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

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

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

Pictures come first

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

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

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

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

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

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

Agree the target length of the package.

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

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

Does each shot join up smoothly with the next?

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

Avoid jump cuts.

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

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

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

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

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

Now write a shot list with accurate timings.

Now write your script.

By Bob Eggington

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

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

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

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

Trust the visuals

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

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

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

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

Shoot with purpose

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

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

What details are crucial to understanding the narrative?

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

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

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

Less is often more

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

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

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

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

Craft a visual narrative

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

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

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

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

Collaborate with the editor

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

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

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

Increased engagement

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

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

Emotional connection

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

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

Enhanced understanding

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

Greater impact

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

In conclusion

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

Questions

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

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

Answers

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

Lesson plan for trainers

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

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

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

A journalist needs to be well-prepared when planning an interview. However, after all your research, try to keep the interview to three questions, because if you haven’t worked out in three what you want to find out from the person you are talking to you, you probably never will.

And try to avoid looking at your notes, but, instead, pay attention to what the person you are interviewing is saying, otherwise you might miss the news story. Here are a few tips for planning and executing an interview.

20 interviewing tips for journalists

1: Never give an interviewee questions in advance. It’s fine to give a general idea about the interview themes, but being too specific may limit what you can ask in the interview. It also risks being overtaken by events and allows the interviewee to rehearse answers.

2: Be on time. There’s nothing worse than keeping someone waiting.

3: Always check that your equipment is working and fully charged before you leave the office.

4: Treat the interviewee with respect whether they are a president or a man or woman in the street. A warm but not over-enthusiastic greeting is a good start.

5: Take control of the location. It’s your interview. You need to choose a place that isn’t too noisy and where there are not too many distractions.

6: You are not meant to be the centre of attention. The interview is not about you. You are there to get the perspective of the interviewee, not give your own.

7: Do the research you need to, but don’t try to cram it all into your questions. Put yourself in the shoes of a member of your audience before you start the interview. If they were here, what would they ask?

8: Ask the most important question first. The more pressed the interviewee is, the less time they will have, and the more likely that they will cut the interview short.

9: The interview is a conversation, it’s not a confrontation. You are not there to make the interviewee look stupid.

10: Try to avoid looking at notes. If you look at your notes, the interviewee may be distracted. And it’s difficult for you to read and listen at the same time.

11: Maintain eye contact at all times. Keep your body language in check. If you nod your head, your subject may take this to mean that you agree with them and assume that there is no need to explain further. You may miss the chance to discover more.  If you shake your head, or recoil with a shocked facial expression, you risk making your subject clam up. You will have shown them that you find their views offensive and so they are likely to stop short of saying even more in the same vein.

12: Try to ask a maximum of three or four questions. An interview is not a fishing expedition. If you can’t get to the essence of what you want the interviewee to say in three or four questions, change the questions.

13: There are six basic questions: what, why, when, how, where and who.

14: Shorter questions are better than longer ones. Never ask more than one question at a time. Combining questions makes it easy for the interviewee to avoid answering one altogether. Be as direct as you can without being rude.

15: Be sure of your facts. There’s nothing worse than being told you are wrong by an interviewee – especially when it’s live.

16: Listen to what the interviewee is saying. They might want to use your interview to announce something important that you were not expecting.

17: If the interviewee is not happy with the way they answered a particular question, don’t give in to appeals for them to do it again – unless there is a factual error in the answer or there is a risk of serious confusion.

18: At the end of the interview, no matter how difficult the interviewee has been, always say thank you

19: Always check the interview has been recorded before the interviewee leaves.

20: When you’re editing, don’t take answers out of context. That’s dishonest.

Questions

1. What is the main reason for not giving interview questions in advance to the interviewee?
2. Why is it important to be punctual for an interview?
3. How should an interviewer treat the interviewee, regardless of their status?
4. What is the significance of choosing the right location for an interview?
5. Why should an interviewer avoid looking at their notes during an interview?
6. How can body language affect the outcome of an interview?
7. What is the recommended number of questions to ask during an interview, and why?
8. Explain the importance of listening to the interviewee during the interview.
9. What should an interviewer do if the interviewee is unhappy with their response to a question?
10. Why is it crucial to ensure that the interview has been recorded before the interviewee leaves?

