Radio Presentation

Skills

Resource notes

© Fiona Lloyd

1

Radio Presentation

Contents page

Hello and welcome… 2 Relaxation exercises 3 Posture 5 Breathing exercises 6 Your voice and how to use it 7 Some useful voice exercises 8 Basic principles of radio presentation 9 The seven P’s of presentation 10 Before you go on air 11 On-air tips 12 Writing for the ear 13 Finding fresh words 16 What not to say 17 Station style 18 Presenting music 19 You, your listener and the script 21 Reading news 22 Reading commercials 23 Microphone techniques 24 Different kinds of microphone 25 Getting used to the studio 26

Types of interviews 27 Preparing for an interview 28 Setting up an interview 29 Conducting an interview 30 Interview questions 32 Interview listening skills 33 The telephone and its challenges 34

Handling panel discussions 35 The two-minute radio talk 36 Sample music show script & technical notes 40 And finally… 42 Glossary 43 Useful reference books 44

2

Hello and Welcome to … Wits Radio Presentation Skills These resource notes are designed to complement the activities and practical exercises that we’ll do together over the next two weeks. Feel free to use this material when you go back to your station, so that you can pass on your new skills to friends and colleagues. Add your own comments too. There’s plenty of space here for more ideas and fresh tips. This training is about YOU, so please share experiences, questions, challenges and inspiration … let’s have fun!

© Fiona Lloyd

3

Relaxation Exercises Some people think that broadcasting involves only the mouth. But good radio depends upon “you-to-me” communication. And we communicate best when we use our whole body. If you’re feeling physically or mentally stressed, your voice will show it. You’ll sound uncomfortable – and that’s the message you’ll project to your listener. Learn to listen to your body - and become more aware of the signals your body sends.

Commit yourself to a daily

relaxation routine. Start with a gentle exercise like the Spinal Release.

The Spinal Release

1. Stand with feet shoulder-width apart. Feet

should point straight ahead, and be

parallel with your knees.

2. Let your knees go soft: un-tense them.

Arms, hands and head are loose and

heavy.

3. GENTLY flop forward, sagging at the

knees, knuckles gently brushing the floor.

4. GENTLY and SLOWLY start pulling

yourself up. Keep your head, arms, hands

loose and heavy. Don’t tense them.

5. As you start pulling up, feel your spine

GENTLY straightening up, vertebra by

vertebra. Let your arms and head

continue to hang loose and heavy.

6. As you straighten, let your arms fall

naturally into place – don’t force them.

7. Last of all imagine that someone is

GENTLY pulling a piece of string which

is attached to your head. Let your head

come up in response to this gentle

pulling.

8. Stand in this position for a couple of

seconds and enjoy the sensation of

feeling taller and stress-free.

Positive tension gives you

focus and helps you

concentrate. Stress does

the opposite!

4

There are plenty of other exercises to help you relax. Use whatever works best for you. Try this one:

1. Lie on the floor, letting your back go as flat as possible – without straining. If your neck feels uncomfortable, use a cushion. Take off your shoes and loosen any tight clothing.

2. Concentrate on your toes. Unclench them. Now imagine a warm light is circulating round your feet - allowing them to feel relaxed and free.

3. Let the warm light travel slowly and gently up each leg. As it does, your calf muscles, knees and thighs start to feel soft and relaxed.

4. Let the warm light move slowly up your back, especially relaxing your neck and shoulders.

5. Feel the warmth flow down your arms to your fingers – one arm at a time.

6. Let the warmth circulate around your chest – especially round your heart, gently relaxing and holding you.

7. Now let the warmth move round your face. Let it relax your jaw, mouth and tongue; your forehead and your eyelids.

8. Enjoy the feeling of being totally relaxed and free. Breathe from your diaphragm. When you’re ready, get up very slowly. Enjoy the way your body gets ready to move again.

5

Posture In radio presentation your posture is all-important. So how do you sit? In short: you should sit in a way that allows you to breathe and move your body easily.

