The module provides a foundational understanding of broadcast journalism, encompassing both radio and television. Students will learn the essential skills required to produce compelling news packages, conduct effective interviews, write engaging scripts, and navigate the ethical considerations inherent in the profession. Through practical exercises and theoretical exploration, students will develop the ability to create high-quality broadcast content, from breaking news coverage to in-depth documentaries.

Module timetable:

Week 1: Foundations of news packaging

• Topic: Introduction to broadcast journalism, understanding news values, editorial ethics, and basic news package construction.
  • Activities:
    • Lecture on the fundamentals of broadcast news.
    • Practical exercises in identifying newsworthy events.
    • Introduction to the components of a news package.
  • Resources:
    • “Constructing a news package for TV” – This article introduces the basic structure of a TV news package, outlining the essential components such as stand-ups, voice-overs, and soundbites.
    • “Lesson: How to construct a TV news package” – This lesson teaches what is involved in constructing a TV news package and takes students through the process.
    • “Constructing a news package for radio” – This article details the fundamentals of radio news package construction, emphasising the importance of audio clarity and effective storytelling.
    • “Lesson: Constructing a news package for radio” – This lesson teaches how to construct a radio news package.
    • “Why editorial ethics are important” – This article explains what ethical issues journalists need to consider when producing journalism. The article contains links to details pages on accuracy, fairness, impartiality, objectivity, privacy, consent, bias and integrity.
    • “Lesson: Editorial ethics” – This lesson plan sets out the issues journalists need to be aware of when producing journalism with integrity.
  • Assessment: Short written exercise on news values.

Week 2: Scriptwriting and visual storytelling

• Topic: Writing effective scripts for television and radio, and using visuals to enhance storytelling.
  • Activities:
    • Lecture on scriptwriting techniques.
    • Practical exercises in writing news scripts for different formats.
    • Introduction to visual storytelling principles.
  • Resources:
    • “Guidelines for reporters writing scripts for TV packages” – This article provides practical advice on writing clear and concise scripts for television news packages.
    • “Lesson: Letting the pictures tell the story” – This lesson highlights the importance of visual storytelling and how to use images effectively.
    • “Writing radio news scripts” – This article details the fundamentals of writing radio news scripts, emphasising clarity and conciseness.
  • Assessment: Scriptwriting assignment.

Week 3: Interviewing techniques

• Mastering the art of interviewing for broadcast, including preparation and execution.
  • Activities:
    • Lecture on interviewing techniques and ethics.
    • Practical exercises in conducting mock interviews.
    • Analysis of effective interview examples.
  • Resources:
  • “20 interviewing tips for journalists” – This article offers a comprehensive guide to effective interviewing techniques.
  • “Lesson: Preparing for and carrying out an interview” – This lesson provides a step-by-step guide to preparing for and conducting successful interviews.
  • “Interview tips for video journalists” – This article provides specific tips for video journalists focusing on visual interviews.
• Assessment: Conduct and record a mock interview.

Week 4: Audio and video editing

• Topic: Introduction to audio and video editing for broadcast news.
  • Activities:
    • Practical workshops on using audio and video editing software.
    • Editing exercises to create news packages.
  • Resources:
    • “Editing audio for radio news” – This article provides essential tips for editing audio for radio news.
    • “Editing radio news bulletins” – This article explains the editing process of radio news bulletins.
    • “TV and radio packaging” – This article covers a wide range of tips for producing high-quality broadcast packages.
  • Assessment: Edited news package.

Week 5: Advanced broadcast production and ethics

• Topic: Documentary production, breaking news coverage, and ethical considerations.
  • Activities:
    • Lecture on documentary filmmaking and breaking news strategies.
    • Discussion on ethical issues in broadcast journalism.
  • Resources:
    • “How to make a documentary” – This article sets out the steps needed to plan, produce, and publish a documentary.
    • “Lesson: Documentary making” – This lesson sets out how journalists can create powerful documentaries.
    • “Making documentaries for radio” – This article focuses on radio documentary production.
    • “Lesson: Radio documentaries” – This lesson sets out the steps journalists need to follow when creating radio documentaries.
    • “How to handle a breaking news situation” – This article provides guidance on handling breaking news situations.
    • “Photojournalism and ethics” – This article outlines the ethical considerations for photojournalists and video/TV journalists.
    • “Editorial considerations when a big story breaks” – This article provides editorial guidance when breaking news occurs.
  • Assessment: Ethics case study analysis.

Week 6: Programme Production and Presentation

• Topic: Creating news and current affairs programmes, and developing a distinctive station sound.
  • Activities:
    • Group project: planning and producing a mock news or current affairs programme.
    • Lectures on creating a distinctive radio station sound, and engaging viewers and listeners.
  • Resources:
    • “How to create a news and current affairs programme” – This article provides a guide to creating news and current affairs programmes.
    • “The art of engaging viewers and listeners” – This article covers techniques for grabbing the attention of the audience.
    • “Creating a distinctive radio station sound” – This article provides guidance on how to develop a unique radio offering.
    • “Producing radio bulletins” – This article sets out the essential elements needed for producing radio bulletins.
    • “Newsgathering requirements for producing informative content” – This article looks at systems that need to be in place to run an effective newsgathering operation.
  • Assessment: Group programme presentation.

