Solved sample paper

APPLICATION ORIENTED COURSE IN

WRITING FOR RADIO
AWR 1 (E) AND BEGA 102

1. Trace the history of radio in the west and in India. (10)

Answer- Radio Broadcasting was pioneered in India by the Madras Presidency Club Radio in
1924. The Club worked a broadcasting service for three years, but owing to financial difficulties
gave it up in 1927.

In the same year (1927) some enterprising businessmen in Bombay started the Indian
Broadcasting Company with stations at Bombay and Calcutta. This company failed in 1930, in
1932 the Government of India took over broadcasting. A separate depart​ment known as Indian
Broadcasting Service was opened.

The Service was later designated ‘All India Radio’ (AIR) and was placed under a separate
Ministry-the Ministry of Information and Broadcasting. The AIR is controlled by a Director
General, who is assisted by several Deputy Directors and a Chief Engineer.

Starting with 6 broadcasting stations in 1947, the AIR today has a network of 82 broadcasting
stations. The 82 radio stations, grouped into five zones, are the following: North Zone: Ajmer,
Allahabad, Aligarh, Bikancr, Delhi, Gorakhpur, Jaipur, Jodhpur, Jullundur, Lucknow, Mathura,
Rampur, Simla, Udaipur and Varanasi: East Zone: Agartala, Aizawl, Bhagalpur, Calcutta,
Cuttack, Dibrugarh. Gauhati, Imphal, Jeypore, Kohima, Kurseong, Ranchi, Pasighat, Patna,
Sambalpur, Shillong, Silchar, Siliguri, Tawang and Tezu ; West Zone : Ahmedabad, Bhopal,
Bhuj, Bombay, Gwalior, Indore. Jabalpur, Nagpur, Panaji, Parbani, Pune, Raipur, Rajkot and
Sangli; South Zone: Alleppey, Bangalore, Bhadravati, Calicut, Coimbatore, Cuddapah, Dharwar;
Gulbarga, Hyderabad, Madras, Mysore, Pondicherry, Port Blair, Tiruchirappalli, Tirunelveli,
Trichur, Trivandrum. Vijayawada and Vishakhapatnam; and Kashmir Zone: Jammu, Leh and
Srinagar.

In addition, there are three auxiliary studio centers at Vado- dara, Darbhanga and Shantiniketan
and two Vividh Bharati/commercial centers, one at Chandigarh and the other at Kanpur. These
cover all the important cultural and linguistic regions of the country.

The expansion of the broadcasting facility remained limited till independence. In 1947 there
were only six radio stations in the coun​try. Today there are as many as 82 AIR stations. With
two more stations that will start working soon, India’s broadcasting network would cover 89 per
cent of the population.
Till the end of 1976 radio licenses had reached a colossal figure of nearly 1.74 crores, which
fetched revenue of Rs. 23.51 crores. Today the radio net​work has spread to the remote corners
of India. It is now possible to bring sense of unity not only political but also cultural among the
diverse traditions that enrich our land.

AIR’s programme pattern combines three main elements: a national channel providing
programmes of countrywide interest and significance, a zonal service from each of the four
metropo​litan centers (Delhi, Bombay, Calcutta and Madras); and regional services from
individual stations each catering to the needs and interests of its respective area.

2. What are some basic guidelines for writing for the radio? Discuss in details. (10)
Answer- Radio is a fast, easy media that targets everyone, from highly educated people to less
knowledgeable ones. The writing must therefore be short, simple, in present tense... easy to
listen to and to memorize.

The first rule is to properly understand what you're writing about. If you fail to do so, you will
write badly. Understanding is the key to explaining, and the basis to the informal contract
between a journalist and his audience.

BEGIN WITH THE FRESHEST NEWS

Your audience is tuning into the broadcast to know what’s happening. Each of your scripts must
therefore start with the freshest news.

HOOK YOUR AUDIENCE

Not only does the first sentence contain the freshest news, it must also catch the attention of the
listener. See that your writing is catchy, particularly at the beginning of each piece of news. If
the listener is intrigued, he will keep on listening.

USE THE PRESENT TENSE

You have to describe events that only just happened or are currently happening. The present
tense is the tense to use : it fits with the treatment of the news.

WRITE SHORT SENTENCES

News is oftentimes complex. Your listeners can’t rewind, they must understand straight away.
Keep your sentences short and simple : subject/verb/object. A sentence can only carry one
idea. Avoid subordinate clauses: end the sentence and start a new one instead.

BE PRECISE
Your scripts must be short, every word counts. Choose your words, especially your verbs,
wisely.Your scripts must be short: every word counts. Try to avoid “be” and “have”, as they are
overly vague.
STICK TO THE FACTS, AVOID COMMENTING
You are not on air to give out your opinion. Just describe the news and let your listeners make
their mind up freely.

SPEAK BEFORE YOU WRITE

A news bulletin is an oral exercise. The anchor reads out the news. Whisper your script as you
write it. If you have trouble reading a word, change it : it might just happen to you again, this
time on air. If the result does not please you, rewrite the script.

SPEAK TO YOUR AUDIENCE

You’re writing your news alone. When talking into the mic, you have no direct contact with the
listeners. Still, always try picturing them. Are they going to understand ? Try picturing yourself
talking to someone. If you write this way, your audience will feel as though you’re talking to them
and will keep on listening.

DESCRIBE THE NEWS

Radio appeals to the ear. A well-written script creates perfect mental pictures in the mind of the
listener. To get this result, use descriptive writing. So as to be sure not to forget anything about
a news item, use the 5 Ws. And to describe it, think of the five senses: news get to us through
our senses. Let your listeners see, touch, hear, feel and taste the news.

3. How are Public Service Announcements different from commercial advertisements?

Explain
Answer- Public service announcements (PSAs) are primarily designed to inform and educate
rather than sell a product or service. PSAs set about to change public opinion and raise
awareness on important issues while disseminating information quickly and efficiently.

Also known as public service ads, examples of issues covered in these announcements include
drinking and driving, texting and driving, drug addiction, and safe sex. PSAs are found
anywhere traditional ads can be seen, including on television and radio, outdoor and online
media, direct mail, and in print.

The most common topics of PSAs are health and safety, such as the multimedia Emergency
Preparedness & Safety Tips On Air and Online (talk radio/blog) campaign. A typical PSA is part
of a public awareness campaign to inform or educate the public about an issue such as obesity
or compulsive gambling. The range of possible topics has expanded over time.[citation needed]

From time to time a charitable organization enlists the support of a celebrity for a PSA;
examples include actress Kathryn Erbe telling people to be green and Crips gang leader
Stanley Williams speaking from prison to urge youth not to join gangs. Some PSAs tell people to
adopt animals instead of buying them. Protecting our Earth, also known as being green, is
another example of a current PSA topic.

Some television shows featuring very special episodes made PSAs after the episodes. For
example, Law & Order: Special Victims Unit talked about child abduction in one episode, so it
had a PSA about child abduction. Another example is when the original Law & Order did an
episode about drunk driving, which had a PSA about drunk driving.

Some types of commercial advertising are radio ads, Internet ads, and television ads. Radio
shows often profit by allowing companies to air brief commercials. Internet ads like banners,
online video commercials, and text ads are also commonplace and a popular method of
reaching potential customers. Television commercials and product placement are other ways of
advertising a product or service.

Lastly, there are print advertisements, which usually consist of displaying ads in newspapers
and magazines.

Radio adverts play between music or talk shows, and they are usually shorter or around the
same length as television ads. Sometimes companies pay the hosts of the show to endorse the
product too. Many radio hosts are upfront when they are pushing a product, while others never
let on that they were paid to say they like or use the product.

4. Describe the different types of interviews and how to conduct them. (10)
Answer- Interview is conducted not only for selecting an employee; it is even conducted for
placement, counselling, separation, disciplinary action and even for admitting students for
higher learning.

The interviews are of many types, as for instance (1) Informal, conversational type,
(2) General interview guide (3) Standardised open ended interview (4) Closed fixed response.

Informal conversational type interviews - ​In the informal conversational interview, as is

implied, the respondents are identified and are involved in a pleasant conversation. This
conversation is with a specific
research purpose that has been already determined. In the pleasant conversation, the
interviewer talks in general, gets acquainted with respondents, after which the purpose of the
research study is put across to the respondents and they are told what is expected of this study
and how important the respondent and his responses are for the research. Thus from a general
approach the researcher moves on to the specific purpose. There are no predetermined
questions, and the researcher indicates clearly that any answer the interviewee provides should
be stated without hesitation as there is no right or wrong answers. During the interview the
interviewer “goes with the flow” of what the respondent tells.
General Interview Guide - I​ n this, every effort is put in to ensure that no important points are
left out and the manner in which the questions should be asked and the sequences are kept up.
This general interview guide also helps in conducting the interview to get information from all the
respondents, on all the items that have to be covered. The interview guide thus provides the
needed focus to the conversational approach and at the same time gives enough freedom to the
interviewer and the respondent.

Standardised, Open Ended Interview - T ​ his type of interviews gives considerable scope for
the respondent to answer fairly in detail his own ideas and opinions on the particular topic
instead of answering or tick marking the answers only. These open ended questions are also
uniformly put to all the respondents selected for the study. It not only elicits a variety of
responses but also makes the research much more rich in contents.

Closed, Fixed-response Interview - I​ n this the answers are provided to all the questions, and
the respondents are required to select from within them, that response which is most applicable
to them. Thus all respondents will choose answers from amongst the same set of alternatives.
This format is useful where the questions could have clear cut answers and they can be
categorised meaningfully into 7 to 10 categories or less, and the respondents, except a few
would find their answers within those categories and tick mark the same. Such responses are
easy to score code and analyse, as compared to the responses obtained in the open ended
interview. This is so because, the responses in the open ended questions may be so many that
the researcher will have to scrutinise all the responses and categorise them after the entire data
have been collected.

Telephone Interview - A ​ nother type of interview is the Telephone Interview, in which the
researcher gathers information rapidly through telephone. Though these interviews do help to
establish
a kind of rapport with the person at the other end of the telephone, yet many respondents may
just refuse to answer and may put down the phone. At the same time, there is a personal touch
which can be transmitted to the respondent. Furthermore the telephone interviews have to be
necessarily short as no one would like to answer a large number of questions. There are varying
points of view regarding the advisability and utility of using the telephone to conduct research
interviews. The potential benefits associated with using telephone interviews as a mechanism of
data collection include:
a) using economic and human resources efficiently,
b) minimizing disadvantages associated with in-person interviewing,
c) developing positive relationships between researchers and participants, and
d) improving quality of data collection.

The potential challenges to telephone interviewing include:

a) maintaining participant involvement,
b) maintaining clear communication,
c) communicating with participants who offer extraneous information,
d) encountering participants with health concerns, and
e) communicating with a third party.

Telephone interviewing can be an effective method of data collection when interviewers

understand the potential benefits as well as challenges. We offer solutions to the identified
challenges and make pragmatic recommendations to enhance researcher success based on
the current literature and our research practice. Supportive training for interviewers, effective
communication between interviewers and with research participants, and standardised
telephone follow-up procedures are needed to ensure successful telephone data collection. We
have found our ‘Manual of Operations’ to be an effective tool that assists research assistants to
meet the requirements for successful telephone interviewing.

​ tudies by Kahn and Cannell (1961), Maccoby and Maccoby (1954) can
Validity of Interview - S
be mentioned in this connection. There have been found inaccuracies in respondents versions
during interviews when compared with the information obtained by other means. In the case of
self reports also similar inaccuracies have been found, particularly when the questions are
asked about the sexual behaviour. Kanfer and Phillips (1970) who have discussed the
methodological problems in using a few persons self-report as an indicator of his actual
experience concluded that, when a person describes his experiences or his internal states in an
interview, care must be taken to recognise this behaviour as response that is under the control
of both-person’s history and the interview situation and not to accept it as a true record of past
or internal events.

As mentioned by Patterson (1968), the interview is thus not such a measurement device which
gives very accurate results. It is fallible and subject to substantial sources of error and bias. But
we cannot discard the interview as a means of collecting information. It has great value and has
its own advantages. Our effort should be to learn more about the sources of interview bias and
influence. We must learn methods to eliminate them or accounting for them.(S.S. Mathur 1985).
The interview’s validity depends on how much the clinician is trained to obtain the information
he wants from the client side.

5. Write Public Service Announcements on all three of the following:

a) Do not use mobiles while driving
Answer- Everyday people die in car accidents because they use cell phones while driving.
According to research cell phones are leading factors that cause accidents. Studies show that a
cell phone put drivers at a four time greater risk of a crush. Despite of a danger, people still use
cell phones because they want to be always available and keep in touch with other people.
Also, they think that hand-free set is safe because they can drive using two hands. Moreover,
they use arguments that cell phones are necessary in emergency situations. Although some
people support using cell phones while driving, there are evidences that they are dangerous and
people should avoid talking while driving.
Opponents whose work depends on a cell phone like lawyers or businessmen say that they
always have to be available to answer the phone to keep their business running. However,
because of their habits, they can create dangerous and hazardous situations like a collision or
an accident. Business issues can be stressful and dangerous while driving because it can cause
emotional reactions that can lead to tragedy. Because of the conversation they might get upset
and this can lower their driving ability that can lead to lose control over the car. So if people
don't make a decision to put away their cell phones their routine can harm innocent people.

b) Organ donation
Answer- Organ transplantation gives thousands of children and adults each year a renewed
chance at living full and active lives. However, the need for organs and tissue outweighs their
availability.

