WRITING FOR RADIO

1. WRITING FOR RADIO Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

2. Radio in India • Experiments began in 1915. • Broadcasting began in India with the formation of a private radio service in Madras in 1924. • The Indian Broadcasting Company - Indian State Broadcasting Corporation. • Renamed as All India Radio in 1936. • AIR was officially renamed to Akashwani in 1957. This name was given by Late Pandit Narendra Sharma a noted lyricist and renowned Hindi poet. Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

3. Radio in India • Government controlled – Indira Gandhi stated “AIR is a Government organ, it is going to remain a Government organ..." . • AIR reaches 99.37% of India’s population. • AIR today has a network of 229 broadcasting centres with 148 medium frequency(MW), 54 high frequency (SW) and 168 FM transmitters • In External services, it covers 27 languages; 17 national and 10 foreign languages Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

4. Radio as a Mass Medium • Radio is "the theater of the mind"; because you only get audio, you must create visuals with your imagination. • Affordable • Language not a barrier • Reaches over 99% of the population • Cheaper to operate Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

5. Radio is powerful because: It is immediate. News can be reported more quickly on radio than in newspapers or on television, because the technology is simpler. It is accessible. You can tune in to radio wherever you are. You can take a radio to the fields, or listen to it in a car. You can also do other things while you listen. It is inclusive. Radio can reach most people, including the poor, the marginalized and those who cannot read or write. Radio presents challenges because: It is temporary. Stories often air only once, so if the information is confusing or if you miss a point, it's difficult to get clarification. Radio reports need to be clearly and simply written. And radio presenters and reporters must take extra care to speak distinctly. Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

6. Unlike Internet, it's not available for weeks at a time. You have one, and only one, opportunity to make an impact. • Radio is conversational. Think of the most boring lecture you have ever attended. For starters, the presenter probably read it. And it probably sounded like a term paper, full of jargon and long-winded sentences. Does anybody really talk like that? Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

7. Skills and Responsibilities for Radio Radio stations have many people with different skills and responsibilities. There are those who voices are heard on the air, like talk show hosts and reporters, There are also people who work behind the scenes like sound engineers, producers, marketing managers, researchers and call-screeners. Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

8. Skills and Responsibilities for Radio Sometimes one person may take on several roles. In smaller radio stations, a talk show host may also do research or a news reader may file reports from the field. Even at larger stations, producers are often involved in research and booking guests. Whatever the structure or size of the station, remember that successful radio depends on teamwork and all roles are equally important. Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

9. Skills and Responsibilities for Radio Professional journalists, whether they work in radio, television or print, are expected to adhere to basic principles. Journalists should be: Accountable Balanced Independent Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

10. Three core skills of radio: • Writing • Presenting • Conducting interviews • These skills can be used in different ways, depending to the kind of program being scripted or presented. • For example, the style used to present a news bulletin is different from the style used in a late-night music show. Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

11. Writing for news radio requires playing to the ear instead of the eye, as is typical for written news outlets like newspapers and magazines. Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

12. What to Say: Finding the Angle • The first step in developing a news story is to find the angle, or the main point of the story. One way to find the angle is to clarify the facts and then ask the question, "So what?" • To answer the "so what?" question, you need to understand who the listeners are. What news interests them? What information is relevant to their daily lives? What are they worried about? What do they feel strongly about? • The answer to "so what?" will lead to the story angle. Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

13. Two versions - Different Angles Version 1 The minister of labor has called on workers to redouble their efforts to stimulate the country's economy. Speaking at the opening of a new chemical factory in Riverville Province yesterday, the minister said the government is doing everything in its power to ensure that the issue of salary increases will be addressed as soon as possible. The minister also said that, under the new government, unemployment figures have dropped significantly. He dismissed reports that the new factory is an environmental hazard and assured the community that all steps have been taken to ensure safety. A few thousand protesters held up the official opening ceremony for several hours. The protesters say the factory is a health risk and have threatened further action if the minister does not meet them face-to-face. Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

14. Version 2 Three thousand protesters from the Green Rights Action Support Party (GRASP) delayed the official opening of a chemical factory in Ratnagiri yesterday. The protestors say they are worried about health risks from waste material produced by the new factory. Speaking at the opening, the minister of labor assured the community that the new factory does not pose any threat to health. But a GRASP spokesperson said the group is not satisfied with the minister's assurances. The protesters say they will organize more demonstrations if the minister doesn't agree to meet them. Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

