Learning objective

Students will construct a compelling long-form radio documentary by integrating research, interviews, and sound elements. They will evaluate the effectiveness of their documentary in engaging listeners and conveying a clear narrative.

• Student-facing objective: By the end of this lesson the student will be able to create an engaging radio documentary using research, interviews, and sound to tell a compelling story.
• Standards: Students will learn how to create long-form radio news and current affairs documentaries.

Learning activities

Warm-up

• Show students a short audio clip from a well-known radio documentary. Ask them to listen carefully then jot down what they notice about the storytelling elements, such as the use of interviews, sound effects, and music.
• After listening, prompt students with: “What storytelling techniques did you notice? How did these elements engage you as a listener?”
• Facilitate a brief discussion, encouraging students to share their observations and thoughts. This will activate their prior knowledge of storytelling and prepare them for creating their own radio documentaries.

Direct instruction

Conceptual understanding: Begin with a brief lecture on the key elements of a radio documentary. Highlight the importance of a compelling story, sound research, and the integration of interviews, sound effects, and music. Use real-world examples to illustrate how these elements work together to engage listeners and convey a narrative. Discuss the balance between script, interviews, and sound effects, emphasising the one-third split guideline.

Procedural skills and fluency: Demonstrate the process of organising and selecting content for a documentary. Use a sample topic and show how to separate recordings into folders for interviews, natural sound effects, and music. Guide students through listening to interviews, selecting strong clips, and arranging them in a logical order. Explain how to write a script that ties these elements together, ensuring every line is evidence-based and factual.

Application: Conduct a live demonstration of assembling a short documentary segment. Use the selected clips, script, and sound elements from the previous step. Show how to integrate natural sound and music to create mood and atmosphere. Read the script aloud in sync with the audio elements, demonstrating pacing and flow. Encourage students to consider how these techniques can be applied to their own projects.

Guided practice

Think, Pair, Share: Guide students through a collaborative exercise to reinforce their understanding of documentary elements.

• Think: Ask students to individually brainstorm a potential topic for a radio documentary. Encourage them to consider the elements of a compelling story, such as connected strands and a central thesis.
• Pair: Have students pair up to discuss their ideas. Instruct them to provide feedback on each other’s topics, focusing on the potential for engaging storytelling and research opportunities.
• Share: Invite pairs to share their refined ideas with the class. Facilitate a discussion on how each topic could be developed into a full documentary, emphasising the integration of interviews, sound effects, and music.
• Select: Ask students to choose one topic from the class discussion that they find most compelling. Encourage them to think about how they would structure the documentary and what elements they would include.
• Plan: Have students outline a brief plan for their chosen topic, detailing the main components such as potential interviewees, sound elements, and the narrative arc. Provide guidance and feedback as needed.

Independent practice

• Direct students to work independently on developing a short segment of their radio documentary.
• Instruct them to select a topic from their plan and gather relevant research and interview clips.
• Have students organise their materials into folders for interviews, natural sound effects, and music.
• Ask them to write a script that integrates these elements, ensuring each line is evidence-based.
• Encourage students to experiment with pacing and flow by reading their script aloud in sync with their audio elements.

Assignment

Ask students to answer these questions:

1. What is one key element of a compelling radio documentary?
2. How does integrating sound effects and music enhance a documentary?
3. What’s one question you still have from today’s lesson?

Here are some suggested answers:

• Suggested answer to Question 1: A compelling story with connected strands and a central thesis.
• Suggested answer to Question 2: Sound effects and music create mood and atmosphere, engaging listeners.

Teacher resources

Differentiation guide

• Advanced learners: Encourage them to explore complex topics with multiple perspectives. Suggest they incorporate advanced sound editing techniques or experiment with narrative structures. Challenge them to create a series or podcast episode, focusing on thematic depth and listener engagement.
• Striving learners: Provide additional scaffolding by breaking down tasks into smaller, manageable steps. Offer templates for scriptwriting and organising content. Pair them with peers for collaborative work, ensuring they receive constructive feedback. Use guided questions to help them identify the main elements of their story.
• Background reading: We recommend you read the training module ‘Making documentaries for radio‘ before adapting this training outline for your own needs.

Notable definitions

Documentary: A long-form audio story that explores a topic in depth, using interviews, sound effects, and music to engage listeners and convey a narrative.

Sound effects: Audio elements used to create mood and atmosphere, enhancing the storytelling by immersing listeners in the scene.

Narrative arc: The structured progression of a story, including the introduction, development, climax, and resolution, which guides the listener through the documentary.

