NEWS PRODUCTION: Writing and Storytelling (Lecture w/HCurston)

Writing and Storytelling for News

BBC ACADEMY  - The principles of good writing with Alan Little (http://www.bbc.co.uk/academy/journalism/ article/art20130702112133594)

Have something to say.
Read books. Read poetry. Read. Understand and love word.

“We shall fight”
Not convoluted.
One syllable packs a punch.

Understand your medium.
Don’t say what you can see, you can already see it.
Be active. Use the present tense.

Listen to spoken radio.

Be aware of each sentence’s ‘burden’.
Be direct, short. More than 16 words a sentence is probably too long.
Be suspicious of adjectives. Filter scripts for tired, repetitive phrases.

Don’t use metaphors you don’t understand.

Write for the listener. Make it sound like a conversation.

Audiences only get one chance to hear your words.

Don’t simplify the thought you’re expressing, simplify the language you’re using to express it.

Avoid repetition – say it once, tease out thoughts and set them up, avoid saying what an interview is about to.
Don’t exaggerate facts, emphasise them!
Make comparisons relatable.

Precise
Use language correctly. Be aware of spelling and grammar. Be concise and write clearly.
Accurate
Check and check again. Ensure information is true and up-to-date. Facts should be dated! Beware statistics, they’re easily manipulated.
Germane
Is your information necessary? Is it relevant? Keep your story tight and don’t waste time. Know your story thoroughly. Clarify your thoughts into a single topline.
Equitable
Balance is key in journalism. View your stories objectively and give equal opportunities to all central parties.
Flow
Consider the logic of the writing, structure carefully and walk the viewer through the story. Use your script to naturally link or corner turn.

Think like a viewer – would you understand if you weren’t involved?

Write the LEAD-IN first (the intro to the story read by the anchor), then the PACKAGE and then your TAG (optional – additional info/facts read by presenter before the report)

Beware:
Don’t repeat the lead in your package
Beware wordy writing
Overkill of facts and figures
Leads and tags – brief and to the point – 10-15 sec intro, 10-15 sec 2-way, 10-15 live link
Facts and figure – simple – graphics good – ensure clearly communicated
Identify key questions for your anchor/reporter

Good leads and tags:
Grab attention. Distil info into a topline to clarify purpose. Audiences can decide relevance to them and if they wanna watch. Think of it as a logline you would pitch. Do no more than tease the viewer. (FIND LINK)

Concise and not overloaded with facts. Keep impact, maybe (pref not) one headline figure that is shocking. Keep tone engaging but general and easy to relate. Facts belong in the main body, leads draw people in with a gossipy style.  One sentence, one thought. Tell the viewer key elements they want to hear.

Seems fresh and new, creative and conversational in tone. Subject, verb, object. Draw audiences in by making them relate. Use the narrative to tell the story.

AVOID:
Journalese – exaggerated or embellished writing with well-worn phrases and clichés. It’s uncomfortable and unreal. Overly clinical references are also crap.

Look at the pictures before you start writing your final script.
Watch your rushes and make notes of what you want.

Listen to your rushes. Build pauses into your script, don’t edit them in.

Talk to your editor – find what they want and collaborate.

Be enthusiastic with your script, have some flair and enhance the pictures – don’t mimic them.

Speak your script, make sure it flows and the rhythm works.

Don’t be afraid to polish work, even on a deadline. Make sure you’ve watched everything through.

FIND LINK TO READ AND SUMMARISE

WRITING FOR LIVE NEWS/STUDIO CONTENT

Producer will do much of the writing and create running order for the script
Remain in gallery to oversee broadcast as it goes live – will editorialise whilst on air

Script using segue words. Meanwhile, and, well, back home.

Don’t forget the viewer, ‘You’ connects the audience to the piece.

Headlines and coming ups
Initial brief for selling your story. 
A menu of the main stories and delivered in order of newsworthiness.
Start with your best line. Or a quote or question.
Check that your script doesn’t conflict with what your interviewees etc are saying.

Scripting OOV/SOT
Requires the ability to discern good sound bites from an interviews and script in and out of them.
Studio scripts must indicate in and outs and it’s duration.
Ensure presenter is aware when to stop reading the VO and allow the OOV takes over.

Scripting your package
Work out key elements before filming
Work out shot list and scripted elements
Scripting lets you know what to shoot
Give your reporter a PURPOSE- make them active.

Almost an infinite number of ways to tell your story.
Make decisions based on: Access, Time, Duration, Angle, Essentials

Not a composition of facts and figures. What narrative thread holds your story? Story arc? Visuals? Style? What’s driving your story?

Structures:
Chronologically
Most up-to-date info first
Story through strong, central character
Answer the 5 W’s

View, log and transcribe your clips. Producer can take notes of good clips during filming.