1

________________________________________________________________

UNIT 2 BA (JMC) 207

________________________________________________________________

Writing Skills for Radio

________________________________________________________________

LESSON 1
Writing for Radio

LESSON 2
News Bulletin: Types and Elements

LESSON 3
News writing: Opening, Headlines, Body and
Closing/Conclusion

LESSON 4
Writing and Packaging for Radio Infotainment Programs

________________________________________________________________
LESSON 1: Writing for Radio
________________________________________________________________

STRUCTURE
1.0 Objectives
1.1 Introduction
1.2 Characteristics of Radio
1.3 Fundamental of Writing for Radio

1
 2

1. Writing for Radio

________________________________________________________________

________________________________________________________________
In the previous sessions we had studied the Unit 1 Radio News and Structure of Radio Station.
In which had discussed basics of radio news, concept of news, news values, news sources,
structure and functioning of news service division and newsroom and structure and functioning of
government and private FM radio stations.
In the present session we will study the characteristics of radio and writing for radio.
________________________________________________________________

1.0 Objectives
After reading this lesson you will be able to:
 Identify the characteristics of radio
 Describe the fundamentals of writing for radio
________________________________________________________________

1.1 Introduction
Radio is an attractive medium among the various mass communication media because of
its special characteristics. Radio is a sound medium. It has no visuals. Therefore, while
writing for radio it is important to keep in mind that we have to create visuals through
sounds only. Sound includes spoken words, music, sound effects and silence (pause).
Including these elements of sound writing for radio needs some specific skills in such a
way which could easily understood by its audience. This can be achieved by using simple
familiar words and expressions as used in daily conversation by the people.
We will also consider how news can be written for an audio medium like radio, over which
an item is heard only once; and the listeners do not have the facility to refer back to a
news item, if they have not followed it in the first instance. Radio news must be easily
understood.

1.2 Characteristics of Radio

Unlike the live medium of the stage, where there are live performers (speaker, actor, etc.)
and live audience, radio is a 'sightless' medium. In radio, the performer does not see
his/her audience (called listener) and the listeners cannot see the performer, the talker,
the actor, etc. That is why radio is sometimes called the blind medium.
Since it is a blind or sightless medium, the performer (announcer, newsreader, discussant,
narrator, etc.) has to creatively conjure up images of his/her listeners. The listeners too
have to imagine the performance creatively. But the performer must spark off the
imagination of the listeners with expressive performance or communication. Here are
some important characteristics of radio:

2
 3

1. Medium of Sound and Voice: Radio is a medium of the voice. The performer can
use only his/her voice in a broadcast. The producer mixes voice with music and sound
effects. The performer must imaginatively give cues or intimations only through his/her
expressive voice.
2. Link between Speaker and Listeners: Microphone is the instrument through which
a radio broadcaster speaks to the listeners. And speaker is the instrument through
which a listener listen the programs broadcasted by the radio station.
3. Intimate Medium: Being an intimate medium the best subjects for radio broadcasts
are those which intimately concern the listener like the personal, the private and the
innermost feelings. The manner of expressing or articulating the words must also be
intimate because the conditions in which broadcasts are received are very informal.
4. Mobile Medium: You can have it at home, take it to the picnic resort, listen to it while
driving, has it on land or under the sea, in public or in private. Hence, it is a convenient
medium. It can accompany you and entertain you anywhere as a never-failing
companion.
5. Quick and Inexpensive Medium: Radio is a medium of immediacy. It can report the
events almost instantly, as they are happening, hence, it is a medium of the "here and
now". It costs much less to set up a radio station, produce programs and receiving
sets.
6. Radio is conversational: Conversation means as we converse face to face with our
close friend. Just in friendly environment. Radio is a friendly medium. Therefore, you
have to talk with your listener as you talk with your close friends.
7. Impact at once: Unlike Newspaper or Internet, it’s not available for weeks at a time.
You have one, and only one, opportunity to make an impact on the audience.
Limitations
8. Depends only on sense of hearing: The foremost limitation of radio is that it entirely
depends on the sense of hearing. Broadcast is not reinforced by the powerful medium
of sight. Comprehension and assimilation, therefore, require more efforts. For
instance, it is almost impossible to convey the beauty or finer points of works of art
such as paintings, sculptures or intricate handicrafts merely by trying to describe them.
9. No second chance to listen the programme: Repeat broadcast of the content at the
same time is impossible. If you have missed any content or not understood any part,
you have no choice to re-listen. Therefore, it has to be clear the first time, because
there is no second chance.
10. Radio is a linear medium: Means you can’t arrange the sequence as per your choice
or convenience. You have only choice to tune another station.
1.3 Fundamental of Writing for Radio
1. Use of spoken language: As the programs on the radio moves fast without the facility
of recall, whatever is broadcast must be clear, precise and to the point. Sentences
should be short and direct without sub clauses.
2. Constraint of space: There is a great constraint of space in radio, hence broadcast
must be put in crisp and easily understood language.

3
 4

3. Use of simple words: There should be no need for a dictionary while listening to a
radio. It should be in words which are common in everyday conversation.
4. Use of words creating an image in mind: Like a novel, the words chosen should
create visual images in the mind.
5. Short sentences: The attention of an average radio listener can’t be held for long.
Avoid a sentence which is longer than 18 to 20 words. Otherwise, most listeners will
not be able to follow it. The best thing to do is to split the long sentences. You must
always put only one idea into one sentence.
6. Limit the words in one item: The items to be broadcast on radio also have to be
short, generally not more than 90 or 100 words an item. Long items can only bore the
listeners.
7. Present tense: Where possible, use the present tense. Broadcasts on radio should
appear to the listener to be happening at that moment.
8. Avoid tongue twisters or sound clashes: Avoid sound clashes such as “the building
was built by a local builder”, instead say “the storehouse was the work of a local
builder”.
9. Writing for ear- not for eye: First and the foremost truth about writing for radio is that
you are writing for ears not for eyes. It simply means that whatever you are going to
write it will be heard and it will not be read by the audience.
10. Telling Story: Telling a story is an effective method for writing for radio. If you find it
difficult to put your thoughts down on paper clearly and simply, use the trick of telling
someone out loud what you want to say.
11. Writing for mass audience: While writing for radio another important truth must be
kept in mind that you are writing for masses, not for the intelligentsia of the society.
Communication means to convey the message in a way that the target audience
(common man including illiterate persons) not only listen to it but also understand it
and enjoy it. For securing this purpose it is necessary that the message must be
constructed coming to the level of the audience.
12. Importance of read and re-read: While drafting an item, read and re-read it to find
out the difficulties in it.
13. Clarity and organization: Clarity, good organization of your thoughts and themes,
and a vocabulary that your listeners will understand are all important.
________________________________________________________________
LESSON 2: News Bulletin: Types and Elements
________________________________________________________________
STRUCTURE
2.0 Objectives
2.1 Introduction
2.2 Types of News Bulletins
2.3 Elements of News Bulletin
2.4 Structure of the News Bulletin
2.5 Packaging a News Bulletin

4
 5

2. News Bulletin: Types and Elements

________________________________________________________________

________________________________________________________________
In the previous sessions we had studied the Lesson 1 of this unit writing for radio. In which had
discussed basic characteristics of radio and fundamentals of writing for radio.

In the present session we will study the news bulletin and various types and elements of news
bulletin.

________________________________________________________________

2.0 Objectives
After reading this lesson you will be able to:
 Describe the news bulleting
 Elaborate the various types of news bulletin
 Explain the different elements of a news bulletin
________________________________________________________________

2.1 Introduction
The News Bulletin has been the traditional format of presenting radio news. The news
bulletin covers national and international news, human-interest stories and sports news,
which generally round off the major bulletins. News casting comprises collection,
selection, scripting, editing, production and presentation of news bulletins.
The News Bulletin is written in crisp, precise, to the point manner and in simple words.
Care is taken that the news report is objectively, accurate, balanced and clear. In preparing
the news bulletin, command over the language is a must in order to explain the complex
issues in simple terms to a common listener. News Bulletins also contain correspondents'
voice dispatches and excerpts from the statements of leaders or eminent personalities
having news value are included in the news bulletin. These dispatches are 'live' as well as
recorded. With the availability of satellite newsgathering facility, the news bulletins are
able to incorporate more 'live' dispatches from the field. These news bulletins are prepared
by the News Service Division (NSD).

2.2 Types of News Bulletins

Types of news bulletins can be categorized by duration such as -

1. 15 minute (main news): The 15-minute in morning (Samachar Prabhat and Morning
News), day news (Day News and Dopahar Samachar) and in evening (Evening News
and Samachar Sandhya) in English and Hindi respectively, which are broadcast at
8.00 a.m. and 8.15 a.m. in morning, 2.00 pm and 2.15 pm at mid day and 8:45 p.m.

5
 6

and 9.00 p.m. at evening every day. Morning news includes a commentary and
headlines in the day's newspapers in addition to the news.
2. 10 minute or 5 minute hourly bulletins round-the-clock: They can be a mix of local,
national and international news, as well as sport, entertainment, weather and traffic
reports, or they may be incorporated into separate bulletins.
3. 2 minutes news flashes are special bulletins are aired whenever necessary.
A 15 minute news bulletin begins with headline, followed by main news, consisting of three
'bunches' with two breaks in between and repeat of headlines/main points at the end. A
10 minutes bulletin has one break. There is no break in a five minutes bulletin. 'Bunching'
means the placement of items and it plays an important role in making the bulletin lively
and interesting. The first bunch is generally packed with hard news.

Another type of news bulletins are based on the audience profile. There are three services
– (a) Home Service, (b) Regional Service and (c) External Service. In this continuation
there one other category is (d) Specialized Bulletin. Each of these services puts out news
bulletins in various languages.
a) The Home Service in Delhi originates news bulletins in English and Hindi for
broadcast on the national network.
b) Regional news bulletins are broadcast from regional centers established at state
capitals of India. Some news bulletins in the regional languages are also broadcast
from Delhi in the respective regions.
c) The External Service Division (ESD) looks after the news bulletins to be broadcast
abroad.
d) Exclusive daily bulletins on sports, reports on the stock exchange, and special
bulletins during parliament session, election period or natural calamity or disaster
etc.
(a) Home Service (National Bulletin)
There are three main bulletins in English and Hindi, broadcast in the morning, afternoon
and evening. The morning bulletin in Hindi is called the ‘Samachar Prabhat’ at 8:00 am
and ‘Morning News’ at 8:15 am in English. It is divided into four segments i.e. the ‘main
news’, ‘a topical commentary’ and 'a look at the newspapers' and finally the ‘main points’.
The segment, 'a look at the newspapers' has been designed to provide the listener with
an overview of the lead and other front page stories, editorials and sports stories in the
national dailies. The compiling editor is assisted by two editors, one looks after the
segment on Commentary and the other 'a look at the newspapers'.
Generally, the break-up of morning 15 minute news bulletin is like this:
 Main News : 8 minutes
 Voice Dispatches : 2.5 minutes
 A Look at the Newspapers : 2.5 minutes
 Headline and Signature tune : 2 minutes
The day news bulletin ‘Mid Day News’ at 2:00 pm and ‘Dopahar Samachar’ at 2:15 pm
and evening news bulletins ‘Evening News’ at 8:45 pm and ‘Samachar Sandhya’ at 9:00

