By Rick Thompson
ISBN-10: 0203342674
ISBN-13: 9780203342671
ISBN-10: 0415317975
ISBN-13: 9780415317979
Writing for Broadcast newshounds is the basic consultant to writing information for tv and radio, guiding readers in the course of the major changes among writing textual content to be learn, and writing spoken English that may be heard. This booklet is helping broadcast reporters at each degree in their careers to prevent newspaper-style ‘journalese’, clich?s, jargon, and misguided grammar or pronunciation, whereas shooting the immediacy of the spoken be aware in artistic broadcast information scripts. It additionally supplies suggestion on delivering concise on-line fabric for broadcasters’ web content. Sections contain: • Practical suggestion on find out how to write correctly yet conversationally• How to deal with a dynamic English language, with new expressions and phrases altering their meanings• Writing scripts that fit the television images, and use actual sound on radio• Detailed counsel on right terminology and the necessity for delicate language • An appendix of ‘dangerous’ phrases and words to be shunned in scripts. Written in a full of life and available sort by way of a former BBC information editor, Writing for Broadcast reporters is a useful consultant to the ideas of writing information for tv, radio and on-line audiences.
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Extra info for Writing for Broadcast Journalists (Media Skills)
Sample text
Putting the story first avoids this 46 Writing broadcast news scripts rather dull and formal approach, and will interest your viewers and listeners much more. In regional television and local radio, where on some days quite a number of bulletin stories can originate from the police calls, the danger is that too many stories can begin with ‘Police in . ’: ‘Police in Stirling . ’ or Police in Dumbarton . ’. It’s much more interesting to put the key subject of your story in the first line. And incidentally it should be ‘The police in .
31–2). Of course there will be occasions when you want to build up to the story, either to make sure the significance or context of the latest development is clearly understood, or simply to attract the attention of the listener. The section on writing studio introductions (pp. 101–11) develops the idea that an inviting opening line is extremely important. ’ (Radio Four Today programme). This introduction then went on to the new angle, which was a report from a head teachers’ association. But introductions that are obviously teasing should be used sparingly, and usually on less serious stories.
To attract their interest, it’s usually best to put the new development in a running story first, for example, ‘A new tax credit for low-income families is likely to be a key part of next month’s budget . ’. In fact subordinate clauses should be used sparingly throughout broadcast news scripts. The crisp, tight, simple style which avoids long sentences, and which is advocated by all leading editors, has little room for hanging Writing broadcast news scripts 1111 2 3 4 5 6 7 8 9 10 11 12111 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42111 47 ideas, of the ‘following .
Writing for Broadcast Journalists (Media Skills) by Rick Thompson
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