Broadcast Bible 2009/2010
Belfield FM Broadcasting Bible, 2009/2010
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Table of Contents Introduction To Belfield Fm ................................................................................................ 3 Our Sound ........................................................................................................................... 3 Location .............................................................................................................................. 4 Belfield Fm Structure .......................................................................................................... 4 Our Aims ............................................................................................................................. 5 Programming Policy ............................................................................................................ 6 Studio Booking .................................................................................................................... 7 Equipment Booking............................................................................................................. 8 Promotions ......................................................................................................................... 8 Funding ............................................................................................................................... 8 Discipline ............................................................................................................................. 9 Censorship .......................................................................................................................... 9 Programme Cancellation .................................................................................................. 10 A Volunteers Rights and Obligations ................................................................................ 11
Features—Research & Development ............................................................................... 13 Writing for Radio .............................................................................................................. 16 Presenting Skills ................................................................................................................ 20 Sample Links ..................................................................................................................... 25 Show Plans ........................................................................................................................ 28 Sample Running Order Sheet............................................................................................ 30 Interview Skills ................................................................................................................. 31 Panel Facilitation .............................................................................................................. 33 Libel & Defamation .......................................................................................................... 36 Belfield Fm Code of Standards.......................................................................................... 37 Production Guidelines ...................................................................................................... 37 Belfield FM Code of Standards ......................................................................................... 41
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Introduction To Belfield Fm Belfield FM is a not for profit Student Community Radio Station run for and by the Students of University College Dublin, as part of UCD Students Union. Broadcasting on 89.9FM from UCD we have coverage of the Bay Area (Howth to Dun Laoghaire) and we aim to provide students and young people across Dublin with a real alternative of on air content. We are one of the four, full time, student stations in the country the others being: Wired FM in Limerick, Flirt FM in Galway and Cork Campus Radio. Belfield Fm is currently in the process of negotiating a 10 Year Broadcasting Contract with the Broadcasting Commission of Ireland. This process has taken Management a full two years and we hope to be granted the Contract in February. – At Which point we will have one hell of a party. For the moment that leaves us in a slightly complicated situation as our days on the FM band are limited. We will be broadcasting on the Internet on www.belfieldfm.ie for all of Semester 1 2009 and hopefully have 30 Days of FM broadcasting before Christmas. And in Second Semester we will broadcast on 89.9FM for 12 weeks. For a full list of our broadcast dates for 2009/2010 visit www.belfieldfm.ie We broadcast 24hrs/day weekdays all year round with Live Show’s Starting @ 3pm, - There is no point starting earlier than 3pm as we expect students to be still in bed or in class. - We take short breaks for Christmas and Easter and right through the summer. We provide full coverage of all important campus events, debate, drama, gigs and of course the SU elections.
Our Sound? What does Belfield Fm sound like?? Well, we are certainly not your average, run of the mill, commercial radio station—And we don’t want to be. Belfield Fm is dedicated to providing radio with a difference. Our Flagship Show Afternoons and Coffee Spoons is a real mix bag of Chart Toppers, Classic Hits and off the wall crazy. Belfield Presents offers quality indie and crossover music from new and up and coming artists in Ireland as well as reviewing and goofing some of the best new releases. We have news headlines right through the day and Prime Time style feature specials on Hardline. Sports Talk is our nightly run down of the day in UCD, national and international sport. Late Night on Belfield Fm is then a dedicated to speciality music programmes, we have everything, Chart, Dance, Hip Hop, Rock, Indie, Electronica, Metal, Jazz Reggae, - You name it we have it!!
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Location For a long time people didn’t believe that the Belfield FM Radio Station actually existed - That’s because it can be hard to find unless you know where your going.—The Studio and Office are located in the Annex of the Tunnel Between the James Joyce Library and The Arts Block just beside the Student’s Union Copy Printing Service. By the time you read this there should be a large sign point the way. It will look a little like this…
Belfield Fm Structure One of the questions new members ask is Belfield Fm organised. We have a Board made of the Station Management, members of the Students Union, UCD Audio Visual Centre and the University. The board is responsible is responsible for all long term policies and decisions, to make sure Belfield Fm complies with all the laws and regulations and for the employment of paid staff.
We then have the a paid Station Manager and Assistant Managers, who look after the running of the station. The Station Manager then chooses several of the volunteers who apply for the jobs of News Editor, Sports Editor and Head of Music and Executive Producers to come on board as a Management Committee.
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Our Aims Belfield FM aim’s to provide a service that entertains and educates while our listeners. We want to provide the students of UCD with an accessible forum for information, debate and concerns relevant to all aspects of student life, and to create an awareness of the student community among the wider population of the city. All students and interested members of the college community are encouraged to become volunteers. In short and snappy phrases we aim to
give all students the opportunity to develop new skills and exciting ideas in the medium of community radio regardless of any previous experience.
meet our specific talk/music ratio of 40/60 and provide the community with new and alternative speech and music programmes which are not available on other public service or independent radio stations.
promote a genuine interest in Irish language programming by striving to meet and exceed the contractual commitment to ensure that 15% of overall output is Irish language programming.
reflect the diverse resources of the college or colleges, drawing on material from all of the clubs, societies, departments and faculties.
Programme scheduling will be aware of the demands of such a large number of interest groups of the need for alternative programming.
All programmes will strive to promote and nurture equality. Discrimination, of any form, along with seriously offensive material will not be tolerated. Where broadcast material has the potential to conflict with generally accepted audience values regarding the areas of vulgarity, profanity or sexual behaviour, the educational or informative content of the material must be carefully stated and the inclusion of this material justified.
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Programming Policy Once upon a time Belfield Fm we had very little procedures and what people did with their shows was up to them. Now though we have rules and procedures. First up is a break down of what our programmes should be about.
Speech Programming; is subdivided into 3 categories 1. Magazine and Request Shows: Light Hearted with a heavy listenership interaction basis. Minimum of 65% Talk – 35% Music Ratio or No more than 20 Min’s of Music to an Hour. 2. Talk Shows: Interview and Discussion Based, Minimum of 75% Talk – 25 % Music Ratio or No more than 12mins of Music to an Hour. 3. Drama and Debate: 90% Speech-10% Talk News And Current Affairs Programming: Belfield Fm defines News and Current Affairs Programming solely as Programming which is dedicated to Campus, National, International and Popular items of interest. Weekly Broadcasting should include: Daily News Headlines and an Half Hour News Show. Each of these will be should be divided into:
Campus News – 1/3
National News – 1/3
International News – 1/3
Less than 6 min’s music
Every week we will also have an hour long current affairs panel discussion programme and at least one hour long news features and specials programme Sports Programming: We take place on a daily basis for half an hour. The Talk Show is broken into:
Campus – 1/3
National – 1/3
International – 1/3
Less Than 6 min’s Music
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Irish Language Programming: Belfield Fm has a huge interest in the Irish Language. We will develop and promote bilingual and Irish language programmes that are genuinely different. Irish language music programmes will include all kinds of music.
In the past Belfield FM has made the mistake of Ghettoising the Irish Show. What we ended up with was an Irish Language Show for the sake for it with the result being a mediocre year long conversation on what the Cumman Gaelach was doing or covering news and titbits which had been done on other shows.
From the begining of 2009/2010 onwards we are introducing a new policy of total inclusion. Each of our daily programmes will have a version as Gaeilge at least once a week. Through this system we hope to increase the quality of Irish Language Programmes produced and to also reach a greater % of Irish speech content on the station.
Music Programming: Belfield FM is committed to providing an alternative to music that is already available in the commercial sector. We cannot and will not try to compete with the Spins 103.8’s of this world. We have time set aside for all types of Music and will play as much of what is requested and we strive to promote diversity, including dance, indie, folk, jazz, blues, traditional, rock, classical, pop, ethnic and experimental music in its programming wherever possible. Much of this music tends not to be play listed on commercial stations. Live showcase gigs, new bands and musicians will broadcast as much as possible.
Belfield Fm therefore defines Music Programmes solely as programming whose content is almost wholly made up of music and any speech therein is a commentary of, or item of interest in relation to the tracks or artists being played. Minimum of 10% Talk or no less than No Less than 6 min’s speech per hour.
