Taking Your Show on the Road 🚗
Evan Stern on how to produce a travel podcast
Hi Besties!
My ayahuasca story aired on KCRW’s Greater LA! It took much longer than expected: I did a bunch of interviews for the story (arguably too many), then my editor got Covid, then I got Covid, then I went on vacation, and last week it finally made it to air. Anyway, here it is:
I really want to do more radio stories and one-off podcast narratives, so look forward to upcoming content about that as I try to figure out how. But today, we’re taking this show on the road! I’m sharing a Q&A with Evan Stern of the travelogue podcast Vanishing Postcards about how he handles production while traveling.
What’s the premise of Vanishing Postcards? Where did you get the idea, and why did you want to pursue telling these stories?
ES: I chose the title Vanishing Postcards because each episode provides a snapshot of a different place — with the common thread being that the places I visit are all representative of frequently threatened cultures, histories, and traditions. The idea wasn’t born out of some lightning bolt of inspiration but began to germinate because the YouTube algorithm kept suggesting travel vlogs. While there are some exceptions, I rarely saw the way I traveled reflected as too many creators weren’t saying “look at this place,” so much as “look at me and how cute I am in this place.” The premise also evolved as a result of my interest in oral history and the fact that I find the less covered places generally have the best stories and characters attached to them.
On another note, while most cities have adopted at least a few measures to protect architecture and green spaces, few have done enough to protect culture. Yet culture is what draws people to places like New York, Austin, San Francisco, London, Mexico City, Paris, New Orleans, and just about anywhere. It’s my hope that the show can play a small role in fostering conversations about this issue.
How do you decide which destinations you want to cover on the show?
ES: My current season is entirely centered on Route 66. Its production found me driving from Oklahoma to Santa Monica and ultimately logging 6,845 miles on the odometer. A big reason I felt inspired to take on this project is because Route 66 has witnessed countless cycles of American history, and driving it provides an opportunity to explore just that. Each destination I chose is in service of that mission, and while all episodes stand on their own, I like to think they’re in conversation with one another. For instance: Respects are paid to Native Americans through individual stories of a few artisans of different tribes and backgrounds along the Route. The story of the Dust Bowl is told through a visit to Bakersfield. The tragedy of racism is represented by a tour of Tulsa’s Greenwood district, while the resiliency of The Green Book is explored through the story of the Threatt Family, who are working to restore the only black-owned filling station that served motorists during the 40s and 50s. And, of course, its heyday, decline, and rebirth are showcased in visits to motels, diners, and a few roadside oddities!
Do you have any advice for pre-production planning that helps your trip go smoothly?
ES: I try to do as much research beforehand to determine which contacts are worth pursuing. Additionally, I will plan my travels to coincide with certain events that I know will assist in providing both material and rich soundscapes. For my current season, I planned my Oklahoma travels around a remembrance ceremony at a small town cemetery and a concert at Cain’s Ballroom in Tulsa. Without having those events captured, I would have been grasping to make both pieces anywhere near as engaging or effective. I also do my best to think of specific questions. Specificity always elicits the most interesting and thoughtful responses.
How do you cast your characters? Do you book your interviews in advance, ask for interviews on the fly as you’re traveling, or a combination of both?
ES: It's a combination of all of the above. If I'm doing a piece that takes place in a bar, I'll want to talk to the owner and might reach out to them in advance for permission and to establish some respect, as well as determine a convenient time. But I'll also want to talk to bartenders and patrons to gather their perspectives, and usually, it's best to take a casual approach towards meetings of that nature. Oftentimes, authors and historians provide essential glue to bring cohesion to a piece. However, I consistently find the best material comes from characters I meet completely on the fly — they're unrehearsed, unfiltered, and raw — and I'm always reminded why it's important to build up the courage to approach strangers for this reason. One trucker I met just hanging out at Amarillo's Cadillac Ranch provided some of the most thoughtful words I recorded on the whole trip!
What's your production process? Are you doing any editing, writing, or note-taking on the road? Any tips for collecting ambient sounds that enhance your show and staying organized?
ES: Once I get a story idea, it's all about identifying the places and people associated with them. I try to talk to as MANY people as possible because I always find it's better to have too much material than too little. I then listen to the interviews I've conducted and isolate the good stories and colorful "nuggets." From there, I take note of any overlapping themes and use the footage as a guide to try and assemble a piece that has a cohesive sense of architecture through written narration, occasional readings, and sound design. I try to remember to take pictures on the road to assist with memory and for reference in writing visual descriptions. It's always important to record as much ambient noise as possible — not just for post-production smoothness, but also atmosphere. I consistently find that my best pieces have natural soundscapes (at diners, dance halls, dive bars, etc).
You covered Route 66 in your latest season. What was the coolest or most interesting thing you learned working on that season?
ES: Route 66 has a lot of mythology surrounding it, but at the end of the day, its backbone is formed by the people who live and work along it... And people are people. We're living in a horribly polarized age, but when you sit across the table from someone, it's amazing how much shared experience and empathy can be discovered. I don't believe that anything about our current state should be normalized, but I would wager we're not as divided as it often feels.
Anything else you’d like to add?
ES: Podcasting is about the process. You have to love it.
Thank you, Evan!
➡️ Get the latest from Evan on Twitter and Instagram, and follow Vanishing Postcards on IG for some visual BTS.
➡️ And check out Vanishing Postcards for some roadside wanderlust!
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So… ROLL CALL! 🗣
Hey travel podcasters and field reporters, what’s your top tip for producing and recording out in the wild?
Follow me @courtneykocak on Twitter and Instagram. For more, check out my website courtneykocak.com.
Great interview! I love the Vanishing Postcards podcast, especially the Route 66 series so far.