ZEESHAN QASIMCAMPUS RADIO

104.6

HOW TO MAKE RADIO FEATURES ?

Campus Radio Feature

OBJECTIVES

The learner will be able to:Describe the special characteristics of a

feature story.List ideas that could be developed into a

feature story.Explain the importance of organization

in recording process develop a polished feature story for

campus Radio.

NEWS FEATURE

news conveys factual information, hopefully of a more or less dramatic nature, of which the listener is not aware.

Features on the other hand seek to convey context and meaning against which information can be viewed.

NEWS Vs. FEATURES

Take! Feature story as a news story more like a piece of a short

Radio fiction. You must combine the rigors of factual reporting with the creative freedom of short-story telling fiction devices. The feature story’s form must be more fluid than that of a

news story; the inverted pyramid style won’t work here because the story needs a definite beginning, middle and end. Listeners won’t have to listen few conclusions; they will

have to listen the whole story to understand it. Feature stories place a greater emphasis on facts that

have human interest.Features put people in the story; they make the reader think

and care.You can make a feature story about anyone if you find an

unusual angle that captures the interest of your listeners.

NEWS FEATURES TIMELESS STORY

News features, which are either packages or follow-up that is linked to a breaking news event.

Timeless story, which does not have to be used immediately. The information in this story will be just as relevant if saved for a future issue

 FEATURE STORIES ARE OF TWO TYPES

HOW TO MAKE RADIO FEATURES

In either type of feature story, good reporting is essential.

You collect as many details as possible.

You describe people, settings and feelings, the elements of storytelling.

When all the details are added together, the listener is placed in

the scene you are describing

For each Feature story, before you start your reporting, when you are just conceptualizing coverage and Broad Casting, begin this way:

Ask, •Who are the audiences for this story? (multiple audiences

stakeholders)•What information do they need to have in the story so they can

make up their own minds about what to think?

For instance, if the story is discussing a change in behavior, can a citizen actually understand how that behavior would affect them from the story?

•What is missing?How do you make local connections to the National economic crisis, for instance? The sugar shortage by following it from harvest in rural areas to storage, until it was sold as part of a large order of trade contract in bi-lateral trade agreement?

This approach has another virtue. It not only helps you think about the audience. It helps you reconsider your source list, where you go for info. Most likely, our source constituency is not broad enough.

Finding Subject Matter

There are no restrictions on subject matter. You are limited only by your imagination. Often a feature story is a simple story about

a common person in an uncommon circumstance.

The feature’s job is to find a fresh angle—to find the story behind the person

Broaden Your Source Base

Here's an example of rethinking sources that some reporters in Washington used first: Keep track of retired Federal employees to develop a list of experts, programs like capital talk’, ‘jirga’ ( Geo) and ‘current affairs’ (P.T.V) have now successfully adopted this pattern by inviting former diplomats, government and political high-ups, who know how things work, where the bodies are buried and are usually less burdened by workplace concerns.

Work the think-tank networks. Use new technology to help expand your stories in

two directions and weave into your stories the insights of international experts (located at universities for example).

"The best stories reach us on some

elemental level. There's something

very important that's always going on in a very simple

way in good stories.”

NBC correspondent,

John Larson

Connect The Story To Deeper Themes

Look for the story of why things happen, the way they do, and then look for a way to tell that story.

One way to do so is to tell the story of the revolution of judiciary by chief justice ch. iftikhar, the most influential man in political process of restoration of democracy, who isn’t a politician.

It should not be just a biography of justice ch. iftikhar. It should be all about how the public power works, how an influential man in the country won confidence, when there were already so many leaders trying to influence public opinion.

The deeper theme here would be that

someone behind the scenes is often more important than the public figures.

What is the fight in Afghanistan really about?

Why Musharraf suddenly allied with U.S on this?

Why China is interested in PAK-INDIA peace process?