6
 7

pm in English and Hindi respectively cover all the major developments of the shift. These
bulletins give the listener a roundup of the major events of the day.
The five minute duration at 6:00 pm bulletin in English and the 6:05 pm bulletin in Hindi,
give a resume of important happenings during the day. They are treated as a preview of
the evening main news bulletins.
There are also hourly bulletins of five minutes each giving the listeners the latest news.
A radio bulletin must have variety and should include Political, Economic, Cultural, Sports,
Science and Technology and other important items. Regional, national and international
events, parliamentary news and important court cases should also find their due places in
the bulletins. Weather and human-interest items also need to be included.
Continuity in the bulletins needs to be ensured and transition from one set of related items
to the other should be smooth without jerks. In moving from one story to another, which is
not connected with the previous one, the transition should be smooth. For example; 'The
World Trade fair opened in Delhi today' or 'In the Mumbai stock market today....'or 'In the
Wimbledon. The word 'meanwhile' is also used appropriately to facilitate such demarcation
of items.
As far as possible, voice casts of correspondents on important events should be used.
Being a spoken medium, voice casts help to enliven the bulletin and break the monotony
thus make it lively and interesting. While giving a voice cast, a correspondent tries to take
the listener on the scene. In an event like a big fire, floods, accidents, the correspondent
gives a firsthand account about what she/he saw and how it was being there, on the site.
The voice cast is ideally of 40 to 45 seconds duration, however in some cases, it can go
up-to one minute. Mostly, it is pre-recorded, but it can also be live. A studio-based voice
cast can be edited tightly.
(b) Regional Bulletin (Language Bulletins)
Language bulletins broadcast from Delhi and Regional stations are widely listened. The
language bulletins broadcast from Delhi have a national character to give the listener a
feel of the important national and international events in his/her language. The bulletins,
however, do include important regional items.
The master-copy is compiled in the General News Room in English and normally there is
one script for each language bulletin. The compiling editor is required to ensure that items
of interest for a particular region and particular state are highlighted in the language
bulletin of that region/state. Sometimes, if the regional item is very important, it can be the
lead or a headline in that language bulletin. Language bulletins are broadcast from Delhi
thrice a day and each one carries ten minute duration. They have the same format as
English bulletins of similar duration i.e. four headlines, one break and repeat headlines.
(c ) External Bulletins
The News Services Division of All India Radio broadcasts three types of External bulletins.
English bulletins targeted at foreigners and Indians living abroad, foreign language
bulletins like Chinese, Burmese, Russian and French for foreigners and Hindi and other

7
 8

language bulletins for Indians living abroad. Indian languages such as Bengali, Tamil,
Telugu, Punjabi, Sindhi and Urdu are spoken in our neighborhood and bulletins in these
languages have a wide listenership.
A common misconception among people is that external bulletins should carry more
foreign news. In these days of satellite television the notion that we will be the first to break
a news, say about African region to the people of that area may be entirely misplaced as
other local sources are better equipped to tell them about the happenings in their regions.
The external bulletins present the perceptions and reactions of the people, leaders and
the government of the country from where the bulletin originates in respect of happenings
in the other country/countries. The external bulletins need to highlight the social, political
and economic developments at home to provide adequate background information on
these issues and also explain the programmes and policies of the country. External
bulletins have the added responsibility of countering the misleading information campaign
being carried out by some foreign networks. Care is also taken to highlight the Indian
viewpoint on various issues.
(d) Specialized Bulletins (Exclusive Bulletins)
These include the human interest bulletin such as youth bulletin, sports news, stock
exchange report, special reports on hazards etc. which generally carry soft stories. In
addition, special weather bulletins are also broadcast for the benefit of various
mountaineering or coastal area expeditions. There are special bulletins which need
considering.
a. News flashes
A news flash is when the newsreader breaks into a program on-air to read an
important, urgent news story, such as a major disaster or the death of a national
leader. The news flash should only be used on extremely important stories.
Urgent news which arrives in the studio as the bulletin is going to air should be read
at the next most suitable break in the bulletin, although it usually makes sense to use
it at the end of the bulletin, just before any closing headlines.
The newsreader should have the story as soon as possible, so that they can decide
where in the bulletin to use it. If you intended ending the bulletin with a light story and
the flash comes through of a major air crash, you must drop the light story.
It is possible to interrupt a non-news program for a news flash, although you must warn
people in the studio that you are coming with the flash. The best method of introducing
a flash is for the program presenter to introduce the newsreader with words like: "Now
we interrupt the program to cross over to the news-desk for some urgent news."
The newsreader should then read the story in their usual tone, speaking clearly and
repeating details. If you only have one sentence, you can read it twice to get the
message across clearly. You should end with words like: "Those are all the details
available at the moment. We will give full details in our next bulletin, at six o'clock."
b. Weekend bulletins

8
 9

You may need to treat weekend news bulletins in a slightly different way from weekday
bulletins, because there are usually fewer stories available.
You will need to re-assess newsworthiness at weekends, perhaps running stories
which you would not use at other times. Your listeners will understand this. In fact,
they may even welcome a change from a diet of death, disaster and politics.
You may want to make your weekend bulletins shorter and perhaps include a segment
on sports news. You may want to save lighter stories during the week to run at the
weekend, as long as you still cover the major events as well.

2.3 Elements of a News Bulletin

Radio bulletins are usually made up from three types of material:
1. News Script (Written stories)
2. Voice dispatch (Voice reports from journalists, either recorded or live)
3. Actuality (Recorded sound of the event).
4. Music
1. News Script (Written stories)
The basic criterion for selecting news stories for a news bulletin is that the information
should be new, unusual, interesting, significant and about people. Each of these criteria
will help you to decide what stories you should include in your bulletin and where you
should place them within your 05, 10 or 15 minutes bulletin. It is usual to give the most
important story first and the least important story last. Some extra factors such as the
balance and pace of bulletin can also be considered while writing a proper news bulletin.
Try to avoid seeing the bulletin simply as a collection of individual, self-contained stories.
If you put a string of economic stories (however important) at the start of the bulletin, you
risk losing your listeners' interest.
They expect a balance of items, some heavy and some light, some about major political
events and some about ordinary people. Of course, the actual mix of stories, their tone
and pace of delivery will depend to a degree on the format of your station; serious national
broadcasters tend to use more serious stories, delivered in a more deliberate style
whereas youth-oriented music station bulletins might be lighter and brighter with more
stories about popular culture.
Pace is the length, speed and tone of a story as it appears to the listeners. Some stories
have a fast pace. The report of a fire, for example, will usually be written in short
sentences, using short snappy words to convey simple ideas. It will have a fast pace.
By comparison, a story explaining some involved political controversy may need slightly
longer sentences with words expressing more complicated ideas. The story itself may
need to be slightly longer. The whole effect is one of a slower pace.
Too many long complicated stories will slow the pace of the whole bulletin and allow the
attention of your listeners to walk away. Too many short, sharp stories may leave listeners
confused, unable to keep up with the pace of changing stories.

9
 10

The ideal bulletin will have a steady pace throughout to maintain interest, with variations
in pace during certain sections; slower at times to let your listeners catch their breath or
faster at other times to pick up their lagging interest. To achieve balance and pace, you
should rank stories in order of importance then look at the order afresh, to see that you
have a good balance of items and variations in pace.
2. Voice dispatch
Apart from giving scripted stories, an important part of a radio reporter’s job is to give voice
dispatches which have become an essential part of radio bulletin. The purpose of a voice
dispatch is the correspondent’s voice is to supplement, add colour and authenticity to the
basic news. An eye-witness account or an on-the-spot report complete with background
sound can be very convincing. Writing a voice report is different from writing straight news.
In a voice report you can add something to the news that is more personal.
3. Actuality
This is usually the sound of someone speaking, perhaps taken from an interview or a
speech. A short segment of actuality is called a grab. Grabs are used in a similar way to
quotes in a newspaper story. In some countries, grabs are called cuts or inserts. Short
grabs of actuality are a useful part of news bulletins for the following reasons:
 They can often tell the story more effectively than a script. If your story is about a
violent protest outside an embassy, a 10-second grab of demonstrators chanting
and shouting will convey the atmosphere better than any words.
 They can add variety to the pace of the bulletin, breaking up a long section of
reading by one voice. On the practical side, they allow the newsreader to take a
30 or 40 second rest.
 They are often a chance to let people within your community speak on the radio.
People like to hear their own voice on radio occasionally, or the voices of people
they know.
 Using a grab of someone speaking can convince listeners that the person really
did say a certain thing. They might not believe your report that the Government is
resigning. When they hear the Prime Minister announcing it, they have to believe.
Actuality grabs should be kept short (between 20 and 40 seconds), clear and well-edited.
A minute-long grab of a dull voice will slow the pace of your bulletin and may force listeners
to switch off.
Grabs must be introduced, stating clearly who will be speaking. You only need to identify
a person after paying the actuality (called back-announcing) if the grab is long and the
voice is not familiar.
Grabs in languages other than your own should be overdubbed with a translation. This
means that fading down (reduce) the sound of the original speaker until it can only just be
heard, then play the voice of the translator over it.
You can occasionally use grabs in languages other than your own without overdubbing,
but only if you know that your listeners will be able to understand them. A short grab in

10
 11

simple language may be usable without an overdub, especially when it is used to show
the emotion behind a speech, rather than the content.
It is occasionally possible to open the bulletin with dramatic piece of actuality, than explain
it with a back-announcement. Such a grab must be dramatic, short and make sense to
your listeners. For example, a radio journalist used a 10-second grab of guns firing and
people screaming during the assassination of Egyptian President Anwar Sadat, then back-
announced: "The guns which destroyed the hopes of peace in the Middle East as
President Anwar Sadat of Egypt was assassinated."
Only use such opening grabs on special occasions, otherwise they lose their effect. Also,
it is not good to play the grab before the opening theme, as it will confuse your listeners.
4. Music
A special opening theme should be used to announce the bulletin and may occasionally
be used within the bulletin, perhaps to separate different segments. We call such short
music inserts stabs or stings.
Your opening theme should be short and dramatic. It should either end before the
presenter starts reading or should be faded out under their opening words. Many record
companies now produce selections of electronic or instrumental themes especially for use
as stabs.
Any stabs within the bulletin should echo the opening theme as a link throughout the
bulletin. However, too many stabs will annoy the listener and reduce the amount of time
available for real news.
Never use music as background to a news bulletin. It is distracting and ruins any variations
in pace within the bulletin.
It is possible to use a closing theme at the end of the bulletin, although this should be
different from the opening theme (you do not want to fool your listeners into thinking that
this is the start of the bulletin). The best compromise is to use the opening bars of a theme
at the start of the bulletin and use the closing bars at the end.