Studio Booking As Belfield FM is a voluntary organisation, and you have other claims on your time, occasionally you may not be able to make your slot. All we require in this case, is that you let Station Management know in good time, see if any other volunteers might like to do your show for the week, or pre-record the show in the Studio during the day before live broadcast commences. You can do this easily by booking studio time on belfield.ie or using the booking form on the wall inside the office. If you plan to pre-record every week, you can block book the particular time that will suit your timetable.
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Equipment Booking Belfield Fm has several portable MP3/Wav recorders for recording Vox-Pops and Interviews outside the studio. These recorders have in-built microphones, and come supplied with a USB cable, so you can drop your recorded files onto the PC for editing/playing. The recorders are housed in the station and you have to pre-book them with Management.
To book one, go to the volunteers’ section of belfieldfm.ie and submit your request. As the recorders are valuable and in constant demand, we will ask that you leave your student ID as a deposit. Lending is for one night only, unless you have agreed a longer time with station management in advance, otherwise a late fee of €5 will be applied!
Promotions In order to grow and maintain listenership we need to promote the station constantly. If we had a budget the size of the Ryan Tubridy’s salary, we’d have a crack team of PR agents working for us; unfortunately this isn’t the case, so we need all of the help we can get. Promotion for us is small scale and everyone must contribute to one promotions project at least once a month. There are always posters & flyers in the office; feel free to take a few! Taking part helps the station and your own show too. If you have any ideas for raising the station’s profile, please let us know, so the Management Committee can look at their feasibility. Don’t forget to write up some blurb for your show on belfieldfm.ie, or even better, create a Myspace, Bebo or Facebook profile with your show’s details.
Funding The station is mainly funded by UCD Students Union. We receive occasional grants from the BCI and other organisations, but most of our additional income is raised through Sponsorship. In the past we have been sponsored by companies like PricewaterhouseCoopers and Bank of Ireland. The majority of our budget is taken up by wages, insurance, equipment and operational fees. If you’d like to try and find a sponsor for your show, let management know and we’ll do all we can to help.
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Discipline Belfield FM operates a simple disciplinary system. Missing your show just twice, without an acceptable explanation or forewarning or cover will result in losing your show. Sounds harsh maybe, but consider that you’ll be leaving the volunteers from the previous show wondering where you are and whether they should stay to cover or not, and in many circumstances management will have step in to provide cover. – Above All Listeners Satisfaction is Key!! The broadcasting of any defamatory, racist, sexually explicit or similar offensive material will result in your suspension from station activities. We are monitored by the BCI and subject to the same codes as all Irish broadcasters. A full copy of the Belfield Fm code of practise is available in a further section of the online in the volunteers section. Please report any accidental breakages immediately, and never remove any items from the station without express management approval. Remember- during your show, it’s your watch; any damage, theft or questionable content- even if it is from a guest, is your responsibility. Suspensions are at the discretion of station management and can be appealed to the Review Committee in the first instance. – Their decision is final. All volunteers should be comfortable with their role within the station. Never undertake any work if you are not happy about it. Belfield FM condemns all forms of bullying and harassment. Any complaints and concerns should be brought to the attention of the Station Manager, Assistant Managers, Students’ Union or a member of the Management Committee.
Censorship Belfield Fm subscribes to the principle of each person’s Right to Communicate. With rights come responsibilities. If you are given uncensored air-time, you are expected to behave conscientiously. So don’t take the piss!!! Don’t libel or defame anyone under any circumstance (make sure you understand what libel is, and don’t hesitate to ask for clarification). Don’t set out to shock or offend, unless the context of the show requires it. Treat your listeners with respect, and plan out your show remembering that the vast majority of your audience doesn’t know you personally and won’t understand in-jokes.
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Cancellation/ Removal of Programmes Programmes must justify their existence. Programme evaluation will be carried out by the Station Manager and relevant personnel on a regular basis for all programmes broadcast. Programmes may be canceled in consultation with the relevant boards of management on the basis of poor production, content, quality and/ or popularity factors.
Production: All programmes will be evaluated in terms of their production value. This means that essential technical and production standards in the areas of sound quality, mixing and editing must be adhered to.
Content: Every programme must have a statement of purpose with an indication of who the target audience will be, what the programme will achieve and how this will be done. This statement of purpose is necessary so that programmers have a specific objective which they can aim for and work towards in each programme. Regarding the station’s policy on equality and profanity, any serious transgression of this policy will lead to the programme’s cancellation.
Popularity: When a programme is no longer seen to be serving a useful purpose its air time may be reduced or eliminated completely. Quality: Because it is so subjective, quality is a very difficult element to define. However, in a quality programme most of the following elements will be important: 1. Appropriateness - Does the programme meet the needs of those for whom it is targeted? Is it relevant to the student community? 2. Creativity - How does the programme approach the topic? Is it being developed with a new and fresh approach? 3. Accuracy - Is the programme material realistic/ appropriate and accurate in all areas? 4. Technical Innovation - Is the programme experimenting in production methods and approach? How successful is this experimentation and what is being learned?
How a Programme Will Be Canceled: A programme that does not comply with set standards as judged by the Station Manager in consultation will be given a serious warning to improve through a meeting with the programmer(s). The relevant management personnel will be notified that such programme is under review and members will be asked to monitor it in conjunction with the Station Manager. If it does not show tangible signs of improvement on a week by week basis, an announcement stating the decision to drop the programme will be made. The programmer can appeal this decision in writing to the Board of Management.
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Rights And Obligations A Volunteer’s Rights
You have the right to participate in the Station’s policy-making process.
You have the right to advance personal objectives; e.g. career training in communications or journalism.
You have the right to be heard, and to have your views & opinions taken into consideration.
You have the right to work in a friendly, welcoming and open station.
You have the right to seek a change in role or function.
A Volunteer’s Obligations
To remember that, above all else, Belfield FM is a service for the student community of University College Dublin and the Dublin Area.
To remember that you have a commitment to the station over-and-above just presenting or producing your own show. This means working on subcommittees, attending station meetings, marketing and promotions work.
To accept that, as Editor-in-Chief of all output, the Station Manager has a duty to ensure that Belfield FM meets all its statutory and legal requirements when broadcasting. From time to time this may lead to the changing of the schedule or in rare instances, certain items being prevented from being broadcast.
To conform to the legal requirements of radio programming and broadcast.
To accept that all information compiled and all programme material made using the Station’s equipment and facilities, is the property of Belfield FM 101.3 unless an express agreement to the contrary has been made.
In short... Not only are you entitled to become involved in station activities, it’s sincerely hoped that you will!
UCD, Students involved with Belfield FM now have the opportunity of gaining official university recognition for their work through both the Credits Campus Involvement System and though ROVE programme. For more information on these please ask one of the Assistant Managers
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Section 2
Training Guide & Production Resources
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1. Features - Research & Development What is a feature? Some journalists use the terms feature, documentary and feature-documentary almost interchangeably. To others it can mean any piece of recorded or live material covering a specific topic. While features and documentaries are both concerned with exploring particular topics or ideas, features generally are shorter and are broadcast within an overall programme. This can be a sports, arts, health, lifestyle, religious, music, books or current affairs programme. While the feature should work as a self contained item the theme or tone of it needs to be appropriate to the overall programme. The single most important thing to remember is that your feature - whether it be a simple interview or a complex layering of commentary and sound art - is only as good as the research and preparation that goes into it.
The Researcher The researcher is responsible for the quality of the material within any feature. With the advent of highly portable Marantz and MP3 Recorders. People have become presenter, researchers and interviewer, but this is not always the case and its is important that you see research as a skilled area worthy of time and effort in its own right. Ideas: The researcher’s currency is ideas. Always have a number of ideas in development and be on the lookout for new ones. Read national, local, regional and community newspapers (tabloid and broad sheet), read comics, the classifieds and posters, read free-sheets and newsletters, magazines and fanzines, read notice boards in libraries, shops and art centers, check parish records and the CSO, read press releases, periodicals and theses, surf the Internet, watch television, listen to the radio, and talk to people. It is a good idea to keep a note book and jot down thoughts so that you don’t forget them, or you may feel like writing a quick draft in your phone and saving it. Train yourself to spot what is happening within your community, what people are talking about and what they are interested in, and then ask yourself why? If the answer is interesting then maybe it’s worth doing a feature on it, and if you don’t know the answer, ask yourself why? why not? where can you find it? how would you go about making the feature? and who would you talk to?