When you sit in front of the microphone you shouldn’t have to crane your neck to be in the correct position. Adjust the microphone so it’s in the right place. Don’t try to twist your body to suit the position of the microphone.

♦ Back long & wide

♦ Neck free

♦ Shoulders free

♦ Head lengthening out of

back

? ? ? ? ? ? ? NEVER sit in the

“question-mark” position – if your body’s doubled-over you won’t be able to breathe. The result? You’ll sound tense and uncomfortable!

Feel the chair supporting you!

Let your body – and mind – feel free and alert.

6

Breathing Exercises A good supply of breath is essential if you want to communicate on radio. Or anywhere else, for that matter! But most of us don’t make the most of our breathing. We tend to hunch up our body and breathe only from the upper chest area. When we breathe like this we often sound tense and constricted – we probably FEEL tense, too. So how do we learn to breathe from the lower part of our chest (the diaphragm area)? Here are some exercises which will help. But it’s really a question of practice – and YOUR personal commitment to a daily relaxation, breathing and voice-work routine. Let’s start.

A. “Fat” Breathing If you do yoga this will be easy. If not: just

relax and don’t worry about getting it

right first time.

1. Stand up, feet slightly apart and

untense your body – especially neck

and shoulders.

2. Place your hands under the bottom pair

of your ribs – near your navel. This is

the power-house of your body (also the

place where you get “butterflies” when

you’re nervous).

3. Keeping your upper chest and

shoulders relaxed, breathe in to the

bottom of your chest. Think of that

area as a balloon. Let it EXPAND as

you breathe in. (This may feel a bit

strange at first)

4. Hold the breath for a couple of seconds

and gently release it. As you release,

feel the lower chest DEFLATE –

again, like a balloon.

5. Do this exercise a few more times in

your own rhythm. NEVER force or

strain yourself. There should be no

movement in your upper body.

6. Explore how you feel.

B. Simple Floor Work 1. Lie on the floor, feeling

your back widen and

spread.

2. Untense your body. Use

the Relaxing Exercise to

do so, if you like.

3. Raise your knees a little

(slightly apart) to help

flatten your back

against the floor.

4. Put your hands on your

diaphragm.

5. Do “fat” breathing:

breathe in through the

nose & out through the

mouth.

6. Repeat a couple of

times only – never

forcing yourself.

Want to know

more? Turn to

your reference

list for some

useful books.

7

Your Voice and How to Use it Your voice is like a musical instrument. How does it work?

• Practice is the key • Don’t try to copy anyone else:

find your own voice.

How you speak… When you make a sound, the vocal cords come together. As you breathe out, the

air makes your vocal cords vibrate. These vibrations set up sound waves which

resonate in the hollow spaces of your body: in your chest, throat, face and skull.

No two people have the same physique. No two people have the same size,

shape or potential for resonance. That’s why YOUR voice is unique.

We’re not usually taught how to make the most of our voice. Most of us don’t

know what we’re missing. It’s simple: we just need to learn to breathe correctly,

relax and become more aware of our body - and how it uses energy.

As we develop the potential of our voice, we learn more about ourselves – and

those feelings we often suppress. We need to be open and honest. Most of all we

need to accept who we are.

I thought you

said this was

simple…

8

Some Useful Voice Exercises

There are hundreds of voice exercises that You can do to help develop your voice. Find What’s best for you and practice daily. Choose a poem – or perhaps an extract from an Inspiring book and read aloud for the sheer pleasure of it. Don’t try to sound impressive. Read to express not impress. Meanwhile, here are some exercises to get you started…

Look out for: Your Voice

and How to Use it – an

excellent book by Cicely

Berry which contains the

exercises below, and

many more.

To develop chest resonance

1. Stand comfortably and do

some “fat” breathing.

2. As you breathe out, gently hum

for as long as it’s comfortable.

3. Feel the vibrations: where are

they?