Required materials

• Audio recording equipment (e.g., microphones, recorders)
• Computers with audio editing software
• Headphones
• Access to a library of sound effects and music
• Notebooks and pens for note-taking
• Sample radio documentary clips for analysis
• Folders for organising audio files (digital or physical)

Lesson summary

• Warm-up
• Direct instruction
• Guided practice
• Independent practice
• Assignment

The free teaching tools at the Khan Academy were used as a basis for converting the original article into a lesson plan.

Related article

Making documentaries for radio

The post Lesson: Radio documentaries first appeared on Media Helping Media.

We edit audio because we do not always have the time on air to broadcast a whole interview. Before you start editing audio, always ask the editor or producer of the item how long the edited item should be.

Make sure you are familiar with editing software you are using.

Ask whether you need to edit a cut down of the whole interview including your questions or if you are to provide one or more clips of just the interviewee talking.

Listen to the whole interview all the way through once, taking note of key points and noting down a time code for each important point made by the interviewee.

Listen out for poor quality. If you can’t hear what’s being said, it’s unlikely your listeners will be able to.

There are two main ways to edit – amputation and filleting.

Amputation implies cutting short the whole interview or cutting out whole questions and answers.

Filleting means taking only the essential parts of each answer and cutting out a little of each answer.

Amputation risks leaving out relevant information while filleting can result in an interview which sounds disjointed and unnatural.

Allow interviewees to sound as if they are having a conversation. It is not your job to make the interviewee sound more fluent or more polished.

However if they interject with hesitations such as ‘um’ and ‘er’ or leave long pauses in their answers, you should consider editing some of these out if it helps the listener understand what is being said.

Be careful not to cut all the hesitations and pauses out because that can sound artificial and unnatural.

Never take one answer and edit it as a response to another question. This is unethical and unprofessional.

Radio is a medium that is based on your ears. That mean when you edit audio, try not to edit using just the screen. Pay more attention to how it sounds rather than how it looks on the screen.

When you have finished editing, always listen back to the finished edit to make sure you have fulfilled the brief you were given, that you have captured all the relevant points the interviewee made, and that you have represented the interviewees points fairly and accurately.

The post Editing audio for radio news first appeared on Media Helping Media.

While delivering a training course at a TV station I noticed that all the packages were made in exactly the same way. The reporters would go out with a camera operator, shoot some footage and get an interview or two. They would come back to the office, decide what interview clips to use in their package and start typing.

The scripts they wrote would have worked fine for radio or newspapers – but they had no connection with the pictures. Apart from the interview clips, all the other pictures they used were just wallpaper behind the reporter’s voice.

This misses the point of television reporting; let the pictures tell the story, wherever possible. Here’s one way of making a TV package by thinking first about the pictures:

Pictures come first

When the pictures have been ingested into the system, make a shot list then show the editor the pictures.

Which are the most interesting shots? What is their optimum lifespan (in seconds)?

What is the right sequence to tell the story? (It is not necessarily the order in which they were recorded)

Do you have a good opening shot? Do you have a good shot for the end?

What is the best place for your stand-up (piece-to-camera) if there is one?

Agree with the editor how the package is to be put together and the key elements of the text

Agree the target length of the package.

Now do your rough cut. Each shot should be as long as it is visually interesting.

Do not use the same shot twice in the package, unless there is a compelling reason to do so (helping with the edit is not a compelling reason).

Does each shot join up smoothly with the next?

The points which attract the eye should ideally be in the same area of the screen at each shot change.

Avoid jump cuts.

If someone is walking, try to end with them walking out of the picture (especially if they are in the next shot in a different place).

With moving shots, only use the moving part, not the static beginning or end.

If you cut away from an interview or a press conference, don’t go back to it unless there is a good reason to do so (helping with the edit is not a good reason).

Don’t use the first question in an interview – start with the first answer.

Watch the finished edit carefully. Does it flow, is there anything that can be cut without damaging the overall package, is there anything missing, is it visually effective?

Now write a shot list with accurate timings.

Now write your script.

By Bob Eggington

In the fast-paced world of television news, where deadlines loom and soundbites reign, it’s easy for journalists to fall into the trap of over-explaining.

We craft eloquent scripts, meticulously select our words, and often feel compelled to fill every second with narration. But sometimes, the most powerful stories are the ones we let the pictures tell.

Embracing visual storytelling isn’t just about adding pretty images; it’s about understanding the unique power of the medium and using it to connect with viewers on a deeper, more impactful level.

