All Hear February 2023
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Hello! Welcome (back) to All Hear,
The Everything List for Audio Opportunities.
In case this is your first time: my name is Talia, I’m an audio producer based in London. Last year, I created a Google Doc compiling international audio resources. In this newsletter, you'll find opportunities with upcoming deadlines — grants, residencies, awards and calls for pitches spanning journalism, podcasting, oral history, sound art and more. But I also want to use this space to reflect on some questions that those opportunities raise.
I’ve been thinking a lot recently about curation as a power structure. A little-known secret is that as soon as you have curated something — whether it’s for commissions, awards, funding or whatnot — you realise that so much of that decision making is based on factors outside of the applicant’s control. But you’re only let in on that secret if you have curated, and typically you can only curate if you’re already in some position of power.
Last year, I was lucky enough to select works for an In The Dark listening event. It was a curation of “New Voices” so it suited to have me, a new voice, as one of the curators. From the submissions there were so many brilliant pieces to choose from — our not-so-short shortlist stood at 46, any one of which we would have been happy to play. After dozens of set list variations, we eventually narrowed it down to ten pieces. The process made me think about other curations, each with their own individual conditions, factors that are completely obscured from the applicants.
There are the obvious ones, like personal taste. Then there are less conscious biases: the curators’ life experiences, their mood on that day, their listening conditions. Perhaps the winning piece just happened to hit on a theme or style that a curator is keen to explore in their own work at that moment in time.
And then there’s a matter of logistics; in many cases, curation requires several pieces to work together as a whole. Your piece could be the best, but how does it relate to the others? Do they tell a story together? Do their lengths fit together? If they’re looking for a range of themes and the two best pieces explore the same topic, they have to make a choice. Maybe yours was one the judges argued about. Or maybe it didn’t move them immediately, but stayed with them for a long time.
I’m not trying to put anyone off awards or applications, or suggest that those who win them are products of pure luck. The point is, once you learn that a good piece of work can miss out on prizes for a million different (and occasionally trivial) reasons, rejections become less personal, and applications become less daunting.
February Spotlight
Each month, I spotlight different opportunities that I think are particularly great, largely based on efforts towards accessibility. This month, I’m featuring a long-running and much-loved audio festival: Third Coast.
The Third Coast International Audio Festival
Third Coast is an international audio festival that started in 2000. One of the cornerstones of their programming for the past 23 years has been the Third Coast/RHDF Competition (if you’re ever at a loss for listening inspiration, I would really recommend their archive of past winners). This year's Call for Entries is open through March 10 and welcomes work in any language, so long as you provide an English transcript. They have nine categories, including Best New Artist, Best Documentary: Non-English Language, and Audio Unbound (for innovation within the medium). Each category has several finalists, and there is a cash prize for the main winner of up to $4500, depending on the category. Entry prices vary from $40 to $375 depending on deadline, length of the piece, and independent/institutional production. See their FAQ for more information.
The final deadline is 10th March, 5pm CT.
Over the past few years, the Third Coast team have been working tirelessly to make their competition fairer and more accessible to all. Recent changes include introducing finalists, their collective pricing scheme, and creating a best non-English documentary category. I’ve tried my best to boil down the key information below:
Their Best New Artist Award (BNA) is for creators who published their first piece of audio within two years of the publication date of the piece being entered (it’s a little confusing, but if you have questions about whether you qualify check out the FAQ at the bottom of this page). NOTE: Submissions must have been recorded, written, and mixed by the applicant. This year, for the first time, the Best New Artist finalists can receive dedicated feedback on their piece. Also, Best New Artist applicants can submit their pieces for other applicable categories (e.g. one of the “best documentary” groups) for no extra cost.
Another great feature of Third Coast is their collective pricing model. Rates are thoughtfully weighted by the length of the work, the institutional support applicants have at their disposal, and geographic limitations. The team have even considered currency conversion as a barrier; if you are not based in one of the 25 countries on the IMF’s list of highest GDPs, you can self-select a sliding-scale discount of 10, 25, 50, or 75% from your total entry cost (see the “international submissions” section for a list of ineligible countries).
Unfortunately, the early bird deadline has now passed, meaning it is now $80 for independent producers, which is a considerable amount. However, for applicants submitting work in a non-English language, the early bird rates apply all the way through to the final deadline. If entrants still need additional financial support to access the Competition, email competition [at] thirdcoastfestival [dot] org and they will find a lower rate that works.
If you can’t already tell from their information-heavy website, the team have thought long and hard about these issues. It’s tough to make competitions feel equitable; by nature, they just aren’t. But Third Coast comes pretty close!
More Opportunities:
International
Tribeca Festival - the festival has an audio storytelling wing and is looking for English-language audio storytelling (both fiction and non-fiction welcome). Projects must be 10-90 minutes in length, they can be episodic/serialised or stand-alone pieces but must not have been made publicly available before the festival in June (with some exceptions, see the new eligibility requirements). Applications cost $40.
The deadline is 22nd February.
