create your own podcast assignment

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How to Create a Student Podcast

Podcasts have become a popular avenue to share ideas, collaborate, and delve deeper into our interests. While people of all ages regularly use podcasts to learn more about their interests, the relevance of podcasts to formal learning – namely, in school settings – has only recently been understood. The impacts on student engagement, creativity, problem-solving, and equity are well-documented . However, many students and educators are left wondering exactly how to create a student podcast.

When educators provide students with the opportunity to create their own podcasts, students learn to think critically about the topics they’re learning and develop their own perspectives on their real-world applications. Cloud-based podcasting technology equally has the power to transform your students into engaging storytellers and skilled interviewers.

So if you’re a teacher, consider helping your students create their podcast through these five easy steps, and in doing so you’ll be teaching the change-makers of tomorrow on how to have their voices heard today!

Firstly, let’s answer the “why” question:

Currently, over half of Americans listen to podcasts on a regular basis . With such a vast number of podcasts, there’s certainly something out there for everyone, whether you have mainstream tastes or love niche topics. Congruently, students of all ages have exciting, engaging ideas that the world is ready to hear, and a podcast is a perfect way to empower young people with creative and authentic self-expression. 

Consequently, let the steps below guide you in helping your students create their own podcast. Leverage intuitive podcasting production software, like Soundtrap for Education , and create something great. Then along the way, please share your story and theirs with us on our Twitter page so we can relish in the amazing things you create with us.

1. Start with the Basics

Many students want to jump into podcasting without any prior knowledge. As an educator, it’s important to help your students understand the fundamentals of podcast production before encouraging them to start their own podcasts. 

Although topics and themes are an important part of an engaging podcast, encouraging students to learn about the digital audio workstation (DAW) they’ll be using is essential for any hopeful podcaster. 

Structure your lesson plans around fundamentals before jumping into creating a full podcast. This way, these lesson plans can guide and properly support your students on how they can add or edit tracks, adjust volume, insert loops and presets, and even create beats for the podcast intro or outro. 

As an instructor, it’s up to you to decide the best way your class can learn, but as you go through lesson plan development, making sure your students fully understand what a podcast is and its intended goal only after teaching the mechanical basics of podcast production. It will ultimately yield better results and final projects.

2. Choose Your Topic

What’s the goal of getting your student into podcasting? Are you trying to teach them a new language, show them how to collaborate, or help them explore their creativity? At this point, you’ve helped your students understand the basics of a DAW, but it’s now time to pick a topic based on your subject’s criteria.

If you’re teaching a language class, you can have your students, individually or in groups, create podcasts teaching basic Spanish, French, or even English. According to the lesson plan, you can encourage students to focus on specific locations and explore the dynamic dialects of each region. Have students talk about the food, the culture, and even the environment on their podcasts. In this way, they’ll better understand the language they explore. 

Alternatively, if you’re a history teacher, the same rules apply. You can assign students to develop podcasts that explore a specific period of history, a notable hero, or even how a region has changed over time. The students can be assigned topics, learn the material, build podcast show notes, and discuss them with their fellow podcast co-hosts. Then, as they explore their subject more in-depth, they’ll be encouraging those co-hosting fellow students to engage with their topics much more than if they were each tackling the project on their own. Some AP teachers have even made podcasts a central tenet of their curriculum because of this benefit with very promising results.  From this, podcasts are an extremely effective way to help students retain information because they encourage students to learn immersive integration of the subject matter.

3. Encourage Collaboration

Getting students excited about a subject is a challenge in its own right. Fortunately, creating a podcast means that students will be able to work with each other to find creative solutions. 

After deciding on your subject, you can divide students into teams or groups and set a timeline for project completion. By having set groups, students can focus less on learning every part of the podcasting process. Instead, they’ll be able to work on individual aspects of the assignment and material that interests them.

Collaboration on the creation of a podcast will also benefit your students. Through the platform, they peer-review assignments, learn teamwork and peer influencing skills. This happens all while suggesting edits for each other, and helping each other work towards something great. 

Alternatively, the collaboration and influence others doesn’t have to stop within the classroom or even your own school. Encourage your students to use the hashtag #podcastclassroom to share and collaborate with other students globally on social media.

The final benefit we’ll cover here is the positive aspect of podcasting is that students won’t need to be in the same place to collaborate. It doesn’t matter if classes are hybrid, fully online, or in-person, Soundtrap for Education allows students to collaborate from anywhere and on nearly any device. Want to see this in action? Sign up for a free trial here .

4. Mix Your Podcast

You’ve helped your students understand the mechanics of Soundtrap, assigned a topic, and split them into groups to collaborate. Now, it’s time to put the finished product together. Fortunately, unlike past mixers, students are not required to have extensive technical knowledge of audio production. We have your students covered!

Instead, students can simply import their files, record their sounds on the software, and begin the mixing process. Specifically using Soundtrap for Education, students can: 

• Add additional narration 
• Rearrange recorded segments 
• Remove any mistakes 
• Insert effects for voices 
• Enhance the mic 
• Change presets 
• Adjust base 
• Fine-tune vocal volume

Mixing is made easy, and students can collaborate with each other in the Studio to see exactly what fits for their podcast theme. As an educator, you’ll also be able to listen to the recording and adjust the aspects you need. 

If you’d like students to edit the podcast without listening to it repeatedly, some DAWs can help. Intelligent DAWs give students the ability to transform conversations into spoken-word audio files that can be edited directly on the platform. In doing so, intelligent DAWs save valuable time for the podcasters. 

With Soundtrap for Education, students can connect with teachers, faculty members, co-hosts, and guest speakers while recording separate tracks in the Soundtrap Studio. Within the studio, teachers can comment on different parts of the episode and leave constructive feedback for students. 

Finally, when the mix is ready to go, Soundtrap for Education enables students to work with their collaborators. They can create a unique podcast jingle that differentiates their podcast and makes it sound professional. Students can use Soundtrap’s built-in sound effects to polish their podcast before releasing it to the world.

Create Your Student Podcast with Soundtrap for Education

While there may be many podcasting platforms available today, none compare to the benefits of Soundtrap. Soundtrap for Education is devised exclusively for students ready to become master storytellers. As an added benefit, Soundtrap  helps educators teach students in ways they want to learn. 

Soundtrap for Education is the ultimate audio production platform for students and teachers to create and edit audio recordings unlike any other. This innovative platform provides users with automatic transcription tools, interactive editing. Additionally, users can upload their podcast directly to Spotify. Students and teachers can easily tap into their artistic side with this intuitive audio platform. The platform facilitates a creative learning environment for every subject, regardless of the student’s age or experience level.

With Soundtrap for Education, students and teachers can collaborate with advanced cloud technology at any time or place. In addition, the platform comes equipped with a robust resource portal. The resource portal contains tutorials, an external curriculum, and lesson plans to complete the educational experience. Teachers can ensure that student collaboration is safe and secure with invite-only groups in Soundtrap’s versatile digital environment. 

If you’re ready to enhance your educational experience with an intuitive cloud-based audio production platform, get started today with Soundtrap for Education ! Or if you know a teacher who may benefit from this article please feel free to share it with them.

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Student Podcast Challenge

• Contest Website
• Submissions Form
• College Contest Rules
• Middle/High School Contest Rules
• Podcasting Resources
• Students’ Podcast

Teaching Podcasting: A Curriculum Guide for Educators

Whether you're leading your class or advising an extracurricular group, we hope this guide will make the podcasting process easier.

Below, you'll find a breakdown of the process and a series of sample lesson plans to ensure that students have the skills and background knowledge to start making a podcast.

For our contest, teachers must submit entries to NPR, but we expect that students themselves are the ones creating them. (Teachers: The submission form is here.)

That's why we've provided a guide for students, covering the same material, here .

Planning Instruction

We recommend dividing the project into stages, listed below. Of course, you and your students are the best judges of what works in your classroom.

Download this guide here.

Learning About Podcasting

• Lesson: Podcasting overview (Download)

Planning Your Podcast

• Lesson: Choosing a topic (Download)
• Lesson: Planning the story (Download)
• Lesson: Brainstorming sounds (Download)

Podcast Production

• Lesson: Recording Practice (Download)
• Lesson: Interview practice (Download)
• Resource: Checklist for field recording (Download)

Submission forms are available now through March 31. Teachers must fill out these forms to submit their students' work.

Podcasting overview, 60 minutes

Objective: Students will learn the difference between scripted and Q&A podcasts and familiarize themselves with a wide range of podcast topics.

What you need: A computer with speakers and an internet connection.

What students need: A pencil and paper.

This can be completed as a class activity or by breaking into groups, if students have access to computers or laptops.

Part 1: Gauging Student Knowledge

Start by spending five minutes in a class discussion about podcasts. Gauge what students know or don't know about them by asking a few questions.

• What's a podcast?

YR Media has a handy list of sounds that all podcasters should consider recording while planning their podcast. Scroll down to "what sounds to gather" on this page to find that list.

• What are podcasts about?
• Where can you hear podcasts?
• Why would YOU listen to a podcast?
• What makes a podcaster different from a YouTuber?
• How does it change the way you tell a story when you're on the phone? How does it change the way you listen when you can't see someone?

Part 2: Listening

Have students listen to a few examples of podcasts and radio stories to get a feel for some different podcast examples.

Kind World : So Chocolate Bar (7 mins, 23 sec.)

In this episode of Kind World , host Erika Lantz uses sounds and interviews with multiple people to tell a story about a friendship.

Have students listen to the episode, then start a group conversation. Do they like it? Who did they hear talking in it? What sorts of sounds does it use, besides interviews?

Hidden Brain : The Haunting Effects of Going Days Without Sleep (7 mins, 2 sec.)

Play this story twice. The first time, ask students to make a note of all the sounds they hear and people that speak on tape. Afterwards, have students break into partners or small groups and compare notes.

Then, play the story through a second time — having students follow along with the transcript to check their work. Talk briefly about the sounds that they missed the first time.

How I Built This : Instagram: Kevin Systrom & Mike Krieger (33 mins, 32 sec.)

This is a long one, so perhaps just listen to a few minutes at the beginning. (A good place to start is about 30 seconds in.) Have the class discuss what makes this podcast similar or different from the others they've heard.

After this discussion, the class should understand that this podcast follows the structure of a Q & A/conversation. Unlike the past two podcasts, this doesn't weave in and out of scripted narration. That's one type of podcast that students can choose to make for the Student Podcast Challenge.

Part 3: Debrief

Before wrapping up, have students spend 5 minutes talking as a class about podcasts. Have them consider:

Here's a guide from YR Media about the best ways to record audio on your phone.

• What types of sounds do podcasts include?
• Students should understand that podcasts vary greatly — but most include a host and can include sounds from interviews, audio from events, audio from movies or TV, and sounds from the world around them.
• What are some ways that podcasts are structured?
• Students should walk away from this discussion understanding that there isn't one right way to tell a story. Some podcasts use narration from a host or a reporter, others feature a conversation between a group, others might be a one-on-one interview between two people. The structure of a podcast fits its content.

Additional resources

If your students are still looking for podcast examples, here are some we recommend:

Kind World : A Different Window (7 mins, 2 sec.)

Hidden Brain : How Labels Can Affect People's Personalities and Potential (6 mins, 35 sec.)

Choosing a Topic, 60 minutes

Objective: Students will choose a topic for their podcast.

*Skip this stage if you're assigning the class a prompt or idea for the podcast. Alternately, use this time as an opportunity for students to brainstorm for that prompt.

What you need: N/A

What students need: Pencil and paper

Part 1: Small-group brainstorming, 30 minutes

*If your class is creating podcasts in small groups, have them split into those small groups now and spend the entire class period completing this activity.

