STEP 3: ADAPT OR DEVELOP EFFECTIVE SPOTSmalaria. In general, government policy in most countries is that ANY fever inchildren under five should be treated with antimalarials. To be sure that thelistener understands this, you may need to use more than one of the commonwords for the different kinds of fever.8. State the positive, not the negative. In general, negative statements are harder forthe listener to understand. Frequently, he will actually hear that you want him todo the action, instead of NOT do it! For example:Poor: You will have greater chance of getting malaria if you do not use a treatednet.Better: Use treated nets to prevent getting malaria.HOW TO SET UP A RADIO SCRIPTThe radio script is more than just a text; it is a road map that helps the productionstaff prepare the spot as efficiently as possible. To do that, all of the spot's elementslinesto be spoken, instructions to the actors and announcers, sound effects andmusic-must be described clearly, accurately and completely and presented in astandardized form that everyone can follow. Radio producers in your country mayhave specific ways to prepare a script, but here are some widely used rules forscripting.How to format the script• Type the script. Typing should be neat, with no strikeovers or deletions. Someminor changes may be added in pencil, if necessary, but there is always the dangerthat penciled changes will not be clear and will cause problems during production.• Double-space the script. Use only one side of the paper.• Use standard-size paper. Choose a heavier grade that will not rattle whenhandled.• Number the pages. If the script is more than one page long, number all pages atthe top.• Number the lines. If you have a complex, longer script involving severalcharacters, music or sound effects, number the lines to help actors andannouncers know where to start during production. For short scripts, particularlyradio spots, the numbering is usually omitted.• Script headings or headers. At a minimum, headings should include the spot’stitle, client, product/idea (e.g., ITN, prompt treatment), medium, language andduration. The heading may also include target audience, message, key benefit—taken from the creative brief—and a number, if part of a series. Other helpfulinformation can include names of the writer, director and/or producer, date andtime of production, cast list, music and sound effects list.48 Spot On <strong>Malaria</strong>: Guide
STEP 3: ADAPT OR DEVELOP EFFECTIVE SPOTS• If the heading is brief, put it at the top of the first page of the script. If it is lengthy,put it on a separate title page and use a short identifying title on subsequentpages. Use the same two-column format as the script itself (more on scriptlayouts in the next section).Sample script headerTitle:Client:Product:Target audience:Medium:Language:Duration:Invest in your familyMinistry of HealthITNRural husbands of pregnant womenRadioSwahili60 sec• Try to keep an entire speaking part on one page. But if the lines of an actor orannouncer continue to the next page, write the warning cue MORE MORE MOREat the bottom of the page. This warns the actor/announcer that his speechcontinues and keeps him from breaking the flow of his delivery—which usuallywould mean you would have to re-record that section.Basic script layout for spotsThe radio script is written in two columns (three columns if the script is lengthy, hascomplex cues and uses line numbering). On the left is a short column that identifiesthe source of each sound (voice, music or sound effect). On the right is the maincolumn where the spoken lines and instructions for sound effects and music cues arewritten. (A glossary of script writing terms appears in Annex 4; sample scripts inAnnex 3.)Voice cues: If a single voice is used, it is frequently designated as ANNCR forannouncer or NARR for narrator. Multiple voices may be identified by the names oftheir characters such as MARY, or if the role is too small to have a name, as MALEVOICE, FEMALE VOICE, VOICE #1, VOICE #2.Spot On <strong>Malaria</strong>: Guide49
- Page 1 and 2: SPOT ONMALARIAA Guide toAdapting, D
- Page 3 and 4: ACKNOWLEDGMENTSThis Guide is adapte
- Page 6 and 7: CONTENTSOVERVIEWSpotlight on malari
- Page 8 and 9: ABBREVIATIONSANCCIDADDDHSDFIDIMCIIP
- Page 10 and 11: OVERVIEWSPOTLIGHT ON MALARIAEach ye
- Page 12 and 13: OVERVIEWWHEN ARE RADIO SPOTS NOT US
- Page 14 and 15: OVERVIEWGathering information perio
- Page 16 and 17: STEP 1GATHER INFORMATION,BUILD YOUR
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- Page 60 and 61: STEP 4PRETESTPRETESTING: THE KEY TO
- Page 62 and 63: STEP 4: PRETEST• Persuasion: Does
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- Page 72 and 73: STEP 5PRE-PRODUCTION, PRODUCTIONAND
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- Page 92 and 93: ANNEXES- Annex 1:Resources (pages 9
- Page 94 and 95: ANNEX 1RESOURCESINTRODUCTION TO MAL
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ANNEX 1: RESOURCESCommunication/mat
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ANNEX 2TOOLS YOU CAN USETOPICSWorks
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Seven-step radio spot production cy
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Creative brief templateProject:Cont
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Assessing radio spots for pretestWo
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Sample pretesting guide for group d
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Sample pretesting guide for group d
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Sample pretesting guide for group d
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Sample pretesting guide for group d
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Tips for facilitating group discuss
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Notetaking sheet: Radio spot pretes
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Who listens and whenRadio station:L
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Radio spot monitoring: A planning w
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Radio spot evaluation: A planning w
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Malaria communication activities pl
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ANNEX 3SAMPLE SCRIPTS FOR SPOTSTOPI
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ANNEX 3: SAMPLE SCRIPTS FOR SPOTSTi
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ANNEX 4: GLOSSARYRadio spot: A shor
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ANNEX 4: GLOSSARYRADIO PRODUCTIONFa
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CHANGE ProjectAcademy for Education