Emotional Bravery on Last Day with Stephanie Wittels Wachs

Stephanie Wittels Wachs is a longtime actor, voice-over artist, theater teacher, author and the co-founder, with Jessica Cordova Cramer, of Lemonada Media. Last Day is only one of Lemonada’s 30-plus podcasts and growing. Wittels Wachs and Cordova Cramer founded Lemonada three years ago. Its tag line matches Stephanie’s personality: Humanity. Unfiltered. 

A note about Sound Judgment: We believe that no host does good work alone. All hosts rely on their producers. We will strive to give credit to producers – the true behind-the-scenes talent – whenever it’s possible to do so. 

The episode: A Love Story

Executive Producers: Jessica Cordova Cramer and Stephanie Wittels Wachs

Supervising Producer: Jackie Danziger

Producers: Kagan Zema and Giulia Hjort

Associate Producers: Hannah Boomershine and Erianna Jiles 

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How to be a great host: Stephanie’s takeaways

1. Be curious. Frame your story around a central question.
   “I'm a central question psychopath… I'm always saying, okay, but what's the question? What are we trying to figure out? What's the point? That's really critical to any storytelling, but I think it [emerges] over time. And it's so baked into the process of revision and collaboration. And you know when you’ve found it… If the episode isn't working, it's typically because you haven't nailed down what that central question is.”
2. To be vulnerable on tape, you need at least one partner who encourages vulnerability. Stephanie relies on her team of skilled and sensitive producers.
   “I am used to collaborating very deeply and closely and trusting one another through that process. I don't know how I would do this with a team I didn't trust and feel safe with. The show is a real team sport.” 
3. To help a host be authentic in front of a mic, give them permission to have feelings.
   “Gloria Rivera [host of No One’s Coming to Save Us and a veteran news broadcaster] was doing tracking…using her broadcast voice. And I was like, “Oh, no, no, no, no, no, no, that microphone hates that. Let's shake that off. We're gonna play this tape. Can you just listen to this woman talking about how hard it is for her to juggle a newborn with a toddler with her own job? And I know you've experienced some of that yourself. And can you just close your eyes and then respond to it, just however you feel. And Gloria…she's so full of heart and soul and vulnerability herself. Once she had that permission, she started crying. And she started talking about her own experience having to go to war zones with little kids at home, and how painful that was for her to have to balance. And we kept that as the first moment of the first episode.”
4. Have fun making the show. It shows. 
   “We have fun making the show, and that feels important, because it’s real dark.” (Elaine’s note: If you’re not having fun, it might be time to reevaluate how you’re creating it, what you’re creating, and whether to continue.) 
5. Great storytelling is built on truth, contrast, and unexpected turns — or why Stephanie led an episode about suicide with a scene of her team whooping it up at a shooting range. 
   “I had never understood how hunting could bring somebody joy until I shot a gun that morning. I had a ton of fun. Seven hours later, we were in a living room talking to a family who lost their son. Because he took his life with a hunting rifle. I didn't know how else to tell that story honestly… And I always [pleading with my team] ‘show not tell, show not tell!’ And the way that we showed it was to have fun shooting the guns. And then let's see the pain that this causes. You have to have both of those to understand the issue.” 
6. To make a gripping narrative podcast, use scenes, as often as possible (but only good ones).
   “This is the theater part, right? It's about character and it's about humanity and that's the stuff we try to capture, right? What are the human things about you? And what are the human things about me? And then when we put those things in a room together, human things happen. And that's interesting.”
7. Make choices about the quantity of your narration on a case-by-case basis. 
   “We typically have a lot of tracking in these episodes. And we made a very conscious choice with this one to keep a lot of the conversation intact. They were so honest, and we had this really amazing moment together.  And let's just try to keep a lot of that together. And take me as narrator out as much as we could…A lot of our episodes are seven voices…really woven together and patchworked.”  
8. Find a champion. 
   How do you find people willing to share deeply personal stories? You need what Stephanie calls a “credible messenger,” someone trusted in a community, to show you the ropes and introduce you to people. 
   “We had a lot of trouble tracking down people to talk to us in Montana. To be honest, it took many, many months. We started with this guy named Carl…who heads up mental health for the Department of Health and Human Services in Montana… In our very first call…Carl said you're gonna have to fix your poker face before you come into Montana or no one's going to talk to you. And we kept that in. We wanted to show everyone there's barrier to entry. And if we came in with [the stance that] you shouldn't have guns, we would not get anywhere. So he culturally put us through the wringer. Once he could see that we were down to not come in and tell everyone the way that they should live their lives, he opened the gate, and connected us to the American Foundation for Suicide Prevention in Montana.”

Credits 
Sound Judgment is a production of Podcast Allies, LLC. 
Host: Elaine Appleton Grant
Project Manager: Tina Bassir
Sound Designer: Andrew Parrella
Illustrator: Sarah Edgell

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Help us find and celebrate today’s best hosts
Who’s your Sound Judgment dream guest? Email me: allies@podcastallies.com. Because of you, that host may appear on Sound Judgment.

Credits 

Sound Judgment is a production of Podcast Allies, LLC. 

Host: Elaine Appleton Grant

Podcast Manager: Tina Bassir

Production Manager: Andrew Parrella

Audio Engineer: Kevin Kline

Production Assistant: Audrey Nelson