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

50 Chapter Four: Blending Story and Message in the Drama Plot
should be positive. It is difficult, if not impossible, to educate people by
telling them only what they should not do. Sometimes, even mentioning
the negative side of a situation reinforces—however inadvertently—the
very behavior that the story is aiming to replace. Telling listeners not to
believe a rumor that vasectomy causes impotence, for example, may
plant the notion even more firmly in their minds. (The section on
“Social Learning Theory” in the Prologue discusses the greater
effectiveness of positive, rather than negative, models.)
8. Create trust. Creating trust in the listening audience is critical to
bringing about social change through radio drama. Listeners must have
confidence in the story and in the message. (The section on “Persuasion
Theory” in the Prologue discusses the importance of credible sources for
influencing an audience.) To give the drama a sense of authority, role
model characters should resemble closely the type of people whom
listeners respect in their community. Trust is further enhanced by
presenting accurate, appropriate, and consistent information. This can be
assured by constant use of the Writer’s Brief, which contains the precise
message information to be included in the drama as well as definitions of
key words and phrases.
9. Encourage advocacy. Even though a radio serial can reach many people
in a community, it alone is not sufficient to “spread the word.” By
involving the listeners emotionally, however, the serial can motivate them
to pass on what they hear to their families and friends. The writer can
encourage this by demonstrating through role models in the serial how
listeners who already have adopted the desired behavior can help others
understand the new ways and change their behavior. (The section on
“Diffusion Theory” in the Prologue discusses the spread of information
throughout a community by word of mouth.)
10. Be original. The writer should try to avoid a stereotyped story that
follows a predictable pattern, even when dealing with a problem that
results from a known and finite set of causes, such as AIDS. The typical
drama dealing with AIDS, for example, features a young man who
behaves irresponsibly in the belief that he could not possibly contract the
disease. Inevitably he succumbs to the disease, and all the “good”
characters learn from his demise. An alternative approach might be to
focus on an AIDS victim who is not all “bad.” Although he may have
contracted AIDS from promiscuous, unprotected sex, he might have
improved a friend’s life—not by warning him against AIDS, but, for
example, by bequeathing the friend a bicycle that allows him to earn a
living as a messenger. This differentiates the story from others on the
same topic and gives it a positive thrust despite the tragic situation.
The multi-plot nature of the serial gives the writer the opportunity
to fulfill all ten aims of plot development. While no single plot will
achieve every aim, the combination of the main plot and various subplots
can encompass all ten aims comfortably and create a foundation for
a successful blending of plot and message.