Distribute copies of the following prompts to students as they work in small groups of 3–5.

Directions for students: Pick three of these prompts that you think would be fun to make a podcast about. Come up with an idea for each of these three prompts. How would you structure it? (A conversation as a group? An interview with one person? A story with clips of interviews and sounds, narrated by a host?)

• Tell us a story about your school or community: about something that happened there — recently or in the past — that you want your audience to know about.
• What is a moment in history that all students should learn about?
• Show us both sides of a debate about an issue that's important to you.
• What do you want to change about the world? What's a big change that you want to make in the future?
• Explain something that kids understand and grownups don't.

After 20 minutes, go around the room and have each group share their favorite idea with the class. Have students write these ideas on the board. (10 mins)

Part 2: Class brainstorming, 30 mins

Students should narrow down the ideas on the board to one. Use these questions to help. Students should be thinking about specific tasks — interviews, sound recording, or editing — that each podcast idea could involve.

• What obstacles might come up as we create this podcast?
• If this idea involves traveling somewhere far away or interviewing someone famous, it might be difficult.
• Does the timeline work?
• Can students complete their interviews or record other sounds well before the podcasts are due — so that they have time to edit the audio?

Planning The Story, 60 mins

Objective: Students will determine how they'll structure the podcast.

What you need: Six large pieces of tear-off construction paper or easel pad paper.

What students need: A notebook and writing utensil.

Before class:

Place six pieces of large tear-off construction paper or easel pad paper in various places around the classroom. Two should be at the front of the room or the board. Label these two:

• What is my story's driving question?
• What is the story not about?

Label the others:

• How will I ensure my story is fair to the people and ideas it represents?
• How will I engage my audience — and hold them?
• What are my dream ingredients?
• What will the audience remember when it's over?

Part 1: Review Your Options, 10 mins

Start by opening up a class discussion about what types of podcasts students have heard. What are some ways a podcast can be structured? Why might a podcast be a one-on-one conversation, instead of a story told with using clips of multiple interviews?

Part 2: What's the story?, 25 mins

Spend 15 minutes working with students to craft responses to the two questions at the front of the room. Have them raise their hands and give ideas until the group settles on one driving question. Then move on to the second: What is the story not about? The class should have lots of answers to this question and there's no need to settle on one.

Then move on to the papers around the room. Students should get up and write a response to each question. If they like someone else's response, they should draw a star next to that response. Tell students to return to their desks after 10 minutes.

Part 3: Recap, 20 mins

Once students have finished, have one classmate stand at each paper around the room and share the responses. Then debrief: Given the class's responses, what do students envision their podcast including? What will it NOT include? How will these ideas shape the structure of the podcast — will it feature one long conversation or multiple short interviews? Pieces of tape from interviews and scenes?

Keep these posters around to guide students through the podcasting process. When they've recorded interviews and other sounds, remind them to look: this is what they envisioned for the podcast.

This lesson is based on a post from NPR Training . Teachers: Here's a downloadable poster from NPR Training you can use in the classroom.

Brainstorming Sounds, 60 mins

Objective: Students will come up with a list of sounds they'll record for their podcast.

What you need: A computer with speakers, a large tear-off piece of construction paper or Easel Pad paper

Part 1: Listening to examples, 20 mins

Play the following radio stories for the class.

Directions for students: As you listen, make a note of the sounds you hear — the ones that aren't people speaking — on paper.

Listen to this "Radio Field Trip" from New Hampshire Public Radio. (4 mins 12 s)

Ask students: Where is host Rick Ganley? How can you tell?

And here's this one, from Radio Rookies, a series from WNYC. (8 mins)

Ask students: Apart from sounds of Edward's narration — what sounds did you hear? How do these sounds help tell Edward's story?

Part 3: Brainstorming, 20 mins

Label a large easel pad paper "sounds" and place it at the front of the classroom.

Directions for students: In small groups of 3-5 students, come up with a list of three to five sounds you think should be in your class' podcast. Talk about why you think it would help the audience to hear these sounds.

Then, have one representative from each group come to the front of the room and write their ideas onto the large paper.

Open the discussion up to the class. Have students shout out the sounds that are on the paper more than once. Circle those. Then have students underline those they think are especially unique or worth recording.

Keep this paper — it should serve as a guide of the sounds that the class will gather to create the podcast.

Recording Practice, 90 mins

Objective: Students will familiarize themselves with their equipment, including their recording device.

What students need: One phone or voice recorder, one pair of headphones, one computer / per small group. Notebooks and writing utensils.

*Before starting, we recommend identifying a) a voice recorder and b) a computer or laptop. Most smartphones, including iPhones, have built-in voice recorders which can be used for recording narration and interviews for podcasts.

Part 1: Recording, 1 hour

In groups of 3–5, have students practice recording themselves and each other.

Directions for students:

Record your own voice

• Say your name, grade and age into the microphone, and then listen back to the recording on the phone or recording device.

Record another person's voice

• Come up with one interview question for a group member. Record the question and answer. Then, listen back on the phone or recording device.

Record a conversation between two people

• One group member should come up with two interview questions for another. While one person interviews the other, a third group member should record them. Then listen back. Take turns so that each person has a chance to record using the phone or recording device.

Record sounds from around the classroom

• Each group member should record TWO sounds that last approximately 10 seconds from around the classroom. As a group, listen back to the recordings on the phone or recording device.

Part 2: Uploading, 30 mins

In the same groups, students should turn to their computers.

Identify a sound-editing software.

• If your school already uses a sound editing software — like ProTools or Adobe Audition — feel free to keep that and use it. You could also download Audacity , a free audio editing software that students can use to mix their podcasts once they've recorded interviews and sounds.

Upload recordings onto a computer or laptop

• Have students practice saving their recordings into the computer or a drive in a place they can find.

Interview Practice , 60 mins

Objective: Students will practice asking engaging interview questions while recording.

What you need: A computer with sound.

What students need: One phone or voice recorder, one pair of headphones, one computer / per pair of partners. Notebooks and writing utensils.

*If recording devices are scarce, this is a good time for students to split into smaller groups to plan various aspects of the podcast. While some students practice interviewing, others could research for the podcast or begin drafting a script.

Part 1: Review, 5 mins

Take five minutes to review what student learned in the "recording practice" lesson. Student should remember to 1) ask others to introduce themselves and 2) record their own questions while interviewing.

Part 2: Practicing in Partners, 30 mins

Assign students partners. Designate a Partner 1 and Partner 2 in each set. Set a timer for 15 mins.

Partner 1: Ask your partner about the one thing they are most PROUD of. It could be something at home, it could be something at school, it could be something athletic — it doesn't matter.

Once they've answered, keep asking questions about their response until the timer goes off. Why are they proud? How did they achieve this?

When the timer goes off, turn off the recording and switch.

Partner 2, now start recording again — and ask Partner 1 the thing they're most proud of. Don't stop asking questions until the timer goes off.

When the timer goes off, turn off the recording.

Part 3: Class debrief, 10 mins

Ask students to raise their hands and share (with their partner's permission) what they learned and what questions they asked in order to learn what they didn't know about their classmates before.

Part 4: Uploading, 15 mins

Students should use any remaining class time to upload their recordings onto a computer and listen back to as much as they can. They should make notes about parts of the recording that sound clear and strong and those that don't.

It's Go Time

At this point in the podcasting process, your students should be ready to get out there and record sound.

Before they record interviews or sounds, students should set aside time to:

• Contact and reserve time to interview guests
• Write out possible interview questions
• Write a list of sounds to record using the large construction paper from the Brainstorming Sounds lesson

Students should check (and double-check) that they're ready to record before heading to interviews or to record at events. Find our checklist for field recording, which students can take with them, below.

Checklist for Field Recording

Download a checklist for students to take as they prepare to record.

Additional Resources

Sign up for KQED Teach to access this set of guides to teaching podcasting , from the very beginning.

NPR Training is a site full of helpful guides about radio and podcasting.

Guides for creating radio and podcasts, from YR Media, are here.

This Radio Rookies site lists examples of stories that may be useful to play as examples in the classroom.

Transom.org is the go-to site for podcasting hopefuls in public media.

If students are looking for help with tools or learning to use sound editing software, this site likely has what they're looking for. Here's Transom's Kid's Guide To Recording Stories .

StoryCorps provides a series of lessons on storytelling and interviewing here.

Going Digital | Creating a Podcast Assignment

• Designing the Assignment
• Digital Intensive SLOs
• Additional Resources

The Basics #

What is a podcast assignment .

A podcast is a produced audio recording of a monologue, interview, or conversation focused on a specific topic.

Why might you want to create a podcast assignment?

• An option for creating AI-resistant assignments
• If replacing presentations, frees up class time for other things 
• Gives students options to demonstrate proficiency (UDL) 
• Help with classroom engagement & anxiety reduction​
• Gives students experience with digital tools 
• Step towards designating a class DI 

What kind of assignments can this replace? 

• Essays 
• Research Projects 
• Journals 
• In-Class Presentations 
• Group Projects

Designing the Assignment #

1. decide on goals and scale .

If you are creating a podcasting assignment, you likely are hoping the students will develop some technical proficiency. But perhaps your main goal is to give students an alternative method to demonstrate understanding of the course content. Both are valid goals, and being clear about how much priority you assign to each one will help in designing the assignment (and ultimately your grading criteria).

If you are creating this assignment to be a final project or other large assignment, you may want to break it down into smaller parts with due dates for each (much like a research paper). Some possible steps are:

• Topic selection 
• Source selection 
• Draft script/outline/interview questions 
• Final podcast

Smaller projects, such as weekly mini-podcasts replacing a journaling assignment, may need fewer steps and shorter timelines, but don’t expect high production quality! Recording and editing a podcast takes time.

2. Recommend resources

Some students may already have tools they prefer, while others will have no prior experience with these tools. Unless you have a specific reason, there’s not need to require use of a certain tool for recording or editing, but it’s a good idea to offer your students some options. Below are a few we suggest.

Recording Tools

No amount of post-production editing can beat recording high-quality audio from the start! Often a computer microphone or standard earbuds will do just fine, but encourage your students to make a test recording using the equipment they intend to use. This way they can identify whether their current equipment will be sufficient for the project before making a long recording that they have to throw out for poor quality.

If students need or want higher-quality equipment, they can use the following resources:

HCC Info Desk Equipment Checkout

The HCC offers microphones and audio recorders for free checkout at the Info Desk on the second floor.

Podcast Studio & Vocal Booth

The HCC has spaces designed for audio recording and editing. The Vocal Booth on the 1st floor is open 24 hours and has a microphone suitable for recording a single subject. The Podcasting Studio on the 4th floor is open during DKC open hours and includes four microphones for larger interviews or group panels.

Editing Tools

SoundTrap is a free browser-based digital audio workstation (DAW) designed for editing podcasts and music. Users can trim, splice, rearrange, and reduce background noise on audio clips.

• Browser-based 
• User-friendly 
• Can create transcript

Audacity is a free downloadable digital audio workstation (DAW) designed for editing podcasts and music.

• Open-source 
• Less user-friendly but more advance features 
• Cannot generate transcript 

3. Offer support

Make sure your students are aware that they have many options for support for digital assignments (they don’t have to always come to you!).

DKC Class Visits

Consider having the Digital Knowledge Center visit your class to introduce tools and best practices for your assignment. This can go a long way in helping your students get off on the right foot. Visits can be tailored to the needs of your class.

DKC Appointments

If students run into issues, they can book appointments with a Digital Knowledge Center consultant to help get them unstuck.

