It was easy to make friends here, to be enveloped in community. The city, unlike my home of Washington, is generously cast with characters. No one inquires where you did your undergraduate work. It can take months before anyone asks what you do for a living. Neighborhoods mean everything. The food is superior, the prices saner (well, except car insurance), the subway louder.
Frankly, everything in Philadelphia is louder, sharper. Waitresses call you hon.
I love a hon. I waited my whole life to be honned.
The city became home. It has always amused me how Philadelphians, rightly proud of this region, are constantly shocked when someone opts to move here. After thousands of bylines, a final column
When I come out of an interview, I jot down the things I remember as being my favorite moments. For an hour-long interview usually it’s just four or five moments, but if out I’m reporting all day, I’ll spend over an hour at night typing out every favorite thing that happened. This is handier than you might think. Often this short list of favorite things will provide the backbone to the structure to my story.
Then I transcribe the tape or have it transcribed by someone. Getting every word right isn’t as important as having something on paper for each sentence that’s been said, because to make radio stories, you edit by the sentence. For some reason in the radio biz we don’t call these transcripts, we call them tape logs.
Then I print out the log and mark it up. Every possible quote I might use, I write a letter next to, A, B, C, etc. As I do this, on a single piece of paper, I make a list for myself of the quotes. So when I’m done, there’s not just the tape log, there’s a piece of paper with tiny handwriting on it, listing the quotes “A - he describes the old house, B - what it was like the moment he came home, C - his sister warned him,” etc. Any quote that’s especially promising gets an asterisk. Any quote I’m sure I cannot tell the story without gets two asterisks.
The point of this is that it gets all this inchoate material—the sound you’ve gathered—into a form where you can see it all on one page. You see all your options. It’s in a form where your brain can start to organize it. Also, writing the list sort of inserts all the quotes into quick-access RAM memory in your head in a helpful way. I find that the important first step to writing anything or editing anything (half of my day each day is editing) is just getting the possible building blocks of the story into your head so you can start thinking about how to manipulate it and cut it and move it. I’m Ira Glass, Host of This American Life, and This Is How I Work