So, how can TV journalists effectively let the pictures do the talking?

Trust the visuals

The first step is recognising that visuals are not merely illustrations of the script; they are a language in themselves.

A well-composed shot can convey emotion, establish context, and tell a story in a way words simply can’t.

A close-up of a trembling hand speaks volumes about fear, while a wide shot of a devastated landscape paints a clearer picture of the scale of a disaster than any descriptive sentence.

Trust that your viewers are intelligent and capable of interpreting these visual cues.

Shoot with purpose

Visual storytelling begins long before the editing room. It starts with the camera operator and the journalist working together to capture footage that tells the story.

Instead of simply grabbing generic shots, think about what emotions you want to evoke.

What details are crucial to understanding the narrative?

Are there specific moments that can be captured visually to create a lasting impact?

Consider the framing, composition, and movement of each shot.

A deliberate and thoughtful approach to shooting will make all the difference in the final product.

Less is often more

It’s tempting to cram as much information as possible into a news segment. However, when it comes to visual storytelling, less is often more.

Resist the urge to over-narrate. Allow the images to breathe.

Silence, even for a few seconds, can be incredibly powerful. It gives viewers time to process what they’re seeing and allows the emotional impact of the visuals to sink in.

A well-placed pause can be more effective than a paragraph of explanation.

Craft a visual narrative

Think of your story as a visual journey. How can you use images to guide the viewer through the narrative?

Consider the pacing and rhythm of your edit. Vary the shots to keep the viewer engaged.

Use close-ups to highlight key details and wide shots to establish context.

Think about how the visuals can build tension, create emotional peaks, and ultimately deliver a powerful message.

Collaborate with the editor

The editor is your partner in visual storytelling. Work closely with them to ensure that the visuals are used effectively.

Share your vision for the story and discuss how the images can be used to enhance the narrative.

A good editor can bring their own creative insights to the table and help you craft a truly compelling visual story.

Increased engagement

Visuals are inherently more engaging than words. They capture our attention and hold it.

In a world saturated with information, compelling visuals can help your story stand out.

Emotional connection

Images have the power to evoke emotions in a way that words often can’t. They can make viewers feel empathy, sadness, joy, or anger.

By connecting with viewers on an emotional level, visual storytelling can make your stories more memorable and impactful.

Enhanced understanding

Visuals can help viewers understand complex issues more easily. A well-chosen image can clarify a complicated concept or illustrate a statistic in a way that words simply can’t.

Greater impact

Stories told through powerful visuals have a greater impact on viewers. They are more likely to remember these stories and share them with others.

In conclusion

TV journalists should embrace the power of visual storytelling. By trusting the visuals, shooting with purpose, and crafting a compelling visual narrative, we can create stories that are not only informative but also engaging, emotional, and impactful. Let the pictures speak, and you’ll be amazed at the stories they can tell.

Questions

1. What is the primary issue the author identifies with the TV station’s current approach to creating packages?

• According to the text, what should be the first step in creating a TV package?
• How does the author suggest determining the sequence of shots for a TV package?
• What is the significance of having a good opening and closing shot in a TV package?
• Why does the author advise against using the same shot twice in a package?
• What is the recommended approach when editing moving shots?
• How should an editor handle the transition between shots to maintain visual coherence?
• What is the author’s advice regarding the use of interview footage in a TV package?
• How does the author suggest ensuring the final edit of a TV package is effective?
• What are the final steps in the process of creating a TV package according to the text?

Answers

1. The primary issue is that the scripts have no connection with the pictures, using them merely as wallpaper behind the reporter’s voice
2. The first step is to ingest the pictures into the system and make a shot list
3. The sequence should be determined by the most interesting shots and their optimum lifespan, not necessarily the order in which they were recorded
4. A good opening and closing shot help to effectively tell the story and provide a strong start and finish to the package
5. The author advises against it unless there is a compelling reason, as it can disrupt the flow and coherence of the package
6. Only use the moving part of the shot, avoiding the static beginning or end
7. Ensure that points which attract the eye are in the same area of the screen at each shot change to avoid jump cuts
8. Avoid cutting back to an interview or press conference unless there is a good reason, and start with the first answer, not the first question
9. Watch the finished edit carefully to ensure it flows well, identify anything that can be cut without damaging the package, and check for visual effectiveness
10. The final steps are writing a shot list with accurate timings and then writing the script

Lesson plan for trainers

If you are a trainer of journalists we have a free lesson plan: ‘Letting the pictures tell the story‘ which you are welcome to download and adapt for your own purposes.