DKC Online Guides

The Digital Knowledge Center maintains online guides on many tools for digital projects, including “Getting Started” best practices for audio, video, graphic design, and website-building projects.

4. Consider Accessibility 

It is important to consider accessibility in any digital project. In the case of audio projects, there are a few easy ways to improve accessibility.

Provide a transcript

Requiring students to provide a transcript of the spoken words in their podcast improves accessibility and can help you in reviewing and grading projects.

If students create auto-generated transcripts (using Soundtrap for example), it is a good idea to ask them to clean up any errors the software has made before submitting.

Minimize background noise

Recording in a quiet environment and avoiding background music improves accessibility and increases the likelihood of accurate automatic transcript generation.

5. Determine Grading Criteria

Many of the grading criteria you might use for a “traditional” project still hold true for a podcasting assignment. One major difference is that podcasts tend to be less formal and more conversational in their language. You can ask for more formal language for your assignment, but be aware that you may be pushing against the podcasting culture that your students may be familiar with.

As with any assignment, a rubric is a great way to define the grading criteria for yourself and your students. Decide what are the most important learning objectives for your assignment, and assign points accordingly in your rubric.

For example, if technical proficiency with podcasting technology is a major part of your objectives, include these as major elements and award more points for successfully accomplishing those objectives. Alternatively, if demonstrating understanding of the material is the main goal, award more points for successfully communicating the content and fewer points for the technical elements.

Below are some guiding questions and a sample rubric for an assignment focusing on content more than technical proficiency.

Content Issues (Major)

• Does the student address the prompt and fulfill the assignment effectively? 
• Does the student think creatively? 
• Does the student clearly state their argument, or thesis? 
• Is the thesis developed over the course of the assignment?
• Does the student provide evidence? 
• Are sources high-quality and support the thesis? 
• Does the podcast show evidence of organization and revision, or does it seem like a first draft/stream of conscience recording? 

Technical Issues (Minor) 

• Can you hear the speaker clearly and distinctly?
• Does the podcast transition cleanly between cuts?
• Are there extraneous background sounds (mouse clicks, paper shuffling, etc.) that could have been edited out?

Example Rubric 

• Thesis and argument: _/40 
• Organization: _/30 
• Introduction and conclusion: _/10
• Technical issues and accessibility: _/10 
• Sources and citations: _/10 

6. Determine Submission Method

There is no “wrong” way to receive assignment submissions, so choose the one that works best for your learning objectives. Below are a few options.

Canvas Assignment

Canvas is a great submission option if you just want to receive the files directly. You can set the assignment submission type to “File Upload,” and students can upload their audio file and supporting documentation all at once.

Alternatively, if you are interested in having your students think about their work as having life outside of your class, embedding podcasts in a blog post is a great option. This gives students the experience of creating a unified page for the podcast and its supporting materials, similar to many professional podcasts.

Example Professional Podcast Episode Post: 99 Percent Invisible

Example Student Podcast Post

Digital Intensive SLOs #

Each Digital Intensive proposal is considered by the DI committee on a case-by-case basis, so there is no “guaranteed” method to acquire the designation. But below are few examples that may help a podcasting assignment address the DI Student Learning Objectives.

• Require students to share sources for the claims made in their podcasts
• Use the SIFT Method or other criteria to evaluate source credibility
• Converting a written assignment to a podcasting assignment goes a long to addressing this SLO
• Require a transcript alongside the podcast submission to support accessibility
• Instead of requiring a specific tool to create their podcast, ask students to evaluate several and select the one that best fits their needs
• Instead of submitting an audio file in Canvas, ask students to evaluate different sharing platforms (Spotify, iTunes, SoundCloud, etc.) and decide for themselves which one to use

These are just a few options – there are countless ways to accomplish the DI objectives. And remember that a single assignment does not need to address every SLO! A podcasting assignment could address some, while other assignments could address others.

Additional Resources #

Liberated learners – podcasting.

A great resource to share with your students! This walks through the podcasting process from start to finish.

DKC Audio Editing Guides

The Digital Knowledge Center maintains getting-started guides, tool recommendations, and repositories of free media resources for various digital project types.

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Want to Create Your Own Podcast? Here’s Advice on How to Get Started.

In these three short videos, two Times producers and one student contest winner share tips on how to plan, script and record meaningful podcasts.

By The Learning Network

Note: Our Fourth Annual Student Podcast Contest is open from April 8 to May 18.

Listening to podcasts is easy. Creating your own … now that’s a bit more challenging.

To support students who are interested in creating their own original podcasts, whether for our annual podcast contest or just for fun, we asked podcasters to share advice on researching, scripting, recording and editing.

In the three short videos below, you’ll learn more about creating “pillow forts” to enhance audio quality and conducting pre-interviews to find the best guests. For each video, we provide reflection questions to help students unpack the advice and apply it to their own podcasting projects.

What makes a great podcast?

Phoebe Lett , an Opinion Audio producer at The Times, told us that while podcast taste is highly personal, there are a few elements that can make a great podcast across all formats and genres.

Some questions to consider after watching the video:

What do you think makes a great podcast? What do you like about your favorite podcasts?

Pick one of your favorite podcasts. What is the central idea or message the show is trying to communicate? If you were to create a podcast, what is the main point you would want to communicate to listeners?

Consider the role the hosts of your favorite podcasts play. What qualities do you notice about how they use their voice and words to advance the podcast?

How do I prepare to record a podcast?

Alison Bruzek , a senior producer for Opinion Audio who works on “ The Argument ” podcast, broke down podcast preparation into a few components: finding guests, conducting research and writing a script.

What do you need to know about your topic before creating a podcast? What research steps could you take to become better informed about the subject? What guests could help you round out the conversation?

What is your unique speaking voice, and how can you write for it? How is your perspective about an issue specific to who you are — your identity and life experiences?

What strategies can you use to make reading from a script sound natural? How might you implement one of these tricks in your own scripting and recording process?

How do I record and edit my podcast?

Daniel Wang , a winner of the 2020 podcast contest , told us that recording and editing a podcast is a lot less daunting than it seems. He gave us a step-by-step explanation of the recording process, complete with suggestions of free software to use on a variety of devices.

What recording equipment would you use to record a podcast? What apps or programs might you use?

Picture the environment where you would be recording. How could you create a space conducive to recording clear audio? What could your “pillow fort” look like?

How would you go about editing your podcast? What tools would you use? How could you use sound effects and music to add texture to your story?

If you want to learn more about podcasting, we encourage you to delve deeper into podcast creation through our mentor text , lesson plan and podcast writing unit .

Podcasts: The Nuts and Bolts of Creating Podcasts

About this printout

Use this helpful tool to integrate podcasts into your classroom or to help your students create their own podcasts with audio and images.

Teaching with this printout

More ideas to try, related resources.

Podcasts can be used across grade levels and content areas. This tool provides the nuts and bolts of creating a podcast, including links to video tutorials with thorough instructions and free software. Peruse the Extras section to access resources with free audio and images to use with your podcasts.

• Have students create class podcasts of favorite books through the use of “book chats.” Younger students can complete these as a class or in small groups. Older students can create small-group or independent podcasts. Topics can vary. For example, students can discuss their favorite characters and how they changed throughout the story, or they can discuss elements such as plot, theme, and setting. Students can also create thumbs-up/thumbs-down book reviews by providing a thumbs-up or thumbs-down rating and stating reasons for their choice. Visit the ReadWriteThink.org podcast page for great examples of “book chats.” In particular, listen to Chatting About Books: Recommendations for Young Readers and Text Messages: 
Recommendations for Adolescent Readers.
• Have your middle and high school students create their own podcasts about persuasive messages they find in their favorite books, television shows, video games, and movies. Have students identify the persuasive message and describe what makes it persuasive (answers might include convincing ideas, well thought-out arguments, or strong opinions). You might also ask them to identify any propaganda techniques in use (such as assertions, bandwagon, card stacking, glittering generalities, lesser of two evils, name calling, pinpointing the enemy, plain folks, testimonials, and transfer). Have students critique these messages in their podcasts.
• Set up a class podOmatic site and have your students create podcasts about current events or classroom happenings so they can share with family and friends.
• Writing: Have students create their own recipe podcasts or critiques of recipes they have tried. For ideas, view Spatulatta , which includes podcasts about creating recipes. You can also have students write biographies of significant figures in history, authors, or characters, or even their own autobiographies, to podcast.
• Reading: Have students create book review podcasts for a book the class just finished reading or individual book reports. For ideas, view Just One More Book!! , which includes example book reviews.
• Vocabulary:  Have students create a podcast by crafting sentences using new vocabulary words they learn in content areas. Older students can listen to the podcasts at Just Vocabulary for examples. Younger students can listen to examples at Claymont Fourth Grade Podcasts Social Studies Vocabulary Words . Students can also create songs using vocabulary words. Have students listen to the Princeton Review Vocabulary Minute Podcasts for examples. The “junior” words are more suitable to younger students and the “senior” songs for middle and high school students.
• Science: Have students write a research report or brief narrative on a science topic you’re studying, then create podcasts about these concepts. Have them listen to the podcasts at Science Update for examples.
• Math: Have students create podcasts to help each other understand how to work through problems and concepts.
• Economics: Have older students listen to the podcast, You Can’t Always Get What You Want . This podcast is a short economics tip based on the Rolling Stones song by the same title. Have students take up the podcaster’s challenge to find a short clip from one of their favorite pop songs that deals with economics and base a message around that idea that they can then podcast. For more economics podcast ideas, visit Gus A. Stavros Center for Free Enterprise and Economic Education and scroll down the page to “Stavros Center on iTunesU.” Their podcasts are for multiple grade levels and include an economic concept, teaching tips, and activity ideas.
• Social studies: Have students create a podcast on an historical topic. Direct students to The Education Podcast Network: History for examples. Find many more social studies podcasts for the classroom on The Education Podcast Network .
• Lesson Plans
• Strategy Guides

After exploring Orson Welles' 1938 broadcast of H. G. Wells' War of the Worlds , students create their own audio dramatization of a text they have read.

This Strategy Guide describes the processes involved in composing and producing audio files that are published online as podcasts.

• Print this resource

Explore Resources by Grade

• Kindergarten K

Assignment Packages

• Video Projects

Podcast Projects

• Graphic Design Projects
• TimelineJS Assignment Package
• Source Evaluation Assignment Package

The following package of materials provides everything you need to get started designing your own podcast project and implement into your class. There is a mix of resources addressed to instructors, as well as links to student-facing resources, that are also linked on other pages of this guide. To discuss customizing these materials for your own assignment, contact Amanda McCollom ( [email protected] ).

For Instructors

Canvas module.

Go to Canvas Commons and search “Library Resources for Multimedia Projects”; download and import into your Canvas course. This module contains separate pages for video projects, podcast projects, and graphic design projects. If your project is only audio-based, you can un-publish the other two pages. If your students can choose what they create, leave all pages published. Feel free to rename the module and customize content as needed.

