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How to Write a Radio Serial Drama for Social Development- PDF

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212 Glossary<br />

music<br />

narra<strong>to</strong>r<br />

non-characters<br />

P Process<br />

parasocial interaction<br />

persuasion theory<br />

pilot programs<br />

PLR<br />

plot<br />

plot chart<br />

producer<br />

program manager<br />

Music should be used carefully in radio programs so that it does not interfere<br />

with or contradict the dialogue. (Chapter 7)<br />

A person who tells a s<strong>to</strong>ry; frequently used at the beginning of a radio serial <strong>to</strong><br />

remind the listeners of what happened in the previous episode and at the end <strong>to</strong><br />

encourage listeners <strong>to</strong> tune in again next time. (Chapter 6)<br />

People who appear in a radio program but are not characters in the drama, such<br />

as the host and narra<strong>to</strong>r. (Chapter 6)<br />

A diagrammatic representation of the necessary steps in preparing and<br />

implementing a successful communication project <strong>for</strong> development. (Chapter 1)<br />

Audience members behave as if fictional characters were real people, talking back<br />

<strong>to</strong> them during the broadcast or sending them letters and gifts. (Prologue and<br />

Chapter 9)<br />

Communication theory that states that psychological characteristics (such as<br />

knowledge, attitudes, and preferences) affect a person’s perception of and<br />

response <strong>to</strong> messages. (Prologue)<br />

Programs created be<strong>for</strong>e regular scripting begins in order <strong>to</strong> test <strong>for</strong>mat,<br />

characters, and message presentation on a sample of the audience. (Chapter 10)<br />

Abbreviation of “pause <strong>for</strong> listener response;” indicates a moment’s silence <strong>to</strong> give<br />

listeners time <strong>to</strong> respond <strong>to</strong> an interactive question. (Chapter 9)<br />

The chain of events and web of personal relationships that make up a s<strong>to</strong>ry or<br />

drama. (Chapter 3)<br />

A chart that keeps track of events that must be referred <strong>to</strong> more than once during<br />

a s<strong>to</strong>ry. The chart shows which episode first mentions an event and which<br />

episodes should bring the matter up again. (Chapter 8)<br />

The person who manages and oversees all aspects of a media project, including<br />

finances, staff hiring, office procedures, and time lines. Also known as the<br />

program manager (see program manager, below). May be used interchangeably<br />

with direc<strong>to</strong>r in some countries (see direc<strong>to</strong>r, above).<br />

The person in overall charge of a radio series; sometimes called the Executive<br />

Producer or Program Direc<strong>to</strong>r; see producer above. (Chapter 2)<br />

pro-social Contributes <strong>to</strong> the welfare of a society or community. (Chapter 1)<br />

purpose<br />

real time<br />

reasoned action, theory of<br />

resolution<br />

role model<br />

Reason(s) <strong>for</strong> undertaking a project; the approach the project will take <strong>to</strong><br />

encourage the audience <strong>to</strong> adopt new behaviors. Chapter 2)<br />

The idea that the action within a scene should occupy the same length of time<br />

that the scene takes <strong>to</strong> broadcast. (Chapter 6)<br />

Communication theory that states that people carefully weigh the benefits and<br />

disadvantages of a new behavior and perceived social norms be<strong>for</strong>e adopting it.<br />

(Prologue)<br />

The part of a s<strong>to</strong>ry following the crisis which shows how the crisis is overcome.<br />

(Chapter 3)<br />

Real person or fictional character who demonstrates new behaviors and whom<br />

others choose <strong>to</strong> copy. (Prologue and Chapter )

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