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.

Learning objective

Students will construct a cohesive radio news package by integrating interviews, sound effects, and narrative elements. They will evaluate the effectiveness of their package in conveying the story’s chronology, atmosphere, and emotional impact.

Student-facing objective: By the end of this lesson the student will be able to create a radio news package that tells a story using interviews, sounds, and their own voice.

Standards: This lesson plan sets out the basics for creating a news package for radio.

Learning activities

Warm-up

Begin with a brief discussion: “What makes a radio news story engaging?” Encourage students to think about elements such as sound, voice, and interviews.

Next, play a short audio clip from a well-crafted radio news package (1-2 minutes). Ask students to jot down what they notice about the use of sound and voice.

Prompt them with questions:

• “What sounds did you hear?”
• “How did the reporter’s voice contribute to the story?”
• “What emotions or atmosphere did the sounds create?”

Have students share their observations with a partner, then discuss as a class. This primes them for the lesson by focusing on sound and storytelling techniques.

Direct instruction

• Conceptual understanding: Introduce the components of a radio news package. Explain the roles of interviews, sound effects, and narrative elements. Use a real-world example, such as a recent news event, to illustrate how these components work together to tell a story. Discuss the importance of chronology, atmosphere, and emotional impact in crafting a compelling narrative.
• Procedural skills and fluency: Demonstrate how to conduct an effective interview. Role-play an interview scenario with a student, focusing on asking open-ended questions to uncover the who, why, when, where, and how of a story. Highlight techniques for capturing actuality and wild track to enrich the narrative. Emphasise the need for expressive voice and sympathetic tone to engage listeners.
• Application: Guide students in creating a short script for a radio news package. Provide a simple story outline and ask them to incorporate interviews, sound effects, and narrative elements. Encourage them to think about the perspectives and so what factorn (what happens next and why it matters). Have students share their scripts in small groups for feedback, focusing on how well they integrate the components and convey the story’s essence.

Guided practice

Think, Pair, Share: Guide students through a collaborative exercise to practice constructing a radio news package.

• Think: Ask students to individually brainstorm a short news story idea. Encourage them to consider the who, why, when, where, and how of their story.
• Pair: Have students pair up to discuss their story ideas. Instruct them to focus on identifying potential interviews, sound effects, and narrative elements that could enhance their stories.
• Share: Invite pairs to share their refined story ideas with the class. Encourage them to highlight how they plan to use sound and voice to create chronology, atmosphere, and emotional impact.
• Feedback: Facilitate a class discussion where students provide constructive feedback on each other’s ideas, focusing on the integration of story elements and the potential emotional impact.
• Revise: Allow students to revise their story ideas based on the feedback received, ensuring they incorporate diverse perspectives and consider the so what factor—what happens next and why it matters.

Independent practice

Direct students to work individually on creating a radio news package. Provide a simple story prompt and ask them to:

• Identify potential interviews and sound effects.
• Write a brief script incorporating narrative elements.
• Focus on chronology, atmosphere, and emotional impact.
• Encourage students to use their expressive voice and consider the so what factor.
• Circulate to offer guidance and support.

Assignment

Ask students to answer these questions:

1. What is one main element of a radio news package you included in your script today?
2. How did you use sound to enhance the emotional impact of your story?
3. What’s one question you still have from today’s lesson?

Here are some suggested answers:

• Suggested answer to Question 1: Interviews, sound effects, or narrative elements.
• Suggested answer to Question 2: Used sound effects to create atmosphere or used voice expressively to convey emotion.

Teacher resources

Differentiation guide

• Advanced learners: Encourage them to explore complex storylines with multiple perspectives. Challenge them to incorporate advanced sound editing techniques and experiment with varied narrative structures. Suggest they analyse professional radio news packages for inspiration and critique.
• Striving learners: Provide additional scaffolding by breaking down tasks into smaller, manageable steps. Offer templates for scriptwriting and examples of effective sound use. Pair them with peers for collaborative support and model expressive voice techniques. Use guided questions to help them identify the main story elements.
• Background reading: We suggest you read Constructing a news package for radio on Media Helping Media before planning this lesson.

Notable definitions

• Actuality: The real-life sounds recorded at the scene of a news event, used to enhance the authenticity and engagement of a radio news package.
• Wild track: Background noise recorded at the scene, which can be used later in the editing process to create atmosphere and continuity in a radio news package.
• Chronology: The sequence of events in a story, ensuring that the narrative unfolds in a logical and coherent manner, helping listeners understand the progression and context of the news event.

Required materials

• Audio recording devices (e.g., smartphones, digital recorders)
• Headphones for listening to audio clips
• Computers or tablets with audio editing software
• Sample audio clips of radio news packages
• Script templates for radio news packages
• Access to online resources for sound effects
• Notebooks and pens for note-taking and scriptwriting

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

Constructing a news package for radio

The post Lesson: Radio News Packaging 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.

