I want to discover the different journeys of the college experience that students have had at UNE. I think a lot of the questions that I am going to want to dig deeper into will lie within why students decided on UNE, what unique experiences they have, what clubs or organizations were they involved in, and if they would change anything about their experience. Another thing that I think will change the outcome of each interview is the grade level of the interviewees as the amount of college experience someone has, changes their perspective on school and life in general.