2.4 Structuring the News Bulletin

The start is the most important part of radio bulletin. It determines whether or not your
listeners will stay tuned. Just as the intro is the most important part of a news story, the
lead item is the most important one in the bulletin. If your listeners find this boring, they
will assume that there is nothing better to come and go out to dig the garden.
If you are faced with a choice between two stories of equal strength for your bulletin lead,
choose the story which is more interesting to a larger audience. Generally, home stories
are given preference. But if there is some foreign news, for example the death of a foreign
VIP, overthrow of any foreign government, or a major air disaster naturally that becomes
the lead.
If your obvious lead story is rather dull, you should write it in such a way as to add life.
Keep the sentences short, the ideas clear and simple. Although you should try to write

11
 12

every story well, you should give special attention to your lead story. This is the one by
which listeners will judge the bulletin.
Selecting the Headlines
Having prepared the bulletin, the editor has to decide which items apart from the lead story
are to be headlined. There is only one criterion: which are the items that will interest the
largest number of listeners. Headline them and that will ensure a good audience for you.
Headlines should be brief. As a rule, they are repeated because quite often many listeners
tune in late and only from the repeat headlines do they know the important news of the
day.
Caution: while editing a radio bulletin, you must take care to see that all items which figure
in the headlines are included in the bulletin. Sentences that are read after the headlines
must give details about the main news items.
Once you have decided on the order of stories, you should write some headlines for the
bulletin. It is usual to start a long bulletin by headlining the major stories. This may not be
necessary for a short, three-minute bulletin, but for longer bulletins your listeners will want
to know what kind of stories they can expect.
Your listeners will use the headlines to judge whether or not the bulletin is worth listening
to, so write your headlines to promote the stories in the most powerful way possible.
It is good practice to headline the first two or three most important stories, and also one
or two dramatic stories which come later in the bulletin. Many stations also like to headline
the final story, on the assumption that, if they make the headline attractive enough,
listeners will stay tuned to the entire bulletin until they hear that story.
You should write headlines for dramatic stories in such a way that you hint at the drama
without giving away all the details. Remember that if you tell everything in the headlines,
listeners have no need to hear the rest of the bulletin.
When writing headlines about announcements or humorous stories, it is best to be
mysterious, to keep the real information secret until the listeners hear the story itself. Such
headlines are sometimes called teasers, because the tease the listeners' interest.
Body of the bulletin
This is the detailed version of the news bulletin whose headline has already been read out
by the start of the news bulletin. This part of the news bulletin may contain an actuality,
voicer or wrap depending upon the requirement of the news item. In five-minute news
bulletin, however, actuality, or other insertions are not possible to be made a part of the
bulletin owing to the time restraints.
Another important thing that the news writer needs to focus is the Chronological order of
the events. If the event being covered extends to dates or different times in the same day,
the chronological order is to be maintained. It means that the different parts and portions
of the same news item must be arranged according to the order they have taken place.

12
 13

If there are other important foreign stories that day, they can go in the first bunch and the
home stories can come in the second and the third bunch. Generally, editors prefer to end
the body with sports news or with a human interest story.
Breaks
“Breaks” can also be called as the news room. A “break” in a bulletin comes after about
five minutes and is meant to give a little pause, which gives welcome rest to the audience
as well as prepares the listener for more news to follow.
Closing stories
Sometimes called tail-enders, closing stories are almost as important as lead stories. They
are the last stories your listeners will hear and remember from the bulletin. You need to
choose them carefully. However, because many listeners do not maintain their attention
throughout the whole bulletin, you should not keep your best stories to the end.
Light or funny stories make the best tail-enders. They add relief and a change of pace to
heavy bulletins. They should be written in a more informal way than other stories, possibly
with a play on words which your listeners will appreciate.
Closing headlines
With longer bulletins, you can use closing headlines to remind your listeners of stories
they may (or may not) have heard 10 minutes earlier. Again there should be the major
stories of the bulletin, excluding the tail-ender, which they should have just heard anyway.
Unlike opening headlines, which should attract your listeners to listen to the bulletin,
closing headlines are simply there as a service, especially to listeners who may have tuned
in late.
Each closing headline should be a summary of the main point of the story, written in one
sentence. Any longer and they become a repeat of the story itself. Do not simply repeat
the opening headline or intro of each story as a closing headline. This is laziness which
does not serve your listeners. Never repeat teasers as closing headlines: give the details.
Timing of bulletin
There is never enough time on radio for all the stories a journalist would like to include, so
the timing of your bulletin is very important. By careful timing you will be able to include all
your important stories, giving adequate details of each. The exact time of each item
depends upon:
• How long the whole bulletin is;
• How many items you need to include;
• How many grabs of actuality you want to use.
You have to balance these three considerations. If your bulletin is 15 minutes long you
can use up to 20 stories, several of them with grabs, and still treat each story properly. If
the bulletin is only five minutes, long you might not manage more than seven or eight items
and have time for only one or two short pieces of actuality.

13
 14

Because some important stories can be told briefly and some less important stories need
lots of explanation, you cannot set a fixed time for each story. However, if you aim to tell
each story in about 30 to 45 seconds, you will be able to cover the news properly and in
some detail.
If you have a number of less important stories which you want to mention, run them as
briefs at the end of the bulletin. Briefs are short stories, no longer than one or two
sentences each. They are not designed to tell the whole news, simply to let people know
that something has happened. The inclusion of briefs also helps to increase the pace of
the bulletin if the rest of the stories are long and heavy.

2.5 Packaging a News Bulletin

There are many practical techniques which will make the job of preparing news bulletins
easier and more professional. If you use these techniques, they will help you to overcome
many of the problems which inexperienced journalists can encounter.
Ranking stories: One of the major problems in bulletin preparation is ranking the stories
in correct order. Just follow some simple steps.
First read through all the stories available. Then go through them again, making three lists
(or selecting the stories on to three piles). These categories should be:
1. Important stories which you must use;
2. Stories which you can use, but which are not so important;
3. Stories which you cannot use, for any reason.
Then, look at the stories in category one. Calculate roughly how much news these will
give you (if each story will be approximately 40 seconds long and you have four of them,
they will take about 2 minutes 40 seconds to read).
Now choose enough stories from category two to more than fill the remaining time.
Together with your essential category one stories, decide the order in which you want to
use them, taking into account their importance, length and pace.
You can combine stories on similar topics, either running them as one story or as two
stories linked with words such as "Meanwhile" or "Still on the subject of ...". Do not combine
too many stories, because they will become a shapeless mass and you will lose the impact
of separate intros.
Reading speed: It is very useful to know the reading speed of the newsreader who will
read the bulletin. Once you know how long it will take you (or the newsreader) to read one
line of type, you can time your bulletin by counting lines, rather than by timing yourself
each time you practice.
Reading speed are calculated in words per second (wps) and usually range from 2 wps
for slower readers in some languages to 3.5 wps for quite rapid readers in other
languages.

14
 15

Ask a colleague to help you calculate your reading speed. Get them to time 60 seconds
while you read a short piece of news script. Mark where you stop after 60 seconds. Add
up how many words you read in 60 seconds and write this number down. Repeat this
process ten more times with different scripts. To calculate the average number of words
you read in 60 seconds, add up all the numbers from the ten scripts and divide the total
by ten. Divide this figure by 60 to get your reading rate in words per second.
For example, you might find that over 10 scripts, you read 125, 126, 119, 123, 118, 120,
122, 126, 118 and 117 words in 60 seconds. Add these up; they total 1214 words. Divide
this by 10 to get the average number of words per script (121). Now divide this average
by 60 to get the number of words per second. The answer is roughly 2 words per second
- your average reading rate.
Once you know your average reading rate, you can estimate how long it will take to read
each story. Of course, you will not want to count all the words in all your stories; this would
take too long. It is better to count just the number of lines.
First, count how many words there are in 50 lines of your standard news scripts, then
divide the total by 50. This will give you the average number of words per line. For
example, if there are 600 words in 50 lines of script, the average is 12 words per line.
Now you can calculate how long it takes you to read a line of script. For example, if your
reading rate is 2 words per second and your script contains an average of 12 words per
line, you can read one line in 6 seconds (12 divided by 2). By counting the total number of
lines in each story, you can calculate quite accurately how long they will take to read. For
example, a story with 8 lines of type will take 48 seconds to read (8 times 6). Mark the
time on the bottom right-hand corner of each story.
One final step is to add up the times for all your stories. This will tell you the total time it
will take to read them all. When you are adding up total reading time for the bulletin, add
an extra two seconds for the pause between each story.
(One tip on counting lines: If the final line in the paragraph ends less than half way across
the page, ignore it. Count only those lines which end more than half way across the page.
Over a number of paragraphs, this will average out accurately.)
Of course, you may need a calculator to work out all the sums, but it is worth the effort.
Once you learn how to calculate the length of your bulletins, you will be able to time them
accurately. After many years, you may become so experienced that you can judge the
length of a bulletin just by looking at it.
The script
Most newsrooms today use computers to produce news stories and features which
newsreaders can either print out or read directly from a screen in the studio.
If your newsroom uses printed scripts they must be typed neatly, with any last-minute
changes clearly crossed out. If you make more than a couple of crossings-out, re-print
that script.

15
 16

Start a new paragraph for each sentence and type double-spaced. Type only one story
per sheet, as this will make it easier to find stories if you want to drop or insert them during
the bulletin. Use good quality paper which will not rustle as you move it.
Never turn a page from one line to the next and certainly never hyphenate words from one
line to the next.
Never staple the pages of your bulletin together. You must be able to pull the sheets aside
noiselessly as you read them. Stack the stories neatly on one side after you have read
them; do not throw them on the floor.
Even if you read “off the screen”, much of the above advice still holds though the challenge
now is how to manage the scrolling of the script and the re-arrangement of stories while
you read. As mentioned earlier, television newsreaders usually read from an autocue
operated by another member of the production staff. Radio newsreaders seldom have
such help so have to present their bulletins single-handed.
Whether you work in radio and television, if your news stories and bulletins are well-
prepared in an orderly manner, you will make your work easier and serve your audience
more effectively.
________________________________________________________________
LESSON 3: News writing: Opening, Headlines, Body and Closing/Conclusion
________________________________________________________________

________________________________________________________________

STRUCTURE
3.0 Objectives
3.1 Introduction
3.2 Process of News Writing
3.3 Structure of a Radio News Story
3.4 Guidelines before writing a News Story
3.5 Importance of Re-writing and Reading Aloud
3.6 Difference between writing news for Radio and Newspaper
3.7 Preparation of News Copy
3.8 Editing of a Radio News Copy
3.9 Preparation of a News Bulletin
3.10 Typing of a Broadcast Copy

3. News writing: Opening, Headlines, Body and Closing/Conclusion

________________________________________________________________

16
 17

________________________________________________________________
In the previous sessions we had studied the Lesson 2 of this unit News Bulletin. In which had
discussed various types, elements and the structure of news bulletin.

In the present session we will study the news writing and its opening, headlines, body and closing.

________________________________________________________________

3.0 Objectives
After reading this lesson you will be able to:
 Describe writing the news story
 Elaborate the structure of the news story i.e. opening, body and closing of the news
story
________________________________________________________________

3.1 Introduction
News writing is done with a view to providing information that is correct, objective, fair,
balanced, accurate, precise, and to the point. The news writing skill can be acquired by
dint of hard work, dedication, understanding, sustained and prolonged practice over a
period of time. For being successful, a news writer must have a nose for news, besides
being equipped with qualities of head and heart. In order to do effective news writing, one
should be particularly skilled and discriminative at keenly observing, hearing and seeing
things, events, and people, keeping notes and making mental record finding information
sources. It also involves asking relevant questions; checking, crosschecking, and double-
checking information. It requires the capability of fairly and impartially analyzing and
interpreting information so collected. For news writing, one has to inculcate a strict
discipline of writing in the required style, with a view to conveying maximum information
using minimum words.