Summary:

This course is designed to equip students with the practical and theoretical knowledge necessary to excel in broadcast journalism. Over six weeks, students will progress from basic news package construction to advanced documentary production, mastering key skills such as interviewing, scriptwriting, audio and video editing, and ethical reporting. The module emphasises hands-on experience, allowing students to apply their learning through real-world scenarios and projects.

The post Module: Broadcast Journalism first appeared on Media Helping Media.

It’s based on the article ‘The art of engaging viewers and listeners‘ which we recommend trainers read before adapting this lesson outline for their own purposes.

Learning objective

Students will demonstrate effective presentation skills by employing body language, voice modulation, and appearance techniques to engage viewers and listeners in TV and radio settings. They will apply these skills to overcome the challenges of diminished presence in transmitted media.

• Student-facing objective: By the end of this lesson the student will be able to use body language, voice, and appearance to make my TV or radio presentation more engaging and lively.
• Standards: The student will learn the skill required for developing engaging presentation skills for TV and radio.

Learning activities

Warm-up

Begin with a brief discussion on the importance of engaging an audience. Ask students to think about a time they were captivated by a speaker or presenter.

• Prompt: “What made that presentation engaging?”
• Share: Encourage students to share specific elements like body language, voice modulation, or appearance.
• Respond: Conduct a quick “Notice and Wonder” activity using a short video clip of a well-known presenter.
• Consider: Play a 1-2 minute clip.
• Ask: “What do you notice about the presenter’s style? What do you wonder about their techniques?”

Have students share observations and questions with a partner, then discuss as a class. This primes them for the lesson’s focus on engaging presentation skills.

Direct instruction

• Body language techniques: Explain the importance of body language in engaging viewers. Demonstrate subtle movements like leaning forward, head tilting, and facial expressions. Use a real-world example: show a clip of a news anchor using these techniques effectively. Discuss how these movements can create a sense of connection with the audience.
• Voice modulation: Introduce the concept of voice modulation to maintain listener interest. Explain how varying tone, volume, and pace can enhance engagement. Provide an example by playing a short audio clip of a radio host who uses effective voice modulation. Discuss the impact of these techniques on the audience’s perception.
• Appearance and presentation: Discuss the role of appearance in engaging presentations. Highlight the importance of appropriate attire and minimal distractions. Use a case study of a TV presenter who effectively uses appearance to enhance their presence. Discuss how appearance can influence audience focus and perception.

Guided practice

Think, Pair, Share: Guide students through a practice session to apply presentation skills.

• Think: Ask students to individually prepare a 1-minute presentation on a topic of their choice, focusing on using body language, voice modulation, and appearance techniques discussed in the lesson.
• Pair: Have students pair up and present to each other. Encourage them to observe and note specific techniques their partner uses effectively.
• Share: Facilitate a class discussion where pairs share observations. Highlight effective techniques and provide constructive feedback.
• Reflect: Ask students to reflect on their own presentation. What worked well? What could be improved?
• Revise: Allow time for students to revise their presentations based on feedback and reflection. Encourage them to focus on enhancing engagement through the techniques practiced.

Independent practice

• Exercise: Direct students to practice a related exercise on engaging presentation skills.
• Observation: Circulate throughout the class to observe students as they work and provide support as needed.

Assignment

Ask these questions:

1. What is one body language technique you can use to engage your audience?
2. How can voice modulation enhance a presentation?
3. What’s one question you still have from today’s lesson?

Suggested answers:

• Suggested answer to Question 1: Leaning forward slightly to create a sense of connection.
• Suggested answer to Question 2: Varying tone and pace to maintain listener interest.

Teacher resources

Differentiation guide

• Advanced learners: Encourage them to explore advanced techniques in voice modulation, such as experimenting with pauses and inflections to convey emotion. Suggest they analyze a complex presentation and identify nuanced techniques used by the presenter. Challenge them to incorporate these into their own presentations.
• Striving learners: Simplify the lesson by focusing on one technique at a time. Start with body language, then move to voice modulation, and finally appearance. Provide clear, step-by-step instructions and examples. Pair them with a peer mentor for additional support during practice sessions.
• Background reading: This lesson plan is based on the article ‘The art of engaging viewers and listeners‘ which we recommend trainers read before adapting this lesson outline for their own purposes.

Notable definitions

• Body language: The use of physical behaviour, expressions, and mannerisms to communicate nonverbally, often used to enhance engagement with an audience.
• Voice modulation: The act of varying one’s voice in terms of tone, pitch, and pace to maintain listener interest and convey emotion effectively.
• Chroma key: A visual effects technique for layering two images or video streams together based on colour hues, commonly used in TV and film to create backgrounds.

Required materials

• Video clips of well-known presenters
• Audio clips of radio hosts
• Paper and pens for note-taking
• Access to a computer or device for online exercises
• Optional: Makeup kit for demonstration (if applicable)

Lesson summary

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

The free teaching tools at the Khan Academy were used in the production of this lesson plan.

Related article

Engaging viewers and listeners

The post Lesson: Presentation Skills first appeared on Media Helping Media.

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.