Bulletins are designed to collect all the news that’s relevant into one specific broadcast, usually a few minutes long.

Each bulletin will have a variety of stories reflecting the latest information your listeners are interested in. They are not comprehensive. They should give a flavour of the main points of the stories.

If you are working for a small radio station you will probably be gathering and editing the material for the bulletins and reading them yourself. If you work for a large broadcaster you might be editing the bulletin for a presenter to read.

Stories will consist of the following types: a straight read by the presenter; sections of text followed by a clip or clips of audio; an introduction followed by a piece by a reporter.

Work backwards from the on-air time and give yourself enough time for preparation. For example, you need time to print off scripts, brief your presenter if necessary and to get to the studios.

If you are the bulletin editor you need to give journalists clear instructions about what they are expected to deliver, the length of the item they are producing, the format it is expected to take and when it is meant to be ready.

Give yourself time to look at the story and check it for grammatical and factual errors. Read it out loud to make sure it makes sense and can be easily understood by listeners.

When you have collected all the stories you will use for the bulletin, always add a couple of extra items if possible. This is to allow for technical errors with audio and so on.

Try to rank the stories in your bulletin in order of importance and give each story a weight.

For example, a story which impacts on everyone in the community will usually be stronger than one which only affects a handful of people. An outbreak of Covid-19 in town is more important than one about plans to upgrade a road in two years’ time. A story about a football result will carry less weight than one about deaths arising from a traffic accident.

Try to place connected stories together in the bulletin. For example, it would make sense to place a story about malaria next to one about health facilities.

Once you have ordered the stories, write your headlines. You don’t have to write one for each story, just the most interesting ones. Most bulletins will end with closing headlines as well.

Brief your presenter about the running order, when to expect soundbites and so on. Give them time to read the text through before they go live on air.

If you have a number of bulletins during the day, try to refresh the stories from bulletin to bulletin so they sound different each time. Stories have a shelf-life, but this can be extended by finding new angles, rewriting the introductions and so on.

Keep your listeners in mind at all times. They expect to hear the latest news in one place. It has to be accurate, timely, balanced, and interesting. Following these guidelines will help you to achieve this.

The post Editing radio news bulletins first appeared on Media Helping Media.

This is a short training module setting out the basics for creating a news package for radio. It’s been created for those starting out in radio journalism.

Technique – using sound to tell a story

• Imagine your voice going into a listener’s ear
• Use your voice expressively – plenty of variation
• The tone should be sympathetic to the story

Actuality – enriches your script

• Find good people to interview
• Look for complementary sounds which are relevant to the story
• If it’s a story about dogs, you need barking

Chronology – the evolution of the story

• Find out what has happened
• Uncover the who, why, when, where, and how of the story
• Ensure you understand fully all the elements

Atmosphere – sound effects

• Record enough wild track at the scene
• Wild track is background noise
• It’s useful because you may need it later in the editing process

Sensing – being there

• At the scene, explain what you are sensing
• Describe what can you see, hear, smell and touch
• Avoid explaining how YOU are feeling

Feeling – emotional impact

• Ask your interviewees what they feel
• Find out if they are afraid, sad, hopeful, happy
• What YOU feel doesn’t matter

Perspectives – what people think

• Seek out multiple perspectives
• Look for diverse voices
• Never ignore conflicting opinions

The so what factor – what happens next

• Find out what are the next steps
• Explain why those steps are important
• Note any future events & meetings for follow up purposes

Putting it together – sounds in harmony

• Use short clips from your wild track and interview
• Use your script to bind them together in a logical way
• Keep your links short

Technique – using sound to tell a story: Think of your voice as the primary instrument in your storytelling. It’s not just about conveying information; it’s about creating an intimate connection with the listener.

Imagine your voice traveling directly into their ear, painting pictures and evoking emotions.

Vary your pace, tone, and inflection to match the narrative. A somber story demands a different vocal approach than a celebratory one.

Authenticity is important; let your voice reflect the genuine emotion of the story. Consider vocal delivery coaches or exercises to develop a more expressive and engaging voice.

Actuality – the voice of reality: Actuality, the recorded sound of events and voices, is the lifeblood of radio news. It’s what separates radio from print. Don’t just tell the story; let the listener experience it.

Seek out interviewees who can offer unique insights and perspectives.

Beyond the obvious interview, capture ambient sounds – the “soundscape” of your story.

If it’s a story about dogs, barking is essential, but also consider the sounds of a dog park, a leash jingling, or even the soft panting of a contented canine. These details bring the story to life.

Chronology – the narrative arc: A compelling news package follows a clear narrative arc. Begin by establishing the core facts: who, what, when, where, and how.

