interesting note on #3. while i agree with the points you’re making, i almost always go for phoners if i can. it’s easier to draw answers out of people and there’s a lot of “magic” in the spontaneity of conversation
I think it's 50/50 how well it translates on the page. I've had some absolutely dynamite phoners where we really share a connection, and then I bang on the transcript, and it's the most boring, perfunctory copy ever. The spark was really in how we were vibing, not the actual content of the convo.
Whereas with emailers, I get decent copy I don't have to write-around like 70 percent of the time. So, on deadline, usually choosing the latter. I acknowledge this does make me miss out on moments like Lee Aaron showing me a puppet of herself.
deadlines change everything, i just ctrl+f “you know” and “like” when i transcribe cause removing that shit from copy takes up most of the editing time. luckily, few musicians include both in their emails!
100%. i’ve had 2 hour interviews where the copy had to be trimmed by 80% cause most of it was just yapping. BUT, in most phone interviews, i’ve found the angle for the piece during the convo in a way I wouldn’t over email
Yeah, you do good stuff, especially in that regard. Brad said something similar, that he finds his angles while transcribing the interviews. I don't think I'm wired to have that kind of foresight. My interviews are also all over the place, haha.
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