Documentaries are in-depth stories told in a more interesting way. They can range in length from 10 minutes to an hour for one episode although sometimes they can stretch to a series or podcast. A great documentary engages listeners and puts them at the heart of the storytelling.

So, what elements make for a superior documentary?

First of all, the story you tell must be compelling enough to sustain telling at length. That means there must be a number of connected strands in it which must be examined and then tied up at the end.

There must be a significant increase in understanding on the part of listeners. The documentary will have shed light on an issue and offered a signpost to the way ahead.

A great documentary is based on sound research in order to construct the central thesis or argument. Good research involves exploring not just who might speak but also what they might say. It will explore all the aspects of a story even though some might lead to dead ends or blind alleys.

Every line of script in the documentary will need to be based on evidence. Every assertion made in the script must be based in reality and accuracy. Even when interviewees are making a point of view, their opinion must be backed by facts you can independently verify.

If your documentary is based on a theory which requires an answer from a relevant organisation or authority make sure that interview is the last in the sequence. That way you can make sure every relevant question can be put.

When you are recording natural sound or a reporter piece into the microphone make sure you record from the heart of the action, so listeners feel they are embedded in the item. So if you are recording a market scene, stand right next to the customer and the trader, not 15 metres away.

Unlike a radio feature, the documentary medium allows listeners to breathe and take in the atmosphere. You should aim for a roughly one third split between script, interviews, and sound effects (including music and natural sound).

Separate out your recordings into one folder for interviews, one for natural sound effects, and one for music. Listen through to all the interviews and select strong clips of your interviewees. Factual information can go into your script. The interview clip is where you can let your subjects speak powerfully and with emotion.

Arrange the clips in the order you would like them to appear in the programme. When you’ve identified the clips, start writing the script.

Use natural sound and music to create the mood and atmosphere.

The programme should flow along at a reasonable pace, but remember to give time for the listener to breathe in the atmosphere.

When you’ve assembled the script, clips, music and natural sound in the order you would like, try reading out the script in relation to everything else.

When you’re happy it works well together, record your voice pieces.

Enjoy making documentaries!

Questions

1. What is the primary purpose of a radio documentary?
2. Identify two key elements that contribute to a compelling documentary story.
3. How does sound research contribute to the effectiveness of a documentary?
4. Explain the importance of evidence in the scripting of a documentary.
5. Describe the role of natural sound in creating the atmosphere of a documentary.
6. What is the recommended distribution of script, interviews, and sound effects in a documentary?
7. How should interview clips be organised in the production process?
8. Discuss the significance of recording from the “heart of the action” in a documentary.
9. What is the purpose of reading the script in relation to other elements before finalising a documentary?
10. How does the documentary medium differ from a radio feature in terms of listener experience?

Answers

1. To engage listeners and place them at the heart of storytelling by shedding light on an issue and offering a signpost to the way ahead.
2. A compelling story must have connected strands that are examined and tied up at the end, and it should significantly increase listeners’ understanding.
3. Sound research helps construct the central thesis or argument by exploring all aspects of a story, ensuring accuracy and depth.
4. Every line of the script must be based on evidence to ensure accuracy and reality, even when presenting interviewees’ opinions.
5. Natural sound helps create the mood and atmosphere, making listeners feel embedded in the scene.
6. The recommended distribution is roughly one-third script, one-third interviews, and one-third sound effects, including music and natural sound.
7. Interview clips should be organised in the order they will appear in the program, allowing for a coherent narrative flow.
8. Recording from the “heart of the action” ensures that listeners feel immersed in the scene, enhancing the documentary’s impact.
9. Reading the script in relation to other elements ensures that all components work well together, creating a cohesive final product.
10. Unlike a radio feature, a documentary allows listeners to breathe and take in the atmosphere, providing a more immersive experience.

Lesson plan for trainers

If you are a trainer of journalists we have a free lesson plan: ‘Radio documentaries‘ which you are welcome to download and adapt for your own purposes.

The post Making documentaries for radio first appeared on Media Helping Media.

According to international presenter, Riz Khan, both TV and radio “something from you” as you try to present news, features, and documentaries.

He says part of the presenter is diminished and there’s a serious risk of coming across flat, possibly a bit lifeless, and certainly without your usual, real-life character. Here he shares some tips for engaging viewers and listeners.

TV and radio presentation

The loss of presence when presenting for TV or radio is because you are being transmitted, on-screen in the case of television or online video, and through a speaker or headphones when listened to on radio or in an audio/podcast.

The way I describe it when training people how to broadcast, is to say that if, on a scale of 1 to 10, your personality is 7 (fairly engaging, expressive, and communicative), transmitted media will take you down to a 5, possibly even 4. You become a “flatter” version of yourself.

Let’s look at some practical tips to help overcome this when on-screen or on a microphone.

Body language

The most obvious problem with being on-screen is that your three-dimensional personality is now being transmitted in two dimensions. This is especially notable when presenting in a studio behind a desk, where you have limited options when it comes to movement.

Framing for video makes it unnatural for a person to be moving notably side-to-side or up and down – it would be very odd for a presenter to be bouncing up and down to any degree!