Committing to be an organ donor is a generous decision that can save the lives of up to eight
individuals, and even more if a donor can give corneas and tissue. Almost anyone, regardless of
age, race or gender, can become an organ and tissue donor, and there are no costs to the
person’s family or estate.

c) Don’t drink and drive(5x3=15)

Answer- Through the years, drunk driving has killed pedestrians, other drivers, passengers,
and the drunk drivers themselves. In short, drunk driving puts many people at risk. Fortunately,
there are several ways that a person can go out and enjoy some alcoholic drinks without getting
behind the wheel. The following is a list of smart alternatives to drinking and driving:

● An intoxicated person can call a taxi or ask a friend or bartender to call one in order to
get home.

● A group of friends going out for a few drinks can designate a sober driver for the
evening. Friends can trade off this responsibility each evening they go out.

● If someone is attending an occasion where there will be drinking, he or she can make a
reservation at a hotel that is within walking distance of the club or bar.

● A person can call a roommate or friend (who stayed at home instead of going out to the
party) for a ride.

● If someone is drinking at a house party, he or she can sleep at the house.

6. Write a radio script for discussion ​on any one​ of the following:
a) Social media: A blessing or curse?
Answer- When the internet was created, perhaps no one was aware of its potential. It was just
a convenience for sharing of information across some computers. Starting from ARPANET in
1960, passing through TCP/IP technology, today there is a social media system which brings us
so close that as if time and distance stand reduced almost to zero. All of us who are on social
media are from different parts of the globe, perhaps from places which we may not see during
our lifetime, yet we are Facebooked, Twittered, Linkined, WhatsApped, and so on.

Social media has brought the world so close that political and geographical boundaries are
crumbling. Time may come when netizenship may surpass citizenship. The more
people-to-people communication is, the more is the strengthening of relationships. This is the
basic principle of the political concept of nation-building. In an information society, bonds grow
stronger. We are now heading towards a world-order of Net-state or states. In between, an
ominous development of misuse of social media has cropped up.

A serious problem is that the spread of misinformation can severely impact the decision-making
process. This is because we are closer in the virtual world but far away in the physical world. It
was way back in 1993, a cartoon appeared in the New Yorker with the caption, “On the internet,
nobody knows you’re a dog”. Digital culture has become so widespread that whatever appears
on the Net, is readily accepted. Cross-check is almost nil. It is a dangerous trend. The children
today believe more in the popular search engine than anything else. That is why fake news
goes viral almost instantly through social media forwards. It has a cascading effect. Not only the
problem is of magnitude but also in not being able to find its source also.

There have been stray incidents of online crimes from time to time. However, recently released
Mueller report in the USA has come as a bombshell. It is not yet clear up to what extent there
was Trump-Putin nexus, but this is also not the concern of e-media sociologists. The main
concern is how the democratic process could be influenced at such a mass scale. The report
reveals the modus operandi of remote-controlled information warfare. This shows that the
democratic process can be overturned through social media. A too dangerous development to
be ignored.

In India, general elections are in progress. They are being conducted in phases because of the
vastness of the area and high population density in some parts. Every political party is using
social media to spread information on its policies and programs. It will be unfortunate if it, later
on, turns out to be remotely controlled misinformation campaign. The worrying aspect is that if in
a mature democracy like the USA, people can be misled, it is relatively easy in younger
democracy like India.

The point which is quite clear is that social media misinformation can overturn a democratic
process. It is antithetical to human rights for which the UNO stands for.

Presently the internet and its allied subjects are regulated by ICANN. It is an agency within the
USA. There is a need for placing it in the hands of a broad-based agency like UNO or one of its
affiliated bodies. A suggestion is in circulation that the internet should be placed under the
supervision of IMF but at the same time, there is an apprehension that disturbing the status quo
may result in fragmentation of the existing system. USA, EU and China may split apart. Maybe.
But misinformation warfare is dangerous than conventional warfare. It has the potential to create
a slow-paced disaster.

Does this proposal fit into the existing international framework? Article 1 of the UN charter sets
out four purposes for the creation of the UNO. Disruptive use of social media fits into Article 1,
particularly, third purpose, namely, “To achieve international cooperation in solving international
problems of an economic, social, cultural, or humanitarian character, and in promoting and
encouraging respect for human rights and for fundamental freedoms for all …”. The proposal fits
at least into this particular provision.

Social media is an important tool put into the hands of an ordinary person. He or she can
express views without going to conventional means of mass communication like TV, radio, etc.
Of all the creatures, only human beings have the faculty of expressing themselves through
language, written or spoken. It is for this purpose, freedom of speech is the most basic rights
protected in all democratic setup. But at the same time, it should not eat away other rights
through the spread of misinformation. A coordinated regulation is necessary so that it is put to
good use, not the bad.

7. Script a radio play based on one of the following proverbs:

a) You reap what you sow
b) Waste not, want not
c) All’s well that ends well.
Your target listeners are children between 12-14 years of age. (15)
Answer- Once there lived a slave called Androcles who was yearning to be set free by his
master since he was treating him badly. So Androcles hatched a plan and escaped into a
nearby forest. After he had traveled a while Androcles suddenly heard a roar behind him and
found a lion standing close by. He was sure the lion was going to kill him. But instead the lion
slowly limped towards him and held out its paw. There was a thorn stuck to its paw and there
was a lot of blood oozing out.

Androcles removed the thorn and the lion walked away peacefully into the forest. After a few
days Androcles was captured by his master who was so angry that he had run away. The
master decided to throw Androcles to a lion. This was a common practice in ancient Greece
where the slaves were often thrown into an arena to fight a starving lion.

The next day a huge crowd had gathered to watch the fight. The King was also present. A lion
that had been starved for a number of days was brought into the arena in a cage. As soon as
Androcles was brought in, the guards let the lion out of the cage. Androcles was trembling in
fear as the lion rushed at him with great rage. Much to the astonishment of the crowd the lion
suddenly stopped in its path looked intently at Androcles and then went and lay down near his
feet. Androcles was delighted as he realized that it was the same lion that he had helped in the
forest. He hugged the lion as the entire arena watched in stunned silence. The King was
overjoyed at seeing such a brave act and permitted Androcles to be freed. When he entered the
arena, Androcles thought that he was a dead man but the turn of events ensured the opposite
his freedom.
All is well that ends well.

8. The following poem has to be taught to students of class X. Write a script for the radio,
inserting sound effects, music and narration:-

Ode on Solitude
Alexander Pope
Happy the man, whose wish and care
A few paternal acres bound,
Content to breathe his native air,
In his own ground.
Whose herds with milk, whose fields with bread,
Whose flocks supply him with attire,
Whose trees in summer yield him shade,
In winter fire.
Blest! Who can unconcern’dly find
Hours, days, and years slide soft away,
In health of body, peace of mind,
Quiet by day,
Sound sleep by night; study and ease
Together mix’d; sweet recreation,
And innocence, which most does please,
With meditation.
Thus let me live, unseen, unknown;
Thus unlamented let me die;
Steal from the world, and not a stone
Tell where I lie.

Answer- Hello, this is RJ …. and today evening I have a ghost story for the audience. listen
now.

Narrator:- "Ode on Solitude" is a poem by Alexander Pope, written when he was twelve years
old, and widely included in anthologies. This poem was written when Alexander Pope was about
twelve years of age. It is his earliest poem which still survives. Surprisingly, it's actually quite
good. It is written in ABAB throughout it, like most of Pope's other works. In this writing, Pope is
basically saying that he likes being alone. He can do many things, like study, sleep, and have
other unmentionable fun. It's as if he longs for it and wishes to spend the rest of his life alone as
well as his death. In this instance, the title is quite telling. "Ode On Solitude". He is definitely
praising it.

With the poem having a title ‘Ode on Solitude’, or uses words such as “commentary,” the reader
is typically given a pretty good idea of what the poem is about early on. Of course, it would be
far too simple an analysis to say that Alexander Pope’s oldest surviving poem, Ode on Solitude,
is simply “about solitude,” but it does provide a solid starting point from which to analyse the
poem. Clearly, when Pope wrote his work, he had the idea of solitude in mind, as do a great
many poets who express themselves best through the written word, and perhaps less so in the
company of others. Solitude itself is an important thing to attain from time to time, and perhaps it
makes sense to think of one of Pope’s oldest poems as being about a very basic human desire.

This first verse of Ode on Solitude begins the analogy that will carry through the poem, seen
through the life of an anonymous man who is described as being an ideal for happiness. His
deepest desires, the narrator notes, extends a few acres of his own land, where he is content to
live and work. The inclusion of the word “parental” suggests that the land belongs to this man by
inheritance, and therefore belongs solely to him. “Content to breathe his native air” could also
be a commentary on being happy with what a person has, rather than constantly wishing for
more (although this might not have been quite as significant an idea in 1700, when the poem
was written, as it may be interpreted today).

considered this farmer blessed! Time almost doesn’t have meaning for this man; his world
provides for all of his needs. Hours go by, days go by, years go by, and everything remains the
same. The health the man is in at the beginning of this cycle is the health he remains in when it
is finished. Peace of mind is normal for him — what is there to trouble him? It seems as though,
in a world of peace and quiet, there is absolutely nothing that could disrupt the life of this farmer,
and the narrator sees that as a high blessing.
 APPLICATION ORIENTED COURSE IN WRITING FOR RADIO
AWR 1 (E) AND BEGA – 102

1. Describe the principles of and processes involved in news scripting for the broadcast media.

Or

Write a detailed note on the genesis of radio in India. (10)

Ans. History of Indian Radio is the history of radio broadcast that started in India with the setting up of a
private radio service in Chennai, in the year 1924. In that same year, British government gave license to
the Indian Broadcasting Company, to launch Radio stations in Mumbai and Kolkata. Later as the
company became bankrupt, the government took possession of the transmitters and began its
operations as the Indian State Broadcasting Corporation. In the year 1936, it was renamed All India
Radio (AIR) and the Department of Communications managed it entirely. After independence, All India
Radio was converted into a separate Department. All India Radio has five regional headquarters in New
Delhi, for the North Zone; in Kolkata, for the East Zone; in Guwahati, for the North-East Zone,
in Mumbai, for the West Zone; and in Chennai, for the South Zone.

In the year 1957, All India Radio was renamed Akashvani, which is controlled by the Ministry of
Information and Broadcasting. During the period of independence only a mere 6 radio stations existed
through out the country. But during the late 1990s, the network of All India Radio extended to almost
146 AM stations. Moreover the Integrated North-East Service focused on reaching to the population in
northeast India. All India Radio offers programmes in English, Hindi and numerous regional and local
languages. In the year 1967, Commercial Radio services started in India. The initiative was taken
by Vividh Bharati and Commercial Service, from the headquarters in Mumbai. Vividh Bharati
accumulated revenues from widespread sponsorships and advertisements. During the mid-1990s,
broadcasting was carried on from 31 AM and FM stations.

By 1994, there were around 85 FM stations and 73 short wave stations that linked the whole nation. The
broadcasting technology in India is basically indigenous and reaches far and wide to various listeners like
farmers who require various updated information on agriculture. Between 1970 and 1994, the amount
of radio receivers increased manifold, almost five times. From the initial 14 million, the number
increased to a staggering 65 million. The broadcast services from foreign countries are provided by the
External Services Division of All India Radio. Almost 70 hours of news, entertainment programmes were
broadcasted in 1994 in various languages with the help of 32 shortwave transmitters.

After Independence, Indian radio was regarded as a vital medium of networking and communication,
mainly because of the lack of any other mediums. All the major national affairs and social events were
transmitted through radio. Indian radio played a significant role in social integration of the entire nation.
All India Radio mainly focused on development of a national consciousness as well as over all National
integration. Programming was organised and created keeping in mind the solitary purpose of national
political integration. This supported in prevailing over the imperative crisis of political instability, which
was created after the Independence. Thus political enhancement and progressive nation building efforts
were aided by the transmission of planned broadcasts.

All India Radio also provided assistance in enhancing the economic condition of the country. Indian radio
was particularly designed and programmed to provide support to the procedure of social improvement,
which was a vital pre-requisite of economic enhancement. The leading development beliefs of the time
analysed the problems and hindrances in development as the primary ones in the developing nations.
The function of broadcasting paved a way for the surge of modern concepts. Later, with the
modernisation of the country, television was introduced and broadcasting achieved new status. But by
then, radio had become a veteran medium in India. Diverse programmes including entertainment and
melodious songs were also transmitted nationwide. Akashvani or All India Radio still stands as one of the
biggest radio networks around the globe.

2. Radio has devices to compensate for the lack of visuals. What are the devices? Describe them in
details.

Or

What are some general rules to be followed by writers while scripting for radio broadcast? (10)

Ans.

Keep it short and simple

Radio journalists need to be able to pick the best, most newsworthy audio clips, and write clear and
informative scripts that introduce the material they have collected.
The script is what makes sense of the sounds. It is the framework for your story. It brings together the
most important elements, and helps your audience understand the significance of the points made by
the people you have interviewed.
It’s not just about sounds; it’s about words, too.
The script should be written in simple, short sentences. Try to use everyday language and terms your
audience will understand. It should not contain any complicated concepts that could confuse and
distract.

Use the script to introduce the audio

The script should offer the audience introductions to the audio you are including. It should tell the
listener what’s coming up without repeating the words they are about to hear. Don’t summarise too
much; you should not take away from the power of the clips in your piece.