• Instructor's Guide for Podcast Assignments Tips for instructors to build a podcast assignment into their course; includes learning objectives, information about tools, and a sample timeline for the assignment.
• E110 Podcast Assignment and Rubric E110 Podcast assignment designed by Nici Bragg, Postdoctoral Researcher in Writing Pedagogy.
• Science Communication Teaching Resources Includes suggestions of science podcast for students to review.
• Audio and Podcast Rubric Detailed sample rubric for podcast projects from Georgetown University

For Students

• Podcasting Tips and Examples
• Podcast Planning Worksheet [Google Doc] You will be required to make a copy of the google doc.
• Audacity video tutorial This 20 minute tutorial replicates a typical Audacity class taught in the Student Multimedia Design Center.
• Audacity (2.1.1)
• Garageband (10.2.0)
• << Previous: Video Projects
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• Last Updated: Aug 3, 2023 2:12 PM
• URL: https://guides.lib.udel.edu/assignmentpackages

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Podcast Assignment for the Social Work Classroom

Posted By Laurel Hitchcock on Jan 15, 2020 | 0 comments

Editor’s Note: This blog post shares information about a podcast assignment developed and implemented in multiple social work classrooms over the past year.  This assignment is a collaboration between myself and Melanie Sage , Todd Sage & Michael Lynch of the University at Buffalo’s School of Social Work .  We share a copy of the assignment and rubric along with information about why social work educators might want to try this assignment in their own classroom.

Podcasts are now a well-known part of social work education.  With so many different types of social work podcasts, it is easy for an educator to assign a podcast instead of an article, asking students to listen instead of reading.  Examples of podcasts designed specifically for social work include:

• The Social Work Podcast by Dr. Jonathan Singer
• inSocial Work Podcast Series by the University at Buffalo’s School of Social Work

For a more comprehensive list of podcasts, check out this blog post written by one of us (Melanie):

• List of Podcasts for Social Work

Briefly, a podcast is an audio file made available on the Internet for downloading to a portable media player, computer, or other device.  Podcasts are easy to create and do not require many technical skills which making the technology a good fit for student assignment and for faculty who do not have a lot of technology experience.  One of us (Laurel) has been using and writing about podcast assignments for several years.  Here are links to a series of posts she wrote back in 2014 when she first started using podcasts in her classroom:

• Podcasting for Social Work Students, Part 1 – Describing the Assignment
• Podcasting for Social Work Students, Part 2 – Why use podcasting in the classroom
• Podcasting for Social Work Students, Part 3 – Advice for designing the assignment from Jonathan Singer

Jump to today, the four of us decided to collaborate on a project to assess our students’ learning outcomes with a podcast assignment as well as find out if they actually liked podcasting better than a traditional social work assignment (i.e. writing a paper or giving a presentation).  We started by creating a podcast assignment that could be modified for different types of social work classes, including policy, research and practice courses.  We are sharing this assignment here so that anyone can incorporate it into their courses. 

Social Work Podcast Assignment Instructions:

The purpose of this assignment is to help students learn about assessment, evaluation, and/or intervention skills while also learning about technology tools and resources that will help them be informed about social work practice.  In this assignment you will also demonstrate your ability to present yourself in a professional manner, self-awareness, and ability to engage in critical peer consultation.

An audio podcast is a digital audio file made available on the Internet for downloading to a portable media player, computer, or other device.  The content of a podcast can inspire, inform, or entertain an audience.  An audio format can be used as a way to capture people’s attention and direct their concern to the topic you cover in ways that you cannot do in writing. You will save your audio file in an mp3 or mp4 format, which is the default for most recording devices.

Before you record, edit, and upload your podcast, you will:

• Listen to a podcast in class and rate it using the attached rubric
• Review, in class, features of good podcasts, storytelling, and basic audio equipment use
• Try out your recording device during a class period and review the audio with a peer for clarity
• Review, for homework, YouTube videos related to creating podcasts
• Listen to a podcast for homework that is similar to the type of podcast you will create, and create a reflection post that describes and assesses the criteria for interview/storytelling quality, sound quality, editing quality, and content quality.
• Choose a topic, audience, and interview or discussion guide for your podcast. Draft your narrative: what’s the story you want to tell? What do you imagine will flow from this story? What will listeners want to know about your topic? How will you elicit or develop this information?

For your podcast ( you can include your class specific information in this paragraph ), you will either interview someone about a topic relevant to families, discuss a topic relevant to families with a peer/s (up to 3 people), or present on a topic relevant to families.  The content should educate listeners on the issue, increase listener empathy related to the topic, and be engaging storytelling. The tone should be professional casual. Do not read a script. The audience will be your class peers, but should also include an external group (social work students generally, clinical practitioners, members of a specific community, etc).

The podcast assignment has two parts:

• The intro should be 1-4 minutes and identify you (name and your role as a social work student), and any other people, include the date of the recording, and explain what is talked about during the podcast. It should also mention any distractions (that can’t be edited out) that happen during the podcast. You might also discuss background or relevance of the topic to social work, and what audience might benefit from listening. For best results, this should be created after the podcast is recorded.
• If you are conducting an interview, questions should help weave a story. If you are not interviewing, your narrative should still help weave a story. See story arc presentation handout.
• The podcast should end with a thank you (if interview) or other clear ending (where to find more information on the topic, etc.)
• Interview should be edited to cut distractions where possible, pauses, and add a very short (a few sec) intro/exit music or other appropriate sounds that enhance the recording.
• If you have external references, mention the website/article/etc as “show notes” which will be posted alongside your podcast if shared widely.
• Have a peer review your podcast using the attached rubric. After the review, you may choose to re-record or edit any part of the podcast to address changes. Complete the reflection portion of your assignment. Your reflection should answer these questions: (a) what did it take to create your podcast; (b) what did you learn from creating the podcast, about technology and your topic; (c) how is podcasting similar and different to writing a paper on the topic; (d) how will you use podcasts in the future; (e) if you worked with a partner, describe how you divided the work and who did what.

For a copy of the rubric: Rubric for Social Work Podcast Assignment

Podcast Assignment Checklist:

_______ Audio release signed by all parties attached

_______ File uploaded as an mp3 or mp4

_______Peer review attached

_______Reflection assignment completed

Interview tips:

• Review your questions, topic, and interview plan before you begin, but avoid reading from your notes. Before you start your recording, chat casually about the topic with anyone who will also be part of the recording to help relax and get comfortable with the topic. Test your audio right before recording.
• Interview should not contain sensitive subjects that would cause discomfort if shared widely. Interviewee must minimally agree to share podcast with class, with public sharing optional.
• If you make a mistake, pause for a few seconds and then restart from before you made the mistake. This way it will be easier to find your error and delete it from the audio file.

Quality Recording Tips:

• Keep microphone near speakers’ mouths- this may mean propping it up on something. Point the bottom of the phone (mouth piece) toward the speakers. If you are recording your own voice you can use the phone mouthpiece or even the headphones that have a built-in mic (like the ones that come with an iPhone) for better quality. Do not move mic back and forth while speaking.
• Do not touch microphone/recording device during recording.
• Do not record in too big of a room- acoustics are better in a small space. Consider reserving a private room in a library or using a space in a home when nobody but your interviewee is there.  If your interview is in a public place (for a good reason, such as interviewing someone you don’t know), cut in an audio track to explain where you were and why it is noisy before the interview starts.  Avoid rooms with running fans or other distracting background noise.
• Cell phone can be used stand-alone by speaking into speaking end of phone
• You can use either the “voice memos” or built-in recording device, or an app such as GarageBand, VoiceRecorder, or RecorderPlus
• Lavalier microphones that pin to shirt can be purchased cheaply on amazon or ebay ($12 each) and a splitter (to use two at once) costs $7-20. You can also use headphones that have in-line mics. University libraries often have high quality mics available for checkout.
• Free software (Audacity, GarageBand) allows you to upload your audio content and edit it.
• Free music for intros/etc. is available at https://www.instantmusicnow.com/

Instructor notes:  We recommend that you review these resources from National Public Radio (NPR) in class:

• How audio stories begin: https://training.npr.org/audio/how-audio-stories-begin/
• Understanding story structure in 4 drawings: https://training.npr.org/audio/understanding-story-structure-in-4-drawings/
• These Days, Family Trees Look More Like A Forest (16-minutes):   https://www.npr.org/2011/07/05/137627840/these-days-family-trees-look-more-like-a-forest )

To assess the quality of this assignment, we asked students to complete a post assignment survey for extra credit.  If you are interested in this survey, please reach out to Laurel at [email protected] .

Are you using podcast assignments in your class?  If so, please share your tips and suggestions in the comments below.

How to Cite this Post:

Hitchcock, L.I, Sage, M., Sage, T. & Lynch, M. (2019, January 15). Podcast Assignment for the Social Work Classroom [Blog Post]. Retrieved from: https://laureliversonhitchcock.org/2020/01/15/podcast-assignment-for-the-social-work-classroom/

Author: Laurel Hitchcock

Dr. Hitchcock served as the editor for this blog post. The author is the Guest Blogger (Social Work Educator or Student).

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IT Teaching Resources

Classroom resources, how to leverage podcasts for learning, podcasts are an engaging way for instructors to merge project-based learning with digital media.

A podcast is an episodic series of digital audio files made available on the Internet for streaming or downloading to a personal device (e.g., a computer, tablet, or smartphone). Podcasts are available on websites such as Stanford School’s In , Stanford Innovation Lab Podcasts , eCorner Stanford Podcasts , Stanford Radio website , CSET Teaching to Meet the Moment , or on streaming applications/distribution platforms such as Apple Podcasts , Google Podcasts , Spotify , and SoundCloud . 

For decades, podcasts have been used for leisure and entertainment. However, in recent years, educators have started using podcasts for teaching and learning. For example, instructors can use podcasts for lecture delivery, student assignments, or community-building around interests. 

• Presents a wide range of subjects in a quick and efficient manner that is convenient for the instructors and students 
• Requires minimal support for the users. Podcasts are available on almost any device
• Introduces and supports a broad array of narrative types that can improve student learning or understanding
• Low cost or free to listen
• Reduces screen time and Zoom fatigue
• Simpler to create and edit than video recordings
• Creating high-quality podcasts requires expertise in audio production
• May require additional equipment (e.g., microphone, audio editing software, and podcast hosting services)
• Low-bandwidth or storage can impede podcast creation or consumption
• May not be suitable for teaching materials that require texts or visual support

What does this look like in a classroom?

Below are several use cases demonstrating how to utilize podcasts for teaching and learning in the classroom. Instructors can utilize existing podcasts as course content (Use Case 1), and/or produce customized podcasts for different educational purposes (Use Case 2, 3, and 4).

For in-depth information on how to produce and host a podcast, please see How to Create Your Own Podcast or check out the GSE IT and Makery Workshop Getting Started with Podcasting with the presentation slides .

Use Case 1: Sharing playlists to engage learners

To help students stay engaged and better focused on course content, Professor Nicole Ardoin generated a list of podcast episodes and shared them with students. During class, Professor Ardoin encouraged students to take breaks and listen to the podcast while walking outside or sitting somewhere different. Then, when students returned to the class, she set aside time and space (e.g., in breakout rooms or in the big group) to reflect and discuss the podcasts. 

Use Case 2: Using podcasts to “flip the classroom” 

In a “flipped classroom,” instructors pre-record lectures, and students watch the lectures on their own time before coming to the live class session. Instead of recording video lectures, instructors can record audio-only lectures to reduce student screen time. 

Using podcasts to flip the classroom is more conducive to non-visual lecture material or discourse, as opposed to dense, technical instruction. Instructors should also be cautious about the length, as long episodes can lose an audience over time. Depending on the course content and pedagogical approaches, some instructors could also consider using podcasts to do guided reading, though this practice is more commonly used in K-12. Research also shows that podcasts can help with second language learning.   

Use Case 3: Students submitting podcasts as an assignment 

Podcasts may be adopted in lieu of written assignments. Students might submit podcasts as responses, reflections, commentaries, peer revisions, etc. Since podcasting might be new to many students, instructors can make podcasting assignments optional or allow alternative forms of submission. Instructors should establish clear guidelines and provide tutorials to students. For example, instructors can ask students to familiarize themselves with podcast production tools and features before creating their own podcasts.  

