1. Radio Aims and objectives
To identify the characteristics of a radio news feature and radio drama – plus the differences and similarities
To produce two minutes scripts for both a radio feature and radio drama
To compare both and identify differences and similarities

2. You must first ask the basic questions, which might run something like this:
What is the present situation?
How has it come about?
What will happen if it isn't remedied?
What steps are being taken?
Who is taking them?
When can we see a change?
What is that change likely to be?
...in short, the old "who, what, when, where" questions.

8. Specificity Placing pictures in a readers/listeners mind
As if you are there as a reliable witness.

11. Connect The Story To Deeper Themes
The best stories reach us on some elemental level.
There's something very important that's always going on in a very simple way in good stories.” NBC correspondent, John Larson
Look for the story of why things happen, the way they do, and then look for a way to tell that story.

12. Find A Hook
 Even the best writer can find it hard to get a reader's interest when the story seems foreign to the reader. Is there a hook, some common ground or relatively unknown link that might get someone interested in a subject?
What is the thing readers need to know if they know almost nothing about the subject but it matters?

13. Give Background And History
What background would a newcomer who is affected by the story need to know so that they might care about it?
Another virtue of asking what does my audience need to know is that it can lead to creating new entry points into stories-such as asking, what background would a newcomer who is affected, or has a stake in the story, need to know so that they might care about it. So often, the feature seems like something for bureaucrats, spoken in a language, official speak, that only the initiated understand, especially if you are using research script as your base material. What new entry points can you create into stories?

14. Choose a Suitable Design and Hold to It
Choose a Suitable Design and Hold to It. Planning must be a deliberate preface to gathering. Foresee or determine the shape of what is to come and pursue that shape. •Make chunks the Unit of Composition. Large blocks of recording can look formidable to you at multi track-editing. But breaking them up too much can look like ad-promo. Moderation and order are the main considerations.
•Use the Active Voice. It is generally more direct and vigorous than the passive.
•Put Statements in Positive Form. Avoid tame colourless language. Use the word "not" as a means of denial or in antithesis, not as a means of evasion.
•Use Definite, Specific, Concrete Language. The surest way to arouse a listener's attention is by being specific. Use words that call pictures to mind.

15. Omit Needless Words.
Vigorous narration is concise. A sentence should contain no unnecessary words. A cue should contain no unnecessary sentences. •Avoid a Succession of Loose Sentences. In particular this means sentences made up of two clauses. The style can become boring for the reader.
•Express & Coordinate Ideas in Similar Form. Parallel construction allows readers to more readily recognize likeness of content and function .
•Keep Related Words Together. The position of words in a sentence in the principle means of showing their relationship. Brings words together that are related in thought.
•In narration, Keep One Tense. Don't switch back and forth. Choose one and hold to it.

16. Find The Right Voice
 You have many voices. You speak to your friends differently than you do your parents or your teachers. If you have a job, you have a voice for your boss. When you take on a persona, or character. You must choose a voice that best imparts the information in that story.  The choice you make becomes the tone, or mood of the story, and it should always match the content. For instance, you would not use humour about a tragic auto accident

17. The Black Box
Len Reed, environment and science team leader at The Oregonian, developed a system to help reporters handle unruly information.
helps reporters sort through and prioritize the information they have and quickly and clearly make the case for their stories to editors. With the system, writing a story is essentially boiled into four phases:
1. Reporting phase
Gather
Search
Ask
Interview
Sort

18. Putting The Story In The Black Box
Black Box phase
What is this information?
What does it mean?
What does it signify?
What is the headline?
What is the lead?
What is its context – with what does it connect?
So what?
Who cares?
How can you quickly tell it to the clueless and make it count?

19. 3. Editor phase Succinctly tell your editor what the story says.
Tell your editor the headline that captures the story.
Be prepared to defend your thinking.
4. Writing phase
You’ve got a lead; now order a sequence in telling: organize.
Write quickly, staying on track – you can go back and tweak.
As you write, periodically ask yourself: Who cares?
As you write, periodically frighten yourself: The audience is leaving.
When you finish, go back and ruthlessly cut words and sentences.
Before last reading, say “no one cares”; let the story change your mind.

20. Putting The Story In The Black Box
 The Black Box is a system Reed designed to help reporters handle unruly information. It aids them in sorting through and prioritizing the information they have and helps reporters quickly and clearly make the case for their stories to their editors.  With the system, devising a story is essentially boiled into four phases:
24. Reporting Phase GATHER SEARCH ASK INTERVIEW SORT
25. Black Box Phase  What is this information?  What does it mean?  What does it signify?  What is the cue?  What is the lead?  What is its context - with what does it connect?  Do talents contribute effective to the piece?  Do the angle or idea run throughout the piece?  So what?  Who cares?  How can you quickly tell it to the clueless and make it count?
26. Editing Phase  Briefly tell yourself what the story says  Tell yourself the single element that captures the story  Be firm to defend your thinking.

21. Finishing Phase  NOW CHEEKLIST THE ENTIRE WORK:
 You've got a lead; now order a sequence in telling: organize.
 Narrate quickly, staying on track - you can go back and tweak.
 As you proceed, periodically ask yourself: Who cares?
 As you progress, periodically frighten yourself: The audience is leaving.
 When you finish, go back and ruthlessly cut words and sentences that sound strange or unnecessary.
 Before last listening, say "no one cares"; let the story change your mind.

22. Final Test  Any Feature should pass the three C’s test.  Clear
 Concise
 Correct
If, it does, and the content is put together with care and passion, its quite likely it may even be an award winning piece of audio.

23. Post-record planning
How you do this depends very much on personal preferences. A simple and very
workable method is something like this:
a) Listen through to what you've recorded. Roughly cut out the pieces you plan to
use and name them. You should not have hugely more sound than the length of
your programme (although how much room you plan to leave for script very much
depends what kind of programme you are making, i.e. an Insight has much more
script than a Spectrum).
b) Create a document (word, notepad, a notebook) and note the cuts in it.
c) Jot down the main areas to be covered in the programme. (i.e. make a paper list of what should be covered)
d) Look through the list, and place these areas in a logical order.
e) Go to your planning document, and select the strongest cuts in each area.