Contacts: Experts on any topic you could mention and the phone number and address for 99% of people you might want to talk to are available somewhere, and usually a lot closer to home than you might think. The thing to do is find them: check telephone directories and the yellow pages, contact clubs, societies, government offices, city and county councils, libraries, press-officers, community organizations, help groups, support groups, advice groups, counseling groups, lobbying groups, action and reaction groups. And when you find a phone number for a person or organization keep it. Keep it in your note book for again and give it to Management to store in the computer.
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Press Releases: Press releases need to be dealt with carefully. Whoever has sent you the press release wants you to express the story on their terms. Reading information straight from a press release is both lazy and bad journalism. Usually a press release will give a contact name and number, if you think the press release contain news, information or an idea that would be interesting for your audience, ring the contact number and pursue it. Be aware that you are just an address to PR companies. You are not privileged by receiving the latest pig-market prices each week. Efficient companies are an education to deal with and building a good relationship with them can be very fruitful. On the other hand there are companies who will simply waste your time and telephone charges. Counter reference press releases against other known sources - just because it’s written down doesn’t mean it’s true. Don’t believe everything you see.
Developing the Idea If you think you have hit upon a good idea for a feature write it down - it’s amazing how much this will clarify your thoughts and help you to judge your idea objectively. Find out as much as you can about the topic, remaining aware of how much air-time you have so as not lose sense of proportion in spending a whole day researching a subject for a four minute feature. Make sure you know the main points of interest and conflict within any topic. The ways in which you can treat a particular idea for the radio are subject only to the limits of time and your imagination. And the pressures of time can largely be avoided if you put an hour or half an hour into your programme a three or four days a week.
Interview: Whether live or recorded and edited, a feature interview is focused on exploring one topic in an emotional, interpretative or informative fashion. The interviewer must be well informed about who she is interviewing, the topic in question and what is to be achieved by the interview.
Two or more interviews edited together: This takes time and practice but has the advantage of variety. Use the two voices to express different ideas, or opposing views of the same idea - this way it is easier to follow the progress of an argument. Edit out repetitions within the questioning.
Voice Piece: A single voice lacks the variety of an interview and so must be addressed directly to the listener in clear, descriptive, spoken language. Vocal tics, props or mistakes are not tolerable - the piece should be well prepared and scripted. Some areas a voice piece might cover are the events diary, newspaper review or sports results. It can also be used to tell personal “Sunday Miscellany” type reminiscence.
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Music: Music can be used in a multitude of ways in radio features: to set the mood, as a review item or music which follows naturally from a previous item, to link items, a concert or gig being a feature in its own right, played continuously underneath a feature, or as a bridge between two items where a change of mood, tone or pace is indicated. If your feature is a regular slot e.g. Diary of a Soccer Fan, then the same piece of music can be use each time to introduce it. There is a danger because music is so accessible of overusing it within features or of using musical clichés. Listen to the piece of music before you use it - don’t go by the sleeve notes - and think about why you are using a particular composition and to what effect.
Sound Effects (FX): Sound effects can make a huge impression when used judiciously in speech-based features. These can range from actuality such as street noise or waves splashing, captured at the time of the interview, to FX inserted into the feature. For example an item on car-insurance for young drivers might be introduced by the sound of a speeding car and squealing brakes. Do not over use FX and make sure that the ones you do use are as close to reality as possible. It is worth building up a collection of FX because many of the commercial collections on CD and tape are over-produced or simply unreal. You can download 1000’s of free sound effects online at various sites such as freesounds.org
Vox-Pops: Use them, particularly when dealing with topical issues. Not only does it give you a range of opinions but people you have talked to will tune in to hear these opinions.
Drama: As well as a full length programme, radio drama be also broadcast as a regular series or soap or as once-off productions within a feature highlighting, for example, bullying in the workplace or exam stress. Other dramatised features can include diary excerpts, short stories, comedy sketches, poems or short prose pieces - original or taken from a printed source - read out by an actor. Be aware that while drama is very effective in capturing the listener’s attention it can be time consuming to produce, even in its shortest form.
Scheduling the Broadcast If you are not the presenter of the show on which your recorded feature will be broadcast then make sure you give it either to the person who is or to the producer accompanied by a page stating what track it is on, how long the package is, how it starts, what the first line (intro) and last line (out) is and how the feature should be linked.
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2. Writing For Radio Writing for radio is writing for the human voice. You are preserving speech. The words are there to be read aloud and need to be in simple, conversational English. Note that simple does not mean boring or simplistic. All the time you should be aiming to give the listener the impression that you are talking directly to him/ her. Unlike reading a newspaper or a book, the listener cannot go over what she has just heard. So everything you say must be clear. This is why it is poor practice to read directly from newspapers or press releases - they are written to be read, not spoken. Above all, remember radio is a visual medium - the listener does the visualizing based on the strength of your words. Write for all the senses sight, touch, smell and hearing, so when you remember the iodine smell of fresh herring pouring from the ship’s hold like silver dollars and slapping one after another into boxes, the listener will too. Remember, the listener visualizes on the strength of your words and must be able to feel or experience all of the sounds.
Why Script? There are three main reasons to script your presentation:
It gives you the confidence that you’ve done the research and can relax to present. Having the material laid out in front of you enables you to concentrate on sounding relaxed, your guest, the time and the technical details. Even if you go blank you have the script as a safety net.
The script ensures that you do not leave anything out and that everything is presented in the right order. This may be chronological, thematic or logical or some other form of order as long as it is easy for the listener to follow.
The very process of writing a script gives form to your thoughts, so you can communicate them in the clearest manner possible to the listener.
Style The Stlye of your piece is very important, not only does it say a lot about you as a writer, it also sets the tone and nature of your piece. Funny, Serious, Satirical, Argumentative…..
Be clear about what you are trying to say - if in doubt ask yourself, “What am I trying to say?” Isolate your thoughts in point form.
Remember that radio is a transient, switch off able medium so you have to keep the listener interested. Do not waffle or use padding. A lengthy joke about a lecturer may be very entertaining to you and a group of friends but it will leave your listeners cold.
Do illustrate your points with short anecdotes or descriptions - a picture may paint a thousand words but some well chosen words can paint marvelous pictures in your listener’s mind.
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Keep your sentences short. Concentrate on expressing ideas simply and present them in order of priority.
While the following is fine for a paper it would have to be rephrased for radio presentation: “The Romanians sought asylum and were granted identity cards which allows them to seek welfare benefits and emergency housing from the health board while their housing applications are being processed.” Irish Independent 3/ 6/ 98.
To be read out loud it should sound something like: “The Romanians sought asylum and were granted identity cards. These cards allow them to seek welfare benefits and emergency housing from the health board while their housing applications are being processed.” The change is quite simple but effective - it allows the presenter time to take a breath and the repetition adds clarity.
If you are unsure about structuring your script say it out loud and then write down what you hear you can tidy it up afterwards. Do use informal language - they’ll, don’t, can’t, you’d etc. Can not, will not, they will etc. can be used for emphasis. Do not use slang or clichés unless you are clear about why you are doing so and what it will achieve. Ask yourself if the context is right. Do not use a long word where a short one will do.
