SOUNDS LIKE WASHINGTON WAMU’s Audio Style Guide, 2017

1 I. Introduction

What follows is a comprehensive guide to WAMU’s sound, and all of the elements that combine to make it distinctive, pleasurable and valuable to our listeners. But first, let’s start with the single most important principle, which is: our air time is sacred. Each instant of our airtime has the potential to make a given listener feel more—or less—connected to our station. The principles in this document aim to achieve the former; in fact, we should strive for connection and engagement with our audience in everything we do. What listeners hear on our air should be seamless, whether it’s programming from NPR, APM, PRI, PRX, or the range of other content we deliver--including music bridges, underwriting announcements, promotions, local newscasts, news features and other announcements delivered by our on-air hosts. Our job is to weave all of those elements together in a way that sounds smooth and professional and that conveys a strong identity our listeners can associate with their local Washington public radio news station. In the radio industry, this is called “stationality” and it describes the way a station expresses its unique sound and sense of place.

To accomplish this, we must approach every aspect of our airtime with intentionality and a clear overarching vision. This guide includes a breakdown of each of the critical elements of stationality, with explanation of how to approach each of them to reflect WAMU’s unique identity and brand. Please read the entire guide to get the full context of what we’re trying to achieve with our sound, while paying special attention to those sections that are relevant to your particular role—whether it’s reporter, host, producer, editor, or engineer. But before diving in to the details, consider a few broader themes that should resonate in everything we say and do on air.

• We live here. To make our sound stand out from the countless options our listeners have—including on- demand content from NPR and other sources—we must sound like the community where our listeners dwell. In all we say and do, we must strive for a sense that we are not only for the Washington region but of the Washington region. At every opportunity, we must express our distinctive sense of place, reminding listeners that we are experiencing this region alongside them.

• We’re passionate and engaged. Forget the sleepy public radio stereotype portrayed by SNL—we may offer you old favorites like Wait Wait Don’t Tell Me and A Prairie Home Companion, but we are creatively ambitious and constantly pushing ourselves to explore new sounds and stories. Our airwaves are alive; our music is local, fresh, and energizing; our hosts are present and engaged. We’re in this with our listeners, and we’re working to make it better all the time. We are passionate and we attract passionate listeners.

2 • We’re live. While we encourage our listeners to find us on any number of different platforms, we must embrace the unique opportunity of live radio, in all of its immediacy. Linear radio, by its nature, is more “in the moment”—listeners are hearing stories in real-time alongside the host—and that affords a deeper sense of connection and community than any other platform. We should find creative ways to celebrate and emphasize the quality of “live.”

• We understand digital. We know our listeners consume what we create in a variety of ways—not only on the radio but also on the web, through smartphone apps, streaming services, Facebook and Twitter. More than the occasional promotional push to “follow us on Facebook,” we should look for opportunities to assure our audience that we know they are on many platforms at once, and that we are working to meet them wherever they are. We must invite interaction, remind our listeners all of the ways they can to find us, and speak in terms that indicate our understanding that we are in a multiplatform world. The digital version of WAMU is not subservient to the radio version of WAMU. It’s complimentary and constantly cross-pollinating.

• We recognize our significance. WAMU has one of the largest audiences in the region and the country, and they are a wonderful mosaic of the powerful and the powerless; dignitaries and regular folks. We recognize the power and responsibility this affords. It reinforces our desire for excellence, and our commitment to the highest levels of professionalism in everything we say and create.

• We listen to our listeners. We may be broadcasting our own sounds and words, but we recognize the value and importance of what our listeners think and say. We look for opportunities to invite audience contributions, formally and informally, and we constantly seek ways of acknowledging those listeners who engage us. We invite our listeners to react, share and co-create.

II. Identity and Voice

In 2015-2016, WAMU underwent an extensive strategic planning process in order to define a station vision and roadmap. As part of that work, we developed guidelines for the WAMU brand—which includes the voice, style, and approach we use on the air and online. In 2017, we’ll be spending more time defining our editorial voice—in the meantime, consider the following key qualities that must be part of our on-air and online presence.

Friendly: We come across as accessible, warm, and inviting. We should sound to our listeners like a good friend from whom they’re always happy to hear. This suggests a conversational tone, not overly formal.

3 Smart: We are knowledgeable and worldly, though not in an intimidating way. We are avid readers and consumers of media, and avoid coming across as an “empty voice.” We have something to say—and even if we are just guiding you from one segment to the next, we project substance.

Empathetic: We care—about our listeners, about our community, and about the stakeholders in the stories we share. We seek perspectives of all kinds, and strive to understand points of view beyond our own. We listen intently, without assumptions or bias.

