Showing posts with label Radio. Show all posts
Showing posts with label Radio. Show all posts

Sunday, February 27, 2011

Broadcast News Producing


Broadcast News Producing is one of the first comprehensive texts in its field. While until now most broadcast journalism textbooks have been geared toward students who want careers on-camera, Broadcast News Producing goes behind the camera to teach students the hows and whys of putting together compelling news programs for television, radio, and the Internet.

This text lays the groundwork for good producing, giving the reader an insider's perspective on newsroom structure and the producer's role. It takes students step-by-step through the producing process, providing a guide to putting together a successful newscast. The book also addresses critical issues that face today's producers, including ethics, newsroom leadership, staff management, resource management, newsroom relationships, and career planning.

Key Features

* Combines the practical skills and techniques needed in today's broadcast news production with timely theoretical and ethical issues facing producers.
* Serves as a guide to running campus radio and television programs, complete with step-by-step instructions and examples on how to run a news program from start to finish.
* Reinforces teaching points through graphics, tables, charts, and photos.
* Gives readers an insider’s view of broadcast production through question-and-answer interviews with current and former broadcast news producers.
* Focuses separate sections on producing news programs for television, radio, and the Internet; and on producing specialized broadcast news segments such as sports, weather, live reports, debates, roundtable discussions, and call-in shows.


Broadcast News Producing is an ideal textbook for undergraduate journalism courses in broadcast news and mass communications. It is also recommended as a reference for secondary school and college newsrooms, where it can be used as a guide to running a campus news program.


Chapter 1- What is a Producer?
Newsroom Structure
What Else Does a Producer Do?
The Producer's Role in the Newsroom
Thinking More About It
Chapter 2- Producing Today's News
The Evolution of News Producing
Network News
Implications for Local Producers
Thinking More About It
Chapter 3- The Producing Process
Story Ideas and Value
Rundowns
Skeleton Rundowns
Blocks and Stacking
Finishing Strong
Scripting
In the Control Room
Thinking More About It
Chapter 4- Writing
Overview
Summary
Thinking More About It
Chapter 5- Producing for Television
Alternative News Formats
Alternative News Strategies
Breaking News
Summary
Thinking More About It
Chapter 6- Weather and Sports
Weather
Sports
Thinking More About It
Chapter 7- Producing for Radio and the Internet
Radio
The Internet
Thinking More About It
Chapter 8- Surviving the Newsroom
Theories X, Y and Z
Newsroom Relationships
Personal Relationships
Thinking More About It
Chapter 9- Issues in Producing
Quality vs. Ratings
Live Reporting
News Cutbacks
Market Size
Ethics
Consultants
Thinking More About It
Chapter 10- The Job Market
Finding a Producing Job
The Job Search Process
Summary
Thinking More About It

Source: http://www.sagepub.com/

Wednesday, February 16, 2011

Broadcast Journalism: Techniques of Radio and Television News


Covers the trends that have reshaped the world of journalism: convergence, multiskilling, citizen journalism, podcasting, online journalism, and more

An indispensible and comprehensive introduction to the field of broadcast journalism
The leading text in the broadcast journalism field

Fundamentals of Broadcast Journalism, such as news gathering, news writing, news reading, interviewing, making programmes

Up-to-date practical manual for beginning reporters hoping to enter the arenas of radio and television news

Description This newest edition of Broadcast Journalism continues its long tradition of covering the basics of broadcasting from gathering news sources, interviewing, putting together a programme, news writing, reporting, editing, working in the studio, conducting live reports, and more. Two new authors have joined forces in this new edition to present behind the scenes perspectives on multimedia broadcast news, where it is heading, and how you get there.

Technology is meshing global and local news. Constant interactivity between on-the-scene reporting and nearly instantaneous broadcasting to the world has changed the very nature of how broadcast journalists must think, act, write and report on a 24/7 basis. This new edition takes up this digital workflow and convergence. Students of broadcast journalism and professors alike will find that the sixth edition of Broadcast Journalism is completely up-to-date.

Includes new photos, quotations, and coverage of convergent journalism, podcasting, multimedia journalism, citizen journalism, and more!