The Drum Awards - awards for online media. They have a Podcast of the Year section. They have a sliding scale of entry costs from £420 to £122 per entry (VAT inclusive), depending on when you apply and how many you submit (the more you submit, the cheaper it becomes). Drum members receive 20% off, charities receive 40% off.
The early bird deadline is 23rd February.
Transom Specials - an international call out for “Small, Random, and Meaningful” short pieces in English. Transom is looking for (ideally) finished pieces around 15 minutes or less, however they are also open to works in-progress, and can make exceptions on length. Selected applicants will receive between $2,000-$8,000 for the piece, but producers retain 100% ownership. The exact fee is based on the nature, length, and complexity of the finished piece. Transom will offer distribution and editorial support. Submissions are judged on artistic merit, artistic excellence, and impact. You can only submit one pitch, and the piece must not have had “significant exposure.”
The deadline is 24th February.
IWMF Courage in Journalism Awards Nomination - The International Women’s Media Foundation are honouring international women and non-binary journalists who “set themselves apart by exhibiting extraordinary bravery, persistence and resilience.” You cannot nominate yourself.
The deadline to nominate is 4th March.
Poynter-Koch Media and Journalism Fellowship - a year-long fellowship offering a paid (rate unspecified), full-time placement at a participating news outlet. There are 60 placements per fellowship class. The programme offers weekly online workshops, mentorship meetings at least twice a month, and in-person summits three times a year in Washington, D.C., and St. Petersburg, Florida.
The deadline is 10th March.
Organism, Symbiosis: Open Call for Artists - an international opportunity for five transdisciplinary artists to take part in a new digital installation exploring 'Symbiosis.' They welcome sound artists, but you should also have experience in other mediums. You must have previous experience working collaboratively. They offer £2,000, corresponding to ~100 hours of work. They also offer budgets: up to £200 for materials, £600 to outsource parts of the work, and there is some budget for access costs including childcare.
The deadline is 14th March, 6pm GMT.
The Sound Documentary International Summer Programme - a 7-week-long residency in France which teaches people how to make radio documentaries. Each student will come away with a ten minute piece. Only citizens of certain countries can participate. This year, the countries involved are: Bahrein, Colombia, Germany, Greece, India, Iraq, Israel, Morocco, Nigeria, Russia, South Africa, South Korea. Applicants must be between 25 and 35 years old. If interested, please contact your country's French Embassy.
The deadline is around 20th March, depending on the application country.
The Austin Film Festival Fiction Podcast Award - an international competition for unpublished, independent fiction podcasts. The podcasts can have one season publicly released already, but they must submit with unpublished work. Writers can submit up to three episodes, 3-30 script pages in length per episode (no longer than 90 pages total). Scripts must be in English. The applications cost $40/$45/$50 depending on the deadline. The winner receives $1000 and reimbursement of up to $1000 for travel and accommodation to attend the festival. See their rules.
The early bird deadline is 23rd March (final deadline is 7th July).
Making Contact Call for Pitches - Making Contact is a weekly half-hour documentary-style public affairs programme that is broadcast internationally. They are looking for unfinished, sound-rich audio pieces with in-person reporting that shed light on inequities. Check out their submission guidelines for more information. They accept pitches from both U.S.-based and international reporters. Their pay ranges start at $1,200 for a 9-12 minute story, with travel reimbursement up to $100. Inquire about rates for longer pieces. Applications are accepted on a rolling basis, but you are encouraged to submit early before their 2023 calendar gets full.
60 Secondes Radio Competition - this one pretty much does what it says on the tin; it’s a competition for work that is exactly 60 seconds! Any style is accepted: “radio art, collage, soundscape, radio theatre, sonic prose and poetry, sound art, creative documentary, mutant radio, sonic captures: anything is possible as long as it's 60 seconds long.” You must also send a synopsis (100 words max.). Works in any language are permitted, but if the work is not in Spanish, English or French a translation should be provided. The prize is $1,000 CAD. Applications are open, submit here.
The deadline is 9th April.
U.S.
SPJ New America Awards - celebrating public service journalism that explores and exposes issues of importance to immigrant or ethnic communities in the United States. They have an audio category. Entries may be in any language — however, English translations must be supplied for non-English entries. Entries cost $35 for SPJ members, $50 for non-members.
The deadline is 27th February, 11:59pm ET.
American Black Film Festival Podcast Competition - The ABFF is looking to showcase emerging Black podcasters in the U.S. Three finalists will be selected and granted $1,500 for development and the opportunity to receive mentorship and development assistance from a major podcast distributor (to be announced). Up to two members of the three finalist teams will receive a paid trip to the 2023 American Black Film Festival in Miami from 14th-18th June, with the opportunity to host their show before a live audience. The competition has a long list of eligibility criteria, make sure to read thoroughly. Apply here.
The deadline is 28th February.