Prefer:
Cut out to Excise
Destroy to Obliterate
Against to Antagonistic to
Talkative to Loquacious
Truth to Veracity
Cancel to Abrogate
Insightful to Perspicacious
Road Sweeper to Sanitary Inspector
Killed to Neutralized
Civilians to Non-military targets
Poor to Less well off
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Do not use jargon or technical references like MD or PFL or make in-jokes. Always write for one person - and have a clear idea of who that person is, Use ‘signposts’ to structure your script. For example, if you arrive at a complex point include the
phrase, ‘How can I explain that?’ Other signposts may be: ‘Here’s how it works in practice,’ or ‘Now we can listen to the whole song.’ On paper this sounds dead but on air it will alert the listener to a shift in topic or complexity Avoid using phrases like “the listener(s) might hear” or “in this documentary” in a programme. This
shatters the illusion that you are talking directly to that one particular student doing his homework or out jogging or to the woman driving home from work. Be careful about writing tongue twisters or overly sibilant sentences e.g. “The summer sun is here
to stay on the Isle of Skye.” Similarly make sure that your sentences are unambiguous e.g. “I’m standing on Shifting Bunkers golf course with Mr. X as he plays a round with his wife.” Learn what punctuation marks mean and use them wisely: A paragraph break means a long pause;
full stops, exclamation marks and question marks are all slightly shorter; a colon shorter again and usually indicating that a list or example is to follow; a semi-colon is fractionally shorter and is usually followed by a qualifying phrase, counterpoint or statement; commas and dashes are the shortest of all - just a half breath in length. Brackets and other parenthesis indicate a brief pause and change in tone within the main body of a sentence. Commas are the single most effective way of punctuating a sentence, so use them effectively - you need to breathe. Make sure that your script ends logically by summing up what you have said, with a thought provok-
ing question or phrase or with some other suitable ‘out’ cue. Read your script out loud once it is finished. Only then will you spot if you what you have written is
what you can say.
Writing an Introduction or Cue A cue is the introduction to a programme, interview or feature. Because it is the first part of the item it has to grab the listeners attention so that she will want to keep listening. It needs to show that the item is relevant to the listener and provide any information that he/she will need to understand what follows. Your cue should set the scene without telling the whole story and should fit the mood / tone of the pieces it introduces.
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Writing an Out An out comes after a programme, interview or feature. If the piece has not mention the names of the people featured then do so in your out. There is no need to mention everyone involved in the piece technician, producer, researchers etc. - unless it was a full length programme. Reiterate the name of the piece somewhere in your out. Pause briefly and then move on to the next item/ programme.
Script Mechanics Layout: Where possible type out your script in 12 or 14 point, clear font. Use double or triple spacing and leave large margins on both sides and at the top and bottom for production notes or changes. If more than one person is going to be reading from the same script mark clearly which sections are to be read by each presenter. Always use only one side of the page and do not allow sentences to run on from one page to another. Avoid turning pages. Each page should end with a full stop. Numbers, dates and times can be written according to preference as long as the meaning is clear. In general, standard broadcasting practice dictates that number from on to twenty should be written out, everything else can be written in figures except when the number is at the start of a sentence. If you are going to play a CD or other prerecorded material within the scripted programme, clearly mark where these come in and what piece of equipment is needed.
Timing: It takes approximately one minute to read 160 - 180 words. A double spaced sheet of A4 with 27 lines will take roughly one and a half minutes to read. A two and a half minute piece will be around 450 words while 30 seconds will require about 85 words.
Reading the Script: Articulate your words clearly, using your mouth and to give proper form to every word. Know yourself - your reading speed and how long you need to familiarise yourself with a script (your own and someone else’s). Be accurate so that you can end the programme on time without rushing or any unnecessary pauses.
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3. Presenting Skills "The voice should be regarded as a Stradivarius violin. It can be played beautifully after years of technical and creative training. In the wrong hands it can sound like a cat on heat at the beginning of the summer. The clarity and quality of vowel, consonant and diphthong sounds need to be improved and polished all the time." (McLeish)
The presenter is the channel through which the programme information is conveyed. So she must be very comfortable and confident about the material presented. The relationship between the listener, presenter, and programme material should be thought of as a triangle with each as important as the other. Good radio is built on a relationship of trust where the listener believes the presenter to be accurate and honest in what they are presenting. It is a horizontal rather than a vertical relationship with the presenter transferring the information across not down.
When presenting it is very important that you have a clear understanding of the definition of your audience and the station's style policy. Good presentation is achieved through understanding the medium of radio and having an interest in the listener's needs and concerns. Presentation should not be pedantic but intimate and use simple, clear, concise sentences delivered with interest.
The first step towards presentation is the deconstruction of the script. You should first simply read and understand it, this should be done out loud as if a broadcast was actually taking place. The presenter should absorb and evaluate the sense and mood of the script. You should identify key words and expressions for emphasis that are vital to the communication of the story. Sometimes it is necessary to make changes at this stage to help the script sound more natural and conversational. A well researched programme with interesting features can die if poorly presented.
Function of a Radio Presenter
To talk on behalf of the station.
To talk on behalf of the listener.
To keep talking—No Matter What—DEAD AIR IS A MORTAL SIN!!!
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The presenter is the key person who holds a particular programme together, introducing records, providing cues for recorded packages, conducting live interviews, giving time checks and so on. (McLeish)
Before a presenter can hold a programme together considerable work and effort has been invested at the pre-production stage of programming. The best live programmes are the ones which have been worked on before they go out and the amount of preparation you do depends on the type of live programme you are presenting.
A Presenters Check List
Presenters speak too fast. This leads to the mouth running away from the brain leading to stumbles and fluffs.
Shouting does not convey authority. The listener will be more inclined to take you seriously if adopt a measured approach to speed, tone and delivery. Be careful not to over-do projection as the listener may feel intimidated and back off.
Presentation involves reading but it is not reading. Your style must be conversational and bring the words alive from their written form/page.
When Presenters do not understand what they are reading, the script will not work.
Read your script aloud - don't worry about people thinking that you're going mad, it's common practice in radio studios!
Do not mumble. Exaggerate mouth movements but watch the plosives such as ps and bs which can pop the mike. Closeness to mike can also cause 'popping'.
Present the way you think, that is, in phrases. If you phrase your sentences it will be easier to pace yourself.
Always write out figures to avoid having to translate numerals into words.
Do not panic if something goes wrong as the pitch of your voice will rise and convey a lack of control.
Use your diaphragm - if you contract it and at the same time use your chest muscles you'll find that your breathing is much better.
Have a positive attitude. You must take an active interest in what you are presenting or listeners will switch off.
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Admire other presenters but DO NOT try to be that other presenter. Always be yourself and DO NOT try to camouflage your accent.
When you are being yourself remember it has to be you at your best even if your personal life is in shreds.
Make sure you know how your equipment works if you are self-operating your programme.
Radio is an intimate medium it provides a friend for the listener so your attitude towards your listener must reflect this idea.
Ums, ahs, teeth clicking, tongue clicking, chewing gum, talking to someone off-air are bad habits and must be stopped.
Presenters must speak clearly. Slurring of wording or cutting off endings must be avoided.
"In-jokes" must be avoided as background laughter for a reason not obvious to the audience flaws your presentation.
Do not fall into the trap of mechanical reading when you become experienced.
Obscene, racist or sexist comments are never to be tolerated.
Incorporate signposts like time checks etc. throughout your script.
Never drink alcohol/ use recreational drugs prior to or while on air as it can cause dislocation in your presentation, perhaps leading to disastrous consequences.
Language Much emphasis is placed on the style of language used in talk radio and the importance of clear and simple expression when talking to listeners. The Presenter must use direct and simple language firstly because words spoken on air are transient and cannot be referred to like words printed on a page and, secondly, there is no visual 'back-up' to fix the meaning of these spoken words. The way in which you deliver your written script determines how effectively your message is communicated. Speech on radio has to create pictures and feelings in the listener’s mind through the use of words, silences and sound effects. This is why 'conversational writing' is important when preparing speech for broadcast. If the radio text is to be communicated, it has to be understood by the ear and not the eye. Pronunciation - There is a need for consistency as regards pronunciation of people's, names, places, companies, etc. Listeners are very sensitive to incorrect pronunciation of names which concern them. Be aware of the pronunciation of local place-names and people. Stuck? Ask someone don’t ever Guess!!
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Script reading and Practicalities
Don't eat sweets, chocolate or drink coffee with milk beforehand, these thicken the saliva.
If you wear glasses make sure you have them.
Don't wear anything that could knock the table or rattle - bangles, cuff-links etc.
Place a glass of water near at hand.