Inclusive: We take care not to make assumptions about our audience, and to avoid an “insider” vibe. We believe public radio is for anyone and everyone who seeks knowledge and understanding, and we regularly roll out the welcome mat for new listeners, and listeners who may not be predisposed to public radio. We speak beyond “our base.”

Curious: Finally, we are hungry, for answers, for new perspectives, for fresh ideas and experiences. We approach our work with beginner’s mind, and genuine, authentic curiosity about the world and the people in it.

III. Principles of Hosting

Our regional and national hosts are the most recognizable connections our listeners have to WAMU. Our audience is the reason we exist and our most critical source of support. This section is intended for anyone who plays the role of on-air host, whether daily, weekly, or as an occasional back-up host. As a WAMU host, you are responsible for shepherding WAMU’s stationality. That means conveying all of the above…and it also means adhering to the principles of great hosting, outlined below. We are proud that you are representing Washington’s NPR station; your role is vital to our success. And, like the identity we wish to project about WAMU, you are smart, three-dimensional, informed, and have a unique perspective. The tactics described below should help you lend your own personal depth and substance to your presence on the air.

a) Be yourself and own it. Even as you’re conveying the WAMU sound and style with your presence, it’s important to be authentically you. That means letting your unique voice, personality, and sound shine through. No need to imitate a famous voice in radio—be conversational and comfortable in your own skin. Your voice is your most important calling card and listeners will connect to you, and WAMU, as a result.

b) Don't announce. Instead, “converse” with the listener by sharing information you believe will add value to their life. Be present in the moment, utilizing emotion, inflection and even reaction to what you just heard. These attributes are what separates “announcers” from exceptional “hosts.” Understand the words you’re delivering, and make sure your tone and emphasis match their meaning. Take the time to compose transitions that show you’ve been listening alongside your listeners. Believe what you’re saying.

c) Visualize the individual listener.

4 An effective host makes the listener feel as if the host is talking directly to him/her. Imagine you’re speaking with a close friend, rather than thousands of listeners. To facilitate this, it’s critical that the copy you are reading is written for radio—as in, it’s written for what listeners hear rather than how the words look on paper. When you are provided with copy that will not translate well on air, as the ambassador to our listeners, you are responsible for editing and improving it before delivery.

d) Prepare. Rehearse! Rehearse! Rehearse! The more you prepare for each break, the more professional and authentic you will sound. There is no shortcut for this; you MUST pre- read every piece of copy out loud before opening the microphone. Sometimes you will need to do this several times before you can tell which words need emphasis. Edit show promos to put them in your own words. Be on every time you open the microphone. Stumbles, misreads, and mispronunciations alienate the listener and interrupt the listener/anchor relationship.

e) Stay fresh. It’s natural that you will gravitate towards certain turns of phrase in your hosting over time. The trick is to identify those “crutches” quickly, and change them to stay fresh. Overused phrases are grating for listeners. You need to be interested in what you’re saying or the listener won’t be. Rely on our Program Director to conduct frequent “sound checks” to help identify these phrases before they take hold. Also take care not to repeat the same phrases or promotional elements in the same hour.

f) Notice the news. Breaking news has the potential to upset even the best-laid plans (or breaks). Pay attention to what’s unfolding around you—are we about to carry special programming from NPR? Is there a major local news event that we’re scrambling to cover, with listeners likely tuning in to find out what’s happening? Even if you don’t have everything you need to fully cover something important, the next best thing is to acknowledge that it’s happening, and convey to listeners that we’re following the story/programming change and will bring them updates. Doing this effectively requires ongoing communication with newsroom leaders, show producers. Do not underestimate the power of digital to provide listeners with a connection point (i.e. “We’re following the unfolding situation in Navy Yard and encourage you to follow us on Twitter or Facebook where we’re providing live updates.”)

IV. Elements of Stationality Each local break is an opportunity to reinforce our stationality to listeners. That’s true whether the content is a weather update, a local news headline, or simply a time check. What follows is a breakdown of the WAMU approach to the most common on-air break elements. If you have questions about how to handle a particular element not listed here, consult with WAMU’s Program Director. a) Station call letters & frequency When opening the local break, refer to the station as “WAMU 88-Five,” to reinforce our position on the dial (an effective and essential technique in radio). In subsequent mentions in the same break, you can simply say “WAMU.” The reason: Hearing “WAMU 88-Five” multiple times in a short break sounds repetitive and can be a tune-out. Here’s an example:

5 We know you have lots of things to do this morning – thanks for listening to Morning Edition on WAMU 88-Five. Stay with us for 1A at ten…[promo language]...that’s 1A…from ten to noon here on WAMU and streaming at WAMU dot org. b) Local versus national news When transitioning from NPR news to local news, use the phrase “In regional news…” Note: previously, we had used the phrase “In WAMU news”). “In regional news” is clearer and more confident than what came before, and reinforces our strategic focus on regional coverage.