GSE Assistant Professor Sarah Levine studies the use of digital media to teach reading and writing. Instead of having students submit written assignments, Dr. Levine incorporates writing for radio, where K-12 students submit radio projects for English classes. According to Dr. Levine, podcasts can carry students’ words beyond the boundaries of the classroom into the real world.  Dr. Levine emphasizes that “using radio or podcasts as a framework for the teaching of writing draws the real world into the classroom and—with the use of smartphones and Web-based tools—sends students’ voices out into the real world.”

As a simple writing for radio exercise, instructors might ask students to flesh out a chosen idea into a full narrative or story. Students will then be required to include at least 15 sensory descriptions that allow an audience to see, hear, taste, smell, or touch the experience just as the narrator did. After the exercise, students would highlight what they believe to be concrete details. By doing this follow-up activity, students will learn how to assess the extent to which they have fulfilled the assignment while also allowing instructors to assess students’ understanding of concrete imagery.

Another radio writing assignment might ask students to create an “Audio Gift” or a description of a significant memory that involves someone important in their lives. The students would then share the selected memory with the same important person, someone close to that important person, or with a larger radio audience. The assignment should follow the format of 300-350 words and a 2-minute recording with optional sound or music. The instructors would grade based on how ready the recording is for broadcast, including if students used strong descriptive words, provided concrete imagery, or produced clear readings and recordings. For more information on the “Audio Gift” assignment, please see the Teaching Writing with Radio article by Sarah Levine.

Use Case 4: Guest speakers and extended conversations 

Podcasts can serve as an alternative to pre-recorded guest interviews or lectures. Instructors might also invite students to bring in guest speakers to incorporate external voices across networks to share new perspectives. Remote interviewing apps and low latency technologies like Zoom allow for rapid and scalable interviews at a distance. See more about remote interview technologies here. 

In this case, there are two advantages to using podcasts instead of pre-recorded videos. First, guest interviews or lectures recorded as podcasts can be more engaging and intimate as the medium lends itself well to informal exchanges or fireside chats. Second, utilizing asynchronous podcast guest lectures and interviews can extend learning and build community beyond the classroom boundaries while not burdening synchronous class time.

What does this look like outside of the classroom? 

While podcasts can be a useful tool for increasing engagement and knowledge sharing within the classroom, they can also be an innovative way to build community and continue the spirit of knowledge sharing among departments or professional organizations. Below are several use cases demonstrating how to utilize podcasts to share recent happenings or research within an organization (Use Case 1), provide informal training to members (Use Case 2), or connect typically disparate groups (Use Case 3). 

Use case 1: Sharing new research or conversations 

Podcasts can be a more approachable way of updating members of new research or main event takeaways as compared to school- or organization-wide emails. For example, the Service Learning and Experiential Education Special Interest Group of the American Educational Research Association has a weekly podcast that gives an engaging, deeper dive into new research projects of its scholars. Another option could be creating a regularly scheduled, “bird’s eye view” podcast in the style of NPR News , during which scholars share short, ~5-minute synopses of their work or summaries of recent academic gatherings. 

If you would like to see an example of how you can use podcasts to share new research or conversations, check out Teaching to Meet the Moment , the CSET podcast series co-produced by GSE IT on connecting with student well-being.

Use case 2: Providing informal training to members 

Podcasts can be an innovative opportunity for you to provide mentorship or skills training to members of a department or professional organization. Want to learn more about different approaches to coding in qualitative research? Want to learn about the potential benefits of Natural Language Processing? Want to learn about different approaches to doctoral advising? These topics, although complex, are granular enough that they can be discussed by one expert – or a panel of experts – in the span of an hour-long podcast. The beauty of the podcast is that it provides opportunities for members to access educational resources without having to look at a screen or be confined to one space. The Cult of Pedagogy is one example of how educator networks are providing skills training and professional development for other educators through podcasts.  

Use case 3: Building bridges within an organization 

Many professional organizations or schools can be siloed into sub-groups that may not interact with one another often (e.g., Special Interest Groups, departments, or units). Podcasts are a small yet intentional way to increase and model communication between these disparate groups, building community within the organization as a result. For example, scholars from different SIGs or departments could join on a podcast to discuss different approaches to a broad issue in education or research. Many scholarly organizations on foreign affairs, such as the European Parliamentary Research Service , have implemented podcasts to this effect.

Additional Information:

For those interested in pursuing radio production more fully, check out Generation PRX, a network for connecting teachers and makers of radio, a resource hub for those who have questions about student-made radio, and a gateway to the Public Radio Exchange ( PRX.org ).

External resources:

Stanford School’s In  Five Stanford Podcasts to Wake Your Brain Stanford Innovation Lab Podcasts eCorner Stanford Podcasts Stanford Radio

Classes on your feet

Opportunities for students to leave the screen and incorporate movement into learning activities

Back-to-school workshop

Integrating tools new and old to elevate learning experiences

How to learn and teach in a hybrid course

A handbook for designing and teaching hybrid or blended courses focuses on outcomes-based practice

Creation at your fingertips

All the tools you need to host, create, edit, and distribute your podcast like a professional—all for free. Whether you’re starting your first podcast or your fifth season, you can find what you need to make your best episode here.

Have a show hosted somewhere else?

Switch your host to Spotify for Podcasters to get all your creation and publishing tools in one place.

Focus more on your content

Professional recording tools anywhere, anytime

You’ll have an audio recording studio in your pocket. Our creation tools capture audio straight from your phone, tablet, or computer, and sync across all devices.

All your tools, all in one place

Creation couldn’t be easier. Just record and edit your audio, arrange your segments, add transitions and background music, and you're set. If you make episodes somewhere else, simply upload your file and publish.

Get creative with exclusive formats

Branch out into new podcast formats. With Video Podcasts on Spotify you can show your story and engage more deeply with your fans. Music and Talk shows on Spotify allow an entirely new type of show by combining your talk content with the Spotify music catalog.

Featured creation tools

Audio enhancement.

Turn your everyday surroundings into a podcast studio with Audio Enhancement in the Spotify for Podcasters mobile app. Regardless of where inspiration strikes, press record and say what’s on your mind. Using noise canceling and voice optimization technology, we'll leave you sounding your best, and tune out the rest.

Record with Friends

We know that your co-host might not be sitting right next to you all of the time. Record with Friends turns the Spotify for Podcasters mobile app into your remote recording studio. Simply invite your co-hosts, guests, or fans into your episode and have a conversation. Record together - no matter where you are.

Music + Talk

Explore an entirely different genre of podcasting only available on Spotify. Music + Talk lets you mix full length tracks from Spotify into your recording. Review new music, debate the best songs, and create communities. We take care of the music licensing and copyrights so you can focus on the content you love.

Podcast Creation Resources

Whether you are just getting your show off the ground or are a seasoned podcast vet, take advantage of our resources, videos, and masterclasses to get to the next level.

Podcast editing: A guide for creators

A guide to managing your podcast workflow

How to start a podcast in less than an hour

Want to create or adapt books like this? Learn more about how Pressbooks supports open publishing practices.

Appendix C: Podcast Assignments & Examples

Assignment #1: Ethics Discussion

Prepare for a class discussion on the following issues:

• Are there “good” uses of AI in podcasting, if so, what are they?
• Do you think there are downsides to using in AI in podcasting, and if so, why?
• Since AI is built from existing data bases, do you have concerns over discrimination abuses against individuals or groups?
• Should the listener be advised that AI was used in research, preparing guest bios, doing ads, or any other aspect of producing the podcast?

This exercise could also be used for Discussion Boards, Blog Posts, Podcasts, or written papers.

Assignment #2: Podcast Listening & Deconstruct

The goal of this assignment is to familiarize students with podcast variety and production techniques.

Students should take notes and listen critically, since this is not casual listening for entertainment but to study, think about, and probe HOW a podcast is produced (meaning how it is put together). Make your analysis clear enough that it would inform someone who has not listened to the show.

See Ch. 6 on how to do a podcast deconstruction – if you study how creators put together various podcasts it will help you shape your own because you will have knowledge about a variety of creative storytelling techniques.

Select an interview, conversational, or nonfiction narrative podcast (one example in this genre is This American Life ) and listen to at least the first 20 minutes. (Do NOT include fiction podcasts, unless directed by your instructor) because they are far more complex and expensive to create.

Include a live link to the podcast episode and answer the following questions:

• Identify the podcast name and description ; explain why they do or do not match the show content you heard; describe why the podcast music and artwork (include a link to the artwork) seems appropriate and compelling or not to the topic;
• Discuss whether the content of the show is interesting or compelling by identifying what makes it so with specific examples;
• Identify the show format – how the show is constructed? Is it a single host, co-host, or roundtable? Is it an interview, talk, or nonfiction narrative-where the story is told by the host and in edited audio clips of interviews; identify the genre (crime, investigative, sports, politics, pop culture, self-help, educational, a mix?);
• How well is the technical portion of the podcast done? Think about audio quality of the podcast and about the speaking clarity and energy by hosts and guests;
• Identify one thing that you DO & one thing that you DO NOT want to imitate; if anything.

ALTERNATIVE ASSIGNMENT : The goal of this assignment is to familiarize students with the multitude of podcast topics available by actively listening to podcasts and critically analyzing the differences among podcasts in content, style, and production.

• Go to a podcast directory and select  two podcasts on different subjects  to listen to for at least 15 minutes.
• Go to a podcast directory and select  two podcasts on the same subject  (hopefully on a topic you expect to cover on your podcast) and listen for at least 15 minutes.
•  Write a 4-5 page critical analysis based on the following criteria:
•  Describe/critique the podcast name, description, music, and artwork;
•  How interesting or compelling is the content? Think in terms of quality, style, format, and genre;
•  How well is the technical portion of the podcast done? Think about audio quality and speaking;
•  Identify one thing from each of the four podcasts that you DO or DO NOT want to imitate.

#3: Podcast Pitch & Post

This assignment has two goals. The first is for students to make a  written pitch  for a podcast show they would like to do, with the information posted on the course Discussion Board.

The second part is to  evaluate the pitch of a classmate  with constructive criticism posted on the Discussion Board.

• Podcast Pitch : Propose a name for your podcast; describe your podcast in 10 words or less;
• Post : Review the podcast pitch of two other students and make useful comments; they may be critical, but your goal is to be helpful.

Assignment #4: Produce & Edit Podcast Open

The goal of this assignment is to create your podcast open. Use music and voiceover narration to introduce your show, edit the audio and upload them to your own free SoundCloud account. There is an audio example at the end of this exercise.

• Find and select music for your podcast open using  royalty-free tracks  or  original music,  see Ch. 11
• You will submit a  written sheet  that tells exactly where you got your music and that you have followed all copyright rules. i.e., if credit to the musician is required then signal that you intend to do that in oral credits at the end of the podcast and on your show website.
• This show open is the standard podcast open used each week, not the individual opening. It should include the  show name ,  your name  and a brief description of  what the podcast is about . You can voice the intro or have someone else do that. An example is included below.
• Lay down the  music track  on one channel and put the  voice track  on a second channel
• Edit the tracks  so you start with music at full strength, then lower the sound when the voice track comes in with the podcast show title and host. Once you have finished speaking, have the music come back up to full strength and then fade out within a few seconds.
• Export as an  MP3  audio file and send to your instructor.

{Audio Example}

Assignment #5: create & edit a sound story.

The goal of this assignment is to understand how audio storytelling differs from written text. When using sound to tell a story, the listener must be able immediately to identify the sounds being heard. The power of sound in audio storytelling crosses all languages. There is an audio example at the end of this exercise.

