PRAKRUTI JANI 9407 BROADCAST JOURNALISM

WRITING FOR RADIO

RADIO Radio is "the theater of the mind"; because you only get audio, you must create visuals with your imagination.

WRITING FOR RADIO Writing for radio is the storage of talk. The overall process should give the listener the impression that the broadcaster is talking to him rather than reading at him. Should sound spontaneous.

WRITING FOR RADIO Neither does the page say how it should sound in terms of speed, or where the pauses should go. Example: You mean I have to be there by ten, tomorrow.”

WRITING FOR RADIO “You mean I have to be there at ten tomorrow?” “You mean I have to be there, at ten tomorrow.”

WRITING FOR RADIO So, writing for radio is one part of the communication process and it isn’t completed until the script is said- and said properly.

WHY TO WRITE? The script is a safety-net because through scripting one knows what is he going to say. Full script makes sure that nothing is left out. It makes spoken words logical.

WHY TO WRITE? Script writing enables other people to communicate our thoughts, to give some more permanent form to the otherwise very transient nature of speech.

WHAT TO WRITE? To decide what it is one want to say. What are the points one want to make, and what sort of impression do one want to leave behind.

WHAT TO WRITE? List the main points. Assemble the ideas and put them in right order. Visualize your listener. Keep listeners on the same level as yourself.

WHAT TO WRITE? The point is to express and not impress. Radio, finally, reaches to one person- an individual. Make the listener feel that you are talking to him.

SETTING SCRIPT The first sentence must interest, the second must inform. Go through the list of points linking them together in a logical way, threading them in a sequence. ‘Indicators” or ‘Signposts’ helps to indicate to the audience or listener that a new topic will be introduced.

SETTING SCRIPT Overall style of broadcast talk should be conversational. Conversation for news, weather etc. remains formal. Conversation for magazines, book review should be colloquial, like someone talking.

SETTING SCRIPT Speak the words loud and then write. Short sentences are easier to read, and easier for the listener to understand.

SETTING SCRIPT Example Jim, who is just about to leave the school where he’s been for five years, which included a time as head boy is looking for a job. Jim has been at school for five years. This includes a time as head boy. He’s now about to leave and is looking for a job.

SETTING SCRIPT Saying script aloud helps to avoid the tongue twister or the unintentional meaning. Meaning should be unambiguous-even to someone who’s not totally concentrating on what you are saying.

SETTING SCRIPT Punctuation should help the reader extract the sense from the writing, but it’s a very flimsy device when the whole meaning depends on a comma or two. Examples The Union said, the report was wrong. The Union, said the report, was wrong.

SETTING SCRIPT The really important thing is that when one makes points, illustrate them, tell stories, re-live the event. Radio is an immensely visual medium- paint pictures, appeal to all senses.

SETTING SCRIPT This here a roughly dimpled skin of this brilliant fresh orange that I have here in my hand with the pungent smell and now, the squirting juice is in my mouth as I cut it.

MECHANICS OF A SCRIPT Script should be typed, double or even triple spaced to make it easier to read. Margins should be left on both the sides which enables alterations and additions to be made without obliterating the part one wants.

MECHANICS OF A SCRIPT The quality of paper used to write script should be good. Unnecessary turning of pages should be avoided. The page itself should be set out with clear paragraphs indicating the separate thoughts.

MECHANICS OF A SCRIPT Numbers can be written in three ways- In figures, in words or both. A single typed line takes 3-4 seconds. A double-spaced page of A4 with 27 lines and 270 words take 1 ½ minutes.

WRITING FOR THE EAR Start with an interesting sentence and end with a reference back to that same point. Points to follow:- Decide what you want to say. List your points in a logical order. Make sure the opening is interesting and informative.

WRITING FOR THE EAR Write for the individual listener- visualize him or her as you write. Speak out loud what you want to say, then write it down. Use ‘signposts’ to explain the structure of your talk. Paint pictures, tell stories and appeal to all the senses.

WRITING FOR THE EAR Use ordinary conversational language. Write in short sentences or phrases. Use punctuation to aid clarity for the reader.

WRITING FOR THE EAR Type the script, double spaced, wide margins with clear paragraphs. When in doubt, leave it out. The idea is to express and not impress. Music is part of script.

OVERALL Formulate a story idea. Write a narrative of the story. Put the "meat" of the story on the bones of your outline. Always keep the limitations of radio in mind. You are writing for listeners, not viewers. Divide the narrative into scenes.

OVERALL Write the dialogue based on your narrative. Write a page heading. Write a scene heading. Include script cues. Insert music cues.

OVERALL Include the dialogue cues. Insert the sound effect cues. Compose your production notes. Editing and the final presentation.

Thank you…