4. Do it again – gradually

increasing the length of your

hum. Feel the sound coming

from the bottom of your chest.

5. For variety – experiment with

different sounds like: “ah”,

“oo”, “ee”

Sing out your own name. Feel it

coming from deep within.

To develop mouth muscles

1. For the lips:

Pepepe pepepe pepepep pah

Bebebe bebebe bebebe bah

Mememe mememe mememe mah

2. Back of tongue:

Kekeke kekeke kekeke kah

Gegege gegege gegege gah

Kekeke tetete

Gegege dedede

3. Tongue tip:

(make tip drop to bottom of your

mouth each time)

la la la la

lala lala lala lala

lalala lalala lalala lah

Now say: vvvvvvvvvvvvvv

And : zzzzzzzzzzzzzzzz

Enjoy the buzz on your lips and

tongue.

Don’t worry about whether

you’re doing these exercises

correctly.

Just do them and enjoy them.

9

Basic Principles of Radio Presentation

The key to effective radio presentation is simple:

This principle applies to all types of radio presentation – even news reading. Why? Because as soon as you start talking to MORE than one listener your tone changes. You lose the intimacy and warmth that we associate with good radio.

Here’s another important – and simple – principle:

☺ Even if you can’t see someone you can immediately TELL from their voice whether they’re smiling or not. Try it yourself with a friend. On radio (or on the telephone) a smile is the equivalent of making eye contact.

☺ Smiling is also important for another reason: it LIFTS your voice and makes you sound more confident and fresh.

☺ But how much should you smile? And should you smile all the time? Experiment for yourself. Don’t force it – find your own style.

Imagine that you’re

talking to ONE listener

and that she or he is

sitting just the other

side of the microphone

10

The Seven P’s of Presentation

Robert McLeish, author of Radio Production, refers to the “Seven P’s of Presentation”. He’s talking about these 7 basic elements:

POSTURE – does your position allow you to breathe and move easily?

Does it allow you to be free and alert?

PROJECTION – is the amount of vocal energy you’re using

appropriate for the programme/time of day/target audience?

PAUSES – do you use silence intelligently to separate ideas and allow understanding to take place?

PACE – are you speaking too quickly or too slowly? Remember: you’re

more likely to stumble if you try to pack too many words into too short a space.

PITCH – is there enough rise and fall in your voice to create variety and interest? Or are you going up and down so much that you sound unnatural?

PRONUNCIATION – how well do you cope with difficult/foreign names and words? Remember: preparation is the key.

PERSONALITY – the most important quality of all! How do you come

across to the listener? Do you sound warm, friendly and professional? Or patronising, self-indulgent and careless? What’s the TONE of your voice? Is it appropriate for the programme/time of day/target audience?

Was that an

occupied

pause?

11

Before You Go on Air

Here are some tips. Add your own as you gain more experience.

♦ Avoid fizzy drinks �and milky liquids. Don’t eat sweets or chocolate

before you go on the air – sugar thickens the saliva.

♦ Give yourself plenty of time to get to the studio without rushing.

♦ Make sure you’ve got everything you need: script, CDs, reading glasses etc.

♦ Wear loose, comfortable clothing.

♦ Before you get to the studio allocate a few minutes for some voice warm-ups and breathing exercises.

♦ Take a minute or so to relax your neck and shoulders. Do some deep breathing to focus your mind and body.

♦ Check your posture and the position of the microphone. You should feel free and alert. Feeling tense? Make a conscious effort to focus your thoughts and breathing.

♦ Remind yourself :

♦ Have a final chat with your producer. Are there any last-minute changes to the show? Are you both prepared for interviews? Phone-ins?

♦ Remind yourself to ☺

♦ Remind yourself to gesture and use your body to express your feelings.

♦ Always do a voice level. ♦ Check your equipment.

I’m going to talk to ONE

listener – just beyond the

microphone…

♦ I’m exactly where I want to be. ♦ I love what I’m doing. ♦ I’m well prepared.