Remove any paper-clips/staples and separate the pages so you can deal with each page individually.
Make sure you have the whole script, check that the pages are in the right order, the right way up.
Give yourself space, especially to put down the finished pages - don't bother to put them face down.
Where timing is important, time the final minute of the script (180 words - perhaps 18 lines of typescript) and mark that place. You need to be at that point with a minute left to go and may have to drop items in order to achieve this.
Use of Questions Presenters should begin with basic questions to establish a framework of facts, issues and feelings. After this deeper questions may be asked. When asking questions be direct in delivery there is no point in asking a question if you sound apologetic about asking it. Try not to hedge around issues. A respectful regard for the guest should be shown so avoid biased questions or the reflection of bias in your tone/pitch of voice. Questions should elicit alternative thoughts and reactions on the topic. Presenters should prompt, support and encourage guests suffering from stage fright and maintain their cool with difficult guests.
In the Studio Here follows some general preparation that must be out before you go on air:
Have a well-prepared script and running order - you must sound like you know what you're doing.
If you're using recorded material check that it's labeled correctly and that you have the relevant cues with the material.
Make two copies of the running order and script - one for the producer/ technician and one for yourself.
If you're presenting a music programme check that you've got all your CD's/tapes/mini-discs and that they're in the right order.
Check any pre-recorded tapes you haven't recorded yourself, the piece may be too long.
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Make sure you're relaxed and comfortable in the studio, if you have to 'hot seat' (jump into the chair straight after another person) be in the studio at least 15 minutes before you're on air.
Sit comfortably in the chair, try to relax and don't slouch - this will affect your voice projection.
Check that all your equipment is switched on and working.
Check that you have a pair of headphones.
Read some of your script for a sound check so correct levels can be established.
Be yourself. You've planned your programme and as you sit in the chair ready to start broadcasting, take a deep breath and relax. If you've done your preparation work you can be fairly confident that things should run smoothly as long as there isn't complete equipment failure. DO NOT COPY ANOTHER PRESENTER'S STYLE.
Sit upright. The microphone needs to be about 4"- 8" away from your mouth, pointing at your mouth while you look ahead. While reading off paper hold the paper in such a way so that you will be talking to the microphone and not mumbling into your chest.
Once you've started there's no going back so think ahead. Anticipate everything that can go wrong and to cover this possibility always have something lined up as well as the current item, whether it's a CD or another piece of script to prevent a crisis. You need to be able to rescue the situation if things go wrong - otherwise the listener will know you're not paying attention.
You may be presenting a live programme when the fire alarm goes off. If this happens cut into whatever is going out, tell your listeners what has happened and the sound engineer will put on an emergency pre-recorded tape/mini-disk. Tell listeners that normal service will resume as soon as possible.
Errors and Emergencies Machines can break down suddenly - what do you do if this happens? Swearing and other exclamations are out as you are still more than likely 'on-air'. It might be a simple operational error; has the pause button been left on/is the power on? Can the CD/Minidisk/Tape be transferred to another machine? If this can be done there might only be a slight pause of 5 seconds or so. If it takes longer to correct the fault (more than 10 seconds) the listener should be kept informed as to what's happening: "I'm sorry about the delay, we seem to have lost that report/having trouble with one of our machines . . ." or "We'll have it for you shortly . . .” - Then Carry on With The Show!!!
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Corrections If a mistake is made do you continue and ignore it or do you go back and correct it? A verbal slip hardly needs an apology but if your mistake could lead the listener to misconstrue the true meaning of what you are presenting then it must be put right. If the error is constant you're better off going back to the start of the sentence and saying: "I'm sorry, I'll repeat that." It is not the end of the world. A quick unflustered recovery from such mistakes will mean the listener will forget about them very quickly. Avoid blaming others for making you look foolish when things go wrong as it makes the station look unprofessional. Conclusion The wrap up should be at a logical point by thanking the guest for participating in the programme. Appropriate phone numbers should be repeated and a quick synopsis of them feature should be outlined.
4. Sample Links A link is what we call a period of speech on the radio while the presenter is speaking. It is a linking section between two songs during a music show or two features on a more talk based programme.
Introduction
Example 1: “You are listening to 89.9 Belfield FM, the time has just gone one minuet past 3, and this is Afternoons and Coffee Spoons, with me Andy Molloy. On today’s show we have……”
Example 2: “Hello Students, its Monday Evening 7pm, I’m Cáit O’Riordan and you are listening to Written in My Soul, over the course of the next hour we are going to be brining you music from … ,…, and … plus a very special interview with”.
Example 3: “ My Thanks to Dáire and Peter, for a truly amazing breakfast show, they are back tomorrow again at (give time), but now it me Alan Moss this is The Morning Jukebox, with me in studio is….
Example 4: “ Your Listening to Belfield FM on 89.9 and around the world on www.belfieldfm.ie, I’m Sorcha Mellon and you are listening to Hardline. Joining me in studio is Head of UCD Law Society….,
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Recap’s Unlike Television if people tune in after the intro they won’t know straight away what going on unless you inform them. Any time you go to a music break or jingle come back and re-introduce the guests, and show. Example 1: “Welcome back this Hardline on Belfield FM and if you have just joined us, this weeks topic for discussion is whether the government should call a general election. With me in studio are former president Mary Robinson, leader of Fine Gael Enda Kenny and on the phone we have the Minister Health Mary Harney. Minister, I’ll just start with you, just before the break you were saying……….” Example 2: “ The last song there was One by U2 and before that we had a slice of Queen and “We Will Rock You. Its coming up to 20 to 8 here on Belfield Fm and that means there has only 20 mins left here of the Classic Rock Show. Get your texts and Comments into Meteor—087—Twenty Eight—Tripple Nine—Double Two. Up next we have….”
Forward Selling This is a very important part of the presenters. You want to be able to keep the audience excited and interested in what is coming up next. Therefore its important for you to know what’ss up and next.
Example 1: “Okay I think time for the first song here on the show but when we come back on Belfield FM— The Man Who Climbed Everest in his Bare Feet”
Example 2: “Your listening to the D4 Countdown on Belfield FM and coming up later we have the news at 5 and at 7 tonight, Natasha has a very special guest on the Love Shack!!”
News Headlines Example 1 Good Afternoon from the Belfield Fm News Room. In foreign news the American space shuttle, Endeavour, was launched successfully from Cape Canaveral this morning. The shuttle with its crew of seven is expected to link up with the Russian space station Mir and to replace one of its astronauts with another.
S.African former president, P.W.Botha, has made a brief court appearance on charges of contempt for repeatedly refusing to give evidence to the Truth Reconciliation Commission. The case has been adjourned for a month. The Commission is seeking to question Mr. Botha about state crimes committed during the apartheid era.
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A U.S. judge has granted an indefinite postponement of testimony, due to be given today by the former White House employee who allegedly had an affair with President Clinton. Monica Lewinsky has been expected to give evidence in the sexual harassment case brought against Mr. Clinton by another woman, Paula Jones. That’s your international news headlines. Back to You John!!
Example 2 You’re listening to Belfield Fm News Headlines. Gardai in Cork have arrested a man attempting a bank robbery in the city within the past hour. The man was arrested as he attempted to raid the Mayfield AIB bank branch. He entered the bank with an knife and demanded cash but was arrested by Gardai who were in the area. This has been the seventh bank raid in the city in the past two weeks. A Garda spokesman said there is concern about the upsurge in bank raids in Cork this year.
It is understood that four men, believed to be loyalist from the Portadown area have been arrested in this morning’s security alert in the Balmoral area of south Belfast. Two other people have been detained in follow up searches. According to the RUC a number of people have been arrested and are been questioned in relation to last night’s shooting in Glengormley.
The leader of the U.D.P., which has links with the outlawed paramilitary group, the U.F.F., has pledged his parties commitment in the effort to bring the current violence in the North to an end. The U.D.P.’s presence at the Stormont talks has been called into question by claims that the U.F.F. has been responsible for the killing of Catholics. Speaking on R.T.E. radio earlier today, Gary Mc Michael said that that one option for the party was to speak to the U.F.F. and establish the validity of the claims.