With those two dimensions restricted, you have to try to steal back some of the third dimension, the forward-backward axis. Again, it’s not natural for a presenter to lurch back and forth, however, subtly leaning forward or leaning back, and straightening up, can give the sense to the viewer that you are engaging them in a more personal manner.

In my case, when reading news bulletins or hosting talk shows, I combine subtle leaning forward and straightening up again with head tilting and positioning.

There is nothing wrong with looking down at the papers on the desk, even if you’re not specifically reading from them. In fact, it’s natural to look down and take a quick glance at notes.

This prevents the problem many presenters have of being transfixed to the autocue/teleprompter, staring like a deer in headlights, worried that looking away will cause the words on the prompter to disappear.

Try leaning forward a little while looking down at notes, then from the leaning forward position, just tilt your head up to look back into the camera for a couple of moments as you continue reading the bulletin. You can then gently straighten up your body as you continue to read.

These subtle moves in the third dimension – that forward-backward axis – will make it feel to the viewer that you are coming a little closer to them from time-to-time.

To take it to the next level, feel free to put subtle expression into your face. Use a slight raising of the eyebrows to emphasise something (this works especially well when leaning forward a little).

A face should never be rigid with no expression so feel free to add some facial movement.

The key is not to look like you are locked in a box, even though technically you are because you are limited to the two-dimensional parameters of a flat screen.

Also, don’t be afraid to move your notes across the desk. This helps to keep your scripts in line with what is on the teleprompter, and that is useful if, for some reason, the prompter fails.

Do, however, pay attention to moving the notes quietly and gently so the audio of papers being shuffled is not picked up on your microphone.

A trick I learned many years ago while working in radio was to “crumple” my script papers. This involved me grabbing each sheet of paper and squeezing it on the side of the hand with which I move the scripts in order to crunch it up a bit. This prevents the papers from feeling like they are stuck together. It’s a useful little trick.

I had watched a veteran radio news reader doing this before he went live, on-air and, later, when I asked why he had done this he said that it helps him gently lift the sheets of paper to put them to one side rather than struggling to get a grip on the edge of very flat papers lying on top of each other.

Initially I received funny comments from the studio director and others in the newsroom, however they did appreciate it when I was able to move papers silently.

Appearance

Some of this might sound obvious but it is surprising how many people are not aware of the need to pay attention to one’s appearance when on screen.

For example, bright or oversized jewellery can be distracting. This can include earrings, bracelets, broaches, etc., or even rings and watches in the case of men. These should be avoided so viewers don’t spend their time and attention on those rather than on you and what you’re saying.

In the case of outfits, loud, over-colourful or excessively flamboyant clothing can be distracting. Also patterns and designs, especially in the case of men’s suits, jackets or even shirts lines, strips, chequered designs or squares – and particularly herringbone – can play havoc with the camera, causing what is often called “moire” (pronounced “mwhar” or sometimes “mwah-ray”).

When using chroma key for creating a studio background there are further considerations.

Chroma key is often called “green screen” because that is the most commonly used colour as a backdrop, although, in theory, many colours work and weather presenters often perform in front of a blue screen.

When using chroma key it is, of course, important not to wear anything that matches the colour of the chroma key background (green, blue, etc.), otherwise it will cause a major problem to the integrity of your image.

Chroma key offers remarkable options but needs to be done properly to avoid the final result looking fake or inconsistent.

Make-up

This should look natural and not exaggerated whether for men or for women. Just something to note, it is always good to learn some basic make-up application yourself because it could be useful if needed at short notice, for example, while reporting on location, etc.. Even some basic, “studio fix” powder can work well to reduce the shiny areas most of us have under video/studio lighting. Learn your skin colour and find a powder to match. If you use the wrong colour it can look exaggerated and unappealing. Be proud of who you are and be the best you!

Voice

This applies to working in radio or recording a podcast as well as with on-screen work. Much of the “stolen character” is the result of how your voice comes across when broadcasting.

For many people, as soon as a microphone or camera is involved, there is a tendency to become “flatter” in terms of expressiveness. Sometimes this is because of the effort of focussing on the content, and sometimes it’s simply because of nervousness. It can even just be the result of being naturally soft or low-key when speaking normally.

The outcome is that your voice will have relatively less volume and expressiveness in terms of inflection, emphasis, and variation in tone.

During training sessions, I usually start by telling people to raise the volume of their voice, as if they are talking to someone who is farther away. The reaction I usually get is that they are worried they will sound like they are shouting. However, when I record the before and after, they are usually surprised at how they come across with more presence.

The next step is then to get them to start emphasising certain words. This can be done not only by putting more stress on the word, as we all tend to do when emphasising something, but also to add a very short pause before the word, or adding an inflection.

It might feel strange to you at first, almost like you are faking the way you are speaking, but with practice, it can come across not only as natural but with more character and authority.

I compare this to actors having to project when on stage in the theatre and those being recorded with microphones when filming movies. Theatre work requires more projection – a “larger” version of one’s self in order to connect with the audience.

One thing to try to be aware of is how audible your breaths are as you speak. There are many broadcasters who suck in air between sentences in a very noticeable way and, unfortunately, once you notice it, it becomes harder not to be a bit distracted by it.

Try not to be in a rush. I have always had the bad habit of speaking very quickly. This is not a good thing, especially when broadcasting internationally to an audience where many people would have English as a second language. It has taken me time and conscious effort to slow myself down – and even then, I could do more.