Grab the attention of the audience

You are crafting a tease to material that is designed to make people stop and listen. The language should
be in the active tense. The most important information must feature in the first few sentences.
However, the quality should be consistent throughout, and the script must not tail off at the end.

Your opinions don’t matter

Your script should be factual, without comment or descriptive words. Don’t try to attract listeners by
including your own emotions. That’s not your job. Those who listen to your radio package will make
their own decisions about the power of the information you are broadcasting.

Deliver a complete and fair report

Your script should weave together all the elements you have gathered for your story without suggesting
that any one is more important than the other; that’s for the audience to decide, not you. You have a
responsibility to set out the information in a way that doesn’t lead or mislead.

Scripting before interviewing

Some journalists choose to draft a script before they have conducted the interview. That’s fine as long
as the journalist retains an open mind and does not orchestrate or stage-manage the interviews to fit
into the structure they have planned.

Scripting after interviewing

Some journalists prefer to listen to the material before they write their script. This approach can lead to
a fresher sounding piece. However, it can also lead to confusion if you have too much material and no
idea how it is going to be edited and scripted together.

Fact-checking
Check every fact that you are including in your script. Also check what has been said by those you have
interviewed. Just because somebody seems to know what they are talking about doesn't mean that they
are telling you the truth. Decide whether your fact-checking has raised any issues that need to be
covered in the script.

Editorial ethics
Check your script against the editorial ethics of objectivity, impartiality and fairness. Do not give undue
weight to one point of view. Most of the people you interview will have strong points of view – you
wouldn’t be interviewing them if that were not the case. However, your script needs to be fair to all.

The beginning
Start the script by addressing the main point made in your introduction. Later in the script you can add
context and analysis to try to help the audience understand the issues raised by those you are
interviewing. But start with a crisp and sharp introduction that highlights the main points.
The ending
Always end your script with a fact and not a vague line such as "we will have to wait to see". Your
audience wants information, not clichés. Consider asking your interviewees what’s likely to happen next
and summarise their expectations in your last paragraph.

3. Define Commentary and explain the basic guidelines for scripting a commentary.

Ans. Commentary is defined by The American Century Dictionary as "1) descriptive account of an event
or performance as it happens or 2) explanatory notes". Although when I use the word commentary, I
mean written comments about the paper by a teacher, tutor, or Writing Fellow to help create a better
writer (and hopefully better writing as well); both of the definitions presented in the dictionary help to
explain commentary. Writing is an on-going process, usually stopped only by a deadline. Commentary,
especially from a Fellow or tutor, is a "descriptive account" of where the reader is in the writing "as it
happens". Commentary can also be explanatory notes; commentary explains where the reader (i.e.
tutor, Fellow, or teacher) became confused or required more proof to convince him or her.

Commentary is more that scribbled notes in red pen or a note at the end of a paper written by a teacher
to prove he or she read the whole paper. Commentary is a dialogue with the reader on paper. There are
two types of commentary (directive and facilitative) as well as many ways to approach writing
commentary. With time and practice your own style will develop; however, this website will give
explanations about commentary, including: definition and example of end comments, examples of
commentary, reflections on commentary, my personal struggles with commentary, dos and don'ts of
commentary, and commentary techniques. This site will also refer you to other sources to learn more
about commentary and the theory surrounding it.

The goal of publishing commentaries is to advance the research field by providing a forum for varying
perspectives on a certain topic under consideration in the journal. The author of a commentary probably
has in-depth knowledge of the topic and is eager to present a new and/or unique viewpoint on existing
problems, fundamental concepts, or prevalent notions, or wants to discuss the implications of a newly
implemented innovation. A commentary may also draw attention to current advances and speculate on
future directions of a certain topic, and may include original data as well as state a personal opinion.
While a commentary may be critical of an article published in the journal, it is important to maintain a
respectful tone that is critical of ideas or conclusions but not of authors.
In summary, a commentary may be:

1. A critical challenge to one or more aspects of the focal article, arguing for a position other than
that taken in the focal article.
2. An elaboration or extension of the position taken in the focal article, basically sympathetic to
the position taken in the focal article but pushing the argument further.
3. An application of a theoretical or methodological perspective that sheds light on the issues
addressed in the focal article.
4. A reflection on the writer's experiences in applying the issues addressed in the focal article, in
particular health and well-being settings.
 5. A comment on the applicability of the issues raised in the focal article to other settings, or to
other cultures.

How to write a commentary

Commentaries in International Journal of Qualitative Studies on Health and Well-being should not
exceed 10 manuscript pages. A tightly argued four- to six-page commentary is likely to be better
received than a meandering 10-page ditto. Use these simple guidelines:

 Do not summarize the focal article; just give the reference. Assume the reader has just read it.
Move directly to identifying the key issues you want to raise.
 Do not include general praise for the focal article.
 Use only essential citations. For commentary purposes, cite only works absolutely essential to
support your point.
 Use a short title that emphasizes your key message. (It should be clear in context that all
commentaries are a reaction to a particular paper).
 Do not include an abstract.
 Make clear your take-home message.
 Make sure there is full author information (name, affiliation, address, phone, email) for all
authors. Authors must be individuals.

Review process
Commentaries will be peer reviewed and most likely accepted if they are in line with the definitions and
guidelines outlined. A small set of reviewers will read and evaluate all commentaries as they need to
compare commentaries for issues of redundancy and to make evaluations of relative merit.
Queries for the editor
Authors should feel free to correspond with the chief editor prior to submitting a commentary if there
are questions about any aspect of the evaluation and publication process. Authors may prepare a brief
outline of the key points they desire to present in the commentary and send it to the chief editor.

Or

What are the various genres of radio? Explain all of them in details. (10)

4. Describe the use of radio features, radio plays and radio adaptation in the service of NFE
programmes.

Ans. Radio drama (or audio drama, audio play, radio play, radio theater, or audio theater) is a
dramatized, purely acoustic performance, broadcast on radio. With no visual component,
radio drama depends on dialogue, music and sound effects to help the listener imagine the characters
and story: "It is auditory in the physical dimension but equally powerful as a visual force in the
psychological dimension."
Radio drama achieved widespread popularity within a decade of its initial development in the 1920s. By
the 1940s, it was a leading international popular entertainment. With the advent of television in the
1950s, however, radio drama lost some of its popularity, and in some countries has never regained large
audiences. However, recordings of OTR (old-time radio) survive today in the audio archives of collectors
and museums, as well as several online sites such as Internet Archive.
As of 2011, radio drama has a minimal presence on terrestrial radio in the United States. Much of
American radio drama is restricted to rebroadcasts or podcasts of programs from previous decades.
However, other nations still have thriving traditions of radio drama. In the United Kingdom, for example,
the BBC produces and broadcasts hundreds of new radio plays each year on Radio 3, Radio 4, and Radio
4 Extra. Like the USA, Australia ABC has abandoned broadcasting drama but New Zealand RNZ continues
to promote and broadcast a variety of drama on its airways. Podcasting has also offered the means of
creating new radio dramas, in addition to the distribution of vintage programs.
Thanks to advances in digital recording and Internet distribution, radio drama was experiencing a revival
in 2010
The terms "audio drama" or "audio theatre" are sometimes used synonymously with "radio drama";
however, audio drama or audio theatre may not necessarily be intended specifically for broadcast on
radio. Audio drama can also be found on CDs, cassette tapes, podcasts, webcasts as well as broadcast
radio.

Or

Which are the special groups that radio caters to ? Write a detailed note on all of them. (10)

5. Write radio advertisements on three of the following:

a) A new brand of coffee

Ans. Radio advertising is a powerful way of reaching consumers in your local area or even on a national
level. Even though 30 seconds might not seem like much time to get a marketing message across to a
listening audience, this format can be used with success. There are a few things you need to include in
this brief ad spot to make sure that it is as effective as possible.

Mention the Product

The product should be introduced immediately at the beginning of the radio commercial. Ideally, it
should begin with creating or identifying a need. For example, if you are selling a headache remedy,
your 30-second radio spot could start with, "Do you suffer from crippling headaches? Headache Away is
the solution you've been looking for." With this strategy, you have managed to introduce the need and
the product within the first 10 seconds of the ad. The beginning of the ad always should grab the
listener's attention by offering to solve a problem. This helps the listener pay attention to the rest of the
message.
Discuss Its Benefits

Now that you have your listening audience's attention, it is time to quickly discuss the benefits that your
product has to offer. Focus on the main benefits to consolidate what you have to say. You don't want to
rush through your ad and have the information come out jumbled. You could say, "Headache Away has
been a proven solution for tension, migraine and sinus headaches for 20 years. It even helps ease back,
joint and muscle pain."
Offer an Enticement

After you have told your listening audience what your product does, you need to offer the listener an
enticement. This can be a special offer that is only available to those hearing your 30-second spot on the
radio. For example, "You can try Headache Away today and take advantage of our radio-only special
offer. Get two bottles for the price of one." Make your enticement a powerful incentive and make sure
to remind the listening audience that only they qualify for this special deal.

b) A new multiplex cinema hall

c) A new model of a car

d) A new model of a mobile phone (5x3=15)

The age of the cell phone has created a whole new advertising industry. According to Mashable.com, 90
percent of all Americans own cell phones. In addition, 90 percent of those users read their text
messages within three minutes of receiving them. Ninety-nine percent read all of their messages. This
means your business can reach people who never see your print or media advertising if you know how
to tailor your advertising to mobile users.

Develop a Cell Phone Message

Your regular advertising messages may not do well on cell phones. People who use mobile devices want
messages that are short and to the point. A sentence or two may be all you will get. Concentrate on
making it clear how your message will benefit the cell phone user who is reading it. Don't waste your
time on lengthy descriptions of a product's features or your company's history. Boil down your offer to
its very essence.
Mobile Website

You may want to consider creating a mobile website. This is similar to your regular website, but it is
optimized for cell phones. In other words, mobile users who view your ad on their cell phones can click
on a link to your mobile website and immediately see images and text instead of having to wait for an
old-fashioned website to load. You can create special messages just for your mobile website and even
offer mobile users discounts that other types of customers don't receive.
Flash Sales

Flash sales have become popular with cell phone users. These are extremely short sales you offer to
people who respond quickly. They can last one hour to one day. This gives users the impression that
they are in on something no one else knows about, and it encourages them to respond to your offer. A
flash sale can direct cell phone users to go to a website and order or to visit a brick-and-mortar store
within the allotted time period.
Updates

The word "update" has a very specific meaning for social media users. This is an extremely short
reminder that lists bare essentials of a message. Updates sometimes do not even have verbs. An
example of an update is "Sneakers $49.95. Griswalds." An update supplements and reinforces a
previously sent message, so you should send it to the same people you previously sent your
advertisement to. You can also send updates to followers on social media sites such as Facebook or
Twitter. You may be reluctant to create such a short message because you're used to squeezing in as
many details as possible, but cell phone users appreciate them.
Sound and Video

Music and moving images are much more cell phone-friendly than they used to be. You can add sound
and video that uploads quickly on cell phones to enhance your marketing message. You must make sure
sound and image files are optimized for cell phones before you send them so that mobile users don't
lose patience waiting for them to load.
6. Write a radio script for discussion on any one of the following:

a) Traffic Jams in Cities

Ans. Traffic congestion is a condition on transport networks that occurs as use increases, and is
characterized by slower speeds, longer trip times, and increased vehicular queueing. The most common
example is the physical use of roads by vehicles. When traffic demand is great enough that the
interaction between vehicles slows the speed of the traffic stream, this results in some congestion.

As demand approaches the capacity of a road (or of the intersections along the road), extreme traffic
congestion sets in. When vehicles are fully stopped for periods of time, this is colloquially known as
a traffic jam or traffic snarl-up. Traffic congestion can lead to drivers becoming frustrated and engaging
in road rage.
Mathematically, congestion is usually looked at as the number of vehicles that pass through a point in a
window of time, or a flow. Congestion flow lends itself to principles of fluid dynamics.

b) Demonetization

Denomination is a proper description of a currency amount, usually for coins or banknotes.

Denominations may also be used with other means of payment like gift cards. For example, five euros is
the denomination of a five euro note.

In a currency, there is usually a main unit (base), and a subunit that is a fraction of the main unit. In
some countries, there are multiple levels of subunits. In the former Ottoman Empire, 1 lira = 100 kuruş =
4000 para = 12000 akçe. Today, only a few places have more than one subunit, notably Chinese speaking
regions: the mainland China (renminbi), the Hong Kong (dollar), and Republic of China's (New Taiwan
dollar). In addition, the Jordanian dinaris divided into 10 dirham, 100 qirsh/piastres, or 1000 fils. Many
countries where Western European languages are spoken currently have their main units divided into
100 subunits. Some currencies that previously had subunits no longer do, because inflation has
rendered the subunit useless. A prominent example is the Japanese yen, which was formerly divided
into 100 sen or 1000 rin. Both subunits were demonetized at the end of 1953.[1]
Occasionally, a super unit is used as a multiple of the main unit. Examples include Korean won =
5 yang in 1893, Iranian toman 10 rials (used informally today). In the Ottoman Empire, lira and kuruş
were super units at some point before becoming the main unit.

c) Cyber Crime
Ans. Cyber crime, or computer related crime, is crime that involves a computer and a network. The
computer may have been used in the commission of a crime, or it may be the target. Cybercrimes can be
defined as: "Offences that are committed against individuals or groups of individuals with a criminal
motive to intentionally harm the reputation of the victim or cause physical or mental harm, or loss, to
the victim directly or indirectly, using modern telecommunication networks such as Internet (networks
including but not limited to Chat rooms, emails, notice boards and groups) and mobile phones
(Bluetooth/SMS/MMS)". Cybercrime may threaten a person or a nation's security and financial health.
Issues surrounding these types of crimes have become high-profile, particularly those
surrounding hacking, copyright infringement, unwarranted mass-surveillance, child pornography,
and child grooming. There are also problems of privacy when confidential information is intercepted or
disclosed, lawfully or otherwise. Debarati Halder and K. Jaishankar further define cybercrime from the
perspective of gender and defined 'cybercrime against women' as "Crimes targeted against women with
a motive to intentionally harm the victim psychologically and physically, using modern
telecommunication networks such as internet and mobile phones".Internationally, both governmental
and non-state actors engage in cybercrimes, including espionage, financial theft, and other cross-border
crimes. Activity crossing international borders and involving the interests of at least one nation state is
sometimes referred to as cyberwarfare.
A report (sponsored by McAfee) estimates that the annual damage to the global economy is at $445
billion; however, a Microsoft report shows that such survey-based estimates are "hopelessly flawed"
and exaggerate the true losses by orders of magnitude. Approximately $1.5 billion was lost in 2012 to
online credit and debit card fraud in the US. In 2016, a study by Juniper Research estimated that the
costs of cybercrime could be as high as 2.1 trillion by 2019.