Why Mian Nawaz Sharif, Maulana Fazalu Rahman and Munawar Hassan differ so much

even though they are thought quite conservative.

Find A Hook

Even the best writer can find it hard to get a reader's interest when the story seems foreign to the reader. Is there a hook, some common ground or relatively unknown link that might get someone interested in a subject?

On a story about vehicle smuggling from Afghanistan till down districts by Allah Noor at University Canteen - a story not just about the crime, taxes, religious moral and ethical debates- but about where the cars are going and who are using them.

What is the thing readers need to know if they know almost nothing about the subject but it matters?

“ Man can’t

dip into the

same river

twice” “Every Dawn brings a new day for you”

Find The Inherent Structure

Nowadays with the decreasing size of correspondents, a journalist has to cover a vast array of topics ranging from Health to War to the worlds of night life and hip-hop music. One of the keys in handling various stories is to realize that every story has a kind of structure inside it, the way some sculptors talk about a piece of stone having a statue inside. You can become a clicking reporter if you take time to figure out what that structure is, to make the story come to life.

Give Background And History

What background would a newcomer who is affected by the story need to know so that they might care about it? For example, on the issue of FATA Scholarships cuts in Gomal University:

Where did the idea of Scholarships cuts come from? What is Scholarship cut? What was situation like before it? Another virtue of asking what does my audience need to know is

that it can lead to creating new entry points into stories-such as asking, what background would a newcomer who is affected, or has a stake in the story, need to know so that they might care about it.

So often, the feature seems like something for bureaucrats, spoken in a language, official speak, that only the initiated understand, especially if you are using research script as your base material. What new entry points can you create into stories?

How Many Sides Are There?

It may be more interesting if there are three or four, rather than only two. In most stories there usually are more than two sides.

Is the population debate, for example, really reflected in the arguments of the organized pro-life and pro-choice movements?

On the other hand, in stories which truly are two-sided, do the facts require you to give both equal weights? Think, for example, of the debate over whether global warming is a fact or is Kalabagh Dam progress. There may be voices on both sides of the argument, but the prevalence of evidence and opinions argue it is occurring.

How does this affect whom you should call and how much space sources should get in story?

Some Broadcas ters Fee l The i r Persona l i t y Wi l l Carry Through The Most S i tuat ions And A Formal Scr ip t s Makes Them E i ther Less Exc i t ing Or Less Spontaneous . The Oppos i t ion Of Th is I s Genera l l y The Case : A Scr ip t I s Essent ia l In Any Feature Or Aud io Of Any Length To G ive I t Cohes ion And In te l l igence And To Ensure The S tory Doesn ’ t Become Los t .I f Needed , An Ind iv idua l May Benefi t From Scr ip t In Fo l low ing Manner :Write An In i t ia l Scr ip t Out l in ing The Idea .Lis t The F i r s t Po in ts Of The P iece In Log ica l Order.Make Sure The Open ing I s In te res t ing And At t rac ts The L i s teners ‘At ten t ionUse Ord inary Language And Shor t Sentences

Write A Draft Script

Principles Of Composition

Strunk and White's ‘Elements of Style’ has been read by the university students for years, but in its pages are lessons that are valuable to anyone at any age who compose anything ranging from promo, package to feature and documentary.

Next slide are the rules the book sets out for good composition>)

•Choose a Suitable Design and Hold to It. Planning must be a deliberate preface to gathering. Foresee or determine the shape of what is to come and pursue that shape.•Make chunks the Unit of Composition. Large blocks of

recording can look formidable to you at multi track-editing. But breaking them up too much can look like ad-promo. Moderation and order are the main considerations.•Use the Active Voice. It is generally more direct and vigorous

than the passive.•Put Statements in Positive Form. Avoid tame colorless

language. Use the word "not" as a means of denial or in antithesis, not as a means of evasion.•Use Definite, Specific, Concrete Language. The surest way

to arouse a listener's attention is by being specific. Use words that call pictures to mind.