Take your time and focus on delivering the content in a measured way at a good pace. The BBC used to have a rough guide of three words per second, but I think things have sped up a bit since then. Still, it’s in your interest to make sure that people get to hear everything you have to say, so, as well as the tone, emphasis, inflection (and, hopefully well-written content), you need to control the pace of delivery.

Don’t be afraid to pause. A second is only a second, even though it might feel like a lifetime when live on air. Good pacing will also reduce the chance of mistakes.

Remain relaxed, remember to breathe evenly, and not so audibly that it’s distracting! As much as possible try to enjoy the job of broadcasting.

Yes, it does involve a certain amount of “acting”, but, done well, it can significantly improve your presence and authority as a broadcaster.

Radio

I have already covered how to improve the use of your voice in the section above, but there are a couple of extra considerations that apply to radio in particular.

Microphones for on-screen broadcasting are usually discreet, fitted to the lapel of a man or woman’s jacket or hidden as much as possible on any other outfit so that the cable is not dangling and distracting.

These lapel mics, often called lavaliers, are in a fixed position on one’s body. As a result they are fairly consistent in how they record your voice. You should also be aware that their position on your body will affect the tone and depth of your voice, as well as how prone they might be to picking up background noise.

In the case of audio-only recording, you have much more flexibility in how you control the “feel” of your voice. This is one of the reasons I’m such a big fan of radio. It’s possible to change the mood of one’s voice simply by positioning the proximity of one’s mouth with the microphone. It takes practice but can add a great feel to the audio content, such as a warmer tone with more bass notes when speaking up close to the mic.

Any time you are reading from script papers on radio, where teleprompters generally don’t exist, the “crumpling” of the papers and notes is even more useful in avoiding extraneous and distracting noise, so use that trick to separate the sheets for more easy handling.

Writing content for audio as opposed to video is a whole learning session in itself, but needless to say, the mood, feel, and expression in your voice is all the more important in radio or on a podcast, where there are no pictures to guide the story.

Conclusion

There is quite a lot to consider when maximising your potential as a broadcaster in order to best engage with your audience.

Many of the tips I have shared may seem obvious but are often overlooked. The main point is to be as natural as you can so that you can come across as the best version of you as a broadcaster, you don’t have to mimic anyone else.

Being relaxed, feeling in control, and actually trying to enjoy the job of being a broadcaster is central to coming across as a good, engaging communicator.

It may be somewhat subconscious but viewers and listeners can actually “feel” the mood of those to whom they listen and watch so try to put the most positive energy you can into your work.

Good luck!

Below are some interviewing techniques that might help presenters who conduct live interviews.

By RizKhan

Questions

1. What is the main challenge that Riz Khan identifies when presenting on TV or radio?
2. How does Riz Khan suggest overcoming the two-dimensional limitation of on-screen presentation?
3. Describe one technique mentioned by Riz Khan to prevent appearing “flat” when broadcasting.
4. Why does Riz Khan advise against wearing bright or oversized jewellery on screen?
5. Explain the concept of “chroma key” and its importance in broadcasting.
6. What is the purpose of “crumpling” script papers according to Riz Khan?
7. How does Riz Khan recommend improving voice expressiveness during broadcasting?
8. Discuss the role of body language in enhancing a broadcaster’s presence according to the text.
9. What are some considerations for using microphones in radio versus on-screen broadcasting?
10. How does Riz Khan suggest broadcasters can maintain a natural and engaging presence?

Answers

1. The main challenge is that part of who you are is diminished, making you come across as flat and lifeless.
2. Riz Khan suggests using subtle movements like leaning forward or back and head tilting to engage the viewer more personally.
3. One technique is to subtly lean forward while looking down at notes, then tilt the head up to look into the camera.
4. Bright or oversized jewellery can distract viewers from focusing on the presenter and the content being delivered.
5. Chroma key, often called “green screen,” allows for various backgrounds but requires avoiding clothing that matches the background colour.
6. “Crumpling” script papers makes them easier to lift and separate without noise, preventing distraction during broadcasting.
7. He recommends raising the volume and emphasising certain words with stress, pauses, or inflection to add character and authority.
8. Body language, such as subtle movements and facial expressions, helps convey a three-dimensional personality on a two-dimensional screen.
9. On-screen microphones are usually fixed and discreet, while radio allows more flexibility in voice tone and mood through mic positioning.
10. Broadcasters should be relaxed, feel in control, and enjoy the job to come across as natural and engaging

Lesson plan for trainers

If you are a trainer of journalists we have a free lesson plan: ‘Engaging viewers and listeners’ which you are welcome to download and adapt for your own purposes.

The post Engaging viewers and listeners 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.

In this article we look at the steps involved in creating a news and current affairs programme based on the needs of the target audience.

