Lesson: The Basic Rules Of Broadcast Writing
The world is filled with books about how to write...for print, for broadcast, and now for "new media." If you took everything I've read about writing for radio and television, and distilled it into a few simple rules, it'd be something like this:
1. Use short sentences. By breaking up long sentences into more manageable bites, reporters can get the point across more effectively. There's no chance of someone getting lost in a sentence, and failing to follow the main story points. It helps with pacing and rhythm, keeping listeners interested. Also, because so much of broadcast news writing is very condensed, short sentences allow you to easily restructure a story.
2. Be Conversational. The cliche (we'll deal with those later) is: "Tell a story like you're talking to your grandmother" or someone else in your family. That's the basic idea of conversational storytelling...but it's a bit simplistic. Obviously, newscasts are a more formalized style than sitting across the kitchen table...but the concept is the same. You're telling a story - not just reading words. Read your copy aloud to someone else...and you'll hear very quickly when you're not being conversational.
3. Use simple, powerful language. A broadcast news report is not the place to try out fancy words or obscure references. People only have one chance to hear your story...don't confuse them. Now, this doesn't mean you should communicate like a fifth grader. It does mean that you should always find the most direct, understandable, and descriptive language to convey your point.
4. Write in active, not passive language. Some people have trouble understanding active writing....here's a pretty simple example: "Somebody did something to someone else." That's in contrast to a passive construction, where "Somebody had something done to them by someone else." The problems with the passive? The sentence is longer by nature, violating a key rule. Also, there's a question over who the "actors" in the story are. Active writing helps us to establish attribution in the story very early on. Of course, as in all things, rules can be broken.
5. Get rid of unnecessary words. This is the editing process in action. Almost every news writer has to write fast and on deadline...and must meet strict story lengths. So, after you've written a nice news story, read it aloud - and start to pull out the words that don't need to be there. The extra adjective that isn't really descriptive; the redundancies; the long-winded titles of public officials; everything that doesn't serve the listener in understanding the story.
6. Avoid cliche. They're everywhere. You can't get away from cliches, especially when you're writing the news. Luckily, if you're following some of the other rules, you don't have to worry about using cliches. A "firestorm of controversy" isn't conversational...so don't use it. Calling people "inner city youth" isn't direct or descriptive - it's a cliche...so find a simpler way to say what you mean. Sometimes you can't avoid them...but I try to avoid cliches "like the plague."
Note: The links in this post are all taken from stories on poynter.org. Poynter is a great resource for journalists of all types. Click on the links, and you'll find yourself in some very interesting discussions of writing, journalism, ethics and broadcasting.
The world is filled with books about how to write...for print, for broadcast, and now for "new media." If you took everything I've read about writing for radio and television, and distilled it into a few simple rules, it'd be something like this:
1. Use short sentences. By breaking up long sentences into more manageable bites, reporters can get the point across more effectively. There's no chance of someone getting lost in a sentence, and failing to follow the main story points. It helps with pacing and rhythm, keeping listeners interested. Also, because so much of broadcast news writing is very condensed, short sentences allow you to easily restructure a story.
2. Be Conversational. The cliche (we'll deal with those later) is: "Tell a story like you're talking to your grandmother" or someone else in your family. That's the basic idea of conversational storytelling...but it's a bit simplistic. Obviously, newscasts are a more formalized style than sitting across the kitchen table...but the concept is the same. You're telling a story - not just reading words. Read your copy aloud to someone else...and you'll hear very quickly when you're not being conversational.
3. Use simple, powerful language. A broadcast news report is not the place to try out fancy words or obscure references. People only have one chance to hear your story...don't confuse them. Now, this doesn't mean you should communicate like a fifth grader. It does mean that you should always find the most direct, understandable, and descriptive language to convey your point.
4. Write in active, not passive language. Some people have trouble understanding active writing....here's a pretty simple example: "Somebody did something to someone else." That's in contrast to a passive construction, where "Somebody had something done to them by someone else." The problems with the passive? The sentence is longer by nature, violating a key rule. Also, there's a question over who the "actors" in the story are. Active writing helps us to establish attribution in the story very early on. Of course, as in all things, rules can be broken.
5. Get rid of unnecessary words. This is the editing process in action. Almost every news writer has to write fast and on deadline...and must meet strict story lengths. So, after you've written a nice news story, read it aloud - and start to pull out the words that don't need to be there. The extra adjective that isn't really descriptive; the redundancies; the long-winded titles of public officials; everything that doesn't serve the listener in understanding the story.
