Scenario: You have been commissioned to prepare a briefing for a group of ‘new writers’ on the conventions of scriptwriting for radio you can create a powerpoint and present your findings or write a report.
TASK - Understand the conventions of scriptwriting for different radio genres
Research 4 different conventions of scriptwriting for radio, look at different genres and for different contexts-prepare materials present your findings either in a written report or powerpoint. Include an introduction as to why and how scripts are written in radio.
Linguistic conventions:
- Use of reference and allusion; abbreviation; writing numbers; expanding acronyms; punctuation; formulaic scripts; formal and colloquial language; WAR (warn, advise, repeat); according to genre; phonetic spelling of difficult words.
Style:
- Writing for the ear; house styles; standard in- and out-cues; signposting; pre-reading aloud; language style, eg persuasive, relaxing, exciting; aural and literary syntax; natural speech rhythms; tone; register alternative terms; synonyms; layout; continuity links; product packaging.
Recognised genres:
- EG music scripts, documentary programmes, speech packages, live feature material etc.
Intro.
Scripts are written in radio because they are a requirement as part of structuring a program for successful broadcasting. It ensures focus and keeps the hosts in line with the programming, so they do not lose track and are given talking points to base their scripts off of. Scripts for radio are written for the ear and intended for the audience to follow along using their imagination. They are written in a manner that matches the time frame of the program and fit the typical styles and conventions expected of from that certain or typical radio program. For example, radio programs belonging to the more traditional BBC’s formal radio shows will differ in terms of scripting compared to that of a podcast, which is far more free with its structure and scripts usually only represent bulletins for talking points or topics to be discussed. Scripts are important over all sorts of different mediums, and radio is no exception. It ensures that the presenter/host is on track with the programming structure and does not go off on a tangent under the framed time constraints. This ensures everything runs smoothly and in the order intended, as with any other under a scripted format.
Linguistic Conventions of Scriptwriting
Allusion: basically a reference to something. It may occur when a writer references another piece of work, either by implicit mentioning of work or making allusion to it via a quote from the work or one that is usually associated with it. It more often or not relates pop culture. For example, “I was surprised his nose wasn’t growing like Pinocchio's.” This would be an allusion as it references Pinocchio’s nose growing whenever he lies, thus the allusion indicates this person is a liar.
Abbreviation: a short and recognizable word used to shorten others words, such as cause for because, or even acronyms such as WAR, which stands for ‘warn, advice, repeat’. Used often in radio scripting in order to get a better feel or read for the scripts, or for the audience who can still understand but certain words must be condensed in order to fit air time constraints.
Expanding acronyms: acronyms are used as an abbreviation for longer words. An example in radio would be the aforementioned WAR, which when expanded stands for ‘warn, advice, repeat’. Expanding acronyms in radio are meant to inform the the listener as they may not be familiar with the abbreviated version i.e. saying Central Intelligence Agency instead of the CIA, for those who may not know what it stands for.
Formulaic scripts: scripting in radio tends to follow a certain formula, especially when it comes to more conservative radio news broadcasting services such as the BBC. Usually, you will get news bulletins delivered in a informal, monotone voice (used to enforce the serious nature of some of the news items), and often followed by a more relaxed demeanor in tone of voice and style. Formulaic scripts ensure that the program is well structured and easier to follower, for both presenter and listener.
Formal and colloquial language: scripts featuring colloquial language would be more well orientated towards a local demographic and target audience, as they are familiar with the style and tone. Meanwhile, formal language is more situated with the aforementioned news bulletins.
Style of Scriptwriting
Writing for the ear: scripts for radio can differ from other forms of scripts, as they are intended for the listener and not say the viewer or reader. Thus, when it comes to scriptwriting for radio, the styles differ in that you are writing more for conversation and avoiding the complexities that may come with more traditional scripts, discarding big or long words in favour of something short and sweet. Colloquial language for more local radios, for example, flow a lot better and are easier on the ear.
Standard in and out-cues: these are the lead-ins or lead-outs for songs or interviews about to take place, or may even be so for upcoming news bulletins. These small segments are used to differentiate between the two and create a different flow.
Language style: when it comes to language style, you have got to first think of the target audience and demographic that listens to your radio station, and then the presenter or host makes a conscience decision to make it easier for that particular audience to listen in. This is often where colloquial language conventions come into play, as it suits the region and locality of the populace listening in on the show, and radio scripts are often geared towards this in an effort to make the content that much more better and endearing.
Tone: tonal shifts can occur in radio, and are often prevalent in segments containing news bulletins, as they can represent the seriousness of the news being reported and reflect on how the presenters or hosts are more relaxed in comparison.
Continuity links: these are short segues identifying the radio station’s name when cutting away or into a segment. For example, “103.4 SUN FM” is used to as a reminder that the listener is listening into this particular radio station.
Recognised Genres in Scriptwriting
News bulletin: often organised so that the more ‘softer’ stories take place at the end in favour of the more ‘harder’ or serious news topics. Made so that they are sorter for radio and often last under a minute, as they are condensed to fit the radio time frame. An example would include the following Sky News radio bulletin: https://www.youtube.com/watch?v=zF2EhYLuz8g
Sports bulletin: pretty much the same as a news bulletin, the only difference being that this news is sports-related. As with any bulletin, the presenter would give their name and the time before divulging into the news topics. An example would include BBC London 94.9: https://www.youtube.com/watch?v=ceUekrcNhFE
Radio advertisements: radio ads are often short segments that are more condensed or informative versions that you may or may not see on TV. These ads can act as a great way for revenue or funds for the radio station exhibiting them. They often consist of their own conventions, such as sound effects, an excited voice or tone (depending on the nature of the ad) and catchphrases. An example of a radio ad would be the Mr. T Snickers radio advert: https://www.youtube.com/watch?v=N1CRJAySsqA
Radio play: either dramatized or just audio performances intended for those wanting to listen in on fictional or nonfictional dramatizations made into plays on radio. They rely on dialogue, sound effect and music to help visualize the story for the listener. Without scripts, radio plays are unable to be produced, as they contain vital information necessary for the flow and structure of the play when put to radio. An example of a radio play would be The Archers: https://www.youtube.com/watch?v=-MezXemeBcs
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