♦ I’m looking forward to talking to my listener.

Or why not

make up your

own version?

12

On-air Tips Add more of your tips as you gain experience. � Always know what music you’ve just played, what you’re playing now

and what’s coming up. � Always keep one step ahead with cueing and other preparations. � Give frequent station IDs and “throw aheads”. � Just give ONE STAR REASON for listening to a piece of music. � Avoid giving long lists of what’s coming up. Nobody will remember -

and lists are boring anyway. � SMILE and use gestures to “lift the script off the page”. � DON’T put your headphones over both ears. Rather have them OFF

one ear. This stops you from “falling in love with your own voice” and so losing touch with the listener.

� Always have pen and paper ready. � Don’t take a phone call unless you’re really free to do so. � Your listener is your first priority – even if there are visitors. � Make sure you know what the time is before you announce it.

� Do the chores (reading promos, station IDs etc) as though you really

MEAN them. � Keep up to date with the programme log – if you DON’T play a logged

piece of music, make a note (to help the library & compilers keep track of what’s been played and how often).

And remember…

And the time’s

..er..um..er..ten minutes to

…er..um

Respect The listener ☺

The word �

The music ♪ The clock �

If you’ve got

nothing to

say…don’t

say it!

13

Writing for the Ear not the Eye

Scripting for radio is very different from other kinds of writing. Why? Because you have to write for the EAR not the EYE. Why? Because we don’t listen in the same way that we read.

So what must we remember when we write for radio?

Simply… Present Simplify facts and figures If you haven’t said it,

don’t script it!

If you haven’t scripted

it…don’t say it!

Keep

It

Short

&

Simple! • When I’m reading I can always skip back

and read something again if I haven’t

understood.

• When someone’s talking to me I can

always say “Hold on! What did you say?”

if I’m confused.

• If I miss something on radio…I can’t skip

back and I can’t ask the presenter to say it

again!

• DON’T WORRY ABOUT the rules of

“correct grammar” you learned at school.

• SPEAK it before you write it.

• IMAGINE your listener as you write.

Clarity

is the

key!

14

So what does all this mean? HOW do you write for the ear not the eye?

♦ Write in short phrases rather than “correct” sentences.

♦ Use actives rather than passives. Actives are more immediate and fresh:

(“This piece was written by Beethoven” = passive; “Beethoven wrote this piece” = active)

♦ Keep to the present tense as much as possible.

♦ Use contractions (can’t/won’t/I’ll). ♦ Round off untidy numbers and write them in words. ( NOT “R3 599.50” BUT “about four thousand rand”)

♦ Use “sign posts” to show structure in longer chunks of talk. (“I’ve got two reasons for saying this. The first is that…”)

Compare these two versions of the same script.

A. This version is grammatically correct – but it’s not written for radio.

B. Isn’t this version better? Even if it isn’t “grammatical”?

We are going to hear a song by one of South

Africa's best-known voices – Sibongile Khumalo

– a woman who is equally skilful at performing

opera, jazz and traditional music, and she will be

singing a song called “Mountain Shade”.

Now here’s a well-known voice. Sibongile

Khumalo. Someone who’s equally at home

singing opera…jazz…traditional music…you

name it. And the song? “Mountain Shade”.

15

When we write for radio TONE is all-important. Tone means: our attitude towards the listener, and our subject.

What’s wrong with the tone of the presenter in these speech bubbles? How would you respond as the listener? Maybe you don’t like Brenda, but I do!

And what gives you the right to force your opinions on me, anyway?

Actually,no. My head feels like there’s a gun battle going on inside. And my dog just died. And your sugary comments make me feel ill.

What?

I didn’t realise I needed a university degree to listen to this programme…

Be warm, friendly and enthusiastic. Treat your

listener with respect. Never patronise them. Talk

to them: not at them. Never talk down to them.

Normally I really

hate Brenda

Fassie’s music –

but here’s a song

that’s quite nice.

