Over the past few years, working on audio documentaries has become a passion and a joy. Being freelance has allowed me to source stories, serve unheard voices, and create a systematic and holistic approach to my craft. Rather than churning out content week by week, I can go deeper into my research and sources and take the time with each voice rather than hurry the scripts into production.

On the other hand,

I have no idea where my next documentary will come from. The ideas, leads, questions, and curiosities that develop into a story worth hearing and telling do not just suddenly land on my desk, ready to go.

I Listen & Watch

I pay attention to everything around me. What are people going through? What topics are rising to the surface? Who is not feeling heard? What is surprising? What is unsurprising? Who is angry? Who is hurt? Who is heard from often? Who is heard from rarely?

I discern

Often, a story that needs to be told will become something I have underlined repeatedly. A collection of screenshots on my phone or a thought I have written down more than once. It becomes louder in my head until I intuit deeply there is something there.

I listen again

I go back to my notes and screenshots and re-read and observe the snippets of a story I have accidentally collected over time.

I Get curious

I wonder aloud to myself, the internet, and books at large if other people know about ‘this.’ I write down what I believe would give me answers. I drop the topic in relevant conversations and see if it raises more thoughts. I consider what the format might be, stumble into voices, and start to ask to talk to them to approach this new story.

I ask questions

I ask more questions and begin to discern which voice has the answers, perspectives or ideas I still need to include.

I listen again

I listen to them and set up times to record.

I record.

I hold space for their story.

I listen again.

I listen back, transcribing on my laptop as I go.

I highlight

I print out the transcription and read back, highlighting what is essential.

I Lay it all out.

I lay out all the transcriptions, focusing on the highlighted portions to find the story.

I listen & piece it together.

I begin to put the story together, listening back to each segment as I go, confirming each voice's pace, accuracy, and intention.

I listen again.

I listen to each portion in order, confirming continuity and maintaining accuracy.

I double check.

I circle back and ask questions about lack of clarity and confirm simple but essential things like pronunciation of names.

I listen again.

I listen to my finalized draft/audio.

I submit the final script

I let it go, applied incoming notes from executive producers, and often adjusted the scripts the day of recording, adding, removing, and making on-the-spot adjustments as needed.

A short radio documentary with CBC Mainstreet Nova Scotia, on the co-owners Maria Radelich and Shannon Platt of Pelivco Health Centre along with their clients to learn about pelvic health and why taking the needs of all gender-specific dysfunctions is important.

Listen: Here

Over the winter I worked alongside the Mainstreet Nova Scotia team to collect the voices of paramedics and produce their story.

Take a Listen via CBC

Amy Grace, a writer and creative producer in Nova Scotia, is fascinated by the creative process. She speaks to Jeff Douglas about how some people are learning to be creative without letting "hustle culture" make them lose sight of the important things in their lives.

Listen here

Over the Summer, I worked alongside CBC Producer Natalie Dobbin and my good friend from high school playwright, director and writer Megan Piercey Monafu to create a three-episode series that discusses the mementos we make and carry with us.

This series is the outcome of what happens when you sit down with a good best friend from your past over video chat, catch up and discuss what is going on in each other's lives. It led us to reflect on the notes we have kept and created conversations that morphed into this beautiful three-episode series featuring not just ourselves but two other smart, intelligent, and deep women.

What We Carry With Us

Episode 1.

Episode 2.

Episode 3.

Over the Summer, I worked alongside CBC Producer Natalie Dobbin and my good friend from high school playwright, director and writer Megan Piercey Monafu to create a three-episode series that discusses the mementos we make and carry with us.

This series is the outcome of what happens when you sit down with a good best friend from your past over video chat, catch up and discuss what is going on in each other's lives. It led us to reflect on the notes we have kept and created conversations that morphed into this beautiful three-episode series featuring not just ourselves but two other smart, intelligent, and deep women.

What We Carry With Us

Episode 1.

Episode 2.

Over the Summer, I worked alongside CBC Producer Natalie Dobbin and my good friend from high school playwright, director and writer Megan Piercey Monafu to create a three-episode series that discusses the mementos we make and carry with us.

This series is the outcome of what happens when you sit down with a good best friend from your past over video chat, catch up and discuss what is going on in each other's lives. It led us to reflect on the notes we have kept and created conversations that morphed into this beautiful three-episode series featuring not just ourselves but two other smart, intelligent, and deep women.

What We Carry With Us

Episode 1.

recording session for a CBC radio series.

Any podcaster knows the complexities of recording in-house, but I have done a healthy amount of recording, for podcasts, radio etc not needing to handle my own equipment or even handle all the ins and outs of setup.

Until now.

There is nothing like a pandemic to force one to get over their fear of tech, muddle through the necessities and learn a thing or two along the way.

Thankfully, being married to an electrical engineer, I have the advantage of in-house tech support. If everything goes ‘to hell in a hand-basket’ so to speak, I can yell bloody murder from my office and he will trundle in, all nonchalant, while sorting through the latest glitch.

Things I Have Learned

Stuff yourself into a closet (it’s a plus if you have a walk-in)

In our new home, every room as an echo.
Mostly due to being slow to add pictures or rugs to rooms. I like taking my time with decor.

No matter how hard you try, a lawnmower is still a lawnmower.

Wait until all lawnmowers have retreated for the day…or at least rush in quickly and record.
Don’t get me started on this one. It’s not always easy to schedule a peaceful time to record, but you just have to adjust accordingly.

Plan interviews but leave room for spontaneity.

I get self conscious about my own physical voice in any project. It’s so much easier for me to build a spotlight and narrative around others, but lately my work has been more personal, leaving me little room to escape my own voice. Remembering that I can also follow an interesting lead in thought and question while trying to honour the project anchor points is a helpful way to stay loose.
It’s okay to go off book sometimes.

Don’t review material on the same day. Even if you have access to it.

This is something I have learned over a long time of doing interviews / recording film.
As exciting as it is to look over the material that same day, (not all projects is this possible, but for my work, it mostly has been) try to give yourself a day’s breather before reviewing the recordings. Space away from the experience will help you hear things you wouldn’t hear the day of.

Beth Freeman art.

Earlier this Spring I worked on a cozy warm piece for CBC.

I was beyond thrilled with the results and collaboration it inspired.

Take a read and a listen here.