15. Which Version Works Better? • You probably preferred the second version.  Here are some of possible reasons: • Version 1 focuses on the Minister throughout the story and only brings in the real angle of the story (the protest) towards the end. • Version 2 tells the story from the perspective of the community, those who would be most affected by the factory's alleged health risk. • Version 1 reports the Minister's remarks as though they are facts.   • Version 2 gives us the story.  It tells us what has been happening AND it answers the 'so what?' question. Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

16. Finding the angle • While researching a story, ask: • What is happening or what has been happening? • Why is the story important? • Why will listeners care about this story? • What will listeners want to know? Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

17. Think about: • Listeners • Who are they? • What will make them identify with the story and find it relevant and interesting? • What do they already know or think about the issue? • What other questions would they like to have answered? Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

18. Think about: • Listeners … • The story from all its perspectives • Why did the event occur? • What do people think about the event that occurred? • Who is involved in the event and why? • Will something happen in the future as a result of the news event? Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

19. Writing for radio is different than writing for print media. Keep these differences in mind: • Readers usually focus only on what they are reading. They are usually not doing something else at the same time. • Readers can go back to what was written before and re-read it to make sense or to clarify. • Listeners are usually doing something else while listening to the radio, so their focus may be divided unless they are interested. • Listeners hear words and sounds once and then they are gone. They only have one opportunity to understand and make sense of a story. Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

20. Writing for radio means writing the way people speak. Keep the following tips in mind: • Break the rules of grammar when necessary. Clarity is the goal. • Say aloud what you've written to make sure it makes sense. • Imagine that someone is listening while you are writing and pretend you are talking to that listener. • Keep it simple by using just one idea per sentence and avoiding long words. Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

21. Tips for Scripting • Techniques • Research • Story structure • Content • Tone • Creativity Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

22. Research is the foundation of any story. Consider these sources: • News events related to the topic • Stories previously written or aired about the topic • People who can talk about the topic (interviews) • Organizations involved in the story • Use a combination of research methods. Start with these basic research tools: • The Internet. Use search engines to research a topic, find organizations or resources related to stories and locate archives of earlier stories. • Publications. Research papers, Journals, Newspapers, magazines and books can provide ideas and resources for stories. • Contacts. Talk with colleagues and friends to find out what they think about a topic. They may be able to suggest people to interview. Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

23. Script Structure The structure of a script depends on its purpose. Is it a news report? Is the purpose to entertain? To persuade? Or to share something important? Be clear about how the script will flow. What pieces of information will be included? In what order? Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

24. While a news story requires a more formal style and approach, these tips can be useful for scripting: • Imagine talking to a friend. What questions does the friend ask? Answering these questions one-by-one will help you write with the listener in mind. • Draft a rough outline based on the "talking to a friend" exercise above. Decide whether to tell it chronologically, with the most important facts first or some other way. • Start with an arresting sentence--called a "hook"--at the beginning to attract and hold the listener's interest. • End the story by satisfying listeners that all important questions have been answered. Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

25. Content Write in short, punchy and direct phrases. Use only one idea per sentence. This version is grammatically correct, but it's not written for radio: We are going to hear a song by one of South Africa's best-known voices--Sibongile Khumalo--a woman who is equally skillful at performing opera, jazz and traditional music, and she will be singing a song called "Mountain Shade" which was composed by a young local composer called Moses Molelekwa. Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

26. Try rewriting it. ·         Keep it short, punchy and direct. ·         Make sure there is only one idea per sentence. Take a look at one rewritten version. Do you see why it works better? Now here's a well-known voice. Sibongile Khumalo. Someone who's equally at home singing opera, jazz, traditional music, you name it. And the song? "Mountain Shade"--composed by another local talent. Moses Molelekwa. Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

27. Round off complicated numbers and write them in words. • For example, rather than: • Authorities spent Rs.3,90,389.50 on the system. • Try: • Authorities spent about four lakh rupees on the system. Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

28. Try to humanize statistics, facts and figures. A journalist is working on a story about child labor in a Burmese shoe factory.  Her audience is in the US. The journalist wants to find a way to explain how factory children are exploited.  Instead of quoting their weekly wages in local currency, she tries to use terms to which her audience can relate. This is what she writes: The children start work at seven in the morning.  Their shift doesn't end until five in the evening.  They only get time off for religious holidays.  If they lived in New York, their weekly wages would equal the cost of a cup of coffee. Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