• Create a  short fictional audio story  of 50-to-90 seconds that uses sound effects, sounds you record, and uses only one to five words of narration.
• Edit  into an MP3 audio file, upload it to your SoundCloud account and send me the link.

In the example below, the story is that of a person walking to their car, getting in and starting the car, pulling into the street, fiddling with the radio, sighing, texting while driving, then screaming as she gets into a car accident and ends up in the hospital.

https://pressbooks.pub/app/uploads/sites/3202/2022/06/Assignment-3-Sound-Story-1.mp3

Assignment #6: Descriptive Writing & Recording

The goal of this assignment is descriptive writing – which is what audio storytelling is all about. Write to make a scene come alive in the mind of the listener so they can imagine what’s happening from the rich detail you provide.

You will pick a historic photo and use descriptive language but without using words that explicitly tell what is in the photograph. There is an audio example at the end of this exercise.

• Select a photo  from  http://100photos.time.com/
• Research  the photo and  write  about it without telling the audience what the photo depicts. Use descriptive language with adverbs and adjectives that are strong and colorful.
• Record  what you have written, using vocal energy and clear articulation.
• Edit  into an MP3 audio file, upload it to your SoundCloud account and send your instructor the link.

https://pressbooks.pub/app/uploads/sites/3202/2022/06/Assignment-4-Descriptive-Writing-1.mp3

Assignment #7: Deconstructing Audio Stories

The goal of this assignment is to research and analyze how audio in podcasts is used in storytelling. By carefully listening to every use of audio and looking at a story transcript (or creating a transcript yourself), you will dissect how the story was put together. Write your analysis and submit to your instructor.

Analyze NPR podcasts  that use audio beyond just interviews in their storytelling. That may include natural sound from events such as a protest rally, historical archival audio, actor dialogue, news clips, music, person-on-the-street comments, an author reading sections of their book and such.

• Listen to the  NPR podcast , “ Thoroughline ,” in an episode called “The Long Hot Summer,” from July 20, 2020.The podcast recalls the 1960s racial unrest in the context of the racial injustice protests of 2020. You can download the audio file, the transcript is  here .
• Listen to the  NPR podcast , “ Radiolab ” in an episode called “Dispatches from 1918,” broadcast July 17, 2020. You can download the audio file; I did not see a transcript.
• Identify how the story begins : Is it narration? Sound?
• What are the audio sources used and how long are they?  Is it an interview; natural sound from a public event like a protest rally; archival audio from newsreels or current news shows; music; sound effect?
• What do you notice about the writing?  Are descriptions used of what a person or event looks like; is the writing style giving straightforward information or is the style building suspense?
• What observations can you make about story structure?  Does narration last long before you hear audio or is there limited narration; are the audio clips long or short?
• How does the story end?

Assignment #8: Create & Edit a Mini-Podcast

The goal of this assignment is to create a mini-podcast, using previous assignments and putting them together with some new elements.

You will add three new elements – a narration, a bumper, and the show ending. The bumper reminds the audience of the program they are listening to and can be used to break up a long interview or to cover an edit. There is an audio example at the end of this exercise.

• This podcast pilot show begins with your  podcast open , then adds the  audio sound story;
• Make a  voice recording  of your  descriptive writing-photo story , then add that to the audio file;
• Create a  bumper  for the podcast by writing a short reminder of what the audience is listening to, for example: “You are listening to “Home Gardening Newbies’ – the show to help you develop a green thumb,” and then add that to the audio file. You could also use the name of the host.
• End your show by  thanking the audience  for listening and giving them a  call-to-action  – how to find your podcast or website. You could also tell them what the topic will be for your next episode if you know that. But every story needs an ending.

Once all of the various audio clips are edited into an  MP3  audio file, upload it to your SoundCloud account, and send your instructor the link.

https://pressbooks.pub/app/uploads/sites/3202/2022/06/Assignment-5-The-Final-Mixdown-1.mp3

Assignment #9: Create an Original Podcast

The goal of this assignment is creation, writing, hosting, producing and editing your original podcast episode.

• Create an 8-10 minute podcast using at least one guest interview. Required elements include a show open with music, interview(s), bumper and show end.

Assignment #10: Create a Podcast Trailer

The goal of this assignment is to create an audio trailer to promote your podcast on social media – Facebook, Twitter, Instagram.

• Create a :30-:50  trailer  of your podcast that showcases the best of what you have to offer.
• Free tools to create  audiograms  are outlined in  Ch. 8 , using the Headliner app. A  video tutorial  shows the process of how to do this.
• Examples  of audio (and video) trailers are included in  Ch. 9 .Assignment #10: Create a Podcast Website/Blog

Assignment #11: Create a Podcast Website

The goal of this assignment is to create a website for your podcast.

• Create a  blog  or  website  for your podcast using WordPress or another blog tool.
• Embed  the podcast audio.
• Include a host  bio ;  photo ;  contact  information;  name  &  description  of the podcast; use of the podcast artwork.
• Include a show  transcript ,  show notes ,  links  to additional resources.

Tools for Podcasting Copyright © by Jill Olmsted is licensed under a Creative Commons Attribution 4.0 International License , except where otherwise noted.

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How to Create Your Own Successful Podcast

Have an idea for the next big podcast our inclusive guide will show you how to find your voice, the software and hardware you need to create your podcast, and how to get it heard..

My favorite podcast,  Fresh Air with Terry Gross,  from National Public Radio's WHYY in Philadelphia, has featured many well-known guests, from Hillary Clinton to comedy legend Mel Brooks. But what draws me in is Gross's warm rapport with her guests. It reminds me, as a journalist, to listen closely to those I interview and ask intelligent, relevant questions.

The whole genre of podcasts received a big jolt in 2021 when Only Murders in the Building , an American mystery-comedy streaming television series created by comedians Steve Martin and John Hoffman, became a smash hit on Hulu. Clearly, it's a great time to experiment with this expanding and potentially lucrative medium, as podcasts continue to draw outsized attention from media companies.

Looking to get into it? We've done the work to help you get started.

What Is a Podcast?

At its most basic, a podcast is a digital audio program or recording, similar to a radio or television show, that can be downloaded from the internet or made available to and accessed from various mobile devices. As with most media in the digital age, the format, structure, and content of a podcast often resemble those of an older analog medium: the broadcast-radio program. Podcasts, like radio, are often created serially and post new episodes regularly.

There are important distinctions, though. For starters, the notion of time is different for podcasts: Each listener is in control of when (and on which device) to listen to a podcast, as opposed to radio and television, which run shows at specific times. Also, you can make your podcast episode any length you want—five minutes or five hours. As a podcaster, you're in control.

Several online media formats that feature audio resemble one another but aren't all technically podcasts. A video podcast , sometimes called a "vidcast," is similar to a podcast but includes a visual component, which might be a slideshow of still images or actual video. A webcast generally includes live segments. A vlog , or video blog, uses a blog-style format (the most up-to-date episode is shown first) but presents the content in a video format (on a platform such as YouTube). For more, check out PCMag's roundup of the  Best Vlogging Cameras and Tools .

Podcast Formats and Types

There are a number of formats you can choose for your podcast. Consider which type is best for presenting your content. Like the Fresh Air podcast, an interview is the most common format. It most often features one host who introduces and interviews guests. An offshoot of this type is a panel discussion or roundtable format, with a host who leads the conversation. A monologue is a commentary-style podcast built around one personality, which gives the show one voice or a single point of view.  Lore Lore , which focuses on the frightening history behind common folklore and is told in almost a campfire-like style, is a wonderful example of a solo-style podcast.

In a multiple-hosts format, the podcast is divided up between several different people, or two or more co-hosts share leading the show. For instance,  Pardon My Take Pardon My Take  is a raucous comedic sports podcast featuring two co-hosts, Dan "Big Cat" Katz and PFT Commenter (Pro Football Talk Commenter). Unlike the first three kinds, a narrative , or storytelling style of podcast, focuses on  how  the content is presented. In many ways, this type has fueled the popularity of podcasting recently. And while some of the previously mentioned podcasts, like  Lore , could fit here as well, many narrative podcasts have a decidedly linear quality and generally don't change to another topic or segment. This can be either non-fiction, such as  This American Life This American Life  and  Serial Serial , or fictional, such as  Wolf 359 Wolf 359  and  Flash Forward Flash Forward . Finally, mixed or hybrid format podcasts use various elements of the other four content types. A mixed podcast may also repurpose content from other mediums, such as radio or television.

What You'll Need

Improvements in hardware and software technology have dramatically changed the way podcasts are developed, created, produced, and publicized. Additionally,  laptops , desktops, tablets, phones, and other devices are equipped with more powerful processors and other features that make creating podcasts easy. There are even new, inexpensive ways to make sure your environment helps you attain the best quality audio.

Your budget will be the biggest factor in determining what equipment you buy. You'll also need to figure out how extensive your recording rig has to be: If you aren't tied to recording in a particular location, you can build a setup that lets you record and edit in one room or even part of a room. But if you plan to record in the field, you'll likely want additional gear. For a detailed rundown of what hardware you'll need, read our full guide to the best podcast equipment available today.

To record your podcast properly on your computer, you'll need audio editing (or DAW, for digital audio workstation) software, such as Propellerhead's Reason or  Avid Pro Tools , which can cost from around $100 to over $600. For  Adobe Audition , you need a subscription, which can cost $20.99 a month (although Adobe often runs special offers). For podcast newbies, it's a good idea to download one of the most popular (free) audio apps:  Audacity , a versatile two-track editor that includes lots of online tutorials. GarageBand software, which comes free on all Mac computers, is also a great option. You can record audio, edit it, adjust tonal qualities, add effects to make it fuller, and perform many other podcasting tasks. You can also import audio clips, including audio you've captured on an external audio recorder, your tablet, or your phone.

Cast  offers all the tools aspiring or professional podcasters need to record, edit, and publish a podcast. This comprehensive and easy-to-use service wins an Editors' Choice for podcasting software despite some sound issues in testing. And  Zencastr  is a superb platform for recording podcasts, but you'll have to look elsewhere when it comes to editing, hosting, and publishing your content. Additional software for editing or improving the audio quality of your podcast includes Auphonic , a service with a number of tools to help level and balance your interviews, lectures, and other types of audio used in podcasts; and Temi , a service that helps you generate transcripts of the audio segments (at $0.25 per minute), whether they’re interviews, conversations, or monologues.

Another option is to use an app to create your podcast. Apple iPhone and iPad owners get GarageBand for free, as do Mac owners. As for Android,  Pocket Casts  is a fine choice for using your phone to create a podcast. (And for listening to podcasts, check out The Best Podcast Player Apps .)

Once you've produced the audio file for your podcast, you'll need to transfer it to a hosting service, so you can get your podcast listed in various directories (iTunes, Stitcher, and so on). This will also generate an RSS feed—important for getting your podcast noticed. Quite a few podcast-hosting services are available; many offer free trials or free tier options. Well-known services include Libsyn, SoundCloud, BuzzSprout, and Fireside, but others are worth a look.

Tips for Creating Successful Podcasts

Although it's a great time to start podcasting, you should realize that the landscape is competitive, no matter how niche your market. Podcasts take a lot of time and effort, so don't be discouraged if you've created your dream podcast, but no one's listening yet. There are many things to learn—and most of those lessons come through trial and error.