7. Script a radio play based on one of the following:

a) National Integration

b) Honesty is the Best Policy (15)

Ans. Once upon a time there lived a king who had grown very old.The king had three sons,now he was
worried that which of his sons should be his successor.It was very difficult for him to choose the next
king among his three sons because he loved them all.
One day a thought came to his mind, he called his sons and said to them,"I am giving each of you one
seed,that you will plant in a pot,aftersometime I will see that whose plant is the best,the one who will
have the most beautiful plant will be the next king".He gave each of them a seed .All his sons went back
and planted the seed in the pot.
After few months, two brothers had beautiful plants in their pots with lovely flowers and green
leaves,except the youngest one, his pot was plant less although he cared for his seed and pot very well
but no plant grew in his pot.When he saw his brothers' plants he became very sad and worried that
what would he show to his father. One day the king called all the brothers to show their plants to him.
"Look father how beautiful our plants are". Said the sons who had plants in their pots.
King asked the youngest son," Where is your plant?Your pot is empty.", son replied,"My dear father, I
am really sorry, I tried my best but no plant grew in my pot".
"No! you should not be sorry" said the king,"because the seeds I gave to you and your brothers were
dead and useless, no plant could be grown with the help of those seeds.Your brothers lied to me.When
they saw that their plants were not growing, they planted other seeds in their pots.The plants they have
are from other seeds. But you were honestand told me the truth, and one of the most important
qualities of a king is that he should be honest. So my dear son, you will be the next king".

8. The following poem has to be taught to students of class VIII. Write a script for the radio, inserting
sound effects, music and narration:

The Seven Ages of Man — William Shakespeare

All the world’s a stage,

And all the men and women merely players;

They have their exits and their entrances,

And one man in his time plays many parts,

His acts being seven ages.

At first the infant, Mewling and puking in the nurse’s arms;

And then the whining schoolboy,

with his satchel And shining morning face,

creeping like snail Unwillingly to school.

And then the lover, Sighing like furnace,

with a woeful ballad Made to his mistress’ eyebrow.

Then a soldier, Full of strange oaths,

and bearded like the pard,

Jealous in honor, sudden and quick in quarrel,

Seeking the bubble reputation Even in the cannon’s mouth.

And then the justice, In fair round belly with good capon lined,

With eyes severe and beard of formal cut,

Full of wise saws and modern instances;

And so he plays his part.

The sixth age shifts Into the lean and slippered pantaloon,

With spectacles on nose and pouch on side; His youthful hose,

well saved, a world too wide For his shrunk shank;

an his big manly voice,

Turning again toward childish treble,

pipes And whistles in his sound.

Last scene of all,

That ends this strange eventful history,

Is second childishness and mere oblivion,

Sans teeth, sans eyes, sans taste, sans everything

Ans.

Writing for radio is different than writing for print. You’re writing for the ear, not the eye. Listeners have
to get it the first time around- they can’t go back and hear it again (unlike re-reading a sentence in a
magazine). And while a reader may get up and come back to an article, a radio listener who gets up may
not come back. So you want to grab their attention and hold onto it for as long as possible. Writing
feature stories like the ones aired on B-Side is also different than writing news copy. You can loosen up a
little. You can be more literary, more creative, more personal. This handout is a quick guide to writing a
script for a feature radio story.

Getting Started: Logging Tape

After you’ve finished your reporting, it’s time to log your tape. This means listening to everything you’ve
recorded and writing it up. You should transcribe quotes, note who’s saying what, time how long the
tracks are, and (if you’re using a minidisc) note the track numbers. Highlight or mark tracks you know
you want to come back to. You don’t have to log the tracks you know you won’t use. Example

Choosing Your Acts

After you’ve logged your tape, you should select the tracks you want to use (tracks are also called cuts,
soundbites, or actualities). Cuts generally shouldn’t be longer than 30 seconds- you only have a few
minutes and besides, most radio listeners have short attention spans. (If you have a great long cut, you
can break it up with your narration or edit it down). Don’t just choose cuts purely based on what’s said-
also consider how it’s said. Think about how your cuts will fit into your story structure- do they describe
something, tell a story, make you laugh, make you scratch your head? Your actualities should advance
the story and make it interesting.

Starting to Write
As you start writing your script, you probably already have a good idea what your story’s going to sound
like. You’ve listened to all the clips and ambiance, maybe selected some music. You may have talked
about the story with a friend or editor. Basically, you already have all the elements floating around in
your head. Start writing your script by laying out all your cuts in the order you think you’re going to use
them. Then start writing your narration around them.

Anchor Intros
The place to start is usually the “anchor intro”- this is what the announcer/host will say to introduce
your story. An anchor intro quickly sets up your story and puts it in context, without giving away too
much. It should also introduce you, the reporter/producer.

Telling a Story
As you write your narration, try to tell a story with a beginning, middle, and end. Draw listeners into the
story by setting a scene, raising a question, playing a weird noise, or introducing a character. Use
narrative elements like foreshadowing, suspense, and scene changes to move the story along.

Mix Things Up
Use tracks of varying length. A series of 20-second acts interspersed with 10-second tracks will get
pretty monotonous. And when you wrap up your story, don’t end with an actuality or just a sign off. You
should get the last word, even if it’s just a short sentence.

A few aesthetic considerations to keep in mind as you write your script:

Be conversational
Your narration should sound as natural as possible, like you’re telling a story to a friend. This is not the
same as trying to imitate spontaneous speech. Instead, this means writing in a style that sounds as
relaxed as possible. Use phrases and words you normally use. When you read your narration aloud, do
you sound like yourself?

Be visual
Give your listeners a chance to imagine the people, places and things in your story. Create a sense of
scene; describe people; include interesting sounds. Avoid a story that’s just a series of talking heads or
facts.

Be concise
Long sentences loaded with ten-cent words and relative clauses usually don’t work too well in radio
(but there are exceptions). Mix up your sentence structure. It’s surprisingly easy to fill 3 or 4 minutes of
airtime- so don’t overwrite.

Be energetic
 Use the active voice. Use punchy verbs and contractions. Mind your tenses – don’t switch back and
forth between past and present. Most radio stories are done in present tense. Some exceptions include
commentaries, and news stories about past events.

Be experimental
For variety, stick in a tape-to-tape cut (one actuality leading straight into another without narration in
between). Mix acts and tracks. For example, if someone is droning on and on, you can play them under
your narration- this will convey a sense of them rambling. Even the most straightforward story can have
an unusual or memorable element in it.

Be thoughtful
Try to go beyond just presenting the facts. Let your listeners know why your story matters. Is there a
lesson to be learned, something to be taken away? You don’t have to get too heavy or cerebral- just
take it a step or two beyond pure description.

Sound effects (or audio effects) are artificially created or enhanced sounds, or sound processes used to
emphasize artistic or other content of films, television shows, live performance, animation, video games,
music, or other media. In motion picture and television production, a sound effect is a sound recorded
and presented to make a specific storytelling or creative point without the use of dialogue or music. The
term often refers to a process applied to a recording, without necessarily referring to the recording
itself. In professional motion picture and television production, dialogue, music, and sound effects
recordings are treated as separate elements. Dialogue and music recordings are never referred to as
sound effects, even though the processes applied to such as reverberation or flanging effects, often are
called "sound effects"

The term sound effect ranges back to the early days of radio. In its Year Book 1931 the BBC published a
major article about "The Use of Sound Effects". It considers sounds effect deeply linked with
broadcasting and states: "It would be a great mistake to think of them as anologous to punctuation
marks and accents in print. They should never be inserted into a programme already existing. The
author of a broadcast play or broadcast construction ought to have used Sound Effects as bricks with
which to build, treating them as of equal value with speech and music." It lists six "totally different
primary genres of Sound Effect":

 Realistic, confirmatory effect

 Realistic, evocative effect
 Symbolic, evocative effect
 Conventionalised effect
 Impressionistic effect
 Music as an effect
According to the author, "It is axiomatic that every Sound Effect, to whatever category it
belongs, must register in the listener's mind instantaneously. If it fails to do so its presence could
not be justified.
The objective in this tutorial is to record a simple narration, add some background music, cut the
narration to fit the music, lower the volume of the music during the narration, and finally mix and export
the final product.

Give yourself an hour or so to complete this tutorial.

On your first attempt:

 do not try to create a masterpiece

 do not work on something critical.

You are learning and experimenting, exploring the many tools Audacity offers you. Don't expect to get it
perfect the first time.

It really does not matter what your narration is about, and whether you read it or ad lib. It also does not
matter what the music is, but an instrumental track is preferable.

Consider where your microphone is going to be in relation to everything else in the room. Try to place it
so that it picks up a minimum of computer noise (hard drives, fan). When speaking into the microphone,
point the microphone at your mouth but do not point your mouth at the microphone. If you can, place
the microphone so that you are talking past it - think David Letterman and that microphone he has on
his desk: he's always talking over it. Setting up the microphone so that it is level with your mouth but a
little off to the side also works. This avoids "popped p's" and other breath effects from ruining your
recording. Finally, try to set up the microphone so that it is 4 to 6 inches away from your mouth.

While you are talking, try to keep looking in one direction - moving your head left or right, up or down,
while you're talking will change the tonal quality of your voice, and may be distracting to your listeners.
Speak in a normal, conversational tone of voice, but also speak clearly and enunciate carefully. Your
listeners cannot see you so do not have the visual cues they would have if your were speaking to them
in person.
 SOLVED QUESTION PAPER
AWR/BEGA 102

1. Describe the role of radio in mass communication.

Ans:-Communicators use several media to transmit a message (a thought, idea, opinion, and attitude) to the
readers, listeners and or viewers. These media: film, print, broadcasting, are used differently by people for
various purposes. Each mass medium has its own distinct nature and characteristics. For example, print medium
(newspapers, magazines, etc.) provide detailed information which can be kept for a longer period; accessed
whenever needed and used by many persons at a convenient time. Films can be watched and enjoyed at one
single place (cinema hall) by many people in large or small groups, or at homes through television sets.
Broadcasting on radio and television can bring voices and pictures to a large number of listeners and viewers
from long distance.

Thus, we see every medium of mass communication works in its own unique way and carries the message far
and wide. Each medium has its advantages and limitations in the areas of operation, influence and impact. For
instance, print depends on the ability to read. For communicating a message to a child or an illiterate person,
television, film or radio would be effective while the print medium will not be relevant. Every medium uses its
strengths to provide information, education and entertainment to the public.

In order to appreciate the role of radio as a medium of mass communication, we need to understand what is the
concept of communication, what are the various functions and types of communication.

The word ‘Communication’ is derived from the Latin word “cornmunis”, which means, to make common or to
share. There are numerous definitions of communication, and there is yet no agreement on any single definition

Communication is vital for human existence, and for the progress of humanity. No person, group or society can
exist without interaction with others. Think for a moment what would happen to us if we did not talk with
anyone at home; didn’t listen to lectures at School or college; didn’t speak to friends and co-workers; or didn’t
play games or watch TV or films?

Essentially, the primary function of communication is to inform, instruct/educate, entertain influence and
persuade people to make them function smoothly and effectively. Besides, communication has a secondary
function to perform as well: through debate and discussion it promotes cultural integration, it fosters consensus,
creativity, and understanding among people, groups and societies enabling them to live in peace and harmony.

Mass Communication outside the realm of interpersonal communication exists another form of communication
which involves communication with mass audiences and hence the nomenclature “mass communication.” The
channels through which this kind of communication takes place are referred to as mass media. Mass
communication and mass media, are generally considered synonymous. Mass communication is unique and
different from interpersonal communication as is evident from the following definition: Any mechanical device
that multiplies messages and takes them to a large number of people simultaneously is called mass
communication. The media through which messages are being transmitted include: radio, TV, newspapers,
magazines, films, records, tape recorders, video cassette recorders, etc., and require large organizations and
electronic devices to put across the messages.

Radio as a Mass Medium

Radio is the transmission of signals by modulation of electromagnetic waves with frequencies below those of
visible light. In electronics, modulation is the process of varying one or more properties of high frequency
periodic waveform, called the carrier signal, with respect to a modulating signal. This is done in a similar fashion
as a musician may modulate the tone from a musical instrument by varying its volume, timing and pitch. The
three key parameters of a periodic waveform are its amplitude (“volume”), its phase (“timing”) and its frequency
(“pitch”), all of which can be modified in accordance with a low frequency signal to obtain the modulated signal.