Example 3 Campus Today - Script TV3 - Emmet Mc Carthy
Just one of the more familiar sounds to reach our screens this September when Ireland’s new television station TV3 beams into 85% of homes this Autumn.
The new Dublin Based service which will target the 25-44 age group will mainly air popular entertainment programmes from both Britain and the US.
Campus Today spoke with Examiner Journalist Sean McCarthaigh to find out what’s in store.
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Interview The stations main shareholder; Canniest joined forces with James Morris and partners, who include U2's manager Paul Mc Guinness back in 96. The Canadian based multinational arrived just in time to save the project after UTV backed out following disputes with the Irish Radio and Television Commission. TV3 plans to increase its Irish produced output to 25% over a five year period, UCC Media History Lecturer - Dr. Finnola Doyle O'Neill spoke of the importance of its launch. Interview The question still remains as to weather or not TV3 will be a success; the reactions today were somehow mixed. VOX POP
That’s all for the News Room here in Belfield Fm—I’ve been Rachel Condon now back to you in the studio.
5. Show Plans. Along With Your Script for the Introduction of all the major pieces and segments which appear on your show. Belfield Fm also requires that every show - music, magazine or otherwise - must have two show plans typed and printed before going on air - one for the presenters and one for the producer/ technician. A Show Plan is the map for your show, its should include a detailed list of all the song you want yo play and all the topics you wish to discuss in chronological order including the location and source of all material, where your links are coming in, the duration of each item and the order in which all this will occur.
The Morning Jukebox Show Plan –08-06-08 10:00
Morning Jukebox - Signature Tune Introduction to the Show, - Let people know what is coming up today.
10:15
Section No 1, ‘Dr, Willy Wow’. On today’s show Dr, Willy Wow has shown his true identity and has gone on the run, a mock interview with Garda Sergeant Mary Finnegan.
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Introduce The Catch Willy Wow Competition Background music for this section- wow by Kylie.
10:30 Text of the Day, - A Section Where We Discuss Topics & get the Listeners to Text In. Today’s texts: A: What is the best oldie cartoon ? B: The best lie you’ve ever got away with? C: What you’d have written on your headstone? Background Song Choice- Mahna Mahna by the Muppets
10:45 Section No. 3 - Captain Big. On Today’s show Captain Big informs us he has turned over a new leaf, no more cheesy chat up lines and one night stands for him. He has met the love of his life, Lady Love. Enter Lady Love, voiced by Alan. She is the female version of Captain Big. Background Song choice- I’m too sexy
11:00 – Over To the news 11:05 Section No.4 - ‘The Fry Up’ Serious discussion on topics that count, with views from all sides. Listeners free to text in and voice their opinions. Today’s topic= the most hated family in America. No background music
11:15 Hotmail- Texts. Re-inform the listeners of their chance to text us in about someone they see who is fit! Song choice- I believe in miracles by Hot Chocolate 11:30 Section No.6 Hollywood Live. Today’s mock interview is with Jamie Lynn Spears with Emer as voice of Jamie and Leanne as interviewer. All Jamie Lynn’s answers are quotes from Britany’s famous songs. E.g. interviewer ‘’how does Britany treat you behind closed doors Jamie?’’ ‘’Jamie’’- ‘’She drives me crazy!’’(Sung badly) Song choice- background soundfx of a bustling street.
11:45
Wrap Up Show. Read out of any unread texts and comments received. Forwards Sell the Next Hour and The Rest of Today. and a big thanks to audience. Intro for show coming up next.
Playlist - Today’s Show
1. 2. 3. 4. 5. 6.
Robbie Williams—Angels The Script—The man Who Can’t Be Moved Regina Specktor—Laughing With Lady Gaga—Poker Face Britney Spears — Piece of Me Any Requested Songs
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6. Running Order Sheets Running Order Sheets are also very Important from time to time The Broadcasting Commission (Authority) of Ireland will ask the Station for a copy of all our output. With it they will ask for a detailed running order list of the programmes which we aired. Running orders differ from Show Plans as they are a list of what exactly happened and when. Below is an example of a running order which must be filled out during your show and stapled to your show plan and given to management on completion Name of Programme The Morning Juke Box
Date and Time: Mon—8th September 2009—10am—12am
Executive Producer: Claire Spellman
Presenters: Emer Nugent & Alan Moss & Leanne Hawkins
Script & Show Plan : Attached YES / N0 – Circle
Place A X In The Far Right Box If The Music You Play Has An Irish Connection Item
Time
Duration
Description
Intro
10.00.00
03.30
Programme Sig Tune and Introduction
Song 1
10.03.00
05.43
Robbie Williams—Angels
Song 2
10.09.00
03.50
The Script—The man Who Can’t Be Saved
Item 1
10.13.00
12.00
Section, ‘Dr, Willy Wow’
Song 3
10.25.00
04.50
Regina Specktor—Laughing With
Item 2
10.30.30
12.00
Text Of The Day
BFM –ID
10.43.00
02.00
Station—Advertisement & UCD Community Notice
Item4 Song 4
10.45.00 10.57.00
12.00 3.00
Captain Big Jimmy Hendrix — All The Watch Tower - Shortened
News
11.00.00
5.00
Over To The News Room
Item 3
11.05.00
12.00
The Most Hated Family In America
Song 5
11.17.00
3.45
Cold Play—A Rush Of Blood To The Head
Item 4
11.21.00
17.00
Hollywood Live—Interview With Jamie Lynn Spears
Sponsors
11.38.00
2.00
PWC & Irish Times
Song 6
11.40.00
5.00
Lady Gaga—Poker Face
Item 5
11.45.00
10.00
Celebrity Goss, - And Programme Round Up.
Song 7
11.55.00
3.22
Britney Spears — Piece of Me
Outro
11.59.00
01.00
Programme Outro
7 Songs Played - 1 Irish
IRE
X
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7.Interview Skills Interviews are an integral part of radio, they may be live, in studio or on an outside broadcast, they may be pre-recorded as part of a programme or a full documentary. They may be live after a match or a Vox Pop recorded a week ago. How they are presented depends on the amount of work and production time spent on them. Sometimes you can get lucky with a great interviewee, where all you have to do is press record, sit back and listen, but most times you need to do a little bit of work. Below are a few tips which should help you out. Remember the four types of interview techniques
Information- who what where when why
Conversational – needs lots of research to be interesting
Emotional – how you feel/ very delicate
Documentary – draws all these types together
Preparation: Research will let you know which type of interview this is going to be. It will also decide where and with whom you should conduct this interview. Make sure that you are well prepared with equipment and research. Know the names, places and pronunciations – checking before the interview is better than getting it wrong during. Make sure that you know what you want to ask before you ask it. Consider what the point of the interview is, what do you want to ask. Will you be including (all) your questions in the final broadcast? Explain the process to your interviewee, try and get time to talk to them before the mic rolls (if appropriate) Making sure that your interviewee is comfortable will aid the overall interview! Style is dictated by the type of interview and the content. If pre-recorded don’t be afraid of rambling interviewees, but watch out for the time in the edit suite later! Equipment:
Check your equipment is working, where are you recording?
Should you go there a day before the actual interview?
Surrounding noises, Sound FX or a hindrance?
Do you need to book equipment/ Studio/ Engineer?
Do you know how to work the equipment?
Will you need help editing?
I.E. PLANING!!!
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During The Interview: Avoid asking Questions which are: Open/ Multiple/ Leading/ Confused/ Lengthy / Rhetorical/ Obvious Not only will these questions confuse the interviewee, they may also lose you a listener! Sometimes you may have to play Devils Advocate/ Take a stance you don’t agree with privately… Learn to love the debate, right or wrong and listen carefully to the answers so you can have reply’s. Its important to be able to do this in a realistic way…it won’t happen unless you have truly researched your interview/ subject matter. Good questions to ask are: 1. Who? Asks for a fact. Answer - a person. 2. When ? Asks for a fact. Answer - a time. 3. Where? Asks for a fact. Answer - a place. 4. What? Asks for a fact or an interpretation of facts. 5. How? Asks for a fact or an interpretation of facts. 6. Which? Asks for a choice from a range of options. 7. Why? Asks for an opinion or reason for a course of action. Do not write out exact questions - Know what key areas you want to cover. Don’t ask twenty questions for a five-minute interview/ Record an hour for a 3 min. slot! Or could this be the start of a documentary?? Remember the time you will spend editing!