Arthur F. Burns Fellowship - a 9-week exchange fellowship for young North American journalists to live and work in Germany, and vice versa. You must be between 21-40 years old with at least two years professional, full-time journalism experience. Applicants must be able to demonstrate a strong interest in North American-European affairs, and German language proficiency is encouraged but not required (candidates will attend a two-week intensive language course). Each fellow receives a $4,000 stipend to cover living expenses in Germany, as well as $1,500 for travel. Apply here.
The deadline is 1st March.
IWMF Gwen Ifill Award - an award for women and non-binary journalists of colour working in the news media in the U.S. You may nominate yourself or others.
The deadline to nominate is 3rd March, 11:59pm ET.
KALW Summer Academy - a three-and-a-half-month free and unpaid journalism programme in San Francisco. Successful applicants will volunteer one day a week in their newsroom (in-person), work on reporting assignments and attend five evening seminars on audio production. It is roughly 16 to 20 hours of commitment per week, from the end of May through mid-September. If you’re not able to commit for the full duration of the programme, some exceptions may be possible, just mention it in your application. At the end of the programme, they will invite everyone to pitch at least one original feature story to KALW, which (if selected) would be a paid opportunity (rate unspecified). Apply here.
The deadline is 12th March, 11:59pm PT.
Resilia Microgrant - $1000 “immediate cash grants” issued quarterly for tax-exempt American organisations dedicated to making an impact in their communities. All you need is a very short pitch.
The latest deadline is March 17th 2023.
This American Life Fellowship - a paid six-month production fellowship starting in June, at This American Life’s New York City office. Fellows earn about $6,250 a month (before taxes), and benefits include health insurance and relocation reimbursement. Applicants must be authorised to work in the United States.
The deadline is 1st April.
LWC Studios Calls for Pitches - LWC Studios are seeking pitches for an open-source investigative podcast that takes a close look at the health, wellness, and lifetime outcomes of Latinas in the United States. Your pitch is more likely to be successful if you live and report in the greater Chicago area and have previously reported on relevant issues. Reporters are expected to pitch, report, field record, script, and track their own stories; LWC studios will help with mixing. They are looking for sound and scene-rich audio storytelling with strong characters.
They are accepting pitches on an ongoing basis.
U.K.
Francis Chagrin Awards - 12 grants of £500 for UK-based, D/deaf, disabled or neurodivergent composers to to support their work through self-learning projects, equipment, mentoring, and any other direct costs for a project or artist development. Applicants must have been based in the U.K. for two years and not studying. There are rounds roughly every three months.
The next deadline is 22nd February.
Charles Parker Prize - a free-to apply award for student audio in the UK. You must be connected to a university. NOTE: you do not need to be taking a course related to audio. Pieces have to be less than 15 minutes. 10 pieces are shortlisted and the top five are awarded a slot on BBC Radio 4 as part of the New Creatives programming.
The deadline is Friday 24th February (apologies, in January’s newsletter I erroneously stated the deadline as 4th February).
The Wincott Awards - free-to-enter awards for financial journalism. They have an Audio Journalism category, with a monetary reward of “up to £5,000.” International applicants are welcome but keep in mind the work is meant to be intended for a UK audience. They have a Young Journalist of the Year category for the best individual journalist under the age of 30, working in any medium, and they offer £1,500 to the winner.
The deadline is 24th February.
BCfm Commissions for Sound Artists and Producers - BCfm Radio is offering five commissions of £500 to audio creatives and producers based in the West of England (Bristol, South Gloucestershire, Bath or North Somerset) to develop 15 minute audio pieces which “celebrate the under-represented history of Bristol and surrounding areas.” They can also offer £30 for expenses. There is no standard style or format.
The deadline is 17th March.
The Alfred Bradley Bursary Award - an opportunity for writers based in the North of England (North East, North West, Yorkshire and Humber) who are new to writing for audio. The winner is awarded a £5000 bursary as well as the chance of a Radio 4 Drama commission. There is a free hour-long seminar on 2nd March at 12.30pm, register here.
The deadline is 11th April, noon GMT.
Europe
Oorzaken Korte Golf (Short Wave) - a Dutch-language competition for short audio pieces under three minutes. They can be fiction, documentary or something in between. This year the pieces must contain an encounter between (at least) two opposites; the title must contain something you see when you look up (e.g. “sky,” “stars” or “ceiling”) and it must include a sound from the archive of the Netherlands Institute for Sound and Vision, which can be found here. The top five winners are broadcast in DOCS, the podcast for audio documentaries from NTR and VPRO. The main jury winner will receive money for equipment and their entry will be translated for an international audience at www.radioatlas.org.
The deadline is 12th April 23:59pm CEST.
That’s it for this month! Thanks for subscribing.
If you have any upcoming resources you can submit them via this form or via email to allhear [at] transom [dot] org. The next newsletter comes out on Tuesday 21st March, so for any opportunities due in late March/April, please reach out before 10th March.
If you want to support this work you can donate to Transom. The newsletter is edited by Jennifer Jerrett and Sydney Lewis.
Copyright © Talia Augustidis, all rights reserved.
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