To ensure that the WAMU brand is still prominent during our local news, use it to identify the individual reporter when introducing a local feature or two-way. For example:

• WAMU’s Patrick Madden has the story. • WAMU Reporter Ally Schweitzer explains.

When outro-ing a story, the appropriate phrases are:

• That was WAMU’s Armando Trull. • WAMU Reporter Armando Trull.

When reporters do their own “SOCs,” they should consistently use the following language: • Reporting for WAMU, I’m Martin Austermuhle.

If it must be shorter, also acceptable is: • For WAMU, I’m Martin Austermuhle.

Note: Reporters should not use their specific titles to identify themselves (i.e. “Senior Reporter” or “Multimedia Reporter”). These titles do not make a meaningful distinction to our listeners, and therefore should not be emphasized. On the air, all reporters should be called Reporter.

c) Transitions (opening and closing breaks) The goal with every transition is to make the local break sound seamless with the show that’s airing. It’s not a separate disconnected element; it’s an opportunity to remind listeners that we’re here, and to weave the WAMU brand into the fabric of the program. A successful local break maintains relevance and continuity with the program, but reinforces to the listener that we live in the same place they do. So, don’t use generic phrases like "Morning Edition continues in a moment" or "All Things Considered will be right back.” Instead, try the following (and develop your own):

• Thanks for listening to WAMU 88-Five. • You're listening to Morning Edition on WAMU 88-Five. • Welcome to All Things Considered on WAMU 88-Five. • This is WAMU 88-Five. Thanks for sharing your day with us.

Hosts need to be listening in the moment alongside the audience. One way to reinforce this is to refer to the story that just aired. Writing a 5 or 7-second transition tells the listener you’re “in the moment” with them. Warning: Use a light touch with this technique; if overdone, it can sound like

6 editorializing. For instance, if the topic of the upcoming Radiolab is the art of debating, you might say:

• This hour, we’re debating…. the art of debate on Radiolab.

It’s an elegant transition that subtly reminds the listener about the topic of the show while reinforcing the sense that you’re listening, too.

d) Host identification Announce your name once an hour, ideally at the 59-past break where shows provide closing credits including the names of the national host(s), putting you on the same national stage as them.

e) Forward Promotion Teasing upcoming programming is a highly effective strategy for getting listeners to stay tuned, or to return. Take care with the language you use around timing—listeners think in terms of what’s next, what’s coming later in the day, and what’s happening this week. Help orient listeners to which of those time periods you’re promoting. If a show you’re promoting is on later in the day, say “this afternoon at 3.” If it’s coming up later in the week, say “on Friday.” In all cases, remain conversational-- do not say “in 14 minutes” or “in 30 seconds”; listeners don’t think of time in exact terms. It’s more natural to say “At 8” or “in a moment.” And yet, don’t be vague—“later,” on its own, is meaningless; whereas “this afternoon” is clear and focused.

Note: Forward promotion is especially critical during Morning Edition, All Things Considered, Weekend Edition Saturday and Sunday and Weekend All Things Considered when we should be moving our listeners into the next quarter-hour of listening to generate additional occasions of listening.

f) Tone One essential way to show listeners that you (and therefore we) are paying attention is modulating your tone to match the programming surrounding the break. Tone is especially critical coming out of or going into a story or segment. To ensure that your tone is appropriate for the content just played, you must be in the chair and listening at least five minutes before taking the mic. In general, minimize the time you’re not in the host chair and listening.

Tone also comes into play when you shift from reading news (serious, thoughtful) to forward promotion (energetic, up delivery). Delivering all of the above in the same tone sounds robotic and disengaged from the listener.

The key to varying your tone is using emotion effectively. Taking a breath is another way of changing tone. Regardless of your tone in a given moment, you should sound engaged at all times. Think of yourself as making “eye contact” with the listener. Putting a “smile” on your face while announcing is another way to sound warm and inviting.

g) Weather Announcing the weather may seem as straightforward as announcing the time—but it’s much more meaningful. It allows us to convey a sense of place, and to reinforce the feeling that we are in the same place as the listener. In particular, varying the specific area where

7 you do a temperature check (“It’s 67 degrees in Takoma Park …66 degrees in Arlington”) reminds listeners that we are a regional service (MD, DC, VA) and that we care about the community where we live.