Essentially, a radio news and current affairs programme has four main format types. These are:

• The interview
  • This is where the presenter interviews someone in the news. It could be about the main story of the day.
  • If it is the most important story this interview would take place immediately after the main news bulletin.
  • It should be between around five minutes long, although this could be stretched to 10 depending on the seriousness of the topic.
  • There will also be shorter interviews throughout the programme.
• The reporter package
  • A package will be put together by a reporter or correspondent and will include a number of clips of people the journalist has interviewed.
  • A package will typically be about three and a half minutes long and contain three or four clips.
  • Each clip will be about 20 to 30 seconds long. The package can be pre-recorded or live.
• The two-way
  • This is where the presenter interviews a reporter or correspondent covering a story.
  • It is designed to tap into the journalist’s background knowledge of the story being covered and is sometimes used before a main interview.
  • A two-way can vary from between 90 seconds to five minutes depending on the importance of the subject matter.
  • It is different in tone from interviews with outside contributors.
  • When the presenter is interviewing someone from outside on a big story, the tone will often be adversarial, pressing the interviewee on important points.
  • In a two-way with a reporter, the presenter is simply trying to draw out the most important facts in a neutral tone.
• The vox pop
  • This is a mix of clips from members of the public who are giving their reactions/opinions on a news story. This should be no longer than three minutes long.
  • It should contain a variety of perspectives so that the audience can hear diverse opinions.

Structure of a current affairs programme

The main purpose of the show is to cover the news and get reaction to it. So the main ingredients are news bulletins, with interviews and longer reports about the individual news items.

There is more to it than that.

There will also be other information vital to the listener, including weather forecasts and sports news, plus perhaps business news, summaries of what is in the newspapers, programme trails for the rest of the network and so on.

These all need to fit together in a regular pattern, so that with familiarity, the listener gets to understand how the programme works. You can think of this as arranging the furniture of the show.

You will probably want your main news bulletins to happen on the hour, perhaps with summaries on the half hour. These are the first fixed points.

The weather and the sports news should also happen at exactly the same time each morning – just as they appear in the same place every day in a newspaper.

The audience likes predictability in the way the content is presented, so that they know when to tune in for the information in which they are most interested.

When you are happy with your programme structure, the task for the production team every day is to think about how the news stories and interviews fit in.

Running order

Every edition of the show works to a running order. A rough running order is produced at the very first programme meeting and then modified and updated as the day and the night develop.

The following is a rough outline for a two-hour-long radio news and current affairs programme.

Exploiting content for maximum impact

Your production team should include at least one person monitoring the live output being produced by the programme.

This person is looking for newsworthy clips to package for the news summaries on the half hour and the main bulletins on the hour, and to illustrate live studio debates.

Your programme needs to be a breaking news production line, continually delivering original newsworthy clips.

This production role should also share all the breaking news clips from across all output and on all appropriate social media channels.

Creating a programme trailer

In order to attract new listeners, you need to create compelling programme trailers to advertise the material to be broadcast in the following morning’s programme.

This is essential, and has to be factored into the daily work pattern. The trailer must promote the main story of the day; the one in which you are planning to invest most resources.

Creating the sort of trailer that will stop people in their tracks and make them pay attention can help win over new listeners, introduce them to the subject matter to be covered on your programme, and, hopefully, encourage them to spread the word by mouth and social media.

A promo trailer should be around 30 seconds maximum, the shorter the better. You want to grab attention. Give the audience a snippet of what is coming up. You don’t want to give them too much, but just enough that they think “I must tune in tomorrow to hear more about that”.

And you want your trailer to be shareable on social media, so the better it is, the more chance it has of going viral. Ask yourself would you share the trailer with your friends? If not, work on it some more. And keep working on it until you think it has the quality to go viral.

Recipe for a good trailer

So how do you create an attention-grabbing radio trailer? Here are a few suggestions.

Encourage your reporter and producers to always be alert to an audio clip that sets out the scale of the issue, but doesn’t give the solution.

For example, you might be doing a story about the rural economy and how people are struggling to survive.

You will have interviewed farmers and villagers. One might say something along the lines of “I didn’t know how I would survive”. Such a quote will make the audience want to know what happened next. What did the interviewee do to survive? Could it be relevant to the listener’s own predicament?

That clip is less than five seconds long, yet it is likely to resonate with thousands of people in a similar position. Of course your piece will no doubt have examined the issues the farmers and villagers face, and you will probably have covered how they coped. But save that for the programme.

The next trick is to package that clip, and perhaps another, with a carefully crafted text that explains WHY people MUST tune in to your programme in order to learn more.

Calls to action

The wording is important.

You could use ‘calls to action’ where your trailer invites the audience to ‘listen’, ‘take part’, and ‘assess’.

Words that suggest drama work well, such as ‘revealed’, ‘for the first time’, ‘life and death decision’.

But you must remain honest. You are in the business of facts not fiction. Never exaggerate.

Another benefit of trailers is that it could encourage your competition, both broadcast and print, to tune in so they can follow up your story. And that’s a good thing. You want them to be following your lead, you want to be known as the station that sets the news agenda. Because by the time they have heard your news item you will have already moved the topic by inviting guests to respond live on-air.

Because trailers should be part of your daily output, you should probably consider creating a template so that it can be used every day.

Something like:

“In tomorrow’s morning programme we will be looking at (here you can mention up to three items), and we will be talking to xxxx about xxxx (insert short clip here).”

The post Creating a current affairs programme first appeared on Media Helping Media.

Radio journalists must write clear scripts that weave together compelling audio clips, ensuring listeners understand a news story’s significance.