3.2 Process of News Writing

All news items received from its’ own reporters, correspondents, monitoring service and
from news agencies pour into the News Service Division (NSD). The AIR News Room in
New Delhi feeds news for some 146 Home and External news bulletins. How is that done
ensuring uniformity and speed? To meet this requirement, AIR has introduced a system
of what is called "News-Pool", which is prepared in English. All incoming news, after
editing, is put into the pool which is split into news categories such as Home, Foreign,
Parliament and Sports. Inclusion of an item in the pool means: (a) the news which is
broadcast worthy, (b) it has already been written in broadcast style and (c) any linkages
and back-grounding required has been done.
The entire pool copy is distributed among all editors compiling different bulletins. The
editors preparing the pool copy also look after the important developing stories and
constantly go on revising and updating them. They also prepare round ups of important
events and happenings such as riots, floods, disturbances, and whatever is in the news.

17
 18

The news room has four shifts during a day and each shift issues its own pool copy, during
morning, day time, evening and night. Compiling editors working on the language bulletins
look after a group of bulletins like regional languages of East and South India. Similarly,
the external bulletins are also combined.
The compiling editors further select and prune the news items, keeping in view the duration
of each bulletin and the interest of the target audience. They prepare the bulletins and
together with the headlines, send them to the Language Units and the External Services
Units where they are translated and put out in their language.
Translation of news stories in different languages should not be mere transliteration.
These should be re-written keeping in view the direction, style and flow of the language
into which the translation is done. Also the format of the language bulletins should be
different. For instance, Ganesh Puja needs prominent place in Marathi Bulleting and
Durga Puja in Bengali.
After preparing the news stories, the editor has to decide which items apart from the lead
story are to be headlined. There is only one criterion – which items will interest the largest
number of listeners. Headline them and that will ensure a good audience for you.
Headlines should be brief. As a rule, they are repeated because quite often many listeners
tune in late and only from the repeat headlines do they know the important news of the
day.

3.3 Structure of a Radio News Story

Like newspaper radio news story also follow the inverted pyramid style of news writing. In
news writing the lead, or the climax, comes first, then other elements of the story in
diminishing order of importance. While drafting an item, read and re-read it to find out what
is the news in it? And that is your lead or intro of the story. Once you have located the
intro, rest of the item takes shape quickly. Leave optional points towards the end of the
story so that if your editors are running out of time, they can delete these without any
difficulty.
Headline: A headline is normally a brief summary of the main points of the story and must
be completed within a line comprising word not more than 48 in any way.
Body: This is the detailed version of the news item. This part of the news story may
contain an actuality, voicer or wrap depending upon the requirement of the news item.
Details: While penning down the body of the news story a news writer must not forget to
include any important point of the news item. All the details must be arranged in the body.
Paragraphs: If the news item is lengthy then the story must be written in paragraphs. In
this way the newscaster will be at ease while reading out the news item.

3.4 Guidelines before writing a News Story

After receiving the news items from various sources, writing of a news story is a highly
professional work. A new comer needs a lot of practice over it. However, while writing a
news story following guidelines can be keep in mind:

18
 19

Cross check the fact: As a journalist, you should have a good idea of the authenticity of
the claims made or news presented in the story. It is always wise to ask: Do you have the
strongest sources for this information? Are you using reliable primary sources? Some
newsrooms have policies about how many sources should be cross-referenced to validate
information. Even with the deadline pressure of broadcast and the uncertainty of many
untested facts, accuracy should be relentlessly pursued.
Add perspective: A shared objective in both print and broadcast involves the injection of
perspective – the overview – into the story. Journalists do this by tying in old stories,
historical facts, new angles, sidebars, and their own personal memories of the same story.
Relating the newest breaking events to trends is essential to good reporting but must be
undertaken with caution. Faulty memories, slipshod filing systems, or untrustworthy
Internet information can add unbalanced perspective and can damage the story’s
credibility.
Sensational language/loaded words: The addition of opinionated adjectives,
sensational adverbs, powerful verbs, zany bits of narrative, or the bizarre opinions of
secondary sources – all these constitute dangerous ground for a responsible journalist.
Brevity while editing news story: Brevity is essential as a minute of broadcast time can
take about 100 words, thus giving an editor the choice of about 1000 to 1100 words (in a
10-minute news bulletin) to cover world, national and regional news. There is a great
constraint of space in radio hence broadcast news must be put in tight, crispy, clear,
descriptive, direct and easily understood language.
Attribution of Sources: To maintain role of radio as a credible source for news, it is
essential that the writer tell the listener the source of information. Never start a story with
a starting statement and then add the source at the end. The listener in his excitement
may miss it. Avoid identifying the source of the statement within the sentence, unless it is
essential to break up long quotations.
Below are suggestions to help you determine when attribution is appropriate:
• Use it for Credibility. By naming your sources of information, you enable your listeners
to judge the value of your facts. The audience knows a foreign policy statement that
originates at the government authority has more credibility than a foreign policy statement
from the manager of the local market. In stories with contested facts, attributions let the
audience decide about credibility.
• Use it to Show Doubt. Similarly, if you have doubts about the quality of the information,
it is traditional journalistic practice to alert the audience to this fact. Anonymous telephone
information inserted in a story should be identified as such. Exclusive stories from other
media should credit those organizations, unless you can cross-check the information.
Also, the source for any information from a suspect organization, one with a big name but
only four members must be identified.
• Use it to Support Opinion. Attribution is clearly needed if what you are reporting is opinion
or speculation.

19
 20

• Shorten Attribution or Discard It to Save Space. Use of attribution in broadcast is not the
same as in print. Because story space is severely limited in newscasts, it is often
necessary to condense the source of information or to eliminate it altogether. In broadcast,
long government titles are often shortened, e.g. “State Department officials,” “Police
spokesperson,” or “lawmakers,” especially when that information is of routine value.
Often, a writer might exclude the reference altogether, as in the case of routine sources
that mean little to the outcome of the story. If the Consumer Price Index goes up or down,
there is little question where the information comes from, so why bother with the
attribution?
However, always use attribution in crime stories. Make a point of using attribution to
demonstrate that you are relying on authoritative sources. When describing a crime to
which a person’s name may be linked, it is irresponsible not to use attribution.
Where to put attribution: Although newspapers and wire services traditionally put the
attribution at the end of a sentence, broadcast puts it first. Here is an example of print
placement.
“The United States and France will soon meet in new negotiations over the GATT trade
agreements, according to a highly places State Department source.”
In broadcast, the attribution always goes first.
“A State Department official is saying the U.S. and France will meet to discuss trade
agreements.”
Placing the attribution first gives the audience a chance to judge source credibility as the
facts are heard, rather than waiting for a delayed attribution.
Radio news story is written for “right now” broadcast. Therefore, it is not necessary to
include the name of the day in each story rather the word ‘following morning’, ‘today’,
‘yesterday’ or ‘tomorrow’ etc. suffices.
Sometime listener is not attentive and probably he may miss to hear the name and will
then spend the rest of the story wondering who you are talking about. Therefore, delay
most names (of place, people, and things) until the second or third sentence. Of course,
if the name is widely known and is an attention-getting device on its own, then it is
permissible for it to begin the story.
Titles and Names: In conversation, as well as broadcast writing, use titles before names
unless the structure becomes awkward. Putting the title first makes the copy flow instead
of breaking it up with a lot of unnecessary commas.
If the name is not very familiar, hard to pronounce or not needed for understanding the
story or not necessary to disclose his name, a common name can be used in the place of
proper name, such as businessmen, or a shopkeeper, or a leader, doctor etc.
Do not substitute for names without first making sure that the name itself won’t mean
anything to the listener and that the title is more important than name.

20
 21

Short and Direct Sentence: Keep it short and fast. Write short sentences with one basic
idea in each. We are trying to cram information into peoples’ ears, one short line at a time.
Long, complicated sentences full of big words don’t make you sound smart. Say what you
mean, throw away all unnecessary words, and try to maintain a conversational style.
• Put the subject at the front of each sentence, using the formula: (subject) + (verb) +
(object) + (...all other stuff). For example “The PM House + denies + the charge + in Coal
Gate Scam” (The PM House denies the charge in Coal Gate Scam”.
• Sentences should be written in the positive, as opposed to the negative sense, as often
as possible. Avoid using “not”, “no”, “don’t”, “doesn’t”, “won’t”, etc.
“The union leadership doesn’t accept that version of the story.” ...can be rewritten in the
positive: “The union leadership says the story is a lie.” Or “Union leaders refuse to accept
that version of the story.”
• Write in the present tense, whenever possible: Broadcasts on radio should appear to the
listener to be happening at that moment. Instead of saying "the new generator was
switched on yesterday" say "The new generator has been switched on". Instead of saying
"The Prime Minister said today that the country's economy is booming", write 'The Prime
Minister says the country's economy is booming".
Simple words: Words should be common in everyday speech. For example, "The work
has started" and not "the work has commenced", "The play has ended" and not
"terminated". There is no place for "officialese" in bulletins (officialese is the language used
in official press notes). The words chosen should create visual images in the mind. For
example, "Roads are under water" or "The telegraph poles have been uprooted" or "The
bridges have been washed away" sound better than "The communications have been
disrupted". Words like "hospitalised" or "minimised" have no place in a radio bulletin.
Instead say "admitted into the hospital" or "reduced to a minimum"
Technical and unfamiliar words: Unless it is necessary avoid the technical and
unfamiliar words. While using technical words explain technical and unfamiliar words.
Sound clashes words or sentences: Avoid sound clashes such as "the building was
built by a local builder". Instead, say "the storehouse was the work of a local builder". The
arrangement in news writing is the reverse of the literary style of writing.'