During the 1930s, radio was considered an intimate and credible medium. The public used it as a news source
and expected it to provide factual information. Radio was the first truly mass medium of communication,
reaching millions of people instantly and altering social attitudes, family relationships, and how people related
to their environment.

Radio is an attractive medium among the various mass communication media because of its special
characteristics. It continues to be as relevant and potent as it was in the early years despite the emergence of
more glamorous media. It is a truism that in the first phase of broadcasting spanning three decades from the
early twenties, radio reigned alone or was the dominant player. However, over a period of time, the media
scene has changed drastically. Television with its inherent strength of audio-visual component has captured the
imagination of the people. The advent of satellite television, the Internet and the convergence of technology
have added further dimensions in media utilization patterns. However, despite the presence of a plethora of
media, there is room and scope for each medium. Experience has revealed that ‘new technologies add things on
but they don’t replace’. One medium is not displaced by another – each medium reinvents itself in the context
of changes in the communication environment. In the changed media scenario, radio is reorienting itself with
more innovative programmes and formats.

2.Explain the role of music and sound effects in a radio script.

Ans:-A radio show is any type of program broadcast on the radio, or on the Internet in the case of Internet radio.
Radio programmes can be spoken word programmes or music programmes. In spite of the type of programme
aired on the radio, the elements of the different programmes remain the same; such as –

Voice, Music, Script, and Sound effects.

Whether music or speech based, radio relies on the human voice to connect with its audience. It is the voices of
presenters and RJ’s that we respond to on a radio. They are the personification of a radio providing a personality
with which we identify and connect.

The style of music each station plays is a crucial aspect of the station’s identity. In any event, the music played
on most radio stations is not randomly selected by individual presenters or producers, but it is governed by a
music policy that has been developed to appeal to the station’s target audience.

A radio show script is a norm in the stations across the nation. While it may seem that things are flowing
naturally on your favorite radio station you can bet that a radio show script is being used. Most radio shows are
live, and to avoid catastrophe they will utilize a radio show script for the guests and the personalities alike.

In short, Good audio content is anything that keeps your listener through the next minute. Audio quality is
determined by two main factors – the quality of the microphone and the proximity of the microphone to the
person speaking.

THE ROLE OF VOICE IN RADIO

For our voice to be recorded in a studio, we use a microphone. They amplify or in other words, increase the
volume of your voice. When you speak before a microphone, you don’t have to shout. You speak normally and it
will be made louder if you use a loudspeaker to listen to.

Voice is important in the following ways:

Voice conveys meaning. It stimulates our visual imagination: it creates visual images in our minds.

When we think of radio, the microphone is the most important element using which you present your
programme. The main stay in any radio programme is the human voice. Think of the voice of an announcer or
newsreader on radio. You often find them very pleasant and nice to listen to. That is because of the quality of
their voice and the proper use of it. There are two aspects of the use of human voice in radio production:

Firstly, there has to be a well written script to be spoken and Secondly, someone has to speak or read it
before a microphone in a studio.

SOUND EFFECTS IN RADIO PROGRAMME

Sound effects in a radio programme give meaning and sense of location. It adds realism to a programme and
helps a listener to use imagination. Sound effects describe the circumstances of a dramatic audio situation. They
can be used for such things as setting and place, conveying action, solving certain narrative problems and
evoking characteristics. Effects should sound as though they were being heard by the character. Dubbing adds
extra sound effects or bring disparate sounds together.

Sound effects can be used in two ways:

(a) Spot effects or effects that are created as we speak and

(b) Recorded sound effects.

Categories of Sound Effects:

a) Ambiences: It provide a sense of place, “where”, and perhaps of time “when”, events occur. b) Discrete
Effects: Indicates individual events; “what”, “how”, and “how much”. c) Crowds: Sounds of many people in a
crowded situation, without specific voices or words being distinguishable. d) Dialogue: Dialogue is sound too.
The character of the voice indicates a lot about who the character is. Give importance to vocal contrast. e)
Silence: A dramatic element.

MUSIC IN RADIO PROGRAMMES

Music is the soul of radio. Film songs and classical music programmes are independent programmes on radio.
Music is also used as signature tunes or theme music of various radio programmes. It enhances the programme
in the following ways:

a. Music adds colour and life to any spoken word programme. b. Music can break monotony. c. Music is used to
give the desired effect of happy or unhappy situations, fear or joy. d. Music can suggest scenes and locations.
For example, you have to create a bright early morning situation. This can be done by playing a pleasing note on
the flute along with the sound of chirping birds.

Most music based stations operate a playlist that is updated every week. The playlist determines what will be
played and how often it will be played. The selection of music is not done on personal taste but is a professional
judgement that takes into account a variety of factors including the stations target audience, how appropriate a
track is to certain times of the day, and increasingly how well it has scored in audience research.

THE ROLE OF SCRIPT IN RADIO PROGRAMMES

A radio script is a writing which gives the detail of how an entire programme should be. A script takes some of
the pressure off presenters doing live broadcasts. It provides them with the reassurance that they know what
they are going to say next so that they can concentrate on how they say it. Scripts also ensures that an item is
covered fully, in a logical manner and to set time. A radio script for a presenter is largely a safety measure but it
needs to contain certain characteristics to make it effective.

Though it is written, it is spoken It is written for the ear not the eye. It is heard only once. The listener
normally does not get a second chance to listen. It is conversational. It should be simply worded without any
difficult or unfamiliar words. The sentences should be short and simple and not complex. There should be
only one idea in a sentence and not many ideas. Though there are thousands of listeners, what is written
should be meant for just one listener. The words chosen should denote the exact meaning and not be vague.
The words should make pictures in the minds of the listeners. Abbreviations or short forms should be avoided.
If an abbreviation is used, then its full form should be given. While referring to more than one person, avoid
using ‘he’ or ‘she’. It can confuse the listeners.
3. What are the rules and advantages of adaptation for radio?

Ans:-Radio advertising might be seen as old-fashioned especially with the rise of the internet and other types of
media and that their audience has decreased. This is not the case, however. Commercial radio has a reach of
more than 16 million Australians every week. 17 hours of the week are spent listening to the radio with the
majority of it at home (49%) and in the car (32%). Below lists out a few benefits for advertising with radio:

Selective targeting

Radio station already targets specific demographics and market segments. Therefore, by choosing which station
to broadcast with, you can lock into your potential customers and increase the frequency of delivering your
message. At the same time think about all the advantages and disadvantages of radio advertising in your
selected radio station and see if that's what you are looking for,

Increased frequency

Advertising works with frequency and reaching your audience repeatedly. Radio is the perfect medium for this,
being able to expose your ad to the audience repeatedly to build awareness. Also due to the loyalty of people
listening to the same station, you are able to impact the same people more often.

More memorable

Compared to written advertisement, sound is more effectively stored in memory. In addition, there is the ability
to instil emotion and also allows listeners to use their imagination to create their own image of the
product/service.

Cost effective

Radio advertising has significantly fewer costs compared to other types of media. Television and print ads can go
up to hundreds of thousands including costs for video equipment, studio time, actors, models. Radios ads
require fewer resources while being able to reach the same target audience that a television spot would have
resulted in.

Time efficiency

Lead times with print and television ads can be very long, especially with planning and may take up to a year for
the ad to run. In contrast, producing a radio spot can occur between two to three weeks. Another advantage of
this is the ability to adapt and react quickly to changing market conditions.

Measurable results

You can track results quickly and accurately compared to television where it may take months for measurable
results or print media which can be even more difficult to track. Results for radio ads can be analysed on a daily
basis, and if the message is not working in a week or two, a new radio spot can replace it efficiently as
mentioned above.
With the widespread access people have to radio, even indirectly through shopping centres and supermarkets,
radio continues to have a big presence in the advertising industry. Small businesses should continue to consider
it as a top medium to advertise their product/services as the advantages over other resources remain strong.

4.Write a detailed note on radio programmes for special groups.

Ans:-Farm & Home section of the Directorate General of All India Radio guides, monitors and supervises the
programming activities for rural listeners specially designed to cater to the day to day seasonal needs of the
farming community in Hindi and different regional languages/dialects from more than 188 Radio stations
across the country.

The Farm & Home cell at the headquarters issues instructions to stations from time to time for specific
programme content generation and publicity campaigns based on inputs from various ministries and
departments.The programmes planned and scheduled at the stations are tracked,expenses in respect of
centrally monitored scheme Kisanvani scrutinised and guidelines issued to the stations concerned.

The Action Taken Reports on the advisories received from the stations are processed at the Directorate and
forwarded to the concerned ministries.In view of the fast changing requirements of the farm sector,the Farm &
Home Cell also evolves training modules and workshops for its programmers in collaboration with the Ministry
of Agriculture.

Farm and Home programmes are broadcast by all stations of AIR. Programmes are designed based on the local
day to day needs of the farming community incorporating latest information and technology for best
agricultural output. These programmes create awareness about the ways & means to improve the agricultural
productivity and quality of the country’s farming community. The programmes are broadcast daily in the
morning, noon and evening with average duration of 60 to 100 Minutes per day for Rural Women,Children &
Youth. The Farm & Home units of AIR broadcast composite programmes including equal segments of rural
development scheme and hard-core agriculture programmes like animal husbandry, fisheries, dryland and
wasteland agriculture and also on segments dwelling on employment schemes, loan and training facilities,
sanitation, health hygiene and nutrition etc.

Workshops

AIR has expanded its Agriculture Broadcasts with the launch of an exclusive project on Mass Media support to
Agriculture Extension entitled ‘Kisanvani’ from Feb. 2004, in collaboration with the Department of Agriculture
& Cooperation, Ministry Of Agriculture, to keep local farmers informed about the daily market rates weather
reports and day to day information in their respective areas at micro level. Presently Kisanvani is being
broadcast and relayed from identified 96 AIR stations across the country.

List of AIR Stations Broadcasting Kisanvani programme

Radio Kisan Diwas

AII India Radio observes 15th February as Radio Kisan Diwas over all its stations by mounting special
programmes on the occasion. Farmers, who are benefited by the information disseminated through agricultural
programmes on AIR, share their experiences with other fellow farmers in their regional language/dialect.

Environment

In view of its importance, wildlife and forest conservation is treated by AIR as a challenge and emphasis is given
on development activities as well as social rituals . All India Radio projects the success of governmental
initiatives, which take place in forestry, wildlife conservation and ecological balance. World day to combat
desertification is also observed by AIR stations every year to create awareness about land degradation and
desertification.

HEALTH & FAMILY WELFARE

Health & family welfare programmes are regular broadcasts of All India Radio. All regional and Local Radio
Stations produce and broadcast these programmes in their respective regional languages.Subjects covered in
these programmes are based on the raise in marriage age delay the first child, space between two children,
terminal methods, maternal care, child survival, promotion of inter-spouse communication/male responsibility,
neutralizing male preference syndrome, medical terminal of pregnancy, management of reproductive tract
infections (RTIs) and sexually transmitted infections (STIs), Pre-Natal Diagnostic Techniques (Regulation and
Prevention of Misuse) Act- 1994, AIDS,drug abuse, breast feeding, child right, girl child, adverse child sex ratio
and to alter the Negative mindsets leading to abortion of Girl Child foetus, Pre- Conception & Pre- Natal
Diagnostic Techniques act and the penalties contained therein to create public opinion against violation of its
provisions, disability, T.B., leprosy and reproductive child health etc.

Health campaigns on immunisation,Polio,blood Thalesimia eye donation are publicised widely in these
programmes.Regular programmes are mounted against Drug abuse, tobacco consumption, illicit trafficking,
AIDS etc. and to create awareness about the Rehabilitation and facilities being provided to the leprosy affected
persons/ families and campaigns based on articles 8,9,21,27 &30 of the UNCRPD to raise social awareness on
the issues of persons with diasabilities .
All National International Days on Health and Family Welfare issues are observed by all AIR stations by mounting
special informative programmes.

CHILDREN PROGRAMMES

Children programmes are broadcast from all Regional and Local Radio Stations of AIR on weekly basis in their
respective regional languages. These programmes are designated for age group 5-7 years and 8-14 years.
Special programmes for rural children are also broadcast from AIR stations. Plays, short stories, features, choral
singing, interviews, stories from epics etc are part of these broadcasts. Children’s Day is celebrated on
November 14th as Baal Diwas with special children activities, stage shows and invited audience programmes.

Programmes are planned keeping in mind the following action points:

1. Protection of Rights of children

2. Care and Support to disabled Children and child labour, children under difficult circumstances.

3. Equal status of girls.

4. Universal access to basic education to children and more attention to girls education.

5. Providing safe and supportive environment to children

6. Improvement in the economic condition of family and self-reliant society.

7. National and International cooperation for better future of the child.

8. Safe drinking water facility and sanitary means of excreta disposal.

Women Programmes

Women programme of All India Radio covers subjects related to socio- economic development of women,
health & family welfare, Food and nutrition,scientific home management, women entrepreneurship, education
including adult education, women empowerment, gender issues etc. Special programmes focusing on the status
and importance of the girl child are broadcast throughout the year to create social awareness to welcome the
girl child’s birth .These programmes also aim at creating social awareness about the rights and privileges of
women through the propagation of legal literacy.Different traditional folk forms are used to communicate with
the rural women audience,

5. Write radio advertisements on all three of the following:

a) Any new invention

Ans:-Micro electrical generator

There is little point in building tiny micro-electro-mechanical devices (MEMS) if they need big batteries to work.
So Washington State University, US, has been working on a radical solution – a microscopic generator that burns
hydrocarbon fuel to generate electricity.