This training module was written for journalism students in Jaffna, Sri Lanka. They were studying broadcast journalism, and in particular creating radio news programmes. Many of those attending the course had previously had no journalism experience or training.

Writing a script

Radio journalists need to be able to pick the best, most newsworthy audio clips, and write clear and informative scripts that introduce the material they have collected.

The script is what makes sense of the sounds. It is the framework for your story. It brings together the most important elements, and helps your audience understand the significance of the points made by the people you have interviewed.

It’s not just about sounds; it’s about words, too. The script should be written in simple, short sentences. Try to use everyday language and terms your audience will understand. It should not contain any complicated concepts that could confuse and distract.

Introduce the audio

The script should offer the audience introductions to the audio you are including. It should tell the listener what’s coming up without repeating the words they are about to hear. Don’t summarise too much; you should not take away from the power of the clips in your piece.

Grab the attention of the audience

You are crafting a tease to material that is designed to make people stop and listen. The language should be in the active tense. The most important information must feature in the first few sentences. However, the quality should be consistent throughout, and the script must not tail off at the end.

Your opinions don’t matter

Your script should be factual, without comment or descriptive words. Don’t try to attract listeners by including your own emotions. That’s not your job. Those who listen to your radio package will make their own decisions about the power of the information you are broadcasting.

Deliver a complete and fair report

Your script should weave together all the elements you have gathered for your story without suggesting that any one is more important than the other; that’s for the audience to decide, not you. You have a responsibility to set out the information in a way that doesn’t lead or mislead.

Scripting before interviewing

Some journalists choose to draft a script before they have conducted the interview. That’s fine as long as the journalist retains an open mind and does not orchestrate or stage-manage the interviews to fit into the structure they have planned.

Scripting after interviewing

Some journalists prefer to listen to the material before they write their script. This approach can lead to a fresher sounding piece. However, it can also lead to confusion if you have too much material and no idea how it is going to be edited and put together.

Fact-checking

Check every fact that you are including in your script. Also check what has been said by those you have interviewed. Just because somebody seems to know what they are talking about doesn’t mean that they are telling you the truth. Decide whether your fact-checking has raised any issues that need to be covered in the script.

Editorial ethics

Check your script against the editorial ethics of objectivity, impartiality and fairness. Do not give undue weight to one point of view. Most of the people you interview will have strong points of view – you wouldn’t be interviewing them if that were not the case. However, your script needs to be fair to all.

The beginning

Start the script by addressing the main point made in your introduction. Later in the script you can add context and analysis to try to help the audience understand the issues raised by those you are interviewing. But start with a crisp and sharp introduction that highlights the main points.

The ending

Always end your script with a fact and not a vague line such as “we will have to wait to see”. Your audience wants information, not clichés. Consider asking your interviewees what’s likely to happen next and summarise their expectations in your last paragraph.

Does it make sense?

Read the script back to yourself. Have you left any gaps? Do you need to do any further research? Check it with a colleague. A second pair of eyes works for radio scripts as well as print – of course, a second pair of ears helps, too, so check your choice of audio as well – you might have missed a more important clip.

1. Question: What is the primary purpose of a radio script?
   • Answer: The primary purpose of a radio script is to make sense of the collected audio clips, providing a framework for the story and helping the audience understand the significance of the information presented.
2. Question: What type of language should be used in a radio script?
   • Answer: The script should be written in simple, short sentences using everyday language and terms that the audience will understand, avoiding complicated concepts.
3. Question: How should a radio script introduce audio clips?
   • Answer: The script should offer introductions to the audio, telling the listener what’s coming up without repeating the exact words they are about to hear, and without summarising so much that it diminishes the impact of the clips.
4. Question: How can a radio journalist grab the audience’s attention at the beginning of a script?
   • Answer: By using active tense language and placing the most important information in the first few sentences, creating a “tease” that encourages listeners to stop and listen.
5. Question: What is the journalist’s role regarding their own opinions in a radio script?
   • Answer: The journalist’s opinions should not be included. The script should be factual, without personal comments, descriptive words, or attempts to attract listeners through emotions.
6. Question: What is the importance of fact-checking in radio script writing?
   • Answer: It is crucial to check every fact in the script, including statements from interviewees, to ensure accuracy and address any potential issues that arise during the fact-checking process.
7. Question: What are the two main approaches to scripting in relation to interviewing, and what are the advantages and disadvantages of each?
   • Answer:
     • Scripting before interviewing: Allows for a structured plan, but risks orchestrating interviews.
     • Scripting after interviewing: Can lead to a fresher-sounding piece, but may cause confusion with excessive material.
8. Question: What editorial ethics should a radio script adhere to?
   • Answer: The script should adhere to the editorial ethics of objectivity, impartiality, and fairness, avoiding undue weight to any single point of view.
9. Question: How should a radio script begin and end?
   • Answer:
     • Beginning: Start with a crisp and sharp introduction that highlights the main points.
     • Ending: Always end with a fact, summarising expectations for what might happen next, rather than using vague or cliché statements
10. Question: What is the importance of reviewing a completed radio script?
    • Answer: Reviewing the script, ideally with a colleague, helps identify gaps, ensure clarity, and confirm the appropriateness of the chosen audio clips. A second pair of eyes, and ears, helps ensure the script is as strong as possible.