You might want to read our training module on ‘How to create a broadcast news package”.

The post Letting the pictures tell the story first appeared on Media Helping Media.

Most journalists need a second pair of eyes to check through their copy in order to spot any factual, grammatical or spelling mistakes.

This is because it’s often difficult to see where you have made errors. We see and read what we think we have written.

However, as more of us work alone, without anyone to check our work, mistakes can get missed.

Here are a few suggestions from journalists on how to reduce embarrassing errors.

Getting sloppy with copy

I write a lot of stuff on the move. The copy always looks fine to me when I write it, but when it’s published I regularly spot silly mistakes.

Perhaps it’s because I am sloppy; perhaps it’s because I am a fast touch typist. Others have told me they have the same problem.

When I was a newspaper journalist I always relied on the news editor and the subs to put things right. Probably too much so.

When I moved to radio and later TV there was less of a need to get the spelling right because I just voiced the script I had written – so I probably became careless.

And now, when I write I don’t have the luxury of a second pair of eyes to check what I have written.

I invited a number of colleagues to share how they deal with the issue.

The contributions were so good that I thought it worth including them in a short training module for this site because they may be useful for a wider audience.

The three tips for spotting errors in copy

There were several tips submitted but three stood out:

1. Try to fool the brain – change text size and colour, font and background.
2. Don’t get caught up in the narrative – read from bottom to top so you are forced to think.
3. Print and read out loud – to be able to hear silly mistakes in sentence construction.

Fool your brain

Terry O’Connor, a former print and online journalist and now a freelance journalist and trainer, suggested that it’s all a matter of tricking the brain. Terry wrote:

“Since we journalists cannot (normally) put our work aside for a time and then re-read it, we miss the ‘stranger’s eye’ that’s essential for picking up mistakes. Our eyes might see the mistakes but our brain interprets what the eye sees as whatever we intended to write. So it’s time to fool the brain by presenting the material in an unfamiliar way, thereby forcing it to see it as a stranger would — a bit, anyway. If you have time, print the article and re-read it. If you don’t have time or paper, change the screen resolution, page width, text colour, background colour, or all of these. If I’m in a real hurry I just select all, make the text white and the background black. This forces the brain to work as a stranger and you’ll be surprised what you can pick up.”

Read your material out of context

Phil Harding, journalist, media consultant and former director of news at the BBC World Service said he doesn’t know of a foolproof method, but goes along similar lines to Terry O’Connor in trying to force the brain to look at the content differently.

“Leave it overnight…..print it out of course, if you can….changing the font…..reading the paragraphs in reverse order (part of the trick is not to get caught up in the narrative)…. and often best of all read it out loud slowly.”

Enlist a trusted colleague

Nick Raistrick, a media development specialist agrees with Phil Harding’s point about reading the material out loud, but he also turns to colleagues to check his copy.

“I enlarge my copy using a massive font, close everything else on my desktop, and then read it out loud …. and still I miss stuff. I can’t sub my own work at all, which is embarrassing as I’m so anal with other people‘s copy. I’ve developed an informal network of subs who I sometimes send things to… as long as it’s reciprocal. Not always practical as deadlines loom though…”

Look out for sentences that don’t make sense

Bob Doran, former senior BBC journalist and now media consultant and trainer agrees with both the reading aloud and fooling the brain approach.

“I always recommend reading your story aloud. Sometimes a piece can look fine on the screen; it’s only when you read it aloud that you spot the absurdities. I remember listening to a radio news story which began: A man has died after being shot outside a concert by Madonna (or some other star). The writer meant to say that Madonna was giving the concert. When it was read out loud, it sounded like she’d pulled the trigger. Read it aloud yourself and you’ll see. This approach is particularly useful for radio and television scripts. If your sentences are hard to read because they’re too long or too wordy, you’ll know they won’t work on air.”

Walk away, if you can, and return to the text later

Catherine Kustanczy, reporter and freelance broadcaster suggests leaving the copy and returning to it later. She agrees with the reading out loud approach.

“Walk away for a day, an hour, it doesn’t matter. Then come back. Read it once. Read it again, out loud. Always works for me.”

Naomi Goldsmith, a journalism trainer at the BBC World Service Trust and other international media development organisations agrees with the approach of making the brain work.

“I change the look of the copy. I generally change the font style, make the size larger and print it out to read. The secret is to make it look unfamiliar.”

The post How to spot errors in your writing first appeared on Media Helping Media.