Within the device, droplets of fuel are deposited onto a flat metal plate (about 1 millimetre to a side) and then
ignited. As the plate heats up, drops of liquid mercury travel along a connected tube to a strip of piezoelectric
material. Heat from the mercury causes the piezoelectric strip to flex, generating a small pulse of electric power.

Some of this power is used to create an electrostatic charge which moves the mercury droplets back towards
the hot plate to pick up another dose of heat. This lets the system generate a continuous series of electric
pulses.

Each micro-generator can only produce about 1 milliwatt of power but an array of several thousand could
produce several watts – enough to let MEMS do plenty of useful work.

b) A new housing complex

Ans:-While mp3 technology and the rise of digital radio may have quelled the popularity of the FM dial, it
remains a viable force as a relatively cheap way to advertise a construction company. Unlike the gadgets and
subscription services that bring listeners digital radio and streaming music, radio is free, immediately available
and offers wide regional exposure when utilized as an advertising tool.

Radio advertisement allows construction companies to reach geographic areas in ways that print and television
advertising cannot. Print circulation may not reach outside your target customer base; television ads are costlier
to produce, and can only air on just a handful of regional networks, cable providers and programs. Advertising
on radio signals and programming flagship stations can assure that your message will be received by large
audiences across their listening regions and remain competitive with construction companies throughout your
market.

Difficulty capturing target audiences and increased production time are not the only drawbacks when
considering print and television advertising for a construction company: they're also very expensive. Print ads
require publishing materials and distribution, while television incurs costs seemingly everywhere, from
production budgets to lighting, actors and script writers. Radio is considerably less costly and can usually be
produced in a fraction of the time of large-scale print campaigns or television spots. Reduced advertising costs
can allow construction companies to further grow with the purchase of new equipment, or the hiring of
additional staff.
c) A new restaurant

Ans:-Whether you're in an advertising or marketing agency, or you are the owner of your own business looking
to promote yourself, it is helpful to test yourself with ​copywriting exercises.

It is often considered the red-headed stepchild of the advertising industry. Even now with web banners, Google
ads, and other small tasks to do, radio is still one of those disciplines that can scare creatives both young and
old.

So, before you dive into the following exercise, make sure you know the medium well. It won't be difficult to
find radio ads; they are everywhere on commercial radio. However, GOOD radio ads are much harder to find.
Here are a few places to start for inspiration.

The Radio Advertising Bureau (RAB)

Ads Of The World (Radio)

Coloribus (Radio)

Best Ads On Tv (Radio)

Five Keys to Radio Advertising Success

You should also remember that radio is a medium that inspires people to use their imaginations. A great
comment heard in many agencies is "you have an unlimited visual budget" when you write a radio ad. Tell
people they're going to the moon in a rocket ship shaped like a giant basketball. You never have to build it,
merely suggest it with copy and sound effect. So, keep that in mind when you write. Think big, and you can go
big.

6. Write a radio script for discussion on any one of the following:

a) Charity begins at home

Ans:-When people say 'Charity begins at home' they very often mean 'You should look after your own kids,
family and own circle first and then be kind to people' which is not the original meaning of the proverb. The
original meaning is that charity begins in the home - that is to say kids learn charity in the home."

"What makes a life worth living" can be summed up in one answer. "The good life is the life lived for others.

"It's a life lived according to this fundamental moral principal; that we should treat other people the way we
would like to be treated ourselves. That we should put other people's happiness ahead of our own and not
pursue our own happiness. It is a tradition that I think is in all of us. It has certainly been culturally transmitted
and some researchers are now suggesting it might have even been genetically transmitted."

Although if you are dreadfully poor if you are in abject poverty it is of course going to be much harder to engage
because you are occupied with survival.
"The point about human nature is that it is a bundle of contradictions we are all selfish and we are all selfless
and altruistic. We are all competitive and we are all co-operative. We have a disposition towards kindness but
we also have a disposition towards aggression and violence."

b) Environmental pollution

Ans:-Host: Is plastic “good” garbage? On our program today, we will discuss what plastics are made of, why
there is so much plastic garbage around, and what we should do about it.

Plastic is a part of our lives. There are nearly 50 kinds of plastics commonly used to make everything from juice
containers and garbage bags to windows and doors. Many plastic products cannot be used again, so we throw
them out. We might say that good garbage is material that decays in the environment without harming it. The
problem with plastic garbage is that it does not turn into another harmless material. It turns into poisonous
products. Plastic pollutes the earth. So, plastic is not “good” garbage. Plastic is litter that lasts.

Today, we welcome Plastic Man to our show. He is going to help us learn more about plastic and how it affects
our environment.

Part II: What is plastic?

Host: Hello, Plastic Man! Welcome to [name of show].

Plastic Man: Hello! Do you mind if I smoke?

Host: Well, umm, no. I guess it will be all right. Now, Plastic Man, can you tell us what plastic is made of?

Plastic Man: Certainly. I am vinyl, one kind of plastic. Most plastic, like me, is made from acids and petroleum by-
products such as oil and natural gas. I am heated and treated with chemicals to form a liquid substance. Then,
I’m molded into shapes by machines. I am super tough.

c) Crime against women

Ans:-A new interactive radio series tackling violence against women follows the story of a fictional 13-year-old
girl from a remote Malawi community who faces impossible choices. Her family is suffering from the effects of
the recent El Niño-related drought; the harvest has been poor and there isn’t enough food to go around. The
young girl faces early marriage but is eventually sent to live with relatives instead. This, however, is not a happy
ending. She is raped by her uncle shortly after arriving. Though fictional, her story draws on the experiences of
real Malawian women and girls, 61% of whom say they have experienced sexual violence.

Radio dramas have been around for over a century, but this show is unusual in that it’s interactive — listeners
are encouraged to call into the show, take on the voice of the characters, and role-play how new attitudes can
bring about dramatic change. Radio also happens to be a great way to reach a broad swathe of Malawians as it
doesn’t require audiences to be able to read and is widely available in rural areas.

7. Script a radio play based on one of the following proverbs:

a) A stitch in time saves nine

Ans:-“A stitch in time saves nine" is an idiom, which is a phrase whose symbolic or intended meaning is different
from the literal meaning of the words themselves.

Its meaning is quite simple: Don't procrastinate! Procrastination means to delay or put off doing something until
a later time.

People use “a stitch in time saves nine" to express that it's better to spend a little time and effort to deal with a
problem right now than to wait until later, when it may get worse and take longer to deal with. Many believe
procrastination — putting off doing something until later — creates more work in the long run.

Although no one knows for sure who came up with this saying or what significance stitches or the number nine
have, many people believe it was started by mothers weary of mending their children's clothing.

The phrase thus might be stated more clearly as, “One stitch, in time, saves nine stitches," meaning that
mending a tear right away would only require one stitch instead of the 10 stitches necessary later if the tear
goes unfixed and worsens.

Many people shorten the phrase to just "a stitch in time." Other similar proverbs include “an ounce of
prevention is worth a pound of cure" and “there's no time like the present."

b) A bird in hand is worth two in the bush

Ans:-a bird in the hand is worth two in the bush

Meaning

 what you already have is more valuable than the prospect to have something greater
 it is better to be content with you have than risk losing it by trying to get something better
 it is better to have something small but certain rather than the mere possibility of a greater one

Example Sentences

You may not like your job, but don’t quit merely on the hope of finding a better one. A bird in the hand is worth
two in the bush.

I might have got a better offer if I had waited for some more time, but I decided to take the one I had. After all, a
bird in the hand is worth two in the bush.
He decided against selling off his small business for the prospects of starting a bigger one. He realized that a bird
in the hand is worth two in the bush.

Do not put your life’s savings into risky investments in the hope of higher returns. You may lose everything.
Don’t you know, a bird in the hand is worth two in the bush.

c) All that glitters is not goldYour target listeners are children between 12-14 years of age.

Ans:-Not everything that is shiny and superficially attractive is valuable.

The original form of this phrase was 'all that glisters is not gold'. The 'glitters' version long ago superseded the
original and is now almost universally used.

All that glitters is not gold.Shakespeare is the best-known writer to have expressed the idea that shiny things
aren't necessarily precious things. The original editions of The Merchant of Venice, 1596, have the line as 'all
that glisters is not gold'. 'Glister' is usually replaced by 'glitter' in modern renditions of the play

8. The following poem has to be taught to students of class X. Write a script for the radio, inserting
sound effects, music and narration:

Casabianca

The boy stood on the burning deck, Whence all but he had fled;

The flame that lit the battle‟s wreck, Shone round him o‟er the dead.

Yet beautiful and bright he stood, As born to rule the storm;

A creature of heroic blood,

A proud, though childlike form.

The flames rolled on – he would not go, Without his father‟s word;

That father, faint in death below, His voice no longer heard.

He called aloud – „Say, father, say If yet my task is done?‟

He knew not that the chieftain lay Unconscious of his son.

„Speak, father!‟ once again he cried,

„If I may yet be gone!‟

– And but the booming shots replied, And fast the flames rolled on.
Upon his brow he felt their breath And in his waving hair;

And look‟d from that lone post of death, In still yet brave despair.

And shouted but once more aloud,

„My father! must I stay?‟

While o‟er him fast, through sail and shroud, The wreathing fires made way.

They wrapped the ship in splendour wild, They caught the flag on high,

And streamed above the gallant child, Like banners in the sky.

There came a burst of thunder sound – The boy – oh! where was he?

Ask of the winds that far around With fragments strewed the sea!

With mast, and helm, and pennon fair, That well had borne their part,

But the noblest thing which perished there, Was that young faithful heart.

Felicia Hemans

Ans:- "Casabianca" is a poem by the English poet Felicia Dorothea Hemans, first published in The Monthly
Magazine, Vol 2, August 1826

In Hemans' and other tellings of the story, young Casabianca refuses to desert his post without orders from his
father. (It is sometimes said, rather improbably, that he heroically set fire to the magazine to prevent the ship's
capture by the British.) It's said that he was seen by British sailors on ships attacking from both sides but how
any other details of the incident are known beyond the bare fact of the boy's death, is not clear. Hemans, not
purporting to offer a history, but rather a poem inspired by the facts, writes:

It starts out with the well known line, "the boy stood on the burning deck". The story relates to an extraordinary
incident of devotion and heroism witnessed during the Battle of the Nile.

It was on the evening of July 28 of 1798 that the English naval squadron under Lord Nelson sailed in. They had
caught the French fleet at anchor and unprepared. The French flagship was the L'Orient and it soon found itself
flanked by English ships attacking from both sides. A fierce battle was soon raging and the flashes of 2000 guns
lit up the ships in the gathering darkness. L'Orient was caught by the English broadsides and was set ablaze.

It was then that the English sailors saw an amazing sight. There on that burning deck they saw a boy standing
alone. He was Cassabianca, the 12 year old son of one of the ship's officers. There he stood, alone at his post. He
was surrounded by flames and facing the astonished English foe. Soon afterwards the fire reached the powder
magazine deep down in the hold. The boy perished when the whole ship erupted in a massive explosion.
The sound of L'Orient blowing up was heard at Rosetta 20 miles away. And the glow of the fireball was seen in
Alexandria. It was an enormous explosion of a magnitude rarely seen back in those times. The English sailors
stood in awe at what they had just witnessed. For some twenty minutes the guns were silent. The English
officers and men were absolutely horrified at the carnage that had taken place. They sent a ship to rescue the
survivors from the water. About 70 French sailors were saved.

The account of that boy who stood on that burning deck was told and retold. Eventually it passed on into
legend. The story remains a classic example of devotion and faithful service. And the poem continues to serve as
a source of inspiration and wonder for many throughout Christendom. That boy who stayed at his post on that
burning deck has not been forgotten.
 APPLICATION ORIENTED COURSE IN WRITING FOR RADIO
AWR 1 (E) AND BEGA – 102

1. Describe the principles of and processes involved in news scripting for the broadcast media.

Or

Write a detailed note on the genesis of radio in India. (10)

Ans. History of Indian Radio is the history of radio broadcast that started in India with the setting up of a
private radio service in Chennai, in the year 1924. In that same year, British government gave license to
the Indian Broadcasting Company, to launch Radio stations in Mumbai and Kolkata. Later as the
company became bankrupt, the government took possession of the transmitters and began its
operations as the Indian State Broadcasting Corporation. In the year 1936, it was renamed All India
Radio (AIR) and the Department of Communications managed it entirely. After independence, All India
Radio was converted into a separate Department. All India Radio has five regional headquarters in New
Delhi, for the North Zone; in Kolkata, for the East Zone; in Guwahati, for the North-East Zone,
in Mumbai, for the West Zone; and in Chennai, for the South Zone.

In the year 1957, All India Radio was renamed Akashvani, which is controlled by the Ministry of
Information and Broadcasting. During the period of independence only a mere 6 radio stations existed
through out the country. But during the late 1990s, the network of All India Radio extended to almost
146 AM stations. Moreover the Integrated North-East Service focused on reaching to the population in
northeast India. All India Radio offers programmes in English, Hindi and numerous regional and local
languages. In the year 1967, Commercial Radio services started in India. The initiative was taken
by Vividh Bharati and Commercial Service, from the headquarters in Mumbai. Vividh Bharati
accumulated revenues from widespread sponsorships and advertisements. During the mid-1990s,
broadcasting was carried on from 31 AM and FM stations.