Concentrate on what is being said. If answers become vague or too technical then try to clarify them by asking for a practical example. Be aware of what it is you want from the Interview and keep your questions focused on this. Also avoid using a lot of numbers and percentages etc. It will only cloud your question for your listener.
While the interview is proceeding keep a close eye on sound levels and that the interview is being recorded.
At the end, do not sum up what your interviewee has said. You will either hear a good out cue or else ask a final question and signal that you are doing so, and do not leap in afterwards with something else you wanted to know but had forgotten to ask. End the interview by thanking your guest.
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After The Interview Make sure you check that interview has been recorded and that the levels are correct. If you think a point has not been covered clearly then ask the question again but using different phrasing. It can be edited into the interview. Let your guest know when the interview is scheduled to be broadcast but do not commit yourself absolutely, reiterate the frequency of the station and accompany them out of the studio to the main entrance of the building.
Remember the purpose of your interview, it might be appropriate to let the person listen to the interview, it might not. You may want to offer the person a chance to record the full interview or get a copy of the broadcast interview.
Always keep their details and a note of the interview and how it went, in your contacts book. It could prove very useful later on.
8 Panel Facilitation What are the Functions of a panel facilitator? To set a debate by:
Giving the Background to the issue (s)
Drawing the listener in to the topic through good introduction
Extremely well informed about the topic.
Knowledgeable about their participants backgrounds/strengths and weaknesses.
To introduce participants and make them feel at ease
In order to achieve this, Facilitators must be:
Begin the question
During the Debate Panel Facilitator must:
Move the argument along,
To cut out blathering,
To make sure that the panel answer the question,
To see both sides of the argument,
To make sure the panel all engage equally,
To steer the debate (legal),
To conclude the arguments,
Aware of the possible conflicts that can arise during discussion.
Confident enough in their own ability to interrupt conclude and introduce a new topic.
This is achieved through: Planning-Preparation-Practise
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Research: Research is Key – Panel Facilitators must have good knowledge about participants as well as topic itself is vital. Research methods are the same for this as anywhere else. It helps to have someone else researching with you, but if not possible, read or talk about topic as much as you can, with as many different sources as possible, to avoid a narrow focus on one particular. Be aware of the Participants on the Programme & Brief Your Participants Well!!! Pre – production stage: Research contact/ Contact by phone/ meet where possible Bring a tape of a previous show and give to them to listen to while you are there – encourage them to listen in the next show to they are aware of the format. Explain the purpose of the station/ show to them. Outline their expected role: your role: other participant’s role. Gauge their levels of experience/ comfort in participating in this kind of programme. Encouraging Participation: How do you encourage someone to participate during the broadcast? Example: They might be extremely happy about taking part and then completely quiet or they might have agreed to come on the show because they feel strongly about the topic and feel that they should debate/stand up for issues. Yet when they do come on, they are either intimidated by studio’s environment/public speaking/ other participants/or your attitude! How do you get around this? You must be aware of your participants need at ALL times. If they are not comfortable they will not contribute to the best of their ability. One of the most important functions you have is to ensure that the participants are engaging and interacting to the best of their ability. This will ensure that while you are producing a good radio programme, you are also facilitating access to and participation in the radio station by the community. Programme Introduction:—Introducing the debate/ topic It’s always important to have a clear introduction to the programme: A good introduction needs to begin by being written down, or recorded by you before the programme. While this first version might not end up as the final one, it’s a good way to record your thoughts, listen back and see if it makes sense.
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A good introduction should:
Give the background to the topic in an impartial way
Introduce the key elements of the topic which will be debated during the programme
Give a connection between the topic and the lives of the listeners
Be clear and coherent
Promise a good programme.
How to construct introduction to panels —Information needs to be correct?? This sounds basic, but if get someone’s name/organization wrong, or their position within that organization, then they will be upset at the very beginning of the programme, when they may already be feeling ill at ease and uncomfortable. It will also give the impression that you don’t know what are talking about and that you are not taking the programme very seriously.
Dealing with Panel Participants who are shy or intimidated by Radio/Public Debate?? If you feel that the participants are going to be shy/reticent there are some ways to counteracts this:
Give very comprehensive information on format/expectations
Explain to all guest participative/democratic nature of community
radio
Encourage all participants beforehand to talk/mix/interact
Ensure that all guests are given air time in equal measure
Interrupt overbearing panellist if needs be
Organisational Problems:
Don’t forget to: What do you do if a guest doesn’t show up for you? Thank your guests: Give contact information – Ask for feedback? No point in pretending
Give longer time to participants
(Either for the station or the different groups/
Draw out discussions
organisations)
Don’t be afraid to delve deeper into topics.
Let the listeners know what is coming up next and what you will be doing in the next programme.
How to conclude a discussion?
Can you get a quick round of people’s views
Ask for programme ideas/contributors.
Do you want to get 30sec or does this belittle
Thank Your Production Team – you will be do-
the debate?
Can you get consensus or discover a way forward?
Is it a good idea to round up ideas expressed?
Do you take notes to enable this to happen?
ing it again tomorrow/ next week!
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9. Libel—Defamation Law Defamation or Libel is one of the most important factors to take into consideration when broadcasting. A Libel action has the potential to cripple a station's budget. Be careful - don't be afraid to ask your producer or manager for advise - once broadcast, there's no taking it back—And Belfield Fm cannot afford a Jonathon Ross, Russell Brand type Indecent. What is Defamation (libel & slander) is: 1.
Lowering the estimation of a right - thinking member of society generally.
2.
Exposing a person to hatred, ridicule or contempt.
3.
Damaging a person in office, trade, profession or industry.
4.
Causing a person to be shunned or avoided.
The words can be taken in their ordinary meaning, or by what is implied by the words. The latter is more dangerous, and is where most care needs to be exercised. Convey the truth; do not rely on hearsay, or whispers. The golden rule is: IF IN DOUBT CHECK IT OUT! Remember - You Can Defame Someone Without Even Saying Their Name DO & DON'Ts when preparing a show for broadcast: DO make sure your information is accurate. DO lay out the facts and leave it to the listener to draw his/her own conclusion. DO be very careful with generalisations e.g.; you can say "All broadcasters are unprincipled", but not "All broadcasters in Trinity are unprincipled" DO keep all relevant notes/MDs/MP3s on iffy stories. The time limit on libel actions is 3 years, six for malicious falsehood. DO be sure to dissociate the station from any libellous statements and offer the person who said it the chance to retract their statement on air. DON'T be vague about identifying the person in hope of avoiding a suit; if identity is implied the story may still be libellous. DON'T repeat other people's libel ( as in newspaper articles etc.) DON'T presume that you are immune when directly quoting an interviewee - if what is said is libellous, the speaker, journalist and anyone else involved may be liable. DON'T rely on "allegedly", "supposedly" in an attempt to avoid the issue. If the majority of the material implies the allegation to be true then it may still be libellous. 1
Humour, satire and sarcasm are no defence to an action taken for defamation!!!
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10. Equipment 1. Portable Recorders The portable recorder is one of the most vital elements of modern radio broadcast and programme production. It allows you to go out into your community and record opinions, interviews, speeches, music and sounds as they happen within the right context. And so a homeless person can be recorded on the streets where he lives, with the sounds of the city around him and the cold in his voice. Or a feature on student parties can incorporate recordings from 4.00am in someone's house with the revelry going full swing. This is actuality and makes for interesting and graphic listening. Belfield Fm uses to models of portable mp3 recorders the Marrantz 600 and The Handy ZOOM H4 several portable MP3/Wav recorders for recording VoxPops and Interviews outside the studio. The recorders are housed in the station and you have to pre-book them with Management. To book one, go to the volunteers’ section of belfieldfm.ie and submit your request. As the recorders are valuable and in constant demand, we will ask that you leave your student ID as a deposit. Lending is for one night only, unless you have agreed a longer time with station management in advance, otherwise a late fee of €5 will be applied!