6. Avoid cliche. They're everywhere. You can't get away from cliches, especially when you're writing the news. Luckily, if you're following some of the other rules, you don't have to worry about using cliches. A "firestorm of controversy" isn't conversational...so don't use it. Calling people "inner city youth" isn't direct or descriptive - it's a cliche...so find a simpler way to say what you mean. Sometimes you can't avoid them...but I try to avoid cliches "like the plague."
Note: The links in this post are all taken from stories on poynter.org. Poynter is a great resource for journalists of all types. Click on the links, and you'll find yourself in some very interesting discussions of writing, journalism, ethics and broadcasting.
1. Use short sentences. By breaking up long sentences into more manageable bites, reporters can get the point across more effectively. There's no chance of someone getting lost in a sentence, and failing to follow the main story points. It helps with pacing and rhythm, keeping listeners interested. Also, because so much of broadcast news writing is very condensed, short sentences allow you to easily restructure a story.
2. Be Conversational. The cliche (we'll deal with those later) is: "Tell a story like you're talking to your grandmother" or someone else in your family. That's the basic idea of conversational storytelling...but it's a bit simplistic. Obviously, newscasts are a more formalized style than sitting across the kitchen table...but the concept is the same. You're telling a story - not just reading words. Read your copy aloud to someone else...and you'll hear very quickly when you're not being conversational.
3. Use simple, powerful language. A broadcast news report is not the place to try out fancy words or obscure references. People only have one chance to hear your story...don't confuse them. Now, this doesn't mean you should communicate like a fifth grader. It does mean that you should always find the most direct, understandable, and descriptive language to convey your point.
4. Write in active, not passive language. Some people have trouble understanding active writing....here's a pretty simple example: "Somebody did something to someone else." That's in contrast to a passive construction, where "Somebody had something done to them by someone else." The problems with the passive? The sentence is longer by nature, violating a key rule. Also, there's a question over who the "actors" in the story are. Active writing helps us to establish attribution in the story very early on. Of course, as in all things, rules can be broken.
5. Get rid of unnecessary words. This is the editing process in action. Almost every news writer has to write fast and on deadline...and must meet strict story lengths. So, after you've written a nice news story, read it aloud - and start to pull out the words that don't need to be there. The extra adjective that isn't really descriptive; the redundancies; the long-winded titles of public officials; everything that doesn't serve the listener in understanding the story.
6. Avoid cliche. They're everywhere. You can't get away from cliches, especially when you're writing the news. Luckily, if you're following some of the other rules, you don't have to worry about using cliches. A "firestorm of controversy" isn't conversational...so don't use it. Calling people "inner city youth" isn't direct or descriptive - it's a cliche...so find a simpler way to say what you mean. Sometimes you can't avoid them...but I try to avoid cliches "like the plague."
Note: The links in this post are all taken from stories on poynter.org. Poynter is a great resource for journalists of all types. Click on the links, and you'll find yourself in some very interesting discussions of writing, journalism, ethics and broadcasting.
Lesson: Newscast Writing
We're going to spend one class period doing the thing that radio hosts and reporters have spent years learning - turning newswire copy into newscasts. To get a sense of what we're talking about, let's first listen to the most recent NPR hourly newscast.
In this case, it's a five-minute newscast, that includes several "readers" (copy written for the host to read), along with "scripters" (host copy with sound bites) and "wraps" (packaged reporter stories, introduced by the host). We're focusing today on the newscasters' main roles:
1. Re-writing news copy for broadcast...or "for the ear."
2. Deciding which stories to include, and in what order.
The structure of these stories is usually pretty simple and straightforward, and we've talked about it before...
1. News first (what's the reason we're telling this story)
2. Background information (context)
3. Balance of information (getting all sides)
4. Conclusion (move it forward)
In this case, it's a five-minute newscast, that includes several "readers" (copy written for the host to read), along with "scripters" (host copy with sound bites) and "wraps" (packaged reporter stories, introduced by the host). We're focusing today on the newscasters' main roles:
1. Re-writing news copy for broadcast...or "for the ear."
2. Deciding which stories to include, and in what order.
The structure of these stories is usually pretty simple and straightforward, and we've talked about it before...
1. News first (what's the reason we're telling this story)
2. Background information (context)
3. Balance of information (getting all sides)
4. Conclusion (move it forward)
1. Punctuation: Sure, it's for broadcast, not print. But that doesn't mean punctuation isn't important. In fact, it might be more important. Emphasis and pacing matter when reading...so, "On the anniversary of the September eleventh attacks memorials were held..." is read differently than "On the anniversary of the September eleventh attacks, memorials were held..."