3.5 Importance of Re-writing and Reading Aloud

Carefully reading out loud will catch errors and point out sloppy writing. This emphasis on
“hear” copy has been carried to its ultimate by the news services. It should be a thumb
rule that any copy received from the any wire agency, news agency or outside must be
considered as raw material from which the reporter tailors a story to fit broadcast needs.
If deadline and small newsroom staffs make it impossible to rewrite all of the wire copy,
an attempt must be made to at least pre-read the material before going to the air to make
sure it makes sense when readout loud.
Rewriting help a news operation out-perform its competition:

21
 22

1. It gives station a different sound, and gives a new version.

2. It gives the opportunity to correct mistakes the wire service may have made.
3. It allows to up-date stories, placing the most recent development in the lead.
4. It gives the chance to consolidate various items under one comprehensive lead.
5. Generally radio news is broadcast from a radio station number of times many times
hourly or sometimes more in a 24 hour day. Some of the items may fresh and rest
of the items may carry-over from earlier reports. Therefore, rewriting keeps
freshness in old copy.
Rewriting stories accomplishes two goals in addition to the mentioned earlier: it presents
new angles and developments and it makes the news sound fresher, giving your station
a “different” sound that its competition.
There are three basic rules which should be emblazoned in prominent letters on every
newsroom wall:
1. Rewrite every story of the same event emphasizing the newest angle or
development.
2. Rewrite every item of a “running or continuing” story making sure that as a
minimum you rewrite the lead.
3. Rewrite all wire copy in terms of local news and audience needs.
It takes a skilled writer to rewrite a news item without distorting the essence of the story.
The writer must be able to take a story and dig up an angle or a new twist that makes the
story different than the one aired the previous hour. When you begin to rewrite an earlier
story there are a number of points that you should emphasize in your new version:
1. New information not available when the first story was presented.
2. Causes and details not includes in the first report.
3. Results and consequences of the first story.
4. Opinions about the event
5. The significance of the event in light of local development.
Latest developments surrounding the event should always be emphasized in the lead.
And since radio specializes in what is happening ‘now’, the best lead in a rewrite is a
present or future tense slant.
While rewriting a copy writer must ask a number of questions before starting:
1. In the case of stories appearing in media outside the local area, is there a local
angle that can be played up?
2. Are there any other news stories that can be combined with the story to give an
overall view of the event?
3. Failing the availability of other similar stories, can a comprehensive lead be written
which will tie this report to others?
4. Did the original play up the real feature or is it buried some place in the article?
5. Is the original written in such a manner that it will be of interest to our audience?
3.6 Difference between writing news for Radio and Newspaper

22
 23

The basic difference between newspaper and radio is that the former is designed for the
eye, while the later is for the ear. This gives newspaper reporters a slight advantage when
they sit down at the typewriter, fingers poised to bang out a story. They don’t have to be
particularly concerned about the complexity of their sentences. Even if a sentence
includes four or five dependent clauses, the reader can simply read the phrase over and
over again until it makes sense.
The broadcast writer does not have this luxury. A story is read and heard only once. If the
listener is confused by a particularly complex sentence, he is out of luck. He can’t ask the
newscaster to repeat some confusing point. The listener has to be able to understand the
story the first time: there is no chance to repeat.
Since broadcast journalism is designed for the ear, it is important you write what has been
called “hear” copy rather that “see” copy which is the hallmark of newspaper.
Newscasts are written in informal and conversational style in which a person ordinarily
speaks. Sentences are kept relatively short and straight to the point. The simple
declarative statement is preferred.
Complex sentence structure, little-known words and other literary techniques are been
used carefully, so that it can be understood in one stance. Because, there is no chance to
consult dictionary or re-listen the unheard portions of news bulletin unlike a newspaper
where you can read or re-read and consult dictionary if any word is unfamiliar.

3.7 Preparation of News Copy

While writing a radio news copy, the style book of the broadcasting station needs to be
followed. Broadcast organizations all over the world have their own style rules for their
copy. Style rules help the editors in producing a copy, which has consistency and reflects
the style and values of the organization.
Headlines: In a radio bulletin, the number of headlines is generally restricted to five for a
fifteen minutes’ bulletin and four for a ten minutes’ bulletin. Headlines should be crisp,
concise to the point and always backup the story. A good story can be killed by a dull and
vague headline. Basically, a good headline should tell the listener what the story is about,
provide the information in quick and easy form and, persuade the listener to listen to the
full story.
Length of a news story: The length of a story is important in radio news. Ideally, a story
should not generally be more than hundred words, however, stories like parliamentary
news, policy statements, political crisis and election news can be a few exceptions. The
most relevant and interesting part of the story should constitute the lead sentence. Efforts
are made not to cramp too much information in one item. If the item is too long and
complicated the interest of listener may begins to fade. As a news reporter you should
ensure that the listener is not bombarded with difficult and long expressions which may
lead to switching off the radio set.

23
 24

Number and Dates: While including Number and Dates, the following steps should be
taken into consideration:
 Numbers from 1 to 11 should always be spelt (one, two, three... nine); otherwise
they may get lost in the copy. However, numerals from 12 to 999 can remain as it
is, as they are easy to read. Thousands, lakhs and crores should be spelt out.
 In case of financial figures, the currency should follow the figure, say, ten crore
rupees and not the other way, rupees ten crores.
 Figures like 990 can be rounded off to 'about one thousand'.
 Exception to this rule: When the story doesn’t exist without the exact numbers. e.g.
“Gas prices will rise to two rupees and eighty-five paisa by next month, an increase
of more than…”
 Dates should be written as they are read, 'the sixth of January', and year should
always be written in full 1994, 1997 and not '94, '97 etc.
Honorifics: In radio, honorifics are also used with great care.
 Mr., Mrs. and Miss are used in English and Shri, Shrimati and Kumari in Hindi and
other Indian languages.
 The designation always precedes the name. It is correct to say 'President
Mukherjee', or 'The President, Mr. Mukherjee', but never ‘Mr. Mukherjee,
President'.
 Some names carry the surname first and do not require Mr. or Mrs., 'Sheikh
Abdullah', 'Maulana Azad', 'Mir Qasim'. Honorifics like, 'His Majesty', 'His Holiness',
or 'His Excellency' are not used.
 Officers of the defence services are identified by their rank before their names and
Judges as 'Mr. Justice'.
 Dead persons are mentioned without any honorific 'Jawahar Lal Nehru', 'Lal
Bahadur Shastri', 'Rajiv Gandhi' rather than 'Late. .. ...'
Abbreviations and Acronyms: Abbreviations are normally avoided and a word should
be written the way one wants it to be used. Acronyms like UNESCO, SAARC, NAM, which
are familiar to listeners and pronounced as a word are acceptable. If one has to use an
abbreviation, the best way is to spell out the full name, "The World Trade Organization",
and then W-T-0, so that listener easily relates with it.
Some acronyms are common enough that they probably don’t need to be written out. E.g.
PTI, “P-T-I news agency” or “C-B-I” But you should put a dash between each letter.
Indicate proper pronunciation of difficult words or names in brackets e.g. “IFFCO” [ephco]”

3.8 Editing of a Radio News Copy

24
 25

A good editor should have the skill, knowledge and experience to produce a good copy.
The task of a radio editor requires:
 Checking and correcting all errors related to facts and expressions in the copy;
condensing the copy by eliminating unnecessary verbiage and;
 Clarifying by rewriting the material and make it confirm to the spoken-word style.
Checking the Copy: First of all you must satisfy with the newsworthiness of the copy. If
a story does not make sense to you, it cannot make sense to the listener. This simple rule
is often forgotten. The story must answer all questions that might arise in the listener's
mind. You should check and double check all the facts, because once a wrong news items
has been broadcast, there is no way to retrieve the item. Reference material and library
should be used whenever required.
Clarifying: Editing works on the premise that there is always room for improvement in any
story. A second critical eye can always help in making a story better. The editor must
answer the following questions in order to improve the story:
 Has the story been written in a simple conversational style?
 Does it include all the important and interesting points?
 Is the story easy on the ears and conveys the meaning clearly?
 Will the listener be able to understand the story if s/he has not heard the previous
bulletin? Is there any point left to the imagination of the listener?
 Is there any scope to trim the story further without losing any important points?
Condensing: We have already stated that time is the biggest constraint in a radio bulletin.
A good editor always insists on simplicity and brevity. As a beginner, you should first
understand the story, than cut out whatever is irrelevant. The aim should be to produce a
compact copy, which cannot be trimmed or edited any further. Words or phrases that might
not be needed in the story should be edited. Repetition of names and designations should
be avoided. Editing becomes a second habit with experienced editors whose pen is often
drawn magnetically to superfluous words and phrases. However, there are times when a
brief story may need some flesh and background details have to be added.

3.9 Preparation of a News Bulletin

Once the story is rewritten and edited, it is put in the pool, indicating the pool’s number,
date and shift. For example, during the day shift, the number can be DP I for home stories
and DP II for foreign based items. Here, DP means Day Pool. During Parliament session
and elections, separate Parliament Pool and Election Pool are made. These stories are
numbered as DPP (Day Parliament Pool) and DEP (Day Election Pool). While compiling
the bulletin, the pool copies can be further edited and integrated with other stories.
These news items need to be arranged in a bulletin. The structure of ten minutes News
Bulletin is as indicated below:
 Headlines;
 Body of the bulletin;
 A break midway, where the news reader identifies the station;

25
 26

 Body of the bulletin; and

 Repeat of headlines/recap of major news items.
The position of an item in the bulletin depends upon its news value; the lead story should
be of prime interest to most listeners. The order of news is a matter of judgment under the
theory that a listener wants to hear all the top news first. There is no need to follow
mechanically an order of foreign and home items, although related items should be taken
together. Transition from one item to another item should be intelligently done to keep the
listener tuned from start to finish.

3.10 Typing a Broadcast Copy

The broadcast copy should be typed in triple space as this is easy on the eye, readable
and allows room for corrections. Also, use a large enough font for easy reading 12 point
minimum.
Ideally, there should be about ten words per line. The length of lines should be consistent,
so that by counting the lines at the time to read a story can be determined.
Generally, only one story should be typed on one page. However, connected stories,
which have to go together, may be typed in one page. In order to facilitate smooth reading
of a bulletin some care needs to be taken while typing the broadcast copy:
 A sentence should never be split at the end of the page;
 If a complete sentence does not fit on a page, the whole sentence should be typed
on the next page;
 Efforts should be made not to split words at the end of a line; and
 The spellings should be double-checked as wrong spellings could affect the flow
of a bulletin.
 Many a time, some corrections need to be made in the copy at the last minute.
Such corrections must be typed or written in capitals - exactly when they are
supposed to be read.
 The News Reader must be shown these corrections in advance, so that s/he
rehearses them and don’t fumble while going on the air.
________________________________________________________________
LESSON 4: Writing and Packaging for Radio Infotainment Programs
________________________________________________________________

STRUCTURE
4.0 Objectives
4.1 Introduction
4.2 Formats of Infotainment Programs

26
 27

4. Writing and Packaging for Radio Infotainment Programs

________________________________________________________________

________________________________________________________________
In the previous sessions we had studied the Lesson 3 of this unit News Writing. In which had
discussed the process of news writing, structure of radio news story, guidelines for writing a news
story, preparation a copy for news bulletin etc.
In the present session we will study the writing and packaging of various infotainment programs.
________________________________________________________________

4.0 Objectives
After reading this lesson you will be able to:
 Distinguish various infotainment programs in terms of treatment and style.
 Describe the distinct features and packaging of infotainment programs.
________________________________________________________________

4.1 Introduction
‘Infotainment’ word is a combination of two words i.e. information and entertainment. The
basic objective of radio is to provide information, education and entertainment. Therefore,
in radio there are programs comes under the category hardcore information programs like
news, announcements, documentaries, news reel etc. while there are programs such as
film based programs, cultural programs and many other human interest programs are
called entertainment programs and programs like traditional educational programs,
awareness programs, skill development programs etc. are comes under the category
educational programs.
Passing the time choice of audience has been changed. They want some integrated
programs which may inform people with entertainment or in entertaining way. Therefore,
a new terminology ‘Infotainment’ has developed.