Readership Aspiring radio and TV reporters and journalists; students on journalism and broadcasting courses.
Author Information By Andrew Boyd , Journalist in radio, TV and online. Reporting credits include Channel 4's Dispatches. He has taught and developed three award-winning courses in broadcast journalism and has trained many of today's top names in reporting.; Peter Stewart , Works in the BBC's newsroom for Radio Kent and South East Today.; and Ray Alexander , Manager & Lead Trainer for Television Journalism, BBC Training

Table of Contents
Preface

SECTION ONE: THE PRINCIPLES OF BROADCAST JOURNALISM

A CAREER IN BROADCAST JOURNALISM
Why bother'
Writing Skills
Qualities in the broadcast journalist
Getting A Foot Into The Door
The interview
Multi-tasking
Surviving Editorial Meetings
Formal and practical training for broadcast journalism

WHAT MAKES NEWS'
Audience: What Matters To Me'
News You Can Use
Where did it happen'
Relevance
Immediacy
Interest
Drama and Impact
Entertainment and Celebs
New, true and interesting
Different Types of News
Emergencies
Crime
Government
Planning and developments
Conflict and controversy
Pressure and lobby groups
Industry and business
Health and Medicine
Human interest
Sport
Seasonal news
Special local interest
Weather
Traffic
Animals
The Final Checklist

SECTION TWO: NEWSGATHERING

ETHICS AND RESPONSIBILITY
Regulation
The Law
Being Web Wise
The Myth Of Objectivity
Children
Ethics In Citizen Journalism
Reporting civil disorder
Camera bias
Sensationalism
Privacy and voyeurism

NEWS SOURCES
Reporters
Stories from Consumers
Hoaxes
Contacts and Sources
Newsroom Diary
Files
Check Calls
Emergency Services Radio
Politicians
Pressure Groups
Staged Events
News Releases
Syndicated recordings Freelances
Wire Services and News Agencies
The Network
Other News Media Cross-Platform Material

GETTING THE STORY
Newsroom Conference
Copytasting
Balance of News
Visuals and Actuality
The Brief
The Angle
Chasing the Contact
Staged News Conferences
Beating the Clock
Work to Sequence
Don't Panic

SECTION THREE: WRITING FOR BROADCAST

CONVERSATIONAL WRITING
Telling the Story
Writing for a Mass Audience
No Second Chance
Confusing Clauses
Inverted Sentences
Plain English
Familiar Words
Easy Listening
Accurate English
Keep It Concrete
Make It Interesting
Contractions

NEWSWRITING
The News Angle
Multi-Angled Stories
Hard News Formula
The Intro
Placing Key Words
Features Openers
Developing the Story
The WHAT formula Signposting
Last Line
Last Words
Accuracy

BROADCAST STYLE BOOK
Cliches
Journalese
Hyperbole
Adjectives
Quotations
Attribution
Contentious Statements
Immediacy
Active
Positive
Redundancies
Repetition
Homonyms
Singular or Plural'
Pronouns
Punctuation
Spelling
Abbreviations
Figures
Proof Reading
Ambiguity


SECTION FOUR: INTERVIEWING

THE INTERVIEW
The Interviewer's Skill
Different Types of Interview'
A Disaster Story? Hard News
Informational
Investigative
Adversarial
Interpretative
Personal
Emotional
Entertainment
Actuality Only
The Disaster Story Continues

SETTING UP THE INTERVIEW
Background
A Plan of Campaign - The Questions
Get Your Facts Right
Fit the Brief
Check Arrangements
Approach
The Questions
Winding Up the Interview
Being Interviewed Yourself: The Q & A

FROM 2-MINUTE HEADLINES TO 24-HOUR NEWS
The Bulletin
News Programmes
Documentary
Verite
24-Hour News
Who Does What'


SECTION FIVE: THE NEWS PROGRAMME

ITEM SELECTION AND ORDER
'A Fair Picture . . .'
Second Thoughts
Item Order
Local Considerations
Foreign Coverage
Producing a Running Order

PUTTING THE SHOW TOGETHER
Winning an Audience - The Openers
Keeping and Audience - Headlines and Promotions
Actuality
Pictures
Graphics
Programme Balance - Being All Things to All People
And Now the Good News'