2. Spell it out: Here's one thing that is different than the AP print stylebook. You've got to write out words "September" not "Sept." Or, in a story about gas prices, "Two-seventy-seven" not "$2.77." "Triple-A" not "AAA." Imagine getting to that part of a script, and having to figure out how to say something...
3. Conversational writing can't be confusing. Some case studies:
"The names of victims could be heard from speakers that piped in the sound from the stone plaza where they were being read."
"The weather mixed in with the emotions of the memorial with tears streaming down many faces in remembrance."
"Bush does seem intent on placing conditions on reductions, insisting that conditions on the ground must warrant cuts and that now-unforseen events could change the plan."
In cases like this, the writer has violated multiple rules of broadcast writing. Sentences are too long, and they're using unnecessary words. Read these out loud to yourself or someone else...and you'll realize quickly what's wrong.
4. Tenses need to agree. "...attacks that killed nearly 3,000 people and impactingAmerican'sand the world forever." Well, there's a few problems there...the number should be spelled out...and "American's" doesn't have an apostrophe...but the tense is the real problem. Pick one for the story, and stick with it.
5. Attribution issues. We need to always be sure we're attributing statements to the right people...and that our opinion as newscasters doesn't come through. You might not mean to give your opinion...but some writing makes it sound that way: "His address to the nation is coming on the heels of Sept. 11th, which caused America to go into Iraq." Really?
"After hearing from Petraeus and Crocker, he has decided on a way forward that will reduce the U.S. Military presence but not abandon Iraq to chaos." The key thing missing here is..."he says." By saying "He says that he has decided..." it puts the statement in his mouth...not yours.
One more: "The setting of a park across the way failed to evoke the same emotions as years passed, leaving mourners dissatisfied." Turn it around, and it's "Mourners said the ceremony in the park failed to evoke the same emotions as years passed, leaving them dissatisfied."
6. Cut, trim, do away with words you don't need. "U.S. intelligence agencies are probing over bin Laden's...." becomes "U.S. intelligence agencies are probing bin Laden's...."
7. When we're writing for our own voice, we can't really read quotes. When we start using soundbites in our newscasts, direct quotes will become very important. But when we're writing for ourselves to read, they just sound wrong. Paraphrase quotes within "readers" in a newscast...and only very sparingly use quotes. For instance: "President Bush called it 'a day to mourn.'"
8. The active/passive thing. "Osama bin Laden's voice was heard..." or "Questions have been raised about..." Look, you can't always avoid the passive voice, but in cases like this it really matters. Find the person who's doing the acting (like Osama releasing a tape) and credit him with doing something. In the Cheshire story, lawmakers are raising questions. Not only does it make for more active writing...it helps you write shorter, and attribute news correctly.
Lesson: Setting The Scene
The "scene" in a broadcast report is an elusive thing, I've found. No matter how I try to describe it, it seems to be misunderstood. Perhaps what we can do is look at a scene for what it's NOT...
1. Random sound: A scene isn't the disconnected sound of the ocean, birds, a screaming car or an angry mob, just for the sake of hearing something. It's got to be described...to matter.
2. Anything outside an interview setting: While walking and talking in the great outdoors can actually be a scene, it's got to have purpose...why are we talking to this person there? What are they describing? If we take someone out of a studio and office and have them walk down the sidewalk for no reason, it will sound chaotic, disjointed...
Instead, here's what a scene IS...
1. A chance to hear something about a story that words alone can't convey. The sound of a bulldozer knocking down a building takes you there, in the way someone telling you a story about a bulldozer knocking down a building never could.
2. A chance to break up the narrative flow. If all we ever heard was: Reporter talks/Soundbite/Reporter/Soundbite/etc....it would get pretty boring. A scene lets you go elsewhere in the story...and really separates what we do from print reporting.
3. A chance to SHOW and not TELL. A scene should be constructed to create a visual image that shows you something about a person's life or character...about a situation or controversy.
Here are a few examples of scenes in radio stories. The first one's light...a story I did for NPR about a new rule in Connecticut high school football. This next story has at least one disturbing scene...Nancy Cohen reports on a broken sewage system.
1. Random sound: A scene isn't the disconnected sound of the ocean, birds, a screaming car or an angry mob, just for the sake of hearing something. It's got to be described...to matter.
2. Anything outside an interview setting: While walking and talking in the great outdoors can actually be a scene, it's got to have purpose...why are we talking to this person there? What are they describing? If we take someone out of a studio and office and have them walk down the sidewalk for no reason, it will sound chaotic, disjointed...
Instead, here's what a scene IS...