4.2 Formats of Infotainment Programs

Radio broadcast varied programs fulfilling the basic objectives - to inform, to educate and
to entertain. These covers news, news based programs, announcements, educational
programs, awareness programs, film programs, cultural programs, music programs, plays
etc. But the infotainment programs provide information in an entertaining manner.
Therefore the radio is able to fulfill the varied needs of the audience and a large audience
may associate with the radio station.
The basic formats of infotainment programme are:
1. Talks
2. Talk shows
3. Discussions

27
 28

4. Interviews
5. Newsreels
6. Commentaries
7. Radio Reports
8. Quiz
9. Poetry Recitation and Symposia
10. Book Reviews
11. Features and Documentaries
12. Magazines
1. Talks
Talk is a straight delivery of words by a particular speaker. Radio talks are generally of
short duration i.e. 5 to 10 minutes. Talk can be an effective format to present an opinion
on an issue or a problem. A talk can cover any subject of human interest on contemporary
issues such as economics, politics, science, sports, social, art, culture, festivals,
anniversaries etc.
This format can be effectively used for treating a subject in an absorbing and interesting
manner. It is the speaker who makes the listener interested through his/her presentation
style and manner.
Talk can be presented at random without writing a script. But most radio program producer
prefers a written script to ensure that the theme gets properly covered and vetted and
conforms to the channels’ policy. All the important talking points pertaining to the subject
of the talk, the key phrases, quotes, if any, and the substance of introductory and
concluding remarks are put down in a proper sequence. Scripting facilitates the talker to
conform to the scope of the programme. The script also helps to adhere to the time limit
imposed by the station's programme schedule.
Production of talk includes following steps:
a. Selection of Theme
b. Identification of Talker
c. Vetting the Script
d. Rehearsing
e. Recording the Talk
f. Briefing the Announcer
The delivery of the talk should follow a smooth and easy pace to facilitate the listener to
keep pace with the exposition. Flowery sentences and phrases jitter the smooth pace of
exposition and the flow of communication, hence need to be avoided. It is always
advisable for the talker to mark points of punctuation and emphasis. Repetition of words
and phrases sound odd phonetically hence need to be deleted.
A radio talker has to overcome the psychological limitation that s/he is not able to look into
the eyes of the audience and get their response, which is a crucial factor in a person-to-
person communication.

28
 29

As regards the speed of the delivery, the golden mean is 120 words per minute - marginally
plus or minus. While delivering a radio talk, the talker should not distort the natural
breathing pattern.
The microphone reveals much more than the literal meaning of the speech. It reflects the
personality of the talker, although s/he is not physically present before the audience. It
magnifies even minor faults and flaws that are not noticeable in normal hearing-situations.
The mike is placed only a few inches away from the speaker's mouth, a situation that
pertains in actual life only when one speaks intimately to a close friend or is in a small
family group. Listeners of radio programmes, though they are physically located at great
distances are able to get the same kind of feeling. The modulation of electrical impulses
highlights faults such as roughness in texture of the voice, in-distinctiveness, nasality or
slowness in the speech of a talker. Often a good exposition of the subject matter is messed
up in its effect on account of faulty delivery.
Thus, the Radio talks require excellent broadcasting skills on the part of the talker. This
could be cultivated by training, preparation and practice to a great extent. It is quite a
painstaking duty for the radio producers, who have to constantly look out for suitable
talents who can be groomed as successful broadcasters.
2. Talk Shows
In this format, two or three speakers are invited to speak on a given topic, and the audience
present in the studio questions them. This may be termed as an extension of interview
format in which one person talks with one expert. In talk shows, the experts may be more
than one, and the persons to ask the questions are also more than one. Experts are called
to speak on various social issues, topics of public interest.
People from different walks of life or from the related field, as per the objectives of the
programme are invited to participate and ask questions. Experienced and articulate
anchor persons conduct the Talk shows and navigate the programme with style and with
a sense of humour to make it interesting and lively.
3. Discussions
In sharp contrast to the talk, which is presented by one person, a discussion generally
includes 2-3 participants and a moderator. A discussion presents analysis of an issue from
different angles and brings forth more than one opinion on a given subject. The subject
may be based on issues such as politics, society, culture etc. But it must evoke the interest
of a listener and sustain it. The duration of the discussion varies from 15 to 30 minutes
depending upon the topic, utility and the number of participants.
The role of the moderator is crucial for the success of discussion. S/he conducts the
discussion, introduces the subject as well as the participants. S/he facilitates the
presentation of diverse viewpoints and provides equal opportunity to each participant to
express views. The discussion is concluded by summing up the main issues raised in the
programme. Discussions can be categorized into four broad types:

29
 30

(a) Panel Discussion: which allows informal exchange of views freely even to the
extent of frequent interventions by participants.
(b) Symposium: in which every participant is given an exclusive opportunity to present
his/her view point with an anchor person presenting it.
(c) Debate: in which arguments and counter arguments between two opposing points
of views are presented.
(d) Mixed: which start with a narrative, then intercepted with spot interviews and finally
capped with discussion.
The ‘Discussion’ format is used when a theme has several dimensions and there is scope
for wide divergence of opinions. It involves an informal exchange among three or four
participants.
A discussion is anchored by a moderator who balances varied and sometimes diagonally
opposing points of views. The moderator plays the host, outlines the subject and
introduces the participants. S/he then calls upon each participant to express views and
respond to point made or to counter an argument. S/he navigates the discussion through
interventions on its chartered path and finally synthesizes divergent points to sum up the
discussion.
Although the skills of an anchor or moderator are crucial for a smooth flow of discussion,
producer of the programme acts as a remote control. The producer asks the moderator to
give equal time to all the participants, start or wind up the discussion etc. by passing over
slips or through gestures. If the discussion exceeds the allotted time, the producer edits it
in post-production to conform to the time limit.

4. Interviews
An interview requires the participation of two people; the interviewee and the interviewer.
Interviewee is the subject expert who may be a political leader, scholar, adventurer,
dancer, actor, comedian etc. An interviewer raises questions and queries about the
subject, personality or issues to elicit more details for the audience.
The interviewer always keeps the objective of the interview in mind. S/he brings the expert
to focus on those points, which are related to the objective. The interviewer asks
appropriate supplementary questions, hence; the ability to listen attentively and to think
quickly are essential attributes of an interviewer.
The interviewer needs to do his/her homework thoroughly and study the background of
the interviewee to bring forth new, interesting and vital information. It is important to note
that the interviewee is the main focus of the interview and the questions are framed in
such a manner that the listener's doubts or queries are addressed. The technical aspects,
microphone placement, background noise etc. should also be kept in mind while producing
an interview.
The interviewer navigates the interview by outlining the topic set out for the talk and by
posing intermittent questions and comments. S/he also gives important cue to help the

30
 31

interviewee to follow a certain track. Interviews are classified as of three types; opinion,
information and personality interviews.
 Opinion Interviews: Opinion interviews are undertaken when diverse opinion on a
subject is required. The host interviewer asks a similar set of questions to different
people and tries to construct a kaleidoscope (complete image) of opinions on a
certain theme. S/he stimulates the discussion by putting up the problem in a proper
perspective. These interviews are conducted by the interviewer while standing on
a street comer and picking up people at random for their reactions and opinion.
These interviews are also conducted through telephonic conversations as part of
a programme.
 Information Interviews: Interview format is also undertaken to elicit information
from a person, who is a known authority on a particular subject or is intimately
connected with an event. Here, the interviewer places the concerns and queries of
a lay-listener to get information for the audience.
 Personality Interview: Interviews with celebrities or even lesser known from various
fields such as politicians, scientists, artists etc. has contributed to it substantially.
Attributes of a Good Interviewer
An interviewer needs to keep many factors in mind before planning an interview. The
interviewer has to pull out a lot of background information, undertake research, and
identify the areas to be covered in the interview. The questions are framed in such a way
as to probe the interviewee keeping in view public interest at the same time allowing
his/her an opportunity to explain one's stand. A balanced approach with a blend of humour
makes the programme interesting. The following are some of the attributes of a good
interviewer:
Adequate research on the subject matter is a prerequisite of a good interview. The
interviewer should make a thorough preparation before s/he talks to the interviewee.
The interviewer must chalk out a sequence so that the questions follow a certain track and
the information flows in an organized fashion. The questions should serve to facilitate
conversation by providing a logical sequence from one point to the other.
The questions must be short, direct and must be able to elicit information at length. It must
not be such that the interviewer trots out the information and the interviewee is left with
the option of saying either 'yes' or 'no'.
The interviewer should constantly try to keep the spotlight on the interviewee rather than
projecting his/her own personality and appear as if s/he knows more on the subject than
the interviewer.
S/he should be an attentive listener and give appropriate and participatory responses to
what the interviewer is saying.
Responses such as, "yes-yes/l see, huh-huh" etc. should be avoided as they sound jarring
and distracting.

31
 32

A good interview does not sound like a question-answer session but in the nature of
conversation.
The interviewer should always be conscious of the interest of the audience by asking
relevant questions. The information intake has to be commensurate with the interest of
the audience in that particular matter. It must be appreciated that the listener is interested
in getting the information or views in the words of the interviewee and the interviewer's
role is in facilitating the articulation on the part of the interviewee.
The interviewer's role is that of a host in the programme. S/he must, therefore, sound to
be courteous, kind and reasonable even while putting probing questions in order to
stimulate or to provoke the interviewer. A mere didactic approach to questioning does not
sustain the listeners' interest in the programme. The interviewer must sound interested in
the subject to expect the distantly placed listeners to listen to his/her programme.
The interviewee must be advised to use a language which is simple and select words
which the listeners could easily grasp. Even if such words are used, the interviewer needs
to get the interviewee explain the terms. Very often, the interviewer raises questions to
clarify the information provided by the specialist and wherever necessary, interprets the
information in the local dialect for the benefit of the farmers. This technique has been
found good for special audience programmes.
5. Newsreels
Newsreel programme provides an opportunity to handle the news story in detail, including
voice dispatches, interviews and actual background sound. Usually, a newsreel
programme of ten minute duration has four to five news items. The newsreel should have
a good lead and proper lead-ins and throw lines for each and every cut. The editor writing
the narration should ensure that transitions from one cut to another are smooth and
repetitions are avoided as far as possible. The ten minutes programme should have three
or four headlines written in snappy style. There are a number of ways to enliven a newsreel
programme by including music etc.
Newsreel is in the nature of a news report. It is generally of ten minutes duration. In sharp
contrast to the news bulletin which is broadcast live, newsreels are always recorded. In a
news bulletin, news items are dealt in crisp and concise manner. Newsreel deals a story
in greater detail by including voice dispatches, interviews and actual background sound.
It may also include spot reports, eyewitness accounts, comments, reactions and extracts
from speeches. Thus, Newsreel supplements news bulletin and provides background of
the news.
6. Commentaries
In contrast with television, a radio listener 'sees' the event through the word picture given
by the commentator. Radio commentary is faster than television, as the radio
commentator has to give the details, which the TV camera provides. A radio commentator
has to mention whether the sky is clear or overcast, what is the colour of the dresses of
the teams playing the match or if a batsman in a cricket match is wearing a helmet or not
and so on.