MAKING THE PROGRAMME FIT
Cutting
Filling
Backtiming

SECTION SIX: PRESENTING THE NEWS

NEWS ANCHORS AND PRESENTERS
The Talent
Qualities of a Newscaster
More Than Just a Newsreader . . .
Professionalism
Voice

'ON AIR!'
Performance
Prescence
Getting Through to the Audience - Rapport
Know Your Material
Ad-Libs
The Gate
Making a Swift Recovery
Corpsing
Relaxation

NEWSREADING MECHANICS
Speed
Breathing
Projection
Emphasis
Pitch
Microphone Technique
Using the Prompter
Noise, Noise, Noise
Bringing the Story to Life

SECTION SEVEN: RADIO NEWS COVERAGE

STORY TREATMENT
Breaking News (Bulletin US)
Headline
Copy Story
Voicer or Voice Report
Teaser or Taster
Voice Report from the Scene
Interview
Newsclip
Package
Mini-Wrap or Bulletin Wrap

SECTION EIGHT THE EQUIPMENT

RECORDING
Principles of Recording
Using Portable Sound Recorders
Digital Recorders
Before the Interview

EDITING
'You Can't See the Join'
Unethical Editing
Basic Production
Multi-Tracking
Studio Mixing
Types of Fade

THE STUDIO
On-Air Studio
Talks Studio
The Contributions Studio
Remote Studios
Radio Car
Outside Broadcast Vehicle
Mobile Phones
Obscenity Button

SECTION NINE: TELEVISION

THE NEVER ENDING STORY - THE SHARING TELEVISION NEWSROOM
Television Newsrooms And The News Story
Advantages and Disadvantages
In and Out
A newsroom core server
Order from chaos - the journalist's most basic need-to-know
TV Script Types
Live Breaking News - 24/7 Newsroom
The role of UGC (User Generated Content) and the 24-hour newsroom
Types of citizen journalism

SCRIPTING TELEVISION JOURNALISM
The Intro (Cue or Link)
Complement The Pictures With The Narrative
Writing To Sound
Keep Detail To A Minimum
The Television News Package
Balancing Words With Pictures
Using Archive Pictures
The Bottom Line

GATHERING TELEVISION NEWS
Filming for TV Journalism
Cameraman/Camerawoman/Cameraperson!
Sound Recordist
Lighting technician
The Video Journalist checklist
The Journalist as advance guard - a Recce

CAMERA SHOTS
Hold the shots
Grab action shots first
Shoot for impact
Shoot in sequences
Context
Sound
Sound-bites and interviewee clips
Cutaways and bridge shots
Reverses
The Line
Continuity
Piece to Camera (PTC) also known as Stand Uppers
Special film equipment

EDITING THE SOUND AND PICTURES
Sequence of shots
Shot Length
Telescoping the action
Desktop Editing
The craft editor
The timer (time code)
The edit controller
Video mixing
Recording the commentary
Audio mixing
Editing shots for interviews
Using music

GOING LIVE - LIVE TV REPORTING IN VISION
What works well'
What works less well'
Top Tips

GRAPHICS AND DIGITAL DISPLAY VISUALS
Stills and frame grabs
Writing to still pictures and screen insets
Overlays and Chromakey (CSO)
Big Screen Video Wall
Acronyms in Visuals

PRESENTING TELEVISION NEWS
Qualities of the television news presenter
What To Wear
Men And Their Ties
Colours and fabrics
Autoscript
"Fill For Ten Seconds!"
Nerves
Make Up and Perception
"Coming up"

THE TELEVISION NEWS STUDIO
Standby for transmission
The Set
Lighting
Cameras
Sound
The floor manager
Control Room
The Director
Running order and the studio

Broadcast journalist

Broadcast journalists are responsible for investigating, gathering and reporting on news and current affairs. They are expected to present this information in a fair, balanced and accurate way through news bulletins, documentaries and other factual programmes for radio, television and online broadcast.