In 2021, Apple created a new website, Apple Podcasts for Creators , which can help creators learn more about podcasting, stay informed about the latest news and features, and explore in-depth guides with best practices. Those who use Apple’s podcast app can also log in on this site and access their Apple Podcasts Connect dashboard, which was also redesigned with new features that make it easier to manage shows on Apple Podcasts. This includes the ability to edit metadata, schedule and manage show availability, organize shows into channels, manage multiple users and roles, and learn how listeners are engaging with their shows through new performance metrics and visualization tools.

Here are some specific tips to help you stay inspired:

• Keep Your Podcast Focused.  While it might be tempting to create a podcast that's all things to all listeners, successful shows tend to have a narrow, focused topic.
• Picture Your Target Audience.  When writing or producing content, it's helpful to think about the type of audience you're trying to reach with your podcast. Many marketers set up buyer personas, which are fictionalized models of ideal customers. You can develop such models to help you craft your content.
• Be Consistent.  If you want to be taken seriously, post episodes of your podcast regularly and consistently.
• Plan Your Workflow.  Should you write a detailed script or simply ad-lib? It could work best to have a little of both, but that depends on the podcast. Either way, you'll need some sort of workflow to develop your ideas and bring them to fruition. At the very least, be sure to sketch out the major themes of each show and know your subject thoroughly. When you have multiple voices that you're interacting with on each episode, be sure everyone is comfortable with the process and with how casual or detailed the script needs to be. For more advice, see  Planning Your Podcast Script .
• Use Music Segments, but Don't Infringe on Copyrights.  Add good intro and outro music to your podcast, but make sure you aren't infringing on anyone's copyright.
• Promote Your Podcast.  Once you have your podcast posted on your hosting service, you may think that your job is done, but it's imperative that you promote your podcast. For that, check out 8 Ways to Drive Traffic to Your Podcast On Social Media .

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‘Harvard Thinking’: Facing death with dignity

In podcast episode, a chaplain, a bioethicist, and a doctor talk about end-of-life care

Nothing is certain except death and taxes. Yet when it comes to death, trying to avoid that certainty has created a culture of discomfort and poor care when it comes to helping people face the end of their lives.

“Death is hidden from us,” said Tracy Balboni in this episode of “Harvard Thinking.” She’s a radiation oncologist and physician at Brigham and Women’s Hospital and Dana-Farber Cancer Institute. “But death will come. As far as I know, no one has avoided it. And yet we’re largely divorced from how to embrace that as families, as communities, in a way that is honoring of both the person who is dying as well as the individuals who are losing a loved one.”

For good reason, healthcare tends to be highly specialized. But the terminally ill often face a confusing mix of messages from their different providers. Mildred Solomon , a professor at Harvard Medical School and president emerita of The Hastings Center said that clinicians should think about care more holistically.

“We need integrative team-oriented care, and we need some triggers for when such team care is especially important,” Solomon said. “When we just ask [the patient], ‘What do you want to do?’ That’s an irresponsible interpretation of autonomy.”

Chris Berlin , an instructor in ministry and spiritual care at Harvard Divinity School, said that chaplains can provide spiritual support. Their role is not to make decisions for the patients, but to walk alongside them and help them navigate such an uncertain time.

“In Buddhism, we have this term Kalyāṇamitra , which literally means spiritual companion. It’s like a friend on the path,” he said. “That is how I think of spiritual care.”

In this episode, host Samantha Laine Perfas speaks with Balboni, Solomon, and Berlin about what end-of-life care is, and what it could be.

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Chris Berlin: I believe that dying itself is not the hard part, but it’s struggling to keep living, and that’s where a lot of the pain is. The body does everything it can to keep going until it can’t anymore.

Samantha Laine Perfas: Death is inevitable. And yet it’s something we struggle to deal with culturally, socially, and in our medical establishments. Many face long deaths in hospitals, while others wrestle with whether or not to undergo life-extending treatments. How do we confront death — as patients, counselors, and healthcare professionals — in a way that honors the fullness of life?

Welcome to “Harvard Thinking,” a podcast where the life of the mind meets everyday life. Today, we’re joined by:

Tracy Balboni: Tracy Balboni, a physician, a radiation oncologist. I practice at the Dana Farber and the Brigham and Women’s Hospital and I’m affiliated with Harvard Medical School.

Laine Perfas: She’s also a researcher who focuses on the role of spirituality in the care of patients with life-threatening illness. Then:

Berlin: Chris Berlin, I am an instructor in ministry and spiritual care and counseling and Buddhist ministry at Harvard Divinity School.

Laine Perfas: He was also a clinical chaplain at Dana-Farber Cancer Institute and at Brigham and Women’s Hospital, and teaches at Harvard Extension School, including courses in mindfulness, compassion, and enlightenment. And finally:

Mildred Solomon: Millie Solomon, I’m a professor of global health and social medicine at Harvard Medical School.

Laine Perfas: For the past 20 years, she’s mentored Harvard-affiliated healthcare professionals in bioethics. She’s also the president emerita of The Hastings Center, an international bioethics research institution.

And I’m your host, Samantha Laine Perfas, and a writer for The Harvard Gazette. In this episode, we’ll explore how to improve end-of-life care.

I wanted to start the conversation with Americans’ attitudes towards death. There’s a lot of uncertainty at the end of life. How do you all approach end-of-life care in your various roles?

Berlin: You used the word “uncertainty,” and from the standpoint of chaplaincy, one of the roles that I’ve tried to play is encouraging people to exercise their sense of choice. People who are at the end of life are juggling so many things. And a lot of that has to do with worrying about their families. If there are pain issues, then it can be really confusing to know where someone is and what their choices are. And yet we also encourage them and their families or their healthcare proxies to make choices that actually really honor quality of life. I think everyone is on board with that in the hospital system, and yet people don’t always know what their choices are, and there may be competing commitments on the part of family and the patient’s wishes. I think helping people sort out the issues, and slowing things down, if that’s possible, to think through what values a person has so that they still have a sense of agency and choice, even at the end of life.

Balboni: I’ll just add to that, from my perspective as a clinician in this setting, that it seems that there’s little language or mode of communication on the part of patients and families. So they get suddenly thrown into this world of facing their own death and have, oftentimes, little preparation, little consideration of that reality. Little reflection on what those values are. They’re coming into the medical system where the clinicians have also no language, for the most part, to be able to even interface with those realities with that patient. We’re very well-versed in the language of the empirical sciences, technology, we’re good with that. We’ve got all those tools in our toolbox, but we have minimal tools, if I’m generous, to really be able to engage on this level of values, of what’s sacred to you of how to approach dying well. But then there’s also the larger realities of our culture, in which, you know, death is hidden from us. Not too long ago, we experienced death in our own homes, and now we’ve entered into a time where death is largely removed. Most people die in institutions. They don’t die in their homes. Fortunately, because of biomedicine we live longer, which is a good thing. We celebrate that. But death will come. As far as I know, no one has avoided it. And yet we’re largely divorced from how to embrace that as families, as communities, in a way that is honoring of both the person who is dying as well as the individuals who are losing a loved one.

Laine Perfas: Yeah, and I do want to talk more about the spiritual component of the conversation, but I think it could be helpful to talk first about our inability to talk about death. I’m curious where you think that comes from when it is such a natural part of the life process.

Balboni: I would say that talking about spirituality and being able to talk about death are intricately intertwined, because you can’t be speaking about these issues with patients unless you yourself have reflected on what that means for your own life, for the life of your loved ones, as well as for the patients in front of you. Because, like the water around the fish, we’re immersed in a culture that so denies death, our value is based on the here and now and our material presence here. And you can see how that concept has infiltrated our psyches and dictates how we approach these issues, both within ourselves and within our care of patients. I think it’s really beginning there, and that has to begin in medical education where we reflect on our own sense of who we are, what’s beyond ourselves when we die, and begin to wrap our minds around what that means for ourselves that we then begin to be able to honor and respect and bring up these issues with patients themselves.

Berlin: Yeah. I think at Harvard Divinity School one of the things that we do there is train our students who are going into chaplaincy not just to provide emotional and spiritual support to patients, families, and staff, but to use themselves as instruments, to Tracy’s point, about doing the work ourselves. One of the courses that I co-teach with my colleague Cheryl Giles is “ Compassionate Care of the Dying: Buddhist Trainings and Techniques .” And the first writing assignment for our students is to write your own obituary as if you were dying now. Many of our students are on the younger side, in their 20s and some in their 30s. It’s non-intuitive for them at this point in their lives to be contemplating their own deaths. And yet, the heartiness they bring into this, because we’re helping them process the experience of writing their obituary. And so it’s a process of getting used to it so that we can lean in and we can be present compassionately with someone at the end of life, as opposed to recoil in fear and yet still trying to be helpful, which isn’t helpful, right?

Solomon: I really like that Chris brought in the word “compassion.” And I want to talk about compassion beyond the doors of the hospital, too. I also want to talk about a compassionate society. And the fact that, yes, there are a lot of hard and uncertain decisions that need to be made at the individual level about whether a treatment is in my best interest or comports with my values. But at the same time, we have an aging society with many people who are alone, socially isolated, impoverished. As we have gotten better at managing chronic illness, we have more disability and frailty. The care of somebody frail and old is extraordinarily expensive, if it’s even available. I think it’s been estimated that there are 5 million people with Alzheimer’s, and 15 million people caring for them. Many of those are family members who’ve given up their jobs. Just taking that, where is the compassion in our society to try to support these families and their loved ones? What does a compassionate society owe its most vulnerable people, and what kinds of new financing systems, what kinds of new ways to organize a nursing home, long-term care, how to promote home health aides with a decent living and benefits? All these things are a part of our compassion as a society.

Laine Perfas: Why have we not already begun to invest in some of those things that would actually help end-of-life care for the type of patients you were talking about?

Solomon: We don’t even have universal healthcare in the United States. So our whole framework is highly individualistic, and very limited in the kinds of programs that we support as a nation. If a family is struggling with an elder person, it’s because of them or they didn’t save their money early enough. It’s not seen at a population level as a way that we can all help each other. I think that’s really at the heart of it. Society has put very little into universal healthcare or the social support that people need.

Berlin: The elephant in the room is probably that it’s just not profitable, right? The economics of it, for some reason, are hard to justify. I also feel like, you know, so much of our society is geared toward youth and resources for people who are trying to build lives and such that it can be a hard sell, I think, to invest in aging populations. And that’s a concern. There are other cultures that are taking on the model of the West, North America in particular and in Europe, the more they’re adopting our kind of economic model and the healthcare system, the more we’re starting to see people taken out of the home and into institutions. And then who’s going to pay for it? It’s turning into a global phenomenon as societies prosper, and it’s a huge concern. The world’s population is increasing, not decreasing. There is going to need to be something there for those who can’t afford to live in a really nice senior living facility, with graduated stages of care.

Balboni: You need structures that support these systems and they aren’t present, or the ones that are present are super fragmented and/or are just so expensive, it’s beyond the reach of the vast majority of the population. We do live in a highly individualistic culture, and that’s part of what, Chris, I think you were describing. It’s important to uphold what’s beautiful there; what’s beautiful there is honoring the beauty and uniqueness of each individual person and enabling us to be our own agents. But the potential dark side of that is that it’s to the detriment of whole communities, that you lose community connection. And honestly, that actually ends up harming the individual in the end. In the past we had much stronger structures for communities of meaning that were shared across generations. Largely, these were spiritual communities that performed that function. And we’ve lost that. And if you could imagine, those communities were what took care of the family that had the elderly person who was frail or, you know, you had whole communities that would come around those individuals and also learn about and be sensitized to those needs because they actually have that person in their midst. Those need to be called back. Because we’re by nature communal people, in being just little individuals isolated and just on social media, I don’t think that’s who we are as human beings. We need each other. We need those presences and structures to be able to really be places that honor even our most vulnerable.