32
 33

Radio commentaries are of two types – (a) Live OB commentaries and (b) News
commentaries.
(a) Live OB (outdoor broadcasting) Commentaries
These are un-scripted talks, which enable the listeners to feel the pulse of the event,
absorb into that environment and have the emotional satisfaction of imaginary
participation. The ethos of the event is built up into the programme by inserting actuality
sound effects from the locale of the event, narration by commentators and spot interviews
with actual participants in the event. It takes a lot of effort on the part of radio stations to
organize such live commentaries on events taking place at near and distant places away
from the studios.
Radio commentary whether it is on sporting event or the Republic Day Parade or a
religious procession; requires the skill of keen observation and quick responses. A
commentator should have keen observation skills, attentive mind and good articulation. It
is said that the radio commentator has to see through the eyes, think with the mind and
speak through the tongue. The advice normally given to a commentator is: simplify your
description, so that everyone can understand; use spoken-word in present tense; keep
your tone soft and friendly; and describe the environment, weather, ambience, mood and
reaction of the spectators.
(b) News Commentaries
News bulletins and news commentaries both report the happenings. The basic difference
lies in terms of the purpose or objective of the programme. While a news bulletin presents
news without editorial comment, the news commentary on the other hand tries to present
the theme in perspective, take stock of divergent shades of opinions expressed about the
happening and finally synthesize them adding editorial comment. Some important
elements of the news commentary are: narration of factual aspects of the story; laying
focus on the personalities involved; giving a mount to the story by putting it into historical
perspective; taking stock of diverse opinions expressed and prognosis made about future
course of events; and finally commentators' own piece of editorializing.
7. Radio Reports
A Radio Report is based on outside recording (OB), including excerpts from speeches,
eyewitness accounts with actuality, interviews, and statements by the local authorities etc.
Radio report uses a narrator in order to link up pieces of actuality sound pertaining to an
event. The presenter's job is to put this material into a coherent perspective, filling the
gaps. The chronology of the event should not get distorted despite various parts being
presented in a different order. The producer here resorts to the technique of "back and
forth" in order to give prominence to important segments of the event.
Keeping in view the primary purpose of communication to keep the listener informed, radio
report brings to the listeners an account of functions, happenings, accidents, visits of
important personalities, or any cultural show or exhibition. This format can be effectively
used to cover various functions in an institution. The duration of a radio report is usually
of 10 to 30 minutes depending upon the importance of the event.

33
 34

8. Quiz
These shows entertain as well as inform and educate the audience. Quizzes can be
presented in a variety of ways e.g. a set of questions put to teams of contestants, others
involving participation of audience invited in the studios. Excerpts from sound recordings
of eminent speakers, leaders, musicians are often played back to the quiz participants for
identifying the voices. Excerpts from instrumental or vocal music recordings are also
played back. In a game of competition, anxiety is build up. Panels of celebrities are
sometimes involved in judging the answers or for responding to questions. A successful
quiz programme blends suspense, conflict and humour in ingenious ways. The quiz
master is the soul of such programmes and his/her enthusiasm and navigational skills are
crucial to the success of the programme.
Quiz programs are generally studio-based. The participants are invited according to the
topic selected for the quiz. The Quiz Master, who conducts the programmes puts
questions to the participants, gives them reasonable time to answer the questions and
announces the correct answers. The level of the questions is kept appropriate to the level
of the target group. The duration of the quiz programme is generally kept 20 to 30 minutes.
The time, duration and nature of questions vary according to the target group.
9. Poetry Recitation and Symposia
Poetry recitation is a part of oral and social traditions of our society. Renowned poets and
upcoming poets are invited for such broadcasts. Mushairas and Kavi Sammelans of 30 or
60 minutes duration are planned, recorded and broadcast. Poetry recitation has its special
attributes and form, which is quite different from the prosaic form of our speech and
conversation. Lyricism is also an ingredient of poetry, an effect is created by its inherent
rhythm and meter. It easily lends itself to musical presentation. Poetic expressions are
capable of condensing an entire philosophy or concept in a few words or couplets. The
effect of the poetry is achieved through emotive impulses delving deep into the meaning
of the words. The style of recitation adds to the impact of the poetry.
A radio producer lays equal emphasis on the content as well as the presentation of the
poems with due regard to the popularity of the poet. S/he also arranges poetic symposia
- kavi sammelan on special occasions where the poets present their poems before an
invited audience. There are occasions when the producer arranges recitation of poems of
poets of yesteryears.

10. Book Reviews

Book reviews form an important segment of radio programming. These are primarily
targeted at the intellectual minority among its audience, who are keen-to acquire
knowledge through such reviews. A book review touches upon the broad features of the

34
 35

book under review, and the reviewer's critical comments on the work. With the reading
time shrinking, the book review programme serves as a capsule on the latest publications.
It usually adopts the talk format, however, interviews with the authors or discussions are
also included in reviews.
11. Features and Documentaries
The term 'feature' is used to indicate both studio-based features and documentaries.
There is a very thin line of demarcation between a radio feature and a documentary. The
feature is a radio programme, in which emphasis is laid on imaginative presentation of
facts, while documentaries are based on actualities.
A radio documentary is based on documentary evidence - written records, attributable
sources, actual happenings etc. Its purpose is to present a balanced recorded truthful
account of something or someone. What is invented is an imaginative documentation of
facts and actualities. The two words associated with documentaries are variety and
actuality.
While 'documentation' or 'actuality' is the mainstay of a radio documentary, the radio
feature writer can take a lot of creative freedom. There is also a hybrid form of feature
which combines studio material with actuality. There is scope in a feature for imaginative
treatment of facts or even abstract concepts, while a documentary would confine itself to
facts. For example, an imaginary conversation in heaven between Mahatma Gandhi and
Pt. Nehru on what is happening in India today could form the subject matter of a feature.
According to Robert McLeish, the feature need not be wholly true in the factual sense - it
may include folk songs, poetry or drama to help illustrate its theme.
Types of Features and Documentaries
There are mainly two types of features: narrative features and dramatized features.
Narrative Feature: The thread of narration runs through the entire programme in which
dialogues are avoided. It includes extracts from a variety of sources including books,
memoirs, reports, dispatches, library recording etc. A narrative feature is possible on any
subject in which the producer can access material recorded or printed and create a word
picture, through appropriate use of the accessed material and suitable narration.
Dramatized Feature: It has the characteristics of drama but unlike plays which deal with
fiction, it aims at imaginative presentation of the facts. A dramatized feature is not merely
a talk script read by three or four voices but there is emphasis on dialogues and
presentation by drama voices.
Radio Documentary is generally of two types; the informative and investigative.
Informative Documentary: It can be on any subject or theme, person, event, activity or
institution undertaken to widen the horizon of the listeners. It tries to involve the audience
both emotionally as well as intellectually by presenting a wide spectrum of information.
Investigative Documentary: As the title itself suggests, Investigative Documentary
investigates some issues. It takes up special problems like street children, bride burning,
drug addiction, corruption in public life, bogus universities etc.

35
 36

Planning of Features and Documentaries

A radio feature or documentary, like any other radio programme, has to seize the attention
of the audience. For that, it is crucial that the feature has a strong introduction. The
introduction would also depend on the type of radio technique you adopt. Often sound and
music, and not necessarily, the spoken-word, that can make the beginning of a
programme attractive and compelling. You have to use your creativity and ingenuity to
come out with very attractive openings of a radio feature.
Stages of planning
(a) Conceptualization
A radio person has to be on constant search for new ideas for conceptualizing
programmes. The producer has to be very observant and look around for ideas for features
and documentaries. While talking to people, interacting with experts, travelling or walking
in the streets, bright ideas may flash across his/her mind which may be useful for
developing programs. Ideas are also gathered while attending a lecture, watching a play
or a sporting event or even while buying things in the market. Some of the topics may be
from your memory, others may stem from an experience or something you strongly feel.
Government departments, NGOs and some private organizations periodically bring out
reports which contain information. A study of these reports and professional journals
provides a great deal of information. Our country has a rich cultural heritage. An access
to the calendar of special occasions, festivals and anniversaries can help in generating
ideas. These occasions can be used for imaginative presentation of events/personalities
in a historical perspective.
In addition to being observant, cultivation of the reading habit for a media practitioner is
also essential. It not only provides information thus adding to ones knowledge, but it gives
birth to new ideas needed for programme generation. Constant updating of information
helps the producer to plan features and documentaries on new areas of human activity.
Clippings from newspapers on strange things happening to ordinary people can also
provide rich ideas for programmes.
The tips to new producers are:
i. Keep a notebook handy to note down ideas as and when they strike.
ii. Be observant while travelling as good programmes originate while travelling.
Whatever is being read should be read with concentration as any interesting article
or news item may give idea for a feature.
iii. Talking to different people can generate new ideas for features.
iv. Always have an open mind and be receptive to ideas.
v. Research
(b) Defining the Scope
The scope of the programme is a statement of the objectives of the programme. It may
contain at the most about 200 words. It starts with a working title which can be changed
later if you come across a better and catchy one.

36
 37

Ensure that the topic chosen is not only relevant to the target audience but also be
comprehensible to them. For this, it is imperative that you should have clarity in ideas
about the subject and the treatment propose to give to the subject. This means defining
the objective and the scope of such programmes.
(c) Plan of Action
Chalk out a plan for production process. For the smooth production of a radio feature
documentary, you have to do a lot of paper work. You have to intimate the organization or
individuals concerned about the date and time and schedule of recordings so that the
persons are available at the time of his/her visit. Even if you speak to someone personally
or over the telephone, it is always advisable to write and confirm the appointments so that
there are no last minute glitches. You must outline a checklist of all activities, including the
sound effects to be recorded, the interviews to be conducted and the information to be
collected.
In the case of studio based features, you have to prepare the list of recordings available
in the library, material which is to be recorded in the studios, the artistes to be invited for
voicing the script, the date and time of recording etc. For O.B. recording you have to
organize the O.B. recording equipment, manpower and transport, dates of OBs, persons
to be interviewed, dates of recording of narration, editing etc.
(d) Scripting of Features
The three cardinal principles of spoken-word namely simplicity, lucidity and euphony are
to be kept in view while writing the script. A feature is possible without a single OB
recording as 'inset'. If there is no recorded inset in the programme, the script has to be
presented by two or three drama voices. The script will then lay emphasis on dialogues.
Each voice must establish a separate identity. A good beginning attracts the listeners while
a good ending enables the listener to contemplate on the subject which lingers on in
his/her mind.
(e) Production of Features and Documentaries
Production includes a number of activities ranging from recording to titling the programme.
Each activity is important but the emphasis differs in the production of features in
comparison to the production of documentaries.
 Recording: It is as important in the case of documentaries where meticulous
planning helps in the successful recording of sound effects and interviews. The
soul of a documentary lie in the outdoor recordings while features depend on
material including recordings already available supplemented by fresh recordings
in the studio or outside.
 Interviews: In case of features and documentaries, as distinct from other formats,
the producer is an explorer who tries to dig out more and more information from
the interviewee. Inquisitiveness and power of observation are essential for a
producer.

37
 38

 Listening of Recordings: Once the recordings have been made, on your return to
the studios, you should listen carefully to ensure that you have all the recordings
required. The benefits of listening to the recording are:
 It helps in finding out whether there is any flaw, technical or otherwise in the
recordings and taking corrective measures;
 It helps you to know what exactly you have in stock. If sound effects are not
adequate or
 It helps in writing the script.