Skillset (Sector Skills Council for the Audio Visual Industries) (http://www.skillset.org) defines broadcast journalism as 'the collection, verification and analysis of events which affect people'. The work of a broadcast journalist shapes people's perceptions of the world in which they live and therefore has a far-reaching impact.

Broadcast journalists can fill a number of roles within the media including editor, reporter, presenter/news anchor, producer and correspondent.

Typical work activities
Although exact duties and responsibilities will vary from role to role and between radio, television and the internet, broadcast journalists will generally be involved in many of the following duties, on a daily basis:

generating ideas for stories/features and following leads from news agencies, the police, the public, press conferences and other sources;
pitching ideas to editors and commissioners;
researching and collating evidence and information to support a story using relevant information sources (internet, archives, databases, etc);
writing scripts for bulletins, headlines and reports which adhere to legal and contractual guidelines;
selecting appropriate locations, pictures and sound and exercising editorial judgement on the best angle to approach a story from;
identifying necessary resources and deploying/managing technical crews for location shoots, including sound operators and camera crew;
providing directorial input, advising crews on what to film or record;
using portable digital video (DV) cameras and other equipment to record material and appropriate editing software to produce complete packages for broadcast;
preparing and presenting material 'on air' for both pre-recorded and live pieces;
identifying potential interviewees, briefing them, preparing interview questions and conducting both live and recorded interviews;
preparing timings for each news item and monitoring these during broadcast;
deciding on the running order for bulletins and making any necessary changes during broadcast;
developing and maintaining local contacts and assuming a public relations role.
Skillset (Sector Skills Council for the Audio Visual Industries) (http://www.skillset.org) has developed a set of national occupational standards which details the responsibilities expected from broadcast journalists.

Work conditions
Range of typical starting salaries: £13,000 - £22,000. Starting salaries vary significantly between local and national broadcasters (salary data collected Feb 09).
Range of typical salaries at senior level/with experience (e.g. after 10 - 15 years in the role): £22,000- £52,000 but can be over £100,000 in exceptional cases (salary data collected Feb 09). Wages differ widely depending on the employer and the location. The Independent (http://www.independent.co.uk) estimates that the basic average salary at this level is approximately £30,000.
Pay tends to be higher in television than radio. Independent local radio posts tend to offer the lowest starting salaries. Additional allowances may be paid for shift work and unsocial hours and a London weighting may be available. Freelance reporters are often on individually negotiated contracts.
Working hours typically include regular unsocial hours. Shift work is common, starting early to cover regional news on breakfast radio/television shows or working mid-morning until late evening for afternoon/evening bulletins. Weekend work is often required and most broadcasters do not take public holidays. On-air presenters are less likely to go out on location to cover stories and their working hours may be more predictable/social.
The media is a volatile industry, characterised by short-term contract employment. Many broadcast journalists may be freelance and may have to relocate or travel according to availability of work.
Diversity in the media is still an issue. The 2006 census from Skillset (Sector Skills Council for the Audio Visual Industries) (http://www.skillset.org) estimated that only 38% of the workforce were women, 7% from minority ethnic groups and employees with disabilities accounted for only 1% of the workforce. However, initiatives such as BBC Extend (http://www.bbc.co.uk/jobs/extend/) , Cultural Diversity Network (http://www.culturaldiversitynetwork.co.uk) , Journalism Diversity Fund (http://www.journalismdiversityfund.com) and George Viner Memorial Fund (http://www.georgeviner.org.uk) . are attempting to address this concern and according to the Office of Communications (Ofcom) in 2007, the proportion of people from minority ethnic backgrounds and people with disabilities employed in broadcasting appeared to be gradually increasing.
Job opportunities can be found across the UK. Work for network stations will tend to be London or regionally based. There are usually more opportunities at local level, through regional stations. Digital Audio Broadcasting (DAB) has opened many new opportunities across radio and television.
The work can be stressful and pressurised; broadcast journalists always work to strict deadlines and need to react as and when a story breaks. The work sometimes involves interacting with people at moments of crisis or tragedy which can be emotionally challenging.
There is frequent travel within a working day and absence from home at night. Overseas work or travel is occasional but more common for specialist correspondents.
Entry requirements
There are three main entry routes into broadcast journalism:

direct entry into a traineeship (though positions are scarce);
moving across from print journalism (usually for those with several years' experience);
'pre-entry' by completing an accredited degree or postgraduate qualification (most popular route).
Although this area of work is open to all graduates, a degree in journalism, or business, finance/economics or government/politics may increase your chances, particularly if wishing to pursue a career as a special correspondent. The industry is divided over the value of undergraduate journalism and media studies degrees, so it is worth investigating which courses have industry recognition or recommendation and studying the success rates of their alumni. Details of relevant courses can be obtained from the following accrediting bodies: National Council for the Training of Journalists (NCTJ) (http://www.nctj.com) ; and the Broadcast Journalism Training Council (http://www.bjtc.org.uk) .

Entry is not usually possible with an HND only.

Postgraduate entry is the most common route to this profession. The BJTC and NCTJ also accredit postgraduate courses which offer both theoretical and practical training. Information about funding for postgraduate study is available from Broadcast Journalism Training Council (http://www.bjtc.org.uk) (BJTC) and from the journalism department at City University (http://www.city.ac.uk) .

In recent years, the media has introduced a number of initiatives, such as the Journalism Diversity Fund (http://www.journalismdiversityfund.com) , to encourage applications from traditionally under-represented groups. Support is, therefore, available for those who may not have studied in higher education. Details of many schemes are available through the Cultural Diversity Network (http://www.culturaldiversitynetwork.co.uk) .

Potential candidates will need to show evidence of some or all of the following:

an interest in news, current affairs and a good general knowledge;
excellent written communication;
good oral communication, with an authoritative voice, confidence in front of a camera and an 'on air' presence;
an understanding of appropriate technical equipment and relevant editing software;
ability to work under pressure, both within teams and individually;
outstanding analytical skills and ability to absorb, extract and present information in a clear and understandable way;
an interest in people/building rapports, able to handle interactions with sensitivity, empathy and diplomacy;
an eye for a story, with an ability to generate original ideas and the confidence to pitch to senior editors;
resourcefulness and creative problem-solving skills.
Work experience, whether paid or unpaid, can be a useful way to develop these skills. The BBC (http://www.bbc.co.uk) and Independent Television (ITV) (http://www.itv.com) regional news both run small sponsored news traineeship schemes. Competition for both traineeships and unpaid work placements at larger network stations is fierce. Making direct approaches to individual editors or producers may therefore prove more fruitful than applying via recruitment departments, as may focusing on local stations. Local press, hospital radio and community media (Community Media Association (http://www.commedia.org.uk) ) are excellent training grounds, as is any involvement in student media (largely magazine, newspaper or radio). Applications, even for work experience, will be stronger if accompanied by demo tapes or cuttings and student media is an ideal place to start building a portfolio. Make yourself known to as many people as possible, be flexible and available at all times. Volunteer to get involved wherever you can and do not be afraid to be pro-active.

There are no age restrictions for entry. Skills, experience and qualifications are the main criteria for selection. It is illegal for employers to discriminate against candidates on the grounds of age, gender, race, disability, sexual orientation or religious faith. For more information on equality and diversity in the job market see handling discrimination.

For more information, see work experience (www.prospects.ac.uk/workexperience) and find courses and research (www.prospects.ac.uk/pg).

Training
If entry has been via an accredited course, it will be expected that the necessary basic training needed to practise in the profession will have been covered. For those who have not come via this route, gaining an understanding of media law and health and safety is normally considered an immediate training need. A substantial amount of training will be informal and 'on the job'. It is usual for trainee journalists to initially be assigned basic tasks such as working autocues and fetching tapes, gaining an insight into the whole process, before they move into more specific and responsible roles.

As budgets are stretched, multi-skilling is becoming more prevalent in the media. Many broadcast journalists find that they can now be responsible for recording and editing their own footage. Acquiring knowledge and understanding of technical equipment and relevant software is, therefore, currently a key training need and many employers will require/support training in these areas.