1. A chance to hear something about a story that words alone can't convey. The sound of a bulldozer knocking down a building takes you there, in the way someone telling you a story about a bulldozer knocking down a building never could.
2. A chance to break up the narrative flow. If all we ever heard was: Reporter talks/Soundbite/Reporter/Soundbite/etc....it would get pretty boring. A scene lets you go elsewhere in the story...and really separates what we do from print reporting.
3. A chance to SHOW and not TELL. A scene should be constructed to create a visual image that shows you something about a person's life or character...about a situation or controversy.
Here are a few examples of scenes in radio stories. The first one's light...a story I did for NPR about a new rule in Connecticut high school football. This next story has at least one disturbing scene...Nancy Cohen reports on a broken sewage system.
Lesson: Story Structure
One of the biggest issues faced by reporters trying to write a news story completely from scratch, is..."How do I structure it so that it makes sense?" In a four-minute news story, it may seem like a lot of time - but you'll quickly run out - if you don't follow a very simple rule: Make the story about ONE THING! Now, obviously, every story is going to have multiple facets - different voices, different points of view...but essentially, you want to keep to the main point of the story.
The next thing is: What order do I put my elements in to make them work? Now, story structure is a very personal thing - and some reporters seem to have a knack for it. One rule that I think makes sense is...don't do it the same way every time. So here are some options for you (realizing that an earlier rule also still applies...Lead with the news. Give us a reason why we're telling this story now. Preferably in the host intro):
1. Chronological. The story unfolds as a narrative, told from the beginning...and ends at either the end, or with the newest possible information.
2. Lead with the personal. This could be the story of the guy who's fighting the system...the emotional tale of the wronged individual...the citizen who's voice isn't being heard. Following this, you fave to find a way to bring in the voices of others who can bolster this story...and balance it from the other side.
3. Lead with the facts. If you give a factual basis for a story up front, it can help to explain its importance. But this can also be a boring lead. If our goal is to invite people in to listen, you'll want to lead with something compelling - so if you go with the facts first, it'd better be pretty interesting.
Throughout the course of the storytelling, you have to balance some concerns....don't lose the listener, don't present too much information at once, don't "ping-pong" back and forth between sources or ideas, don't open up a "can of worms" that you can't pay off later in the story.
The best structure is one that you can read aloud to someone (a friend or editor) and not feel like you're doing any of these things.
Lesson: Story Structure
One of the biggest issues faced by reporters trying to write a news story completely from scratch, is..."How do I structure it so that it makes sense?" In a four-minute news story, it may seem like a lot of time - but you'll quickly run out - if you don't follow a very simple rule: Make the story about ONE THING! Now, obviously, every story is going to have multiple facets - different voices, different points of view...but essentially, you want to keep to the main point of the story.
The next thing is: What order do I put my elements in to make them work? Now, story structure is a very personal thing - and some reporters seem to have a knack for it. One rule that I think makes sense is...don't do it the same way every time. So here are some options for you (realizing that an earlier rule also still applies...Lead with the news. Give us a reason why we're telling this story now. Preferably in the host intro):
1. Chronological. The story unfolds as a narrative, told from the beginning...and ends at either the end, or with the newest possible information.
2. Lead with the personal. This could be the story of the guy who's fighting the system...the emotional tale of the wronged individual...the citizen who's voice isn't being heard. Following this, you fave to find a way to bring in the voices of others who can bolster this story...and balance it from the other side.
3. Lead with the facts. If you give a factual basis for a story up front, it can help to explain its importance. But this can also be a boring lead. If our goal is to invite people in to listen, you'll want to lead with something compelling - so if you go with the facts first, it'd better be pretty interesting.
Throughout the course of the storytelling, you have to balance some concerns....don't lose the listener, don't present too much information at once, don't "ping-pong" back and forth between sources or ideas, don't open up a "can of worms" that you can't pay off later in the story.
The best structure is one that you can read aloud to someone (a friend or editor) and not feel like you're doing any of these things.
The next thing is: What order do I put my elements in to make them work? Now, story structure is a very personal thing - and some reporters seem to have a knack for it. One rule that I think makes sense is...don't do it the same way every time. So here are some options for you (realizing that an earlier rule also still applies...Lead with the news. Give us a reason why we're telling this story now. Preferably in the host intro):
1. Chronological. The story unfolds as a narrative, told from the beginning...and ends at either the end, or with the newest possible information.
2. Lead with the personal. This could be the story of the guy who's fighting the system...the emotional tale of the wronged individual...the citizen who's voice isn't being heard. Following this, you fave to find a way to bring in the voices of others who can bolster this story...and balance it from the other side.