The post How to write a radio news script first appeared on Media Helping Media.

Journalism is a continuous process of updating and revising news stories, because any published news item is likely to become outdated rapidly.

So as soon as journalists publish anything in print, online or on air, the information we deliver is likely to be out of date.

I started my career in journalism as a newspaper reporter. In the corner of the newsroom there was a desk with a pair of scissors and a pot of glue.

You can see the sort of set up in the image above. The photograph was taken in the newsroom of The Chronicle in Bulawayo, Zimbabwe, where I was doing some journalism training in 2010.

The scissors are for cutting out articles from the day’s newspaper. The glue is for sticking them on a sheet of paper with the date and key words at the top. They were then filed in boxes stored on massive shelves. This was the newspaper’s archive. Every new story covered would involve a visit to the archive for background and context.

The same was true at my first newspaper, The Southport Visiter (correct spelling). We had a ‘diary-and-file’ area where our cuttings were kept. There was a line of metal filing cabinets with alphabetically-labelled drawers. Then there was the diary, a shared book where all important follow-up dates had to be recorded.

It was every reporter’s responsibility to ‘diary-and-file’ their work.

This indicates two things. The daily newspaper is – as soon as it comes off the printing press – archive material. But it’s also essential material for background information. It’s a document of record that will provide valuable information in the future.

At the BBC we had department called News Information where journalists could order background information from a huge archive. All was old news, but it was also valuable news when it came to piecing together an update or covering a breaking or developing story about a topic that had been in the news previously. It was essential for adding context.

My first job at the BBC was on the local radio station in my hometown of Liverpool, England. A few weeks after working as a reporter, getting out and about covering news stories and interviewing locals, I was asked to compile and read my first news bulletin.

I thought it went well and returned to the newsroom feeling quite proud of myself. I was about to make a cup of tea, sit down and put my feet up when the news editor came over and told me to rewrite everything. “We don’t deal in old news,” he said.

Even wonderfully-crafted parts of my script that I felt couldn’t be improved had to be refreshed. I was struggling to think of any ways to update the material as the next hourly news bulletin approached.

My news editor, Ken, told me to get up. He sat in my chair, took over my typewriter (we didn’t have computers in those days), and, with a cigarette hanging from the corner of his mouth, refreshed the whole five-minute news script in what seemed like seconds.

I was told to put in fresh calls to find out new information. It wasn’t as big a deal as I thought. But it was essential work. The next bulletin was fresh, relevant, and, most importantly updated.

The lesson forced me to think through all the elements in the story and how they could be developed. It forced me to be a journalist and not just a news reader.

Radio bulletin checklist 1981

There was a checklist for tasks at Liverpool’s Radio Merseyside in 1981.

• Write bulletin and underline any facts in the story that need to be checked for updates
• Rewrite the bulletin immediately after leaving the studio and before thinking about making a cup of tea
• The rewriting should include both the introduction script and the piece itself
• If necessary, get any audio reports re-voiced if the information is out-of-date
• If you are using an audio clip of someone in the news always have a selection of at least three alternatives available, one talking about what has happened, another about what they intend to do about it, and the third about what will happen next
• Never run a voiced report or an audio clip more than three times, which would include the main morning, lunchtime or evening bulletins.
• Realise that all those mentioned in the news bulletin may have fresh information to share after having heard your bulletin. It would be amazing if they didn’t. Call them and see what’s changed
• Make a note of all the times and dates mentioned in the bulletin to ensure the newscast is not dated
• Put in another round of calls to police, fire, ambulance and anyone who features in a developing news story, such as union leaders, bosses, councillors, activists, sports personalities etc

In other words, never repeat a bulletin hour after hour. It’s almost certain that, if you do, you will be delivering old news and the motto was that old news is no news.

Discipline of updating stands test of time

We had a similar philosophy when we launched BBC News Online in 1997. We were continually checking for new developments, updating stories, and republishing the site.

The early training in print and broadcast that most of us had gone through in that BBC online newsroom had prepared us well for the BBC’s first move into 24-hour rolling news.

It’s interesting how some of those basic principles of journalism best practice appear to be timeless.

And now we have the luxury of a steady stream of updates online via social media and on news sites that provide live coverage of events with story formats that see the coverage grown chronologically.

The problem with that format is that the longer the update grows, the further the reader is from the original source of the material, making it harder to read the context behind the development/event.

This is particularly true with social media where emotional and subjective reactions to the original news take on a life of their own.

With rolling updated stories on the main news sites there is a need to continually provide links back to the original story so those following events can better understand where, why, and how the news item first broke.

Otherwise we can easily fall into the post-truth trap where emotional responses to events take over the events themselves. Facts get lost in the quick fire responses, and the chatter and noise of ill-informed reaction takes on a life of its own and eventually becomes more amplified than the original incident that began the news process.

Which means that journalists have a responsibility to continually rework and update our news so that all the new elements (reactions and new perspectives) are included while also ensuring that the essential facts that began the news flow are not forgotten but are also included and updated where necessary.

The post Old news is no news, updates are essential first appeared on Media Helping Media.