By 1994, there were around 85 FM stations and 73 short wave stations that linked the whole nation. The
broadcasting technology in India is basically indigenous and reaches far and wide to various listeners like
farmers who require various updated information on agriculture. Between 1970 and 1994, the amount
of radio receivers increased manifold, almost five times. From the initial 14 million, the number
increased to a staggering 65 million. The broadcast services from foreign countries are provided by the
External Services Division of All India Radio. Almost 70 hours of news, entertainment programmes were
broadcasted in 1994 in various languages with the help of 32 shortwave transmitters.

After Independence, Indian radio was regarded as a vital medium of networking and communication,
mainly because of the lack of any other mediums. All the major national affairs and social events were
transmitted through radio. Indian radio played a significant role in social integration of the entire nation.
All India Radio mainly focused on development of a national consciousness as well as over all National
integration. Programming was organised and created keeping in mind the solitary purpose of national
political integration. This supported in prevailing over the imperative crisis of political instability, which
was created after the Independence. Thus political enhancement and progressive nation building efforts
were aided by the transmission of planned broadcasts.

All India Radio also provided assistance in enhancing the economic condition of the country. Indian radio
was particularly designed and programmed to provide support to the procedure of social improvement,
which was a vital pre-requisite of economic enhancement. The leading development beliefs of the time
analysed the problems and hindrances in development as the primary ones in the developing nations.
The function of broadcasting paved a way for the surge of modern concepts. Later, with the
modernisation of the country, television was introduced and broadcasting achieved new status. But by
then, radio had become a veteran medium in India. Diverse programmes including entertainment and
melodious songs were also transmitted nationwide. Akashvani or All India Radio still stands as one of the
biggest radio networks around the globe.

2. Radio has devices to compensate for the lack of visuals. What are the devices? Describe them in
details.

Or

What are some general rules to be followed by writers while scripting for radio broadcast? (10)

Ans.

Keep it short and simple

Radio journalists need to be able to pick the best, most newsworthy audio clips, and write clear and
informative scripts that introduce the material they have collected.
The script is what makes sense of the sounds. It is the framework for your story. It brings together the
most important elements, and helps your audience understand the significance of the points made by
the people you have interviewed.
It’s not just about sounds; it’s about words, too.
The script should be written in simple, short sentences. Try to use everyday language and terms your
audience will understand. It should not contain any complicated concepts that could confuse and
distract.

Use the script to introduce the audio

The script should offer the audience introductions to the audio you are including. It should tell the
listener what’s coming up without repeating the words they are about to hear. Don’t summarise too
much; you should not take away from the power of the clips in your piece.

Grab the attention of the audience

You are crafting a tease to material that is designed to make people stop and listen. The language should
be in the active tense. The most important information must feature in the first few sentences.
However, the quality should be consistent throughout, and the script must not tail off at the end.

Your opinions don’t matter

Your script should be factual, without comment or descriptive words. Don’t try to attract listeners by
including your own emotions. That’s not your job. Those who listen to your radio package will make
their own decisions about the power of the information you are broadcasting.

Deliver a complete and fair report

Your script should weave together all the elements you have gathered for your story without suggesting
that any one is more important than the other; that’s for the audience to decide, not you. You have a
responsibility to set out the information in a way that doesn’t lead or mislead.

Scripting before interviewing

Some journalists choose to draft a script before they have conducted the interview. That’s fine as long
as the journalist retains an open mind and does not orchestrate or stage-manage the interviews to fit
into the structure they have planned.

Scripting after interviewing

Some journalists prefer to listen to the material before they write their script. This approach can lead to
a fresher sounding piece. However, it can also lead to confusion if you have too much material and no
idea how it is going to be edited and scripted together.

Fact-checking
Check every fact that you are including in your script. Also check what has been said by those you have
interviewed. Just because somebody seems to know what they are talking about doesn't mean that they
are telling you the truth. Decide whether your fact-checking has raised any issues that need to be
covered in the script.

Editorial ethics
Check your script against the editorial ethics of objectivity, impartiality and fairness. Do not give undue
weight to one point of view. Most of the people you interview will have strong points of view – you
wouldn’t be interviewing them if that were not the case. However, your script needs to be fair to all.

The beginning
Start the script by addressing the main point made in your introduction. Later in the script you can add
context and analysis to try to help the audience understand the issues raised by those you are
interviewing. But start with a crisp and sharp introduction that highlights the main points.
The ending
Always end your script with a fact and not a vague line such as "we will have to wait to see". Your
audience wants information, not clichés. Consider asking your interviewees what’s likely to happen next
and summarise their expectations in your last paragraph.

3. Define Commentary and explain the basic guidelines for scripting a commentary.

Ans. Commentary is defined by The American Century Dictionary as "1) descriptive account of an event
or performance as it happens or 2) explanatory notes". Although when I use the word commentary, I
mean written comments about the paper by a teacher, tutor, or Writing Fellow to help create a better
writer (and hopefully better writing as well); both of the definitions presented in the dictionary help to
explain commentary. Writing is an on-going process, usually stopped only by a deadline. Commentary,
especially from a Fellow or tutor, is a "descriptive account" of where the reader is in the writing "as it
happens". Commentary can also be explanatory notes; commentary explains where the reader (i.e.
tutor, Fellow, or teacher) became confused or required more proof to convince him or her.

Commentary is more that scribbled notes in red pen or a note at the end of a paper written by a teacher
to prove he or she read the whole paper. Commentary is a dialogue with the reader on paper. There are
two types of commentary (directive and facilitative) as well as many ways to approach writing
commentary. With time and practice your own style will develop; however, this website will give
explanations about commentary, including: definition and example of end comments, examples of
commentary, reflections on commentary, my personal struggles with commentary, dos and don'ts of
commentary, and commentary techniques. This site will also refer you to other sources to learn more
about commentary and the theory surrounding it.

The goal of publishing commentaries is to advance the research field by providing a forum for varying
perspectives on a certain topic under consideration in the journal. The author of a commentary probably
has in-depth knowledge of the topic and is eager to present a new and/or unique viewpoint on existing
problems, fundamental concepts, or prevalent notions, or wants to discuss the implications of a newly
implemented innovation. A commentary may also draw attention to current advances and speculate on
future directions of a certain topic, and may include original data as well as state a personal opinion.
While a commentary may be critical of an article published in the journal, it is important to maintain a
respectful tone that is critical of ideas or conclusions but not of authors.
In summary, a commentary may be:

1. A critical challenge to one or more aspects of the focal article, arguing for a position other than
that taken in the focal article.
2. An elaboration or extension of the position taken in the focal article, basically sympathetic to
the position taken in the focal article but pushing the argument further.
3. An application of a theoretical or methodological perspective that sheds light on the issues
addressed in the focal article.
4. A reflection on the writer's experiences in applying the issues addressed in the focal article, in
particular health and well-being settings.
 5. A comment on the applicability of the issues raised in the focal article to other settings, or to
other cultures.

How to write a commentary

Commentaries in International Journal of Qualitative Studies on Health and Well-being should not
exceed 10 manuscript pages. A tightly argued four- to six-page commentary is likely to be better
received than a meandering 10-page ditto. Use these simple guidelines:

 Do not summarize the focal article; just give the reference. Assume the reader has just read it.
Move directly to identifying the key issues you want to raise.
 Do not include general praise for the focal article.
 Use only essential citations. For commentary purposes, cite only works absolutely essential to
support your point.
 Use a short title that emphasizes your key message. (It should be clear in context that all
commentaries are a reaction to a particular paper).
 Do not include an abstract.
 Make clear your take-home message.
 Make sure there is full author information (name, affiliation, address, phone, email) for all
authors. Authors must be individuals.

Review process
Commentaries will be peer reviewed and most likely accepted if they are in line with the definitions and
guidelines outlined. A small set of reviewers will read and evaluate all commentaries as they need to
compare commentaries for issues of redundancy and to make evaluations of relative merit.
Queries for the editor
Authors should feel free to correspond with the chief editor prior to submitting a commentary if there
are questions about any aspect of the evaluation and publication process. Authors may prepare a brief
outline of the key points they desire to present in the commentary and send it to the chief editor.

Or

What are the various genres of radio? Explain all of them in details. (10)

4. Describe the use of radio features, radio plays and radio adaptation in the service of NFE
programmes.

Ans. Radio drama (or audio drama, audio play, radio play, radio theater, or audio theater) is a
dramatized, purely acoustic performance, broadcast on radio. With no visual component,
radio drama depends on dialogue, music and sound effects to help the listener imagine the characters
and story: "It is auditory in the physical dimension but equally powerful as a visual force in the
psychological dimension."
Radio drama achieved widespread popularity within a decade of its initial development in the 1920s. By
the 1940s, it was a leading international popular entertainment. With the advent of television in the
1950s, however, radio drama lost some of its popularity, and in some countries has never regained large
audiences. However, recordings of OTR (old-time radio) survive today in the audio archives of collectors
and museums, as well as several online sites such as Internet Archive.
As of 2011, radio drama has a minimal presence on terrestrial radio in the United States. Much of
American radio drama is restricted to rebroadcasts or podcasts of programs from previous decades.
However, other nations still have thriving traditions of radio drama. In the United Kingdom, for example,
the BBC produces and broadcasts hundreds of new radio plays each year on Radio 3, Radio 4, and Radio
4 Extra. Like the USA, Australia ABC has abandoned broadcasting drama but New Zealand RNZ continues
to promote and broadcast a variety of drama on its airways. Podcasting has also offered the means of
creating new radio dramas, in addition to the distribution of vintage programs.
Thanks to advances in digital recording and Internet distribution, radio drama was experiencing a revival
in 2010
The terms "audio drama" or "audio theatre" are sometimes used synonymously with "radio drama";
however, audio drama or audio theatre may not necessarily be intended specifically for broadcast on
radio. Audio drama can also be found on CDs, cassette tapes, podcasts, webcasts as well as broadcast
radio.

Or

Which are the special groups that radio caters to ? Write a detailed note on all of them. (10)

5. Write radio advertisements on three of the following:

a) A new brand of coffee

Ans. Radio advertising is a powerful way of reaching consumers in your local area or even on a national
level. Even though 30 seconds might not seem like much time to get a marketing message across to a
listening audience, this format can be used with success. There are a few things you need to include in
this brief ad spot to make sure that it is as effective as possible.

Mention the Product

The product should be introduced immediately at the beginning of the radio commercial. Ideally, it
should begin with creating or identifying a need. For example, if you are selling a headache remedy,
your 30-second radio spot could start with, "Do you suffer from crippling headaches? Headache Away is
the solution you've been looking for." With this strategy, you have managed to introduce the need and
the product within the first 10 seconds of the ad. The beginning of the ad always should grab the
listener's attention by offering to solve a problem. This helps the listener pay attention to the rest of the
message.
Discuss Its Benefits

Now that you have your listening audience's attention, it is time to quickly discuss the benefits that your
product has to offer. Focus on the main benefits to consolidate what you have to say. You don't want to
rush through your ad and have the information come out jumbled. You could say, "Headache Away has
been a proven solution for tension, migraine and sinus headaches for 20 years. It even helps ease back,
joint and muscle pain."
Offer an Enticement

After you have told your listening audience what your product does, you need to offer the listener an
enticement. This can be a special offer that is only available to those hearing your 30-second spot on the
radio. For example, "You can try Headache Away today and take advantage of our radio-only special
offer. Get two bottles for the price of one." Make your enticement a powerful incentive and make sure
to remind the listening audience that only they qualify for this special deal.

b) A new multiplex cinema hall

c) A new model of a car

d) A new model of a mobile phone (5x3=15)

The age of the cell phone has created a whole new advertising industry. According to Mashable.com, 90
percent of all Americans own cell phones. In addition, 90 percent of those users read their text
messages within three minutes of receiving them. Ninety-nine percent read all of their messages. This
means your business can reach people who never see your print or media advertising if you know how
to tailor your advertising to mobile users.

Develop a Cell Phone Message

Your regular advertising messages may not do well on cell phones. People who use mobile devices want
messages that are short and to the point. A sentence or two may be all you will get. Concentrate on
making it clear how your message will benefit the cell phone user who is reading it. Don't waste your
time on lengthy descriptions of a product's features or your company's history. Boil down your offer to
its very essence.
Mobile Website

You may want to consider creating a mobile website. This is similar to your regular website, but it is
optimized for cell phones. In other words, mobile users who view your ad on their cell phones can click
on a link to your mobile website and immediately see images and text instead of having to wait for an
old-fashioned website to load. You can create special messages just for your mobile website and even
offer mobile users discounts that other types of customers don't receive.
Flash Sales

Flash sales have become popular with cell phone users. These are extremely short sales you offer to
people who respond quickly. They can last one hour to one day. This gives users the impression that
they are in on something no one else knows about, and it encourages them to respond to your offer. A
flash sale can direct cell phone users to go to a website and order or to visit a brick-and-mortar store
within the allotted time period.
Updates

The word "update" has a very specific meaning for social media users. This is an extremely short
reminder that lists bare essentials of a message. Updates sometimes do not even have verbs. An
example of an update is "Sneakers $49.95. Griswalds." An update supplements and reinforces a
previously sent message, so you should send it to the same people you previously sent your
advertisement to. You can also send updates to followers on social media sites such as Facebook or
Twitter. You may be reluctant to create such a short message because you're used to squeezing in as
many details as possible, but cell phone users appreciate them.
Sound and Video

Music and moving images are much more cell phone-friendly than they used to be. You can add sound
and video that uploads quickly on cell phones to enhance your marketing message. You must make sure
sound and image files are optimized for cell phones before you send them so that mobile users don't
lose patience waiting for them to load.
6. Write a radio script for discussion on any one of the following:

a) Traffic Jams in Cities

Ans. Traffic congestion is a condition on transport networks that occurs as use increases, and is
characterized by slower speeds, longer trip times, and increased vehicular queueing. The most common
example is the physical use of roads by vehicles. When traffic demand is great enough that the
interaction between vehicles slows the speed of the traffic stream, this results in some congestion.