3. Lead with the facts. If you give a factual basis for a story up front, it can help to explain its importance. But this can also be a boring lead. If our goal is to invite people in to listen, you'll want to lead with something compelling - so if you go with the facts first, it'd better be pretty interesting.
Throughout the course of the storytelling, you have to balance some concerns....don't lose the listener, don't present too much information at once, don't "ping-pong" back and forth between sources or ideas, don't open up a "can of worms" that you can't pay off later in the story.
The best structure is one that you can read aloud to someone (a friend or editor) and not feel like you're doing any of these things.
Here's a good example of a "profile" piece.
All Things Considered, December 11, 2007 · Yale University law student Isra Bhatty recently won a prestigious Rhodes scholarship.
When she's not hitting the books, Bhatty works as an English-Urdu translator for detainees at Guantanamo Bay. She's also a hip-hop artist and can be seen intercepting passes on a woman's football team — wearing her tye-dyed hijab.
Diane Orson of member station WNPR reports.
A story like this - about a person, or a group of people - includes a few key things:
1. A compelling story. It's not enough for someone just to be nice, or interesting. It's not enough for them to just be doing something "nice." We want to tell an important story that could affect a listener's life. Does someone have a unique experience? How is what they do "different?"
2. A good talker. Your key "stakeholder" in this story is the person you're profiling. What are they likely to talk about? What will they say? What would you like to GET them to say?
3. A thoughtful observer or "expert." A profile story falls apart if all we hear is the person we're profiling talking. We want someone from their life - or someone who knows their work - to give us an outsider's view.
4. A scene. Show this person at work, play or whatever they do. Show them in a setting that's not just a straight interview. The listener will take more away from you "showing" them than you "telling" them...
Write a focus statement for your piece that addresses these issues. Sell me on why it's a good story that listeners will care about. Tell me about the person you're profiling, and what they're likely to say, explain who else will be part of the story, and describe a scene you hope to capture.
One of the things we want our profile to have is a "scene" - a part of the script where sound can help to tell the story. A place where you're "showing" and not telling. Here's some information on how to "set the scene" in a radio piece.
Lastly, I want to draw your attention to this "statement of ethics" for broadcast reporting. It's important to keep rules like this in mind, when you're doing any story - especially one about an individual. You should always be concerned that your reporting meets some basic guidelines, even when the story isn't thought to be "controversial."
All Things Considered, December 11, 2007 · Yale University law student Isra Bhatty recently won a prestigious Rhodes scholarship.
When she's not hitting the books, Bhatty works as an English-Urdu translator for detainees at Guantanamo Bay. She's also a hip-hop artist and can be seen intercepting passes on a woman's football team — wearing her tye-dyed hijab.
Diane Orson of member station WNPR reports.
A story like this - about a person, or a group of people - includes a few key things:
1. A compelling story. It's not enough for someone just to be nice, or interesting. It's not enough for them to just be doing something "nice." We want to tell an important story that could affect a listener's life. Does someone have a unique experience? How is what they do "different?"
2. A good talker. Your key "stakeholder" in this story is the person you're profiling. What are they likely to talk about? What will they say? What would you like to GET them to say?
3. A thoughtful observer or "expert." A profile story falls apart if all we hear is the person we're profiling talking. We want someone from their life - or someone who knows their work - to give us an outsider's view.
4. A scene. Show this person at work, play or whatever they do. Show them in a setting that's not just a straight interview. The listener will take more away from you "showing" them than you "telling" them...
Write a focus statement for your piece that addresses these issues. Sell me on why it's a good story that listeners will care about. Tell me about the person you're profiling, and what they're likely to say, explain who else will be part of the story, and describe a scene you hope to capture.
Here's another listening example that might help give you ideas. It's from the oldest and most common type of profile: The obit. British science fiction novelist Arthur C. Clarke died Tuesday in Sri Lanka, where he lived for more than 50 years. He was 90 years old. NPR's Neda Ulaby reports on his life and career.
As you're listening to this piece - apply this series of listening practices. It's meant not only for editors, but reporters who want to give a self-critical listen as well.One of the things we want our profile to have is a "scene" - a part of the script where sound can help to tell the story. A place where you're "showing" and not telling. Here's some information on how to "set the scene" in a radio piece.
Lastly, I want to draw your attention to this "statement of ethics" for broadcast reporting. It's important to keep rules like this in mind, when you're doing any story - especially one about an individual. You should always be concerned that your reporting meets some basic guidelines, even when the story isn't thought to be "controversial."