Answers

1. Giving questions in advance may limit the scope of the interview and allow the interviewee to rehearse answers, reducing spontaneity.
2. Being punctual shows respect for the interviewee’s time and sets a professional tone for the interview.
3. The interviewer should treat the interviewee with respect, offering a warm but not overly enthusiastic greeting.
4. The right location minimises noise and distractions, allowing for a more focused and effective interview.
5. Avoiding notes helps maintain eye contact and keeps the interviewee engaged, preventing distractions.
6. Body language can signal agreement or disagreement, potentially influencing the interviewee’s responses and openness.
7. Asking three or four questions helps focus the interview and ensures that the most important topics are covered efficiently.
8. Listening allows the interviewer to catch unexpected announcements or important information that may arise during the conversation.
9. The interviewer should not allow the interviewee to redo their answer unless there is a factual error or risk of confusion.
10. Ensuring the interview is recorded prevents the loss of valuable content and maintains the integrity of the interview process.

Lesson plan for trainers

If you are a trainer of journalists we have a free Lesson plan: Preparing for and carrying out an interview which you are welcome to download and adapt for your own purposes.

This free lesson plan is based on the article ‘Preparing for and carrying out an interview‘ which was written by Jaldeep Katwala and published on Media Helping Media. The free AI teaching tools at the Khan Academy were used in the production of this lesson plan.

Related training modules

How to interview politicians

Why would anyone want to talk to a journalist?

Interviewing integrity – scenario

Interviewing for video journalists

The post Preparing for an interview 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.

Putting together a radio news bulletin is like preparing a satisfying meal that leaves your audience nourished and prepared for the day; what you produce has to be balanced and digestible.

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

Consider the listener

• You need to know who is tuning in for the information you are delivering and what they need to know. A local, region or national audience is not the same as an international audience. Each will have different needs, although all will require a mix of information. Your job is to focus on the news that is relevant to your regular listeners.
• Your top stories are not necessarily the biggest international stories of the day, although they could be. Your job, and the task of the news team you work with, is to focus on covering the issues that have the most impact on the lives of your target audience. These top stories will define how close your news organisation is to that audience.
• The audience will be listening for information that they can use. The stories you include in your bulletin must make up their staple diet of “must know” information. This story choice will reinforce your credibility as a relevant information provider in the minds of your audience. Ideally you should be stimulating a daily conversation about the issues that matter to your listeners.
• Putting the most important stories first guarantees that listeners who tune in for the start of your bulletin catch the most relevant news, even if they cannot listen to your entire bulletin.

Add variety

• Offer an information mix. Life is multi-coloured and multi-faceted, and so is news.
• If you are covering politics you must highlight how the issue affect the lives of your audience and not dwell on the politics alone. Always find someone affected by the issue and don’t just feature those in positions of power who are talking about the issue.
• If you are covering a corruption story it’s important that you talk to either the victims or carry out a vox pop in the street to try to find out what the general feeling is about the issue. Ideally, you should always try to include the voice of those affected by whatever the story is highlighting.
• Your audience will have a wide range of interests and concerns including health, education, jobs, homes, science and technology, culture, social developments, sports etc. Most of the time this means that you have to provide a mix of news, current affairs and other information items.

Your voice

• A voice that pleases is important for ensuring that the audience returns. Record a few of your bulletins and listen to them. Would you like to listen to that voice every day? If not, do something about it.
• Audio creates emotions. An attractive voice that catches the attention of the audience is important. The last thing you want is a grating voice that makes people switch off.
• Avoid the sing-song voice that plays the same tune for every sentence, going up in tone at the beginning of the sentence and then dropping down at the end regardless of what is being said.
• And never give the impression that you think you know more than the audience. There will be someone listening who knows far more than you. Never patronise.

Length

• Longer is not necessarily better. A seven-minute news bulletin is not going to be an improvement on five minutes if the extra two minutes are merely filler material.
• Try to imagine yourself in the place of the audience and think through what pressures they may be under.
• They will probably be doing other things as they listen. You are asking for their time and attention.

Speed

• Don’t rush. Make sure that your audience can understand what you are saying. Reading too quickly could result in your audience not being able to absorb the information you are sharing. You could end up becoming background noise.
• News readers often read fast when they are nervous or when they know that they are about to pronounce a name about which they are uncertain. If you know there is a foreign name coming up in the bulletin, highlight it and practice it until you are sure. Then approach it slowly, pause, and pronounce it clearly.
• A handy tip is to make a mark in your script where you need to take a breath and pause. These can help you when you come to reading the information.