Don’t you just love

getting up in the morning

and breathing in that

beautiful fresh air? Aren’t

you so glad to be alive?

To be you?

As some of you may be

aware, the economic

sub-strata of the so-

called developing

economies, in terms of

their balance of

payments…….

16

Finding Fresh Words Words are like shoes. After a while they wear out. So how do you sound fresh, instead of tired, predictable and full of cliches?

Adjectives are often “cheat words”. We use them when we can’t think of anything more specific. Avoid words like “beautiful”, “nice” and “lovely”. They’ve become meaningless. Alright: we all use them, but don’t overdo it. If you’ve really prepared your programme you’ll have more interesting things to say anyway.

How often have you heard presenters say:

“I hope you’ll stay with me…” “Now, as they say, for something completely different…” “Here’s a song simply entitled…” “And the time’s just coming up to…”

When you’re nervous there’s a tendency to use “filler words” to fill the space. This comes from the subconscious belief that you might dry up completely if you don’t keep talking. People who over-use “actually” or “I mean” have fallen into this trap.

Beware

of

adjectives

Beware

of “radio

speak”

Beware of

irritating

“filler”

words

On radio

Less = More!

17

What Not to Say… If you were a listener how would YOU react to the comments in the bubbles?

Well, I don’t live in “listener land”! And I’m NOT “all of you”! Remember: speak to one person who’s just the other side of the mic!

Angela’s a professional – isn’t that what you’re supposed to be? Such comments are sexist and patronising. Why should I? I expect YOU to do your job. I’ve got problems of my own! WHY have you run out of time? Shouldn’t you be watching the clock? Why should I be excluded just because you want to send a private message to what’s-his-name?

Oh…commercials. I’ll go and make a cup of coffee…. maybe I’ll just switch off.

Hello to all of you

out there in listener

land!

And thanks to our lovely

newsreader, Angela. She’s

looking so gorgeous today!

Whoops! Finger trouble

again – we’ve just got a

new computer in the studio

– so do bear with me!

Well, I seem to have

run out of time again.

Join me again

tomorrow.

And here’s a special song for

my boyfriend, Sipho – he’ll

know why it’s special.

Well, let’s go off to

the market-place for a

few messages from

our sponsors.

18

Station Style Every station should have its own style guide. As a presenter it’s vital that you know what the style guide says – and that you follow it.

Of course your individuality is important – but the harmonious sound of the station takes priority. Respect style guidelines for the sake of your listener.

Style guides usually focus on these aspects of presentation: � Station IDs � Station jingles � Handling commercial breaks � Handling “throw forwards” � Time announcements � Handling news � Closing and opening your show Here’s an example of a radio style guide from a commercial station in Gauteng. What do you think? 1. 11Sst

“But what

about MY

personality?”

1. Start each speech segment out of music with a station ID. 2. Never ID the station going into a commercial break. 3. Always speak after a commercial break but DON’T give the name of the

station immediately (rather give a time check then the station ID). 4. Never tell the listener how long you’ll be with them. DON’T say: “I’ll be

with you till 10 o’clock” – you don’t want to give them a reason to STOP listening when you go.

5. Never say goodbye at the end of your show. Rather say something like: “After the news Nomsa Gumede joins you with her drive-time show.”

6. Never comment on a news item unless it’s really meant to be funny (eg the “light” piece at the end of the bulletin).

7. Never refer to any commercial. 8. Give your name ONCE an hour only. It’s the station that’s important! 9. Always throw forward (“After the news a great piece of jazz from

Abdullah Ibrahim”). 10.Never apologise for any music you play: this station plays the best!

19

Presenting Music ♪

When it comes to presenting music, variety is the key. Not just the kind of music you play, but also how you present it. We’re all familiar with the straight “music-speech-music” style of presentation. But what are the other options? Why not try these?