Basic Recording Tips
Before you leave the station ensure that your machine and microphone are working properly.
If you are not sure how much power is left in the batteries, bring spare ones.
Make sure that you and the interviewee are sitting comfortably.
Do not record across a table - you will have to stretch your arm to maintain levels which is not only tiring but makes it difficult to control the interview. Pull your chair around and, where possible, sit facing him/ her.
Be careful when you are packing and unpacking the equipment.
Make sure that both the mic and headphones are going into the correct jacks. If you are using a mains supply make sure your power supply is the correct voltage for the machine or else you will blow the transformer and damage the machine. Insert tapes or mini-discs gently into the machine.
NEVER force anything or use pens, needles etc. to try and fix equipment.
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Assemble your equipment while you are chatting to your interviewee. If they show an interest explain what you are doing. This introduces the microphone and recorder in an unobtrusive way - some people can get nervous when confronted with the technicalities at the last minute.
Record some conversation before you start so you can be 100% sure that the equipment is working correctly and can get an indication of the levels. Once you have set the levels do not adjust them during the interview. Compensate for small changes in volume levels by working your mic. If the interviewee is moving backwards and forward or banging the mic. with gesticulations feel free to stop the interview and explain how the levels work. Never nod or gesticulate at the interviewee hoping they will stop - explain the problem.
When you are holding the microphone, the cable should be looped around the hand, not too tightly: this prevents any part of the cable coming into contact with the body of the mic., or bumping against furniture or the floor. If this does happen it can lead to mic. rattles or noise which causes cable movement to be heard as vibrations in the mic. If you wear heavy rings, medallions or bracelets remove them as they may cause scraping sounds.
Be aware that if you are recording near a computer, fluorescent lighting or air conditioning you will pick up a hum - the more computers the more intrusive this becomes.
Keep the microphone out of eye-line.
When recording is underway maintain eye contact with the interviewee. Do not keep glancing at your notebook, watch or recorder - this will cause the interview to drift off track. Concentrate on what is being said.
When recording outdoors always use the foam windshield (pop-filter).
Never leave the recorder unattended, where it can be seen, including locked in a car.
Be careful when recording in places where water can be heard in the background - sometimes fountains, waterfalls or rivers can make your interview sound like it was recorded in a public toilet.
Beware of background music playing, public announcements or chiming clocks while you are recording an interview - when you go to edit these will not be consistent and your interview will end up being unusable.
Any background noise/ actuality must be consistent throughout the interview.
Always wear headphones.
Try to be vocally invisible in the recording - avoid uhms, yeah's, laughing or cutting in on the interviewee.
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Occasionally check your recording levels and power supply during the interview.
When you return the machine to the station be sure to put it back on charge for the next person.
Vox-Pops Vox populi stands for the voice of the people. A vox-pop is a one to three minute long edited piece featuring the opinions and attitudes of Myles na gCapaleen’s PPOI (Plain People of Ireland!) It is not a statistical or even representative piece. The vox-pop involves one interviewer asking a number of people the same question(s) over a very short period in one particular place. The end result should not feature the voice of the interviewer at all, except where the first time the question is asked is left in as the introduction. It follows from this that the contributions cannot be so complex as to be unable to stand up on their own. Vox-pops can add a really useful and ear-catching dimension to might otherwise be a straightforward studio discussion or feature. They are also important for maintaining a station’s visibility and credibility within its community and for keeping in touch with this community. Phrasing the Question: The aim of a vox-pop to get a range of opinions rather than simple yes/ no closed answers. The two most important questions for anyone carrying out a vox-pop are: ‘What do you think of . . . ?’ and ‘Why?’. Once you decide on your questions do not keep changing them as this will make editing very difficult. Do not enter into conversation with your interviewees since all you will be doing is recording extraneous material that will have to be edited out later. Choosing the Site: Choose the site in accordance with the topic e.g. if you are doing a vox-pop on fear of flying carry out your interviews in an airport. If your topic is not location specific choose shopping centres or pedestrianised streets. Recording the Vox-Pop: Use the pause button in between interviews rather than the stop button, if possible ask your question and then press record. Keep your levels consistent from interview to interview by using your mic rather than by adjusting the recording levels. Record 20 - 30 seconds of actuality for editing purposes. Asking the Question: All journalists feel shy about doing their first vox-pop but remember that people by and large are happy to talk and give opinions if they are approached politely. Humans are social animals. Adopt a positive, good humoured approach, state the name of your station, explain who you are, what you want, put the question and record the reaction. Be obvious rather than secretive on site - your equipment should be visible. You are likely to have a wastage rate of about 50% so if you are looking for a two minute vox-pop record four to five minutes of opinion. Thank every person who takes the trouble to reply to your questions even if their answer is no use. Editing the Vox-Pop: Each vox-pop has its own pace and rhythm based on the spontaneity, variety, insight, humour and length of the answers. First get rid of any material that is unusable - even if the answer
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is a gem if it is not clearly audible discard it before your ear becomes attuned to the recording. Then select the widest variety of voices and opinions - old, young, men, woman, foreign and native, for and against. Place these comments in contrast to each other in terms of voice, opinion, style and length. In general get rid of the interviewers voice although sometimes it may be necessary to repeat the question in the middle of the piece. Remove unnecessary repetitions - a certain amount may be necessary for emphasis or to indicate consensus among disparate groups. A good out comment is vital and once you have collected material for vox-pop you will usually have spotted this.
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Belfield Fm Code of Standards The Belfield Fm Code of Standards is the set of rules and regulations as regards to broadcasting that we ask each of our members to sign up to before we let them present. You will be asked to sign a copy which will be kept in the office. It is the aim of Programme Guidelines to aid the open development of programme content, while at the same time strongly defending the right to free speech and expression of thought. The following directions merely mean to solidify the notion that any topic is open for discussion once it is presented in a professional manner. Members should & Programme Content should, 1. Not be offensive, according to contemporary Irish society. This means no cursing, racism, or other offensive material.
2. Not cause undue offence or harm. In the case of graphic issues or material that may potentially offend, prior warning should be
given. Eg. Self-harm, Suicide, Sexual Violence etc. Presenters should also provide relevant telephone helpline numbers, Rape Crisis line, Nightline, etc.
3. Have due regard to the appropriateness and justification of coarse language. This is subject to the target audience. Special attention should be taken when considering the inappropriate use of names considered
sacred and holy. 4. Not condone or support discrimination in any shape or form. Age, Gender, Marital Status, Membership of Travelling Community, Family Status, Sexual Orien-
tation, Disability, Race or Religion. Special care should be taken in regard language used in describing peoples with disabilities.
5. Prevent undue offence to religious views, beliefs and images. This is not intended to prevent the criticism and scrutiny of religion.
6.
Not encourage the abuse of drugs/solvents or alcohol. Nor present the abuse of drugs/solvents/alcohol by children/teenagers in a favourable light. This does not however restrict the debate of such issues, or the criticism of laws and legalisa-
tion. 7. Not be afraid to criticise the status quo in Irish society or UCD, Political parties, The Government, Its institutions, Clubs, Societies and Organisations Etc.
8. Hold all interviews and discussion in a fair and balanced manner and present both sides of the story, and give each party involved a chance to speak, rebut, refute and reply.
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Official complaints referring to quality and or “The Code of Standards” will result in,
A managerial review of the particular show in question
Further training in presentation and production skills being made available,
Additional resources and assistance being given, to aid volunteers in the production of quality programming material.
A continued breach of “The Code of Standards” will result in,
A probation period, in which pre-recorded shows will be presented,
Suspension or removal of a programme,
The suspension or removal of a presenter.
The above actions will not be taken lightly, Belfield Fm is a voluntary student station, aimed at enhancing student life, and any serious action will be taken as a last effort and final resort; following the failure of all and every other channel (s) to rectify the situation.
Once a week two aired shows will be picked at random for review. This is in order to develop and improve the overall standards of broadcasting. Programmes will be praised for their innovation and production standards. While if programmes are failing in certain areas additional resources will be allocated to help members improve and develop the overall standard of their programme.