But go beyond the surface. Uncover the why – the motivations, the context, the underlying issues. Understanding the chronology of events is crucial.

Think of it as building a timeline, ensuring each piece of the story fits logically. This thorough understanding allows you to guide the listener through the unfolding narrative.

Atmosphere – painting with sound: Wild track, or ambient sound, is more than just background noise; it’s the atmosphere that immerses the listener in the story. Record ample wild track at the scene.

Capture the subtle sounds – the murmur of a crowd, the rustle of leaves, the hum of traffic. These sounds can be invaluable during editing, allowing you to create smooth transitions, establish location, and enhance the overall listening experience.

Think of wild track as the sonic equivalent of establishing shots in film.

Sensing – immersive storytelling: Go beyond simply reporting; transport the listener to the scene. Describe what you are sensing – the sights, sounds, smells, and even textures.

What do you see as you walk through the marketplace? What do you hear above the din of the city? What do you smell in the aftermath of a fire?

These sensory details ground the listener in the reality of the story. While your personal feelings are less important, your observations are crucial.

Feeling – the emotional core: While your personal feelings are secondary, the emotions of those involved are paramount. Seek out the emotional core of the story by asking your interviewees how they feel.

Are they hopeful? Devastated? Angry? Their authentic emotions resonate with listeners and create a powerful connection.

Don’t be afraid to ask direct questions about their feelings, but do so with empathy and sensitivity.

Perspectives – a tapestry of voices: Strive for fairness by presenting multiple perspectives. Seek out diverse voices, even those that conflict with your own or the dominant narrative.

Presenting conflicting opinions is not about creating false equivalence; it’s about providing context and allowing the listener to draw their own conclusions.

Actively seek out marginalised voices and perspectives that might otherwise be overlooked.

The “so what?” factor – relevance and impact: Every news story should answer the fundamental question: “So what?” Why should the listener care?

Explain the implications of the story and its potential impact on their lives or the community. What are the next steps? Are there future meetings, hearings, or events related to the story?

Highlight any follow-up opportunities for the listener. This provides closure and demonstrates the ongoing relevance of the story.

Putting it together – the art of audio weaving: Crafting a compelling news package is like composing a piece of music. You’re weaving together different elements – interviews, wild track, your narration – to create a cohesive and engaging whole.

Use short, impactful clips from your interviews and wild track. Your script serves as the glue that binds these elements together, providing context and narrative flow.

Keep your links – the segments where you speak – concise and focused. They should seamlessly bridge between the actuality and the ambient sound, guiding the listener through the story.

Editing is crucial. Pay attention to pacing, transitions, and the overall flow of the package.

A well-crafted package is more than just a collection of sounds; it’s a story told through sound, engaging the listener’s imagination and leaving a lasting impression.

Questions

1. What is the role of voice in storytelling according to the text?
2. How can actuality enhance a script?
3. Why is it important to find complementary sounds relevant to the story?
4. Describe the significance of chronology in storytelling.
5. What is the purpose of recording wild track at a scene?
6. How should a storyteller convey their sensory experiences at a scene?
7. Why is it important to focus on the interviewees’ feelings rather than the storyteller’s own emotions?
8. Explain the importance of seeking multiple perspectives in storytelling.
9. What is the “so what factor” and why is it crucial in storytelling?
10. How can a storyteller effectively integrate wild track and interview clips into a cohesive narrative?

Answers

1. The role of voice in storytelling is to use it expressively with plenty of variation, ensuring the tone is sympathetic to the story.
2. Actuality enriches a script by providing real-life sounds and voices that add authenticity and depth to the narrative.
3. Complementary sounds are important because they enhance the realism and engagement of the story, making it more relatable and vivid for the audience.
4. Chronology is significant because it helps in understanding the evolution of the story by uncovering the who, why, when, where, and how.
5. Recording wild track is useful because it provides background noise that can be used later in the editing process to create a more immersive atmosphere.
6. A storyteller should convey their sensory experiences by describing what they see, hear, smell, and touch, without focusing on their personal feelings.
7. Focusing on the interviewees’ feelings is important because it provides an authentic emotional impact and perspective, which is more relevant to the story.
8. Seeking multiple perspectives is important to ensure a balanced and comprehensive narrative that includes diverse voices and opinions.
9. The “so what factor” involves explaining the next steps and their importance, ensuring the story has relevance and a clear direction for future developments.
10. A storyteller can effectively integrate wild track and interview clips by using a script to bind them together logically, keeping the links short and coherent.

Lesson plan for trainers

If you are a trainer of journalists we have a free lesson plan: Constructing a radio news package which you are welcome to download and adapt for your own purposes.

You might want to read a related training module: How to write a radio news script.

How to write a radio news script

The post Constructing a news package for radio first appeared on Media Helping Media.