29. Use verbal signposts such as "and," "but" and "so" to show structure in longer chunks of talk and to help listeners know where they are. Here's an example of a radio script about condom use. The writer uses the word and to link ideas which follow on from each other, but to indicate a different aspect of the issue and so to draw a conclusion."Most sex workers we interviewed said they understand why condoms are so important. And they all agreed that they are easy to obtain. But many of them said that it is difficult and sometimes impossible - to persuade their male clients to use condoms.  Men feel that if they are paying for sex they have a right to choose what they want to do.  So it's not that women are unaware about the dangers of unprotected sex. It's just that they lack the power to insist on safe sex practices." Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

30. Painting Pictures with words When you paint a picture, use words that will allow the listener to imagine the scene you are describing.While reporting a story in South Africa, Namibian journalist Anna Nicodemus visited a youth center in one of Johannesburg's poorest areas. While a thunderstorm broke overhead, she recorded the sound of a young man singing a reggae song.  Anna described the scene like this for her listener: That's Mawulisa the DJ, singing about the rain. And the thunder is real!  I wish you could see his expression. Passionate. His dreadlocks swinging with his rhythmic moves. Loads of young people are discovering their talents at the Y Center. They're often the kind of kids that society wants to ignore. But here, they can really be somebody. Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

31. Write as if talking to one person • To create a one-to-one connection with the listener, use informal language and a friendly tone. • South African journalist Ntombi Yoko introduced a feature on HIV/AIDS this way:"My name is Ntombi Yoko. I live in Cape Town. You know, life is full of surprises. When I decided to make a radio story about HIV/AIDS, I wasn't planning to share my own story. But that is what I'm going to do. You see, I have been living positively with my virus for three years. And I know that when we share our stories we can bring healing and light." • Use contractions like "can't," "won't" and "we'll." They will make the story sound more natural. Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

32. Tone • Getting the content right is not enough. The tone, or voice, is equally important. Listeners should not be insulted or embarrassed by an inappropriate tone.  • The tone for news writing should be: • Unemotional. • Direct and dynamic, but not sensational. • In other kinds of radio programs, such as talk shows or magazine programs: • Be warm, friendly and enthusiastic. • Treat listeners with respect. Don't patronize them. • Talk to listeners but don't lecture them.  Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

33. Creativity • All good writing springs from creativity, including news reporting even though it is more formal in style than other programs. • Creativity involves: • Selecting specific details that paint pictures and allow the listener to imagine what is being described. • Avoiding generalizations and adjectives such as beautiful, nice and lovely. Describe the scene in detail and let the listener decide whether it is truly beautiful. Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

34. What to Say: What Not to Say Part of being a good radio host or presenter is knowing what not to say. If listeners are insulted or embarrassed, they won't want to listen any more. Being a good radio host requires cultural sensitivity and accurate knowledge about an audience, from what style of program listeners prefer to what topics interest them. Experienced radio professionals know what offends listeners Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

35. PRESENTER: Well, hello to all you thousands of listeners out there in listener-land! It's ten o'clock and I'm going to be with you for the next hour with the best music show on this station! I'll give you the full line-up later, okay? So if you've got anything else to do, wait until after my show, okay? To start, something by Brenda Fassie. I don't really like her style of music but maybe some of you do. THERE IS A 20-SECOND SILENCE PRESENTER: Okay, well, it's like & we've got a real problem in the studio here. The CD player isn't working. I think it's this new equipment. Um, okay, so maybe we'll open the lines and then you must phone and tell us what the weather's like, okay? BRENDA FASSIE SONG COMES ON Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

36. PRESENTER: (AS BRENDA STARTS SINGING) Hey! Well, as you can hear, that's Brenda singing in the background. She's one of South Africa's finest singing sensations. That's what it says on the back of this CD, anyway. And this is a really nice love song. So I want to dedicate this one to my girlfriend, okay? Hey, Ruthie darling, I sure hope you're listening to me, babe. This one's for you--and you only! SONG PLAYS FOR ONE MINUTE THEN FADES PRESENTER: Well, I'm gonna have to fade that song by Brenda Fassie. It's a real pity. But we have to take a break for some messages--so here's some words of wisdom from the people who pay our rent. By the way, this is Yo Fm. SPOT BREAK - 3 COMMERCIALS AND A STATION JINGLE PRESENTER: Now the time's moving on. So let's have a phone-in, okay? Today I want you to call in and tell me what you think about the economic crisis in Asia. Or any other topic you want. In the meantime, here's some music. Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

37. What the presenter said: Why he should not have said it: I'm going to be with you for the next hour with the best music show on this station! I'm going to be with you for the next hour with the best music show on this station! He's basically lumping all of his listeners together. A successful radio host talks as if she is addressing only one listener. He's just insulted all the other music shows on the station. Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