•Omit Needless Words. Vigorous narration is concise. A sentence should contain no unnecessary words. A cue should contain no unnecessary sentences.•Avoid a Succession of Loose Sentences. In particular this

means sentences made up of two clauses. The style can become boring for the reader.•Express Coordinate Ideas in Similar Form. Parallel

construction allows readers to more readily recognize likeness of content and function.•Keep Related Words Together. The position of words in a

sentence in the principle means of shoeing their relationship. Brings words together that are related in thought.

•In narration, Keep One Tense. Don't switch back and forth. Choose one and hold to it.

Find The Right Voice

You have many voices. You speak to your friends differently than you do your parents or your teachers. If you have a job, you have a voice for your boss. When you take on a persona, or character. You must choose a voice that best imparts the information in that story.

The choice you make becomes the tone, or mood of the story, and it should always match the content. For instance, you would not use humor about a tragic auto accident.

Putting The Story In The Black Box

The Black Box is a system Reed designed to help reporters handle unruly information. It aids them in sorting through and prioritizing the information they have and helps reporters quickly and clearly make the case for their stories to their editors.

With the system, devising a story is essentially boiled into four phases:

Reporting Phase

GATHER SEARCH

ASK INTERVIEW

SORT

Black Box Phase

What is this information? What does it mean? What does it signify? What is the cue? What is the lead? What is its context - with what does it connect?Do talents contribute effective to the piece?Do the angle or idea run throughout the piece? So what? Who cares? How can you quickly tell it to the clueless and make it

count?

Editing Phase

Briefly tell yourself what the story says Tell yourself the single element that

captures the story Be firm to defend your thinking.

C H E E K I T F R O M L I S T E N E R S ’ P E R S P E C T I V E

B E F O R E D E V E L O P I N G T H E I D E A T H E R E A R E Q U E S T I O N S T H AT S H O U L D B E A S K E D A B O U T T H E P L A N N E D W O R K .

I S T H E I D E A S T R O N G E N O U G H T O M A K E A F E AT U R E ?

H A S I T B E E N D O N E B E F O R E ?

I S T H E R E A N A LT E R N AT I V E A N G L E T O T H E S U B J E C T I V E N O T P R E V I O U S LY E X A M I N E D ?

W H O I S A I M E D A N D W I L L T H E L I S T E N E R F I N D I T I N T E R E S T I N G ?

W H AT P O T E N T I A L B A R R I E R S A R E T H E R E T O A N Y L I K E LY P R O D U C T I O N ?

I S T H E F E AT U R E R I G H T F O R T H E I N T E N D E D B R O A D C A S T M E D I A ?

Finishing Phase

Finishing Phase

NOW CHEEKLIST THE ENTIRE WORK:You've got a lead; now order a sequence in telling:

organize. Narrate quickly, staying on track - you can go back

and tweak. As you proceed, periodically ask yourself: Who

cares?As you progress, periodically frighten yourself: The

audience is leaving. When you finish, go back and ruthlessly cut words

and sentences that sound strange or unnecessary. Before last listening, say "no one cares"; let the

story change your mind.

IN RADIO A REPORTER IS RESPONSIBLE FOR ALL STAGES OF RADIO PRODUCTION

IN COMMERCIAL RADIO, PARTICULARLY IN SMALLER MARKETS, EVEN THE DJS OF STATION ARE RESPONSIBLE

FOR PRODUCING FEATURES. THE WHOLE PROCESS, FROM RESEARCHING THE SUBJECT TO PUTTING IT ON

COMPUTERS BELONGS TO HIM/HER.

Detailed Element Of Producing Broadcast Features:

MUSIC IS USED TO SET THE MOOD FOR A PRODUCTION. IT CAN CREATE A FEELING OF EXCITEMENT, TRANQUILITY, SUSPENSE OR SADNESS.