The media is a fast-paced, ever-evolving industry. Its professional bodies (Skillset (Sector Skills Council for the Audio Visual Industries) (http://www.skillset.org) , National Council for the Training of Journalists (NCTJ) (http://www.nctj.com) and National Union of Journalists (NUJ) (http://www.nuj.org.uk) ) recognise the need to support journalists in their continual professional development in order to stay ahead of the game. Short courses include: negotiating contracts; public relations; sub-editing; interviewing skills; as well as new technologies.

The Media Courses and Multimedia Courses Directory (http://www.bfi.org.uk/education/talkscourses/mediacourses/) , compiled by Skillset and BFI, lists over 6,000 available courses. Others can be found through Journalism.co.uk (http://www.journalism.co.uk) or BBC Academy (http://www.bbctraining.com) including some free online courses.

Career development
Broadcast journalists who start in television will often begin as newsroom assistants or researchers, before moving into a reporting role. As experience is gained, there is scope to specialise; some may choose to focus on pursuing a senior broadcast journalist role with responsibility for managing news staff and budgets while others may prefer to become a studio-based news anchor or presenter. Another route may be to specialise to become a correspondent. The ultimate aim for the latter may be to secure a position as a senior correspondent on network news, though these positions are highly coveted and few and far between.

Investigative journalism or documentary journalism are also possible career development options. Those who wish to move behind the scenes may aspire to become programme editors/sub-editors or producers.

Radio differs slightly in that trainees are normally given greater responsibility earlier on. Depending on the size of the station, they may even find that they have sole responsibility for a newsroom from the outset. Progression would normally be to positions with larger commercial or network stations or across into television and then as above.

Typical employers
Employers of broadcast journalists include:

BBC (http://www.bbc.co.uk)
Bloomberg (http://www.bloomberg.com)
ITN (http://www.itn.co.uk)
Independent Television (ITV) (http://www.itv.com)
Channel 4 Television (http://www.channel4.com)
Sianel Pedwar Cymru (S4C) (http://www.s4c.co.uk)
Five TV (http://about.five.tv/)
independent production companies
international news agencies such as Reuters (http://today.reuters.com)
digital, cable and satellite networks.
Competition for jobs with network broadcasters is extremely tough. However, digital broadcasting has created new openings for broadcast journalists, with the arrival of 24-hour news channels and niche programming and increased opportunities in ethnic broadcasting.

Employers from the radio sector include BBC national and regional stations, as well as local and national commercial radio stations, (see The Local Radio Company (http://www.thelocalradiocompany.com) or RadioCentre (http://www.radiocentre.org) for contact details).

Sources of vacancies
Search graduate jobs (www.prospects.ac.uk/links/jobvacs).

BBC (http://www.bbc.co.uk)
Broadcast Journalism Training Council (http://www.bjtc.org.uk) .
Broadcast (http://www.broadcastnow.co.uk) and Broadcast Freelancer (http://www.broadcastfreelancer.com)
Campaign (http://www.campaignlive.co.uk)
Guardian Jobs (http://jobs.guardian.co.uk) - Mondays and Saturdays
Hold the Front Page (http://www.holdthefrontpage.co.uk)
The Independent (http://www.independent.co.uk)
ITV Jobs (http://www.itvjobs.com)
Journalism.co.uk (http://www.journalism.co.uk)
Media Week (http://www.mediaweek.co.uk)
Press Gazette (http://www.pressgazette.co.uk)
There are a small number of recruitment agencies specialising in journalism, including The Media Network (http://www.tmn.co.uk) . Some presenters may use an agent.

See also job hunting tips (www.prospects.ac.uk/links/jobhunt) and applications, CVs and interviews (www.prospects.ac.uk/links/appsinterviews).

Qualities of a good radio journalist

There has rarely been a better time to start in radio. More people are
employed in radio in the UK than in television. The industry is growing
Working in radio


fast and the main problem facing many editors is finding sufficient staff
and freelancers who can do the job. Note the words ‘who can do the job’.
There is no shortage of people who would like to do it. Sadly, not all of
them have abilities to match their ambition.


It is essential that you should know what you want to do. The first letters
to be rejected by radio stations usually start: ‘I would be willing to do
anything, including making the tea.’ The writers of such letters believe
they are increasing their chances of employment by showing versatility. In
fact, people who are too dazzled by radio in general are unlikely to be
much use in practice.