Listeners are always eager for the forecast, so it’s fine to give a weather update in nearly every break as long as it’s short and lifestyle oriented. Some examples of “lifestyle-oriented” weather updates include:

• You won’t need your sunglasses today. Cloudy skies all day with rain expected tonight. Clear skies tomorrow. It’s 69 degrees in Hyattsville. • Don’t forget your umbrella today. Rain all day with cooler temperatures tonight. More rain tomorrow. It’s 65 degrees in the DC and 63 in Fairfax City.

Hosts should provide a short weather report at the beginning of the break or as a close to the break – but not both. If weather is the story of the day, don’t bury it. Make it first in the break.

In normal circumstances, the forecast should not extend further than the next 48 hours. If major weather is coming, or we’re approaching a holiday weekend or other special event, it’s worthwhile to look ahead further. It also makes sense to share a weekend forecast towards the end of the week.

Another way we are building a sense of place with our listeners is through our partnership with Washington’s own Capital Weather Gang (of The Washington Post). When transitioning into and out of these prerecorded segments, imagine that the meteorologist is in the studio with you, sharing the latest details of the forecast informally and conversationally. The handoff between the anchor and CWG should feel comfortable and friendly. h) Time-checks Time-checks are no longer considered a critical function of the station, and should not be included as part of our breaks. i) Sonic IDs One way we convey a deep sense of regionality across our airwaves is through the use of Sonic IDs, brief, sound-rich audio portraits of the people who make up WAMU’s unique listening community. Our Sonic ID project is expected to launch in Spring of 2017. Sonic IDs typically run 29 seconds, but some are 14 or 45 seconds. They are intended to contribute texture and a sense of place, and do not need a news hook in order to be played. Once our Sonic ID project is fully launched, you’ll be expected to find opportunities to play Sonic IDs throughout your shift; we should consistently air at least two daily. An individual sonic ID should run a maximum of three times before being removed temporarily from the rotation. j) Breathability The overall sound of our airwaves should be well-paced and consistent. Do not underestimate the importance of silence in achieving this effect. Sometimes it’s necessary to let the national ME or ATC segment breathe for a few seconds before taking the local break. This allows the music and content to sink in, and gives you time to connect what the listener just heard to what may be happening locally with the story that just aired. As host, you are responsible for the pacing of what our listeners consume, and well-paced content—with plenty of room to breathe—comes across as smoother and more professional.

8 k) Music When used well, interstitial music should reinforce the station’s brand and style: we want to convey energy, relevance, freshness, and a sense of regional identity. The Capital Soundtrack project ensures that our “music palette” is locally sourced. When choosing music from the Capital Soundtrack playlist for the day, consider tone and variety—and find music that resonates with the programming that came before or will come after. Chances are, if it feels right to you, it feels right to the listener. Important: All music we play should feel contemporary and inclusive—avoid “elevator music” and “hold music” selections at all costs. Marketplace is a great example of music used effectively to weave segments together.

It’s fine to allow the music under the break to play for a few seconds between elements – thereby spacing out the elements and creating a more listenable experience. Whenever there’s time, or if you play a particularly long music segment, be sure to call out the name of the artist and song, and let our audience know it’s part of a larger initiative. You should reference Capital Soundtrack at least twice per on-air shift. For example:

• That was The Railrunners with “Baseline,” another local tune coming to you as part of our Capital Soundtrack project. To find out more about the local music we’re playing, and to submit your own, go to wamu.org/music.

l) Sports Many of our listeners follow the region’s various professional sports teams, and nothing connects a community like cheering for the same team. Anchors should take advantage of opportunities to refer to professional sports into their on-air updates. You can do this by reporting scores in the local newscast; or by mentioning in the break that a game is coming up later in the day. For instance:

• The Nats are playing the Marlins tonight at 7. The Metro’s Blue and Orange lines may be more crowded during rush hour. If a local team is in the playoffs, mention it in the break – reminding listeners of game time and “hoping for a win” or “wishing them luck.” Teams to cover at that level: “Washington’s football team1”; Washington Nationals; Washington Caps; Washington Wizards; Baltimore Orioles (because for many years it was the ONLY baseball team in DC to follow); DC United. m) Events Local events also frequently warrant an on-air mention, particularly if they are likely to affect listeners’ commutes. Even if they don’t, it’s a simple way to reinforce a sense of place to our listeners. Look for opportunities to mention major events (i.e. inauguration, parades) as well as events related to WAMU and its mission (Ira Glass at Wolf Trap). In order to be mentioned on air, events should either be large enough to affect a significant number of listeners, or they should be relevant to WAMU’s journalistic mission. An example of an on-air event mention might be: Ira Glass of This American Life is appearing at Wolf Trap tonight at 8pm. If you’re traveling home in that direction, be aware of potential traffic delays.

1 As per NPR guidelines, we use the phrase “Washington’s football team” rather than Washington Redskins.

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