38. What the presenter said: Why he should not have said it: I'll give you the full line-up later, okay? So if you've got anything else to do, wait until after my show, okay? By not giving his listeners reasons why they should listen, he's inviting them to turn the radio to another station. The presenter sounds as if no one listening to him has anything better to do. It's insulting. Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

39. What the presenter said: Why he should not have said it: To start, something by Brenda Fassie. I don't really like her style of music but maybe some of you do. Okay, well, it's like & we've got a real problem in the studio here. The CD player isn't working. I think it's this new equipment. Um, okay, so maybe we'll open the lines and then you must phone and tell us what the weather's like, okay? He's insulting a singer and possibly convincing listeners who haven't heard her to tune in to another station or turn the radio off. First, he looks unprofessional when he informs everyone that something isn't working, but he doesn't know why or what to do about it. Then, he asks listeners to phone in with a topic that will not generate any meaningful discussion. Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

40. What the presenter said: Why he should not have said it: She's one of South Africa's finest singing sensations. That's what it says on the back of this CD, anyway. So I want to dedicate this one to my girlfriend, okay? Hey, Ruthie darling. I sure hope you're listening to me, babe. This one's for you--and you only! If the presenter is hosting a music show, he should know the artists he's playing. Personal messages not only make listeners feel left out, they also feel that the presenter is using a show meant for them for his private use. Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

41. What the presenter said: Why he should not have said it: Well, I'm gonna have to fade that song by Brenda Fassie. It's a real pity. But we have to take a break for some messages--so here's some words of wisdom from the people who pay our rent. By the way, this is Yo Fm. A radio presenter should not make the sponsors who help fund the station and its shows feel like their messages are getting in the way. And the presenter shouldn't invite listeners to turn the dial by telling them some apparently unappealing messages are next. Last, he's tossed off the name of the station as an afterthought. Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

42. What the presenter said: Why he should not have said it: Now the time's moving on. So let's have a phone-in, okay? Today I want you to call in and tell me what you think about the economic crisis in Asia. Or any other topic you want. In the meantime here's some music. This is a music show. Why is he asking his listeners to talk about an economic crisis? And one that isn't even local or national? Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

43. Radio hosts should not: ·Make listeners feel like just part of a crowd. ·Use sexist or patronizing language. ·Talk unprofessionally or make amateurish requests. ·Send private messages to friends. ·Alert listeners to commercials so that they will want to turn off the radio. Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

44. These examples of actual phrases heard on the radio illustrate how listeners might respond. Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

45. Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

46. How to Say It: Talking to One Listener • A good script is the beginning of a good radio show. Presentation--the sound or tone of the presenter--is next. Whether reading a script or speaking spontaneously, on radio how you say something is just as important as what you say. •  Effective presentation depends on: • Understanding the audience • Understanding your own voice and body Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

47. The principle of talking to only one listener is the basis of all radio presentation, even news reporting. This practice will help you create intimacy and listeners will be drawn into the program. Because people listen to the radio almost everywhere (in their bedrooms, in their cars, while they are working) radio provides the opportunity to be close to the audience in a way that other media do not. Respecting listeners - talking to them as equals, friends and colleague - is an important aspect to this relationship. Listeners should not feel preached to or patronized. By visualizing this closeness with listeners, the right tone will come naturally. Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

48. Choice of tone is also influenced by: • Type of program.The tone of a youth show announcer is different from that of a news reader. The presenter of a gender talk show will have a different tone than the host of a music program. • Time of day.Early morning programs require a lively, high-energy tone to get listeners going. News programs require announcers to use a formal tone. Talk show hosts try to come across as friendly and more casual. Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

49. How to Say It: Body and Voice • In addition to imagining one listener when talking, three other factors are key to effective radio presentation: • Tension and stress • Body positioning and gesturing • Voice and speech Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai

50. Tension and Stress If a radio presenter is stressed, listeners will hear it in her voice, they won't focus on what she is actually saying. Tension ties the body's muscles in knots and can cause the voice to sound thin, strained, irritated or bored. Before going on the air it is important to release the tension that stress, anxiety or other emotions can cause. Relaxation exercises, such as the ones listed to the right, can relieve stress by releasing tension from the body and calming emotions. Releasing tension opens the diaphragm, which promotes deeper breathing. This, in turn, helps the voice to sound more open and confident. Mangesh Karandikar, Department of Communication and Journalism, University of Mumbai