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

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24 Chapter Two: Writing Begins: The Writer’s Brief nontechnical and technical knowledge programs. Glossary definitions usually cannot be copied from one country to another, even when programs focus on a universal topic, such as education or family planning. Each entry should employ the words and definition most appropriate for the culture, language, and experience of the chosen audience. The definition of “vasectomy,” for example, would be far different in a program directed to a general rural population in Bangladesh than for a distance education series designed for physicians in Nigeria. The glossary also reduces potential problems with sensitive or taboo words, such as the words used to describe the male or female sex organs. By giving the appropriate word or phrase, the glossary eliminates the possibility that the writer inadvertently will use a word that is unacceptable either to the audience or to the broadcast station. The writer will find the glossary easier to use if terms are listed in alphabetical order. It is also helpful to asterisk words that have glossary definitions whenever they are used in the body of the Writer’s Brief. 15. Script review panel and script support team. It is helpful, but not essential, for writers to know who will be reviewing their scripts. This script review panel is a small group of people comprising the program manager, content advisor, ministry representative, radio director, and possibly a drama critic. Writers must know the members of the script support team so that they can call on them for help when needed. Members of the script support team are drawn from the design team, so they are familiar with the project and the needs of the script. The script support team should include the: • Program manager, who has the final say about all matters relating to the development, writing, and production of the serial and who can direct the writer to other people for further assistance. (In some countries, the program manager will have the title of producer or executive producer.) • Audience representative, who can provide quick answers to questions about the suitability of a script’s story, characters, or language. It is helpful to have an audience representative on the support team even though the writer knows or has visited members of the audience. • Content specialist, who is a recognized authority on the message content of the serial. Whenever possible, the program manager should identify a single person from the design team to be the final authority on all matters of content. Consulting multiple content advisors is frustrating, confusing, and a waste of time and money. • Audio director, who can advise the writer about the availability of actors, the limitations of sound effects or other production techniques, and the suitability of the script for the medium of radio. (In some countries, the audio director will be known as the radio producer.)
Chapter Two: Writing Begins: The Writer’s Brief 25 • Evaluator, who can advise whether the script will enable the audience to meet the measurable objectives. This position is especially helpful to the writer when the effect of the serial’s message on the audience is to be measured quantitatively. • Researcher (or research information), who can clarify how the findings of the formative evaluation conducted during the analysis phase of the project relate to the presentation of information in the program. (The same person may serve as both researcher and evaluator.) • Ministry or government representative, who may be necessary in some projects to ensure that the words or concepts included in the scripts do not contravene current ministry or government policy. Even when a government representative has served on the design team, the writer should maintain contact with a designated ministry staff member who can answer any questions that arise. Depending on the nature of the project, it may be necessary to include other people in the support team. Those listed above generally are sufficient to provider the writer with adequate back-up. 16. Support materials. Writers must know what, if any, support materials will be available to the listening audience, so that the scripts can refer to these materials at appropriate moments. All information and terminology in the scripts should be consistent with that used in the support materials. 19. Time line. Writers should be consulted about how much time will be needed to write and revise scripts, and their needs should be incorporated into a time line covering all aspects of programming from the initial writing to the broadcast and evaluation of the programs. Writers should be aware that adhering to this time line is critical to the success of the radio project. It is essential that writers help determine a realistic time line and that they notify the program manager the moment any problem occurs that might disrupt the time line. 2
Page 1 and 2: How To Write a Radio Serial Drama f
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Page 6 and 7: vi Contents Chapter Two 13 Writing
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Page 12 and 13: xii Prologue 1. Individual-level co
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Chapter Six Developing the Setting
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Chapter Six: Developing the Setting
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Chapter Eleven Script Presentation
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Chapter Eleven: Script Presentation
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Chapter Thirteen The Value of Editi
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Glossary This list defines the word
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Glossary 211 Four Ts of Teaching FX
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Glossary 213 scene script script he
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Index of Script Excerpts and Other
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Bibliography/references 217 Bibliog
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