Stale news

• Is your bulletin fresh, dynamic, and stimulating? Rewriting is essential. Many people will listen to several bulletins during the day.
• It’s important they are not served stale news that hasn’t been reworked. If you don’t refresh, your audience might think you are either not doing your journalistic job properly or you are being lazy.
• When you come out of the studio after reading the latest bulletin, rewrite all the top stories. Don’t just put the bulletin down and expect to pick it up again an hour later untouched and unchanged.
• If you have a news bulletin at the top of the hour and headlines on the half-hour, the headlines can’t just be shorter versions of the main bulletin. You will have to rework them and create a new headline that conveys the main point of the story and encourages people to stay tuned for the next bulletin.
• You can also use the half-hour bulletin to add stories that you could not include in the main bulletin. However, if you choose that kind of presentation format, make sure that you stick to this pattern so that your audience knows what to expect.
• Some stories could run in different formats in different bulletins. For example you could do a straight read of the information in one bulletin followed by a voice report and or an audio clip in another. Having several ways of telling the same story adds variety to your bulletin and gives you options and flexibility when constructing it.

Sound bites

• Sound bites are important. A longer news bulletin becomes a lot more attractive for the audience if you include short sound bites. This can be a five- or 10-second audio clip inserted in a voice report or a stand-alone 20- or 25-second clip.
• Such sound bites can make your bulletin easier to listen to, more authoritative (because you are including first-hand evidence) and, therefore, more credible. It’s also more interesting for the listener.
• However, all sounds have to have an editorial reason for being there. You should not fill with sound clips that distract because they don’t relate to the thrust of the information you are delivering.

Tell a short story

• Write news stories as if you were telling the story to a friend. This means: short, simple and straightforward sentences.
• The audience cannot go back and check what you said 10 seconds ago. (Well, they can if they record it or are listening online, but the majority will be listening on the move and won’t be able to rewind the bulletin.)
• You need to be clear, focused and memorable. Crafting complex information into simple sentences is a skill. Don’t obscure the essential facts with verbiage.

Effective packaging

• The bulletin should be a compilation of short but powerful stories. This format makes it easy for people to grasp the information.
• Writing for radio is one of the most challenging journalistic disciplines. The simple editorial rule about creating short, clear sentences with a subject, verb, and an object is essential.
• Don’t try to be clever with words. Use words that make the most sense and can be understood by all.
• Read through your bulletin several times. Shorten the sentences and replace complex concepts with simple terms that avoid any ambiguity or any possible misunderstanding.

Final points

• If you are putting together a longer bulletin (e.g. seven minutes or more), you may want to end the bulletin with a brief recap of the main stories. This can help audiences recall the top stories and/or other relevant information.
• If you don’t believe what you have written and what you are saying your audience won’t either; and what is more, they will not respect you for broadcasting information that anyone with average intelligence would not swallow.
• Make sure you are honest in how you describe situations and events, don’t over sensationalise. Your audience will know when you are going over the top and your credibility and integrity will be damaged if you do.

Questions

1. What is the primary goal of a radio news bulletin?
2. Why is it important to consider the audience when creating a radio news bulletin?
3. How should a journalist preparing a news bulletin handle political stories?
4. What role does the voice of the newsreader play in the effectiveness of a radio news bulletin?
5. Explain the significance of the length of a news bulletin.
6. How can a newsreader ensure clarity and comprehension when delivering a bulletin?
7. What is the importance of rewriting news stories for multiple bulletins throughout the day?
8. Describe the role of sound bites in a radio news bulletin.
9. How does the text suggest news stories should be written for radio?
10. What are the final points mentioned in the text regarding the credibility and integrity of a news bulletin?

Answers

1. The primary purpose of a radio news bulletin is to provide a balanced and digestible mix of information that nourishes and prepares the audience for the day.
2. Considering the audience is important because different audiences (local, regional, national, international) have different needs and interests, and the news should be relevant to the regular listeners.
3. The text suggests that political stories should highlight how the issues affect the lives of the audience, rather than focusing solely on the politics.
4. The voice of the newsreader is crucial as it creates emotions and can attract or repel the audience. An attractive and clear voice ensures the audience returns.
5. The length of a news bulletin should be concise and focused, avoiding unnecessary filler material, as the audience may be multitasking and have limited time.
6. A newsreader can ensure clarity by not rushing, practicing difficult pronunciations, and marking pauses in the script to maintain a steady pace.
7. Rewriting news stories is important to keep the bulletin fresh and dynamic, ensuring that the audience receives updated and relevant information.
8. Sound bites make the bulletin more engaging and credible by providing first-hand evidence and breaking up the monotony of a longer bulletin.
9. News stories for radio should be written in short, simple, and straightforward sentences to ensure clarity and memorability, as the audience cannot rewind.
10. The final points emphasise the importance of honesty, avoiding sensationalism, and maintaining credibility and integrity to ensure the audience respects and trusts the information provided.

The post How to produce a radio news bulletin first appeared on Media Helping Media.