Laine Perfas: It sounds like all of you embrace the spiritual aspect of end-of-life care in your work. How is that a different mindset than a traditional medical approach?

Berlin: Part of it perhaps is how we see the patient. We look through our various lenses as providers. If I were a, let’s say, medical doctor going in to visit a patient, I would probably focus more on their condition, how they’re doing today, and so on. As a chaplain, when I enter a room, I’m going in really attending to the experience that the person is having. I have that luxury as a chaplain, and it feels like a privilege, to enter in if somebody wants to talk to me. Because they don’t always want to and I take no offense to that. I get it. But if I’m able to create a space where I can just check in, get to know them, we don’t have to talk about religion, but I’m wanting to learn about you and what are your values? What makes you feel alive, spiritually alive? And how is your connection to that going? Part of the healing that we seek to foster in others, it’s not physical healing, obviously. But it’s really that inner healing of soul, spirit, mind. What is left unnamed that may be naming it, they might feel a sense of companionship. In Buddhism, we have this term Kalyāṇamitra , which literally means spiritual companion. It’s like a friend on the path. And I love that. That is how I think of spiritual care.

Balboni: I loved hearing that description, Chris, and I love the fact that you create this space, and I would say that for clinicians, this idea of creating space is really a key one. I think there’s a tendency to think that I have to be trained as a chaplain to provide spiritual care, as a physician or nurse, but really it’s all about creating space.

I remember one patient I cared for from the time of her initial diagnosis to the time when she passed away, a wonderful woman, actually an energy healer. I had asked her about her spiritual history, and it’s interesting because my having just asked one little question, she said, “That’s an OK thing for you to talk to me about.” We had multiple conversations, and I remember one time being in the hospital and seeing her because she was admitted because of her metastatic cancer and was getting near the end of life. She hated coming into the hospital and she said to me, “I feel like all my energy is sapped out of me when I come into this place because it feels like this place is screaming at me: All I am is a body full of tumors that are killing me.” And I felt like she was naming what we’re talking about. “All I am is a body full of tumors that are killing me.” No one’s seeing who she is. It was that I had opened this space for her to be able to express some of these experiences that she was having that allowed those subsequent conversations. But it was such a small investment on my part, one question, and that allowed for a spiritual care trajectory for her whole care. And ultimately, she actually went into hospice care in the end. Of course, when she was in hospice, I visited her in hospice and she said to me, “Why can’t all of medicine be like this?” Because it is integrated in hospice. That’s the model in hospice. I think one common misperception is that spiritual care on the part of nonprofessional spiritual care providers is it’s going to be some huge thing that’s going to take all your time and require you to go beyond professional boundaries. No, no, no. It’s patient-centered. It’s simple questions. It’s opening a door. It’s creating a space that says, “I see this aspect of you. It’s OK for you to raise this as part of your care.”

Solomon: Obviously you guys are special and the people who’ve gotten the special training are extraordinary. But the fact is that very few people have access to this exquisite care. In my view, one of the reasons, it’s a really big reason, is how specialized modern medicine is. And so the nephrologist sees you about your kidneys and the cardiologist sees you about your heart and they all come in at separate times. I’ve done a lot of research on this. Even in the very best hospitals no one’s taking responsibility for helping the patient navigate what’s in their best interest. They might think that each of the things that each specialist is recommending is going to be a fix for their longer-term problem, when in fact most of the time what’s being offered for somebody who’s really terminally ill is probably not going to change the outcome. But how do we break the cycle, in terms of systems thinking, how can we change ourselves?

Balboni: Millie, what you’re naming is, I mean, I function in that system. I’m highly specialized. You know, in the past, we had one person that did everything. It’s just not feasible anymore. Some of it is just the practical reality of the complexity of medicine and of various techniques and technologies and all this sort of thing, which are, in and of themselves, so good, beautiful and good. But you’re right that it creates these silos of specialties and these poor patients and families are lost between them and they’re not necessarily communicating with each other, I think. How to actually begin to build bridges? There’s much thought that needs to go into that. And I can see even in my own practice, some examples of how this has worked, like creating early, these little communities of clinicians that are helping carry patients and families. And within my own world, we take care of a lot of patients with metastatic cancer. They’re usually admitted to the hospital. They usually have to get seen right away. It’s often an urgent setting. Recognizing that these were the patients with the greatest need for complex care coordination, for communication with their medical oncologist, with their primary care physician, we created a team-based structure with representatives from those groups in order to care for those patients. That’s one small example. I think there’s an increasing recognition that it’s just not feasible for one person to do it. It has to be a team approach, but you need structures that enable it.

Solomon: The insightful CEO out there who’s listening to us might want to develop some pilot examples because that’s what we need. We need integrative team-oriented care and we need some triggers for when such team care is especially important, in my view anyway. Certain kinds of diagnoses should automatically trigger some sort of, “Let’s try to together figure out how we’re going to guide this patient.” Because when we just ask them, “What do you want to do?,” that’s an irresponsible interpretation of autonomy.

Berlin: It needs to be an informed thing. Everyone has a right to all the information. I also think that how medical students are trained really can make a difference, and it can start right then and there in the training process. One of our courses taught by Gloria White-Hammond at Harvard Divinity School is a joint HDS and HMS, Harvard Medical School, course that’s very popular and our Divinity School students will go over to the Medical School and they’re in a class with medical students and they’re all having conversations together. That’s a really generative environment to see, oh, how might we conceive of the terrain that we’re all working in together as collaborative. So part of it, I think one of the solutions to the siloing of our work is conversation, is awareness, advocacy, and mutuality, interdisciplinary talks. I think there are a lot of creative ways to do this, and that allows for more diverse voices to be heard.

Laine Perfas: When you look at different settings like clinical, educational, where are you most encouraged by steps that are being taken to address some of the shortcomings we’ve talked about?

Berlin: I think one of the benefits to having an institution, especially like the Harvard medical system, is that we actually have a team where at least the goals are that of being an ecology of care. There are social workers on call. There are chaplains on call. There are palliative care specialists. The resources are there and we talk to each other, ideally. We can read each other’s medical records. Not a lot of people know that, but chaplains also write in progress notes. And that was something that I think, I’m glad, Tracy, you brought up that bit about the cultural shift in the last couple of hundred years, because if you consider who was in the home as somebody was dying, usually it was a clergyperson who was available in the community, as well as the kids, the grandkids, the siblings, cousins. You had this very sort of holistic way of dying in which it wasn’t denied this was a part of life.

Solomon: Sam, one of the success stories of the last 15 years has been the establishment of palliative medicine. I think Tracy is a perfect example of that and with the growth of palliative medicine, a real commitment to the team that Chris just described.

Laine Perfas: For those who aren’t familiar, can we define palliative care?

Balboni: So palliative care is a specialty within medicine that focuses on supporting patients and families, through both curative and non-curative treatments. I think one frequent misunderstanding of palliative care is that it’s only at the very end of life. No, it is throughout the continuum of care, particularly in chronic and serious illnesses. And it’s all about upholding the quality of life with a biopsychosocial spiritual model, for both patients and their families.

Solomon: And sometimes that means guiding people to take very quote-unquote “high-tech” interventions because they improve quality of life and reduce suffering. Sometimes it’s to help people say no to treatments that are not going to be effective, that experts think are just going to create burdensomeness that is unnecessary and harmful. So that is one of the big positive stories of what’s happened in, I don’t know, about the last 15 years or so. The growth of palliative medicine as a subspecialty of medicine, with people like Tracy and others who have training that didn’t exist 20, 25 years ago.

Laine Perfas: Thinking about everything that we’ve talked about, there might be people listening to this episode who are either going through their own end-of-life care or have loved ones who are reaching that stage in their own lives. Do you have any thoughts you’d want to share with them about how to navigate this space or how to think about it more holistically? I have a very mundane suggestion, but I think it could be powerful. Since doctors’ language often obscures the fact that somebody is in their final phase of life, I think family members can actually open the conversation and put doctors at ease. Things like, let your doctor know that you think maybe this is a final period of your life and that you would like their help in understanding what’s lying ahead. They don’t have a crystal ball. But they do have enough experience to know that this could go this way and it might be like this, or it could go this way and it might be like that. And these are some of the things you might want to think about as you’re figuring out how you want to live your life to its fullest in the time that you have remaining.

Balboni: Actually, Millie, I would just echo much of what you’ve said and just say that it’s feeling free to be asking those questions and also to be asking them over and over again. Because there are always uncertainties, but things become clearer over time. The clinicians have more information. It’s helpful to hear from differing clinicians’ perspectives, from the nurse, for example, sometimes the nurse knows better than the doctors do, particularly those most involved in bedside care can sometimes be the most aware of really what’s going on with the person. I think it’s also helpful for patients and families because understanding these things is not something that’s a one-time deal. Our minds cannot take in this information at one time and just be done. Your mind and heart cannot integrate that information quickly. It’s something that you actually need time and processing and multiple conversations. Clinicians should be doing that. They should be having those conversations over time, but also patients and families can ask for that.

Berlin: As a chaplain, I have so many things that I would want to say to someone who is in this part of their lives, but just a few things I think that maybe are helpful. First of all, one of the questions that has always impacted me is, where is the effort? Where is the effort in what you might be struggling with? So, for example, I had a patient, we’ll call her Mary, who was putting so much effort into making sure everyone in the family would be OK, to the point where she was exhausting herself with concern. As a mother, she had a 12-year-old daughter that she was worried about. And for me, the role was just to say, she will figure it out. Trust the resilience of your daughter, of your husband, of the people who love you, that they will have what they need and she will have what she needs as she grows older. Also, grieving together. Grieving with your loved ones is OK so that people aren’t grieving by themselves. You can share the experience of anticipating the goodbyes. In hospice, there are four things that are often helpful, I think, in reconciling family members who maybe have unresolved issues. And the first is to communicate “I love you.” The second is to convey gratitude, “Thank you.” And then the third and fourth, “I forgive you,” and “Do you forgive me?” This can go such a long way.

And, the last thing is allowing the death experience to be also a process of discovery. The great Joan Halifax, who wrote a wonderful book called “Being with Dying,” It’s a Buddhist approach to how to be with people who are at the end of life. It’s a deep spring and we can’t know what it’s like. Just allow it to be whatever it will be. It will not be what your worst fears tell you it will be, most likely. I also believe that dying itself is not the hard part, but it’s struggling to keep living, and that’s where a lot of the pain is. And the body does this too. The body does everything it can to keep going until it can’t anymore. And maybe that’s the hard part. The Carlos Castañeda story of “Don Juan” encourages all of us to take death as an adviser. And that always stuck with me. Just let that really impact the time you have left to make your life meaningful and not fearful. Recognize how precious and open the present moment is to be able to experience life along the way.

Laine Perfas: Thank you all for joining me today and having this really great conversation.

Berlin: Thank you.

Balboni: Thank you. Wonderful to be with you all.

Solomon: Take care.

Laine Perfas: Thanks for listening. For a transcript of this episode and all of our other episodes, visit harvard.edu/thinking. And if you found this conversation helpful, share it with a friend. This episode was hosted and produced by me, Samantha Laine Perfas. It was edited by Ryan Mulcahy, Paul Makishima, and Simona Covel, with additional production support from Christy DeSmith. Original music and sound designed by Noel Flatt. Produced by Harvard University.

Recommended reading:

• ‘Why is God doing this to me?’ by The Harvard Gazette
• How death shapes life by The Harvard Gazette
• Being with Dying by Joan Halifax
• On Death and Dying by Elisabeth Kübler-Ross

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