OPTIONS FOR LINKING MUSIC

♦ SEGUE: as one piece of music finishes, the other comes in over the top. At

the end of the second piece, you’d probably back announce it (having pre-

announced the first).

♦ VOICE OVER TAIL: you speak over the final bit of the first piece

(back-announcing it) then pre-announce the next piece which begins as you

finish speaking.

♦ STRAIGHT LINK: the first piece finishes; you talk and the second piece

begins.

♦ LINK WITH STATION ID: the first piece finishes, you play a station

jingle (or say eg “Yebo Radio 91.5”); the second piece begins. At the end you

back announce it.

♦ V/O TAIL AND INTRO: you speak over the tail of the first piece (to

back announce it); let the second piece establish itself then introduce it

(timing it brilliantly so that the vocals start just as you finish speaking).

♦ SEGUE UNDER SPEECH: the first piece fades out and the second

fades in over the top (as for a straight segue), but THIS time you back

announce/introduce WHILE the segue is happening.

Try NEVER to fade a piece of music (for time reasons) ♪♪

Never EVER speak over vocals. ♪♪♪

But…BEWARE!

Most of these

options are

unsuitable for

classical music.

Why, do you

think?

20

Here are some extra tips to help you present music smoothly and professionally. Add more as you gain experience.

� Never give your listener a l-o-n-g menu. Rather do throw-aheads which describe ONE (or occasionally two) forthcoming attractions.

� When introducing, offer one STAR reason for listening to the piece. � Never be intimidated by difficult foreign names (and there are plenty

in classical music). Practice them until you’re completely confident. Try shouting out the names – or singing them to yourself. Make the name (and the name of the music) YOURS.

� Back announce OFTEN. � After a news bulletin, choose a lively non-vocal piece of music. This

will help you to pick up the pace of your show. AND you can avoid unfortunate clashes between the last item in the news bulletin and the words of the song:

� If you’re going to play a new song – or something a bit challenging –

make sure you sandwich it between two well-known (and well-liked!) pieces of music.

Question: Why do so many local DJs

speak with a US accent?

What’s wrong with our

OWN way of speaking?

Last item in news: a plane crash in Brazil

Song: “Leaving on a jet plane”

�

21

You, your Listener & the Script � Radio presentation involves handling many different kinds of scripts. These are the most common:

� programme links � news & sports bulletins � weather � commercials

So how do you do cope? Here are some general tips.

� �

♦ PREPARE - Unless there’s a real emergency never read anything on air that you haven’t practised aloud. Tongue-twisters are not always apparent until you try to say them!

♦ UNDERSTAND – Never read anything you find confusing. Your voice will reflect it.

♦ MARK YOUR SCRIPT – Underline key words, mark pauses (with / or your own symbol), write phonetic pronunciations for foreign words.

♦ CHOOSE THE APPROPRIATE TONE – How much (if any) emotion/feeling do you need to convey the message? What feeling is it? Light-hearted? Serious? If necessary, use gestures to help you convey the feeling

♦ LOOK AHEAD – Train your eye to take in whole blocks of words. This will help you to trouble-shoot difficulties and to prepare accordingly.

♦ HANDLE MISTAKES PROFESSIONALLY – If you do

make a mistake don’t panic. If it’s a BAD error (one that could cause confusion) apologise and correct it. Otherwise take a breath and carry on. Don’t draw attention to fluffs and stumbles.

♦ TELL DON’T READ – Remember that you’re talking to one listener, not a lecture hall!

TRY TO LIFT

THE WORDS OFF THE PAGE!

Never let your

script come

between you and

the listener.

22

Reading News � Preparation is ALL-IMPORTANT when you read news.

Make sure you’re confident about foreign names. Write them phonetically if necessary.

� Check that the pages of your script are in the right order. Unstaple them but secure the pages with a paper clip until you’re ready to read.

� Be particularly careful about which words you stress – you should NEVER sound judgmental. But use stress intelligently to ensure clarity and – particularly - to show geographical movement