FOUR TYPES OF MUSIC CAN BE USED IN PRODUCTION:

 THEME BACKGROUNDBRIDGEFILL

Selecting the Music:

IF YOU ARE DOING A SERIES OF SPOTS ON A PARTICULAR CHARACTER, THEME MUSIC WILL END IDENTIFICATION TO THAT SUBJECT OR CHARACTER. AVOID USING FAMILIAR SONGS AS THEMES.

Theme

B a c k g r o u n d M u s i c H e l p s S e t T h e M o o d O f T h e Fe a t u r e P r o d u c t i o n A n d I t I n c r e a s e s A u d i e n c e A p p e a l .

A Vo i c e - o n l y P r o d u c t i o n C a n B e Ve r y B o r i n g , E s p e c i a l l y, I f I t I s J u s t O n e Vo i c e .

W h e n Yo u A r e S e l e c t i n g M u s i c Fo r B a c k g r o u n d , I n s t r u m e n t a l I s U s u a l l y P r e f e r r e d O v e r M u s i c W i t h Vo c a l s .

Vo c a l S o n g s Te n d To D i s t r a c t T h e L i s t e n e r F r o m T h e M e s s a g e O f T h e P r o d u c t i o n .

Vo c a l M u s i c M a y B e U s e d , B u t O n l y I f I t C o n t r i b u t e s To T h e M e s s a g e . W h e n Vo c a l s A r e U s e d , L e v e l B a l a n c e B e c o m e s C r i t i c a l S o T h a t T h e M u s i c D o e s n ’ t O v e r r i d e T h e M e s s a g e .

B a c k g r o u n d M u s i c S h o u l d B e U n r e c o g n i z a b l e A n d M a t c h T h e S u b j e c t . B y A d d i n g T h e R i g h t B a c k g r o u n d M u s i c , Yo u A d d To T h e A e s t h e t i c A p p e a l O f T h e Fe a t u r e .

Background

BRIDGE MUSIC CONNECTS OR” BRIDGES” TWO IDEAS OR THOUGHTS. BRIDGE MUSIC, ALSO CALLED TRANSITIONAL MUSIC, WAS USED IN RADIO THEATRE TO CHANGE SCENE

.A SHORT INSTRUMENTAL FANFARE CAN SIGNAL A

CHANGE IN TOPIC-OR, A NEW SCENE CAN BE INTRODUCED WITH SHORT MUSICAL THEME THAT SUGGESTS A

PARTICULAR LOCATION.

Bridge

FILL MUSIC IS OFTEN CALLED”PAD” MUSIC AND IS USUALLY AN UNRECOGNIZABLE INSTRUMENTAL SONG. IF YOUR FEATURE PRODUCTION IS REQUIRED TO BE A CERTAIN LENGTH, YOU CAN USE FILL MUSIC TO EAT UP TIME AT THE END.

THIS ALSO ALLOWS THE PERSON AIRING THE PRODUCTION AN OPPORTUNITY TO TRANSITION TO THE NEXT PROGRAM ELEMENT GRACEFULLY WITH LESS CHANCE OF LAPSING INTO DEAD AIR.

Fill

 THE USE OF SOUND EFFECTS WORK MUCH THE SAME WAY AS MUSIC.

THE PURPOSE OF SOUND EFFECT IS TO ENHANCE THE SPOKEN WORD. CREATIVE USE OF SOUND CAN HELP DEVELOP A VIVID PICTURE IN THE MIND OF THE LISTENER.

THE SUCCESS OF AN AUDIO PRODUCTION OFTEN DEPENDS ON THE MENTAL PICTURE MADE UP BY DIFFERENT SOUND EFFECTS.  

Selecting sound effects

Final Test

Any Feature should pass the three C’s test.

ClearConcise Correct

If, it does, and the content is put together with care and passion, its quite likely it may even be an award winning piece of audio.

BEST OF LUCK!!!!!

Future’s Feature Journalists…