Apart from journalists, the other major on-air performers are the presenters.
The term ‘presenter’ can cover all kinds of broadcasting, from being a
DJ on a fast-moving dance show to reading the shipping forecast on Radio
Four. On BBC local radio stations, the presenters of the main programmes
at breakfast, lunch and drive time are usually experienced journalists.


A competent radio journalist has to combine the traditional talents of the
reporter with the newer skills. Some know a little about a lot. Others, like
specialist reporters, know a lot about a little. Traditional talents mean an
ability to write clear, easily understood English, a knack of summarizing
complicated situations, asking pertinent but pithy questions and – most
important of all – a ‘nose for news’ or knowing what makes a good
news story.


In addition, the radio journalist must feel at home with technical equipment
and digital editing techniques. This means hard disk editing, recording
links and packages, reading self-op live bulletins on air and conducting
interviews. If many of these terms mean nothing, do not worry. They are
all explained later.


The good radio journalist is flexible, technically competent, capable of
working under extreme time pressure, able to prioritize and juggle dealing
with a major disaster and a funny story in the same hour. Journalists must
also be able to think well on their feet, perhaps recording an interview or
writing details of a court case story literally a few seconds before they are
due on air.


The quality of imagination in a radio journalist does not mean the quality
of making up stories, but having ideas for news stories and their treatments,
as well as seeing newsworthy possibilities in unpromising places,
like apparently endless council meeting minutes and agendas.

Basic Radio Journalism
Paul Chantler and Peter Stewart

Understanding Radio

People listen to radio news when they need to know quickly what is going
on. They realize that because radio news is so simple and short, it is up to
date and has to concentrate simply on reporting the facts.

Speed and simplicity
Radio is probably at its best when it is ‘live’ or reacting to an event
happening ‘now’. Because there are relatively few technicalities, a news
story can be on the air in seconds and updated as it develops. Radio works
best with news stories which require a quick reaction. There is a flexibility
which exists in no other media because comparatively few people are
involved in the process.

Radio can simply be one person and a telephone. There are no cameras,
lights or production assistants. Usually, it is just one broadcaster and a
microphone or telephone separating him or her from the listener. You
should always strive to make use of radio’s greatest assets – speed and
simplicity.


Making pictures
Radio is the best medium to stimulate the imagination. By doing what
radio does best – getting on the air from a scene quickly and describing
the event so the listener can visualize what is happening – you are using
the most powerful tools you possess: immediacy and imagery.
The listener is always trying to imagine what he or she hears and what is
being described. These pictures are emotional – such as the tearful voice
of a mother appealing for information about her missing teenage daughter.
Pictures on radio are not limited by the size of the screen; they are any
size you wish.


Person-to-person
Radio is a very personal medium. The broadcaster is usually speaking
directly to the listener. This is why it is so important to think of the audience
as singular. When you talk on the radio, you are not broadcasting to the
masses through a gigantic public address system. You are talking to one
person in the way you would speak if you were holding a conversation
over a cup of coffee or pint of beer.
Radio also allows the full emotions of the human voice to be heard, from
laughter through anger and pain to compassion. The sound of a voice can
convey far more than reported speech. This is because the way something
is being said is just as important as what is being said.


Localness
The biggest strength of broadcasting news on local radio is that it gives a
station its sense of being truly local. Local radio stations aiming for a
broad audience ignore news at their peril. In an increasingly competitive
marketplace, news is one of the few things which makes a local station
sound distinctive and ‘close to you’.

News from ‘around the corner’ is often just as important to a listener as
news from around the world – if not more so in many cases. However,
there is a danger of becoming too local. Policy judgements have to be
made about what is local and what is too parochial or parish pump. Local
radio news bulletins are not audio versions of local newspapers, for
reasons of space if nothing else. The judgement of how local is local is an
important one. For example, a story about a cat up a tree is too parochial
for all radio stations. The same story about a firefighter being killed while
trying to rescue the cat is not only a good local story, it is almost certainly
a national one as well.


Basic Radio Journalism
Paul Chantler and Peter Stewart