(f) Transcription of recorded material

Transcription means rendering of speech in writing. It is advantageous if the recordings
are transcribed as it becomes easier for the producer to do the editing in the script itself
thus saving a lot of studio time. If the entire footage is transcribed, it helps in preparing the
script as you would bow what exactly someone has said. Accuracy can be maintained
writing the linking narration or the script. Transcription also helps in minimizing the time of
editing in the studio.
(g) Scripting of Documentary
Once you have listened to the entire footage, it is the time to write the script of the
documentary. Scripting for a documentary includes a concise introduction of the subject,
narration which serves a 'lead-in' to recorded statements/interviews/sound and an
appropriate conclusion. While a good introduction helps to attract and hold the attention
of listeners, the narration tells the story in a cogent way. A good narration adds a sparkle
to the taped 'actuality'. The body of the script comes out as a smooth flowing story which
is easily understood by the listener.
(h) Narration
Narration helps to drive the programme forward in a logical way; it helps to preface the
voiced passages and recorded insets. It brings different elements together and moulds
them in an organic whole. You should try to make the narration short, pointed and avoid
verbose language and cliches. The narration may be done by a single voice or two or
more voices.
(i) Titling the Programme
It would be an ideal situation that a documentary feature is produced first and then
scheduled for broadcast. This enables the producer to consider titling the programme after
the production process has reached an advanced stage. The producer notes down a
number of titles and finally chooses the one that is the most appropriate, catchy and
sounds pleasant.
(j) Post Production
Post production involves the inter-weaving of the title music, background music, dialogues,
narration, sound effects and other recorded insets into an organic whole. Editing of the
recorded material is an important segment of post production. Editing eliminates the

38
 39

portion which is not relevant, unnecessary or technically not good. However, s/he has to
ensure that the pitch and the recording levels of the cuts chosen merge naturally and do
not sound patchy. Content-wise, editing makes the programme a compact mosaic of
ideas, views and comments.
Before mixing is done, 'clean cuts' of the recorded materials are kept. Different cuts have
to be faded-in and faded-out. Background music has to be faded-in at low level. Duration
is another important aspect which the producer keeps in mind at the stage of scripting,
recording of voices and selection of cuts. If required, footage is edited to adhere to the
duration specified. Editing should be done with a high sense of responsibility and the
producer needs to ensure that nothing is edited to dilute what is contained in the
recordings.
(k) Selection of Music
Music is an important element of features and documentaries which can add colour to a
spoken-word programme. Music is also used:
 as a theme of a programme;
 as a bridge between two scenes or segments;
 to break monotony; and
 to accentuate action.
While using music, the producer has to keep in mind that the music should serve any of
the function enumerated above. Title and background music are selected with great care.
The programme usually ends with the same instrumental or orchestral music used at the
beginning which is known as title music. The title music is generally an orchestral piece,
short and catchy. The producer has to ensure that the title music supports and is
compatible with the content of the programme. The producer may choose the title music
from the recordings available or opt for a fresh composition.
Background music is used whenever there is need to portray the moods or environment.
A sad mood in a feature can be highlighted by the use of instrumental music of the
appropriate raga. It would be of interest to the listeners if the programme begins and ends.
In the use of effects and music, it must be ensured that they are authentic. It is always
better to use especially composed music if resources and facilities permit. While using
music from a CD, you have to ensure that you do not violate copyright. It takes time and
experience to select the right type of music.
(l) Selection of Sound Effects
Everyone keeps a number of pre-recorded sound effects known as 'stock effects'.
Nowadays sound effects are available on CDs also. However, as far as possible you
should select sound effects which are local and sound genuine. If you need the sound
effect of a crying child you must record the effect yourself and avoid using recorded or
stock effects to provide an authentic touch. While using sound effects, you should use
your imagination to innovate and experiment.

39
 40

12. Magazines
A magazine in the print medium is referred to as a 'periodical publication usually illustrated,
containing contributions of various writers'. A Radio Magazine is a periodical compilation
based on 'good material chosen and skillfully assembled in the right order'. It is a distinct
entity made up of "bits and pieces" each complete in itself. Thus attribute of 'completeness'
distinguishes it from other collage types of programming. The magazine may comprise
various items in different formats including a review, an eyewitness account or dispatch
from the field, a report, an interview, a talk, a short discussion or a news summary. A
judicious selection of the items in different formats invests the magazine with a character
and idiom of its own. A topical and fast-moving magazine with a variety of carefully
selected items involves the listeners emotionally as well as intellectually.
The program title, which stem from the composition of the programs aims at registering in
the listeners' mind. It helps the listener to relate with the previous programme, at the same
time gives a clue to the content of the magazine. The signature tune helps to identify the
programme; it is an invitation to the audience to listen.
The placing of the programs at fixed transmission time also provides an element of
consistency to the magazine. In addition, the presenter builds a relationship with a listener
and invests the magazine with a distinct personality of its own. The presenter introduces
the items and links them throughout the programme in his/her own distinct style. This also
provides consistency to the magazine. Thus, a good magazine programme should give a
sense of a well structured programme.
A. Planning a Radio Magazine
Planning of a radio magazine includes target audience related content planning, selection
of the production team, planning of the content, selection of items and appropriate formats
etc. The production of magazine constitutes the following steps:
i. Defining the Target Audience
While planning a radio magazine, first producer must decide the broad theme of the
magazine such as sport, science, politics, general etc. then according to the theme define
target audience such as household ladies, working ladies, sr. citizens, youths etc. After
deciding the theme and target audience identify their cultural background, interest, need
and choices. One can assess the interests of the listeners by surveying other radio
programmes, which are popular or not so popular.
Whatever the targeted audience of the magazine is being broadcast, the planner needs
to interact with experts in the specific area e.g. science, litterateurs, sports, contemporary
issues, political, music, researchers and so on.
ii. Selection of Production Team
Production team generally includes a producer, a scriptwriter, anchor person or a narrator.
Each has a specific role to perform though sometimes it may not be possible to have
separate persons for each job.

40
 41

iii. Producer
The producer identifies the production team who can write scripts and present the
magazine. After having detailed discussions the content, treatment and presentation of
the program, a panel of content providers and anchor persons needs to be prepared.
A producer involves a guest editor for writing an editorial for a particular edition focusing
on a particular issue. An editor can also be invited to present a critique on a book or a
literary event or development.
iv. Script Writer
The scriptwriter of a magazine must have a thorough understanding of the subject to be
able to present any item in a simple, straight and interesting manner. However, it is the
responsibility of the producer to check facts in the script as anyone can commit mistakes.
v. Anchor Person
It is important that the person who voices the programme has a friendly and pleasant voice
and has the required skills to become an anchorperson.
vi. Planning the Content
Before planning the content of a program the interest and requirements of the listeners
have to be kept in mind. However, at times, even if the listeners in the area are not likely
to relate with the events or happenings, the producer may like to include current
national/international topics in the program. Each topic should be preceded by an
introduction or followed by an explanation so that the listeners get educated about it and
a new area of interest is created for them.
The magazine should include some items of topical interest while other items could be
produced and kept in store for use in any edition. These could be biographies of renowned
personalities, Noble Laureates or other award winners. In addition, series on birds/animals
or sports or some short stories of great writers could be dramatized and kept. A magazine
can be planned around one theme also. e.g. a particular raga in a music magazine, or
cricket in sports magazine. Such topics require extensive research in order to present
varied aspects in different ways and formats.
Some fixed items in a general magazine could be:
a) issue of the month with reports from different regions;
b) an interview with an eminent personality (biography in different formats, viz.
docudrama, interview);
c) a short feature on an institutional celebration;
d) history of a particular sport or place;
e) a book review; and
f) a formal lesson.
However, before deciding to include any item, the producer must be able to clearly answer
the following questions to choose the right issue in the right format:
 why am I including this item?

41
 42

 what purpose is it going to serve?

 what are the listeners going to gain out of it?
 how will they gain?
vii. Selection of Format
A radio magazine offers tremendous flexibility to innovate and experiment in order to make
the program interesting as well as creative. Choosing the appropriate format for different
items in the magazine is an important skill for the producer. For a monthly magazine, the
producer has to wait until the last week of the magazine for topical items. A good producer,
however, plans the programme in such a way that sudden developments in the field can
also be incorporated at a short notice.
B. Production of Radio Magazine
The items of a radio magazine can be recorded in the studio or outdoors according to the
format. While recording mike perspective should be kept in mind as they hold good for
recording magazines as well. Whether an item is recorded in the studio or is O.B. based,
good technical quality is essential. No matter how valuable your item is or whether you
have pulled a scoop in recording a great personality, if the words are not clearly audible,
all efforts would go waste. Therefore, a good producer, reporter and anchor person must
have the basic knowledge of handling mikes and recorders to use them to his/her
advantage.
a) Sequencing of Items
Sequencing involves the selection of inter related items and prioritizing them. The
producer should conceptualize a sequence of the items so that the interest of the listeners
is hooked and sustained till the end of the programme. It helps the scriptwriter to do the
linking narration in a cogent manner. It is good to give a brief of all the contents in the
beginning of the edition and plan some interesting items towards the end so that the
listener looks forward to it. An effort should be made to spread the items evenly so that
the content load of the programme does not become heavy. A serious information item
may be followed by an interlude or something which is not so serious to give some time
to the listener to reflect on what s/he has heard. This could be done with music interludes,
interesting informal linking announcements, sound effects, introduction of the next item
etc.
A question can be raised on the basis of the contents of that program or a common
phenomenon in the lives of people. The answers can be given in the same edition after
some gap or after building curiosity with the help of appropriate music. This could be
followed by another question for which the answers are solicited from the listeners within
two-three weeks' time. A prize for the best respondents could also be announced.
b) Sound Effects
Sound effects serving as a background convey to the listening audience an idea about the
place of action or its ambience especially when the input is a recorded article in the
studios. The sound effects must be genuine actuality recordings.

42
 43

c) Signature Tune
Signature tune or title music conveys the style of the program and establishes the mood
and ambience to attract the listener. The music creates an aura that suits the subject of
broadcast e.g. signature tune of a sports magazine will be distinctly different from that of
a cultural or business magazine.
C. Launching of a Magazine
Once the program has been produced, it has to be launched with a rich publicity. Wide
publicity for at least one month in advance is required before launching a magazine. A
monthly or fortnightly programme is more likely to be missed or forgotten as this needs
more publicity than a weekly/ biweekly or daily programme.
Advertisement copy should clearly bring out the points as to how a listener would benefit
by listening to the new programme being introduced and its contents. You may also use
some clippings from the first edition for publicity. Meaningful, catchy and easily
understandable title needs to be selected for the magazine. Listeners will thus get involved
with the programme right from the planning stage itself.

4.3 Keywords
 Infotainment program: ‘Infotainment’ word is a combination of two words i.e.
information and entertainment. Passing the time audience want some integrated
programs which may inform people with entertainment or in entertaining way.
Therefore, a new terminology ‘Infotainment’ has developed.
 Newsreel programme: Newsreel programme provides an opportunity to handle the
news story in detail, including voice dispatches, interviews and actual background
sound. Usually, a newsreel programme of ten minute duration has four to five news
items.
 Documentary: A radio documentary is based on documentary evidence - written
records, attributable sources, actual happenings etc. Its purpose is to present a
balanced recorded truthful account of something or someone.
 Feature: Feature is a hybrid form which combines studio material with actuality. There
is scope in a feature for imaginative treatment of facts or even abstract concepts. For
example, an imaginary conversation in heaven between Mahatma Gandhi and Pt.
Nehru on what is happening in India today could form the subject matter of a feature.
 Radio Magazines: A Radio Magazine is a periodical compilation based on 'good
material chosen and skillfully assembled in the right order'. It is a distinct entity made
up of "bits and pieces" each complete in itself. The magazine may comprise various
items in different formats including a review, an eyewitness account or dispatch from
the field, a report, an interview, a talk, a short discussion or a news summary.

43