As demand approaches the capacity of a road (or of the intersections along the road), extreme traffic
congestion sets in. When vehicles are fully stopped for periods of time, this is colloquially known as
a traffic jam or traffic snarl-up. Traffic congestion can lead to drivers becoming frustrated and engaging
in road rage.
Mathematically, congestion is usually looked at as the number of vehicles that pass through a point in a
window of time, or a flow. Congestion flow lends itself to principles of fluid dynamics.

b) Demonetization

Denomination is a proper description of a currency amount, usually for coins or banknotes.

Denominations may also be used with other means of payment like gift cards. For example, five euros is
the denomination of a five euro note.

In a currency, there is usually a main unit (base), and a subunit that is a fraction of the main unit. In
some countries, there are multiple levels of subunits. In the former Ottoman Empire, 1 lira = 100 kuruş =
4000 para = 12000 akçe. Today, only a few places have more than one subunit, notably Chinese speaking
regions: the mainland China (renminbi), the Hong Kong (dollar), and Republic of China's (New Taiwan
dollar). In addition, the Jordanian dinaris divided into 10 dirham, 100 qirsh/piastres, or 1000 fils. Many
countries where Western European languages are spoken currently have their main units divided into
100 subunits. Some currencies that previously had subunits no longer do, because inflation has
rendered the subunit useless. A prominent example is the Japanese yen, which was formerly divided
into 100 sen or 1000 rin. Both subunits were demonetized at the end of 1953.[1]
Occasionally, a super unit is used as a multiple of the main unit. Examples include Korean won =
5 yang in 1893, Iranian toman 10 rials (used informally today). In the Ottoman Empire, lira and kuruş
were super units at some point before becoming the main unit.

c) Cyber Crime
Ans. Cyber crime, or computer related crime, is crime that involves a computer and a network. The
computer may have been used in the commission of a crime, or it may be the target. Cybercrimes can be
defined as: "Offences that are committed against individuals or groups of individuals with a criminal
motive to intentionally harm the reputation of the victim or cause physical or mental harm, or loss, to
the victim directly or indirectly, using modern telecommunication networks such as Internet (networks
including but not limited to Chat rooms, emails, notice boards and groups) and mobile phones
(Bluetooth/SMS/MMS)". Cybercrime may threaten a person or a nation's security and financial health.
Issues surrounding these types of crimes have become high-profile, particularly those
surrounding hacking, copyright infringement, unwarranted mass-surveillance, child pornography,
and child grooming. There are also problems of privacy when confidential information is intercepted or
disclosed, lawfully or otherwise. Debarati Halder and K. Jaishankar further define cybercrime from the
perspective of gender and defined 'cybercrime against women' as "Crimes targeted against women with
a motive to intentionally harm the victim psychologically and physically, using modern
telecommunication networks such as internet and mobile phones".Internationally, both governmental
and non-state actors engage in cybercrimes, including espionage, financial theft, and other cross-border
crimes. Activity crossing international borders and involving the interests of at least one nation state is
sometimes referred to as cyberwarfare.
A report (sponsored by McAfee) estimates that the annual damage to the global economy is at $445
billion; however, a Microsoft report shows that such survey-based estimates are "hopelessly flawed"
and exaggerate the true losses by orders of magnitude. Approximately $1.5 billion was lost in 2012 to
online credit and debit card fraud in the US. In 2016, a study by Juniper Research estimated that the
costs of cybercrime could be as high as 2.1 trillion by 2019.

7. Script a radio play based on one of the following:

a) National Integration

b) Honesty is the Best Policy (15)

Ans. Once upon a time there lived a king who had grown very old.The king had three sons,now he was
worried that which of his sons should be his successor.It was very difficult for him to choose the next
king among his three sons because he loved them all.
One day a thought came to his mind, he called his sons and said to them,"I am giving each of you one
seed,that you will plant in a pot,aftersometime I will see that whose plant is the best,the one who will
have the most beautiful plant will be the next king".He gave each of them a seed .All his sons went back
and planted the seed in the pot.
After few months, two brothers had beautiful plants in their pots with lovely flowers and green
leaves,except the youngest one, his pot was plant less although he cared for his seed and pot very well
but no plant grew in his pot.When he saw his brothers' plants he became very sad and worried that
what would he show to his father. One day the king called all the brothers to show their plants to him.
"Look father how beautiful our plants are". Said the sons who had plants in their pots.
King asked the youngest son," Where is your plant?Your pot is empty.", son replied,"My dear father, I
am really sorry, I tried my best but no plant grew in my pot".
"No! you should not be sorry" said the king,"because the seeds I gave to you and your brothers were
dead and useless, no plant could be grown with the help of those seeds.Your brothers lied to me.When
they saw that their plants were not growing, they planted other seeds in their pots.The plants they have
are from other seeds. But you were honestand told me the truth, and one of the most important
qualities of a king is that he should be honest. So my dear son, you will be the next king".

8. The following poem has to be taught to students of class VIII. Write a script for the radio, inserting
sound effects, music and narration:

The Seven Ages of Man — William Shakespeare

All the world’s a stage,

And all the men and women merely players;

They have their exits and their entrances,

And one man in his time plays many parts,

His acts being seven ages.

At first the infant, Mewling and puking in the nurse’s arms;

And then the whining schoolboy,

with his satchel And shining morning face,

creeping like snail Unwillingly to school.

And then the lover, Sighing like furnace,

with a woeful ballad Made to his mistress’ eyebrow.

Then a soldier, Full of strange oaths,

and bearded like the pard,

Jealous in honor, sudden and quick in quarrel,

Seeking the bubble reputation Even in the cannon’s mouth.

And then the justice, In fair round belly with good capon lined,

With eyes severe and beard of formal cut,

Full of wise saws and modern instances;

And so he plays his part.

The sixth age shifts Into the lean and slippered pantaloon,

With spectacles on nose and pouch on side; His youthful hose,

well saved, a world too wide For his shrunk shank;

an his big manly voice,

Turning again toward childish treble,

pipes And whistles in his sound.

Last scene of all,

That ends this strange eventful history,

Is second childishness and mere oblivion,

Sans teeth, sans eyes, sans taste, sans everything

Ans.

Writing for radio is different than writing for print. You’re writing for the ear, not the eye. Listeners have
to get it the first time around- they can’t go back and hear it again (unlike re-reading a sentence in a
magazine). And while a reader may get up and come back to an article, a radio listener who gets up may
not come back. So you want to grab their attention and hold onto it for as long as possible. Writing
feature stories like the ones aired on B-Side is also different than writing news copy. You can loosen up a
little. You can be more literary, more creative, more personal. This handout is a quick guide to writing a
script for a feature radio story.

Getting Started: Logging Tape

After you’ve finished your reporting, it’s time to log your tape. This means listening to everything you’ve
recorded and writing it up. You should transcribe quotes, note who’s saying what, time how long the
tracks are, and (if you’re using a minidisc) note the track numbers. Highlight or mark tracks you know
you want to come back to. You don’t have to log the tracks you know you won’t use. Example

Choosing Your Acts

After you’ve logged your tape, you should select the tracks you want to use (tracks are also called cuts,
soundbites, or actualities). Cuts generally shouldn’t be longer than 30 seconds- you only have a few
minutes and besides, most radio listeners have short attention spans. (If you have a great long cut, you
can break it up with your narration or edit it down). Don’t just choose cuts purely based on what’s said-
also consider how it’s said. Think about how your cuts will fit into your story structure- do they describe
something, tell a story, make you laugh, make you scratch your head? Your actualities should advance
the story and make it interesting.

Starting to Write
As you start writing your script, you probably already have a good idea what your story’s going to sound
like. You’ve listened to all the clips and ambiance, maybe selected some music. You may have talked
about the story with a friend or editor. Basically, you already have all the elements floating around in
your head. Start writing your script by laying out all your cuts in the order you think you’re going to use
them. Then start writing your narration around them.

Anchor Intros
The place to start is usually the “anchor intro”- this is what the announcer/host will say to introduce
your story. An anchor intro quickly sets up your story and puts it in context, without giving away too
much. It should also introduce you, the reporter/producer.

Telling a Story
As you write your narration, try to tell a story with a beginning, middle, and end. Draw listeners into the
story by setting a scene, raising a question, playing a weird noise, or introducing a character. Use
narrative elements like foreshadowing, suspense, and scene changes to move the story along.

Mix Things Up
Use tracks of varying length. A series of 20-second acts interspersed with 10-second tracks will get
pretty monotonous. And when you wrap up your story, don’t end with an actuality or just a sign off. You
should get the last word, even if it’s just a short sentence.

A few aesthetic considerations to keep in mind as you write your script:

Be conversational
Your narration should sound as natural as possible, like you’re telling a story to a friend. This is not the
same as trying to imitate spontaneous speech. Instead, this means writing in a style that sounds as
relaxed as possible. Use phrases and words you normally use. When you read your narration aloud, do
you sound like yourself?

Be visual
Give your listeners a chance to imagine the people, places and things in your story. Create a sense of
scene; describe people; include interesting sounds. Avoid a story that’s just a series of talking heads or
facts.

Be concise
Long sentences loaded with ten-cent words and relative clauses usually don’t work too well in radio
(but there are exceptions). Mix up your sentence structure. It’s surprisingly easy to fill 3 or 4 minutes of
airtime- so don’t overwrite.

Be energetic
 Use the active voice. Use punchy verbs and contractions. Mind your tenses – don’t switch back and
forth between past and present. Most radio stories are done in present tense. Some exceptions include
commentaries, and news stories about past events.

Be experimental
For variety, stick in a tape-to-tape cut (one actuality leading straight into another without narration in
between). Mix acts and tracks. For example, if someone is droning on and on, you can play them under
your narration- this will convey a sense of them rambling. Even the most straightforward story can have
an unusual or memorable element in it.

Be thoughtful
Try to go beyond just presenting the facts. Let your listeners know why your story matters. Is there a
lesson to be learned, something to be taken away? You don’t have to get too heavy or cerebral- just
take it a step or two beyond pure description.

Sound effects (or audio effects) are artificially created or enhanced sounds, or sound processes used to
emphasize artistic or other content of films, television shows, live performance, animation, video games,
music, or other media. In motion picture and television production, a sound effect is a sound recorded
and presented to make a specific storytelling or creative point without the use of dialogue or music. The
term often refers to a process applied to a recording, without necessarily referring to the recording
itself. In professional motion picture and television production, dialogue, music, and sound effects
recordings are treated as separate elements. Dialogue and music recordings are never referred to as
sound effects, even though the processes applied to such as reverberation or flanging effects, often are
called "sound effects"

The term sound effect ranges back to the early days of radio. In its Year Book 1931 the BBC published a
major article about "The Use of Sound Effects". It considers sounds effect deeply linked with
broadcasting and states: "It would be a great mistake to think of them as anologous to punctuation
marks and accents in print. They should never be inserted into a programme already existing. The
author of a broadcast play or broadcast construction ought to have used Sound Effects as bricks with
which to build, treating them as of equal value with speech and music." It lists six "totally different
primary genres of Sound Effect":

 Realistic, confirmatory effect

 Realistic, evocative effect
 Symbolic, evocative effect
 Conventionalised effect
 Impressionistic effect
 Music as an effect
According to the author, "It is axiomatic that every Sound Effect, to whatever category it
belongs, must register in the listener's mind instantaneously. If it fails to do so its presence could
not be justified.
The objective in this tutorial is to record a simple narration, add some background music, cut the
narration to fit the music, lower the volume of the music during the narration, and finally mix and export
the final product.

Give yourself an hour or so to complete this tutorial.

On your first attempt:

 do not try to create a masterpiece

 do not work on something critical.

You are learning and experimenting, exploring the many tools Audacity offers you. Don't expect to get it
perfect the first time.

It really does not matter what your narration is about, and whether you read it or ad lib. It also does not
matter what the music is, but an instrumental track is preferable.

Consider where your microphone is going to be in relation to everything else in the room. Try to place it
so that it picks up a minimum of computer noise (hard drives, fan). When speaking into the microphone,
point the microphone at your mouth but do not point your mouth at the microphone. If you can, place
the microphone so that you are talking past it - think David Letterman and that microphone he has on
his desk: he's always talking over it. Setting up the microphone so that it is level with your mouth but a
little off to the side also works. This avoids "popped p's" and other breath effects from ruining your
recording. Finally, try to set up the microphone so that it is 4 to 6 inches away from your mouth.

While you are talking, try to keep looking in one direction - moving your head left or right, up or down,
while you're talking will change the tonal quality of your voice, and may be distracting to your listeners.
Speak in a normal, conversational tone of voice, but also speak clearly and enunciate carefully. Your
listeners cannot see you so do not have the visual cues they would have if your were speaking to them
in person.