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Basic Radio Script

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14 views

Basic Radio Script

Uploaded by

sorayaasdal12
Copyright
© © All Rights Reserved
Available Formats
Download as PPTX, PDF, TXT or read online on Scribd
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BASIC PRINCIPLES

TERMINOLOGY

• AD LIB - extemporary comments on the air

• AIR TIME - the time at which a program starts


• ANCHOR - determining the time at
• MAN – one who controls a newscast from a studio,
switching to correspondents, tapes, etc.

• BACK-TIMING -a method of which various program


elements must begin to bring a program on time.

• BRIDGE - (1) a phrase or sentence connecting 2


stories. (2) transitional program music.
• COLD READING - broadcasting news which has not
been read or rehearsed by
the newscaster

• CUE. - (1) a signal to an announcer, a newscaster,


or production personnel to participate in a
broadcast.
(2) a mark in a script for technical and
production staff. (3) To find the proper place in a
transcription.

• CUT - (1) to delete part of a script.


(2) to end a program suddenly.
• LEVEL - synonym for volume.

• OPEN MIKE ("live"). - A microphone that is turned on

• RECAP -recapitulation of the news.

• RUNOVER - A program that runs beyond its


allotted time.

• SFX - sound effects

• WOODSHEDDING - reading and rehearsing a news


script.

• WRAP-UP - summary or closing, especially


on news shows.
• DEAD MIKE - a microphone that is disconnected or not
turned on

• FADE. - Either physical or mechanical lowering of


a voice or music to smooth transition
between sounds.

• FLUFF - an error- usually mispronunciation - in reading on


the air.

• FORMAT - the skeletal structure or outline of a


program.

• LEAD-IN LINE - the first sentence used by an announcer


or newscaster to cue the technical staff or
news anchorman.
HAND SIGNALS

1. Cue -pointing finger.

2. Cut - making a cutting motion across the throat

3. Fade Under - lowering the open hand with palm faced


down.

4. Fade Up - raising open hands with palms faced up.

5. Stand By - holding up open hand with palms faced


outward.
6. Start from the top/beginning -patting the top of
the head with open hand.
7. Stretch - making a stretching motion
with both fists.
8. Speed Up - making an upward and downward
motion of clenched fist with
elbows bent.

9. Wrap-Up - circling motion of open hands with


palm facing inward.“

10.Okay/All right - making a circle with the thumb and


index finger.
NEWS WRITING: Newspapers vs.
Broadcasting
• Words, their order, meaning and
rhythm, can be considered to be a
production value. The style of writing
influences the sounds and writing
puts it all together. Writing also
involves the way sound elements re
assembled.
• It is important for a news producer to
keep in mind that what is written must
sound right when it is read aloud, and
must be conversational. The listeners
have only one opportunity to
understand what is being said: they
cannot look back, as they can be with
newspaper article. Therefore, clarity is
critical.
• Sentences in broadcast news writing should
be kept short (i.e., 20-25 words or fewer).

• Attribution is usually put first.

• Example: Southcom Chief, Gen. Gumersindo


Yap said today that there is no word on the
fate of the kidnapped missionary.
• One difference between newspaper and
radio writing is that newspapers use the
inverted pyramid writing style, in which the
important who. what, where, when and why
are listed in the first few sentences. This
format is generally both confusing and boring
to the listener. Radio news demands shorter
sentences and active verb tenses. Radio
writing is written for the, not the eye.
TOOLS OF THE TRADE

Radio has four main tools available to the


radio operator. These are:

• Voices
• Music
• Sound Effects
• Background Atmosphere
• Silence
Dialogue is Important

Telling the story in the radio drama


depends on dialogue and descriptive
narrative. Good dialogue is of
importance in this medium. When a
new character enters the scene, they
must either make their presence felt by
speaking, or if they are to remain
silent, then their presence must be
indicated by one of the other
characters referring to them in the
dialogue.
Awareness of Audience

• People usually listen to the radio on their own


so gear your writing to your audience of one.
Are they able to follow your storyline? Unlike
book readers, listeners can't turn back the
page to check on something they've missed. Is
the storyline interesting enough to hold their
attention? Don't spend a lot of time setting up
the scene; the audience will literally switch off.
Start where the action starts and hit the
ground running.
Use of Dialogue in Radio Scriptwriting

All radio is dialogue: dialogue between the


characters in a radio play, dialogue between a
speaker and the speaker and the audience. So
getting the dialogue right is crucial. The only way
to do it is to read your script aloud or tape it and
listen to it yourself. Does it sound natural? Is it
appropriate to the genre you're writing in? Would
the audience be keen to carry on listening? Can
the actor speak the lines easily or are there
tongue-twisters of phrasing that would trip them
up?
Number of Characters in a Radio Script

• One of the most common mistakes beginner


writer make is to have far too many
characters. The only way the listeners can
identify each one is by the sound of their
voices; if they are, for example, four different
male characters, it becomes very difficult to
know who is talking without mentioning the
characters' names every time they speak.
• Stick to two or three characters with a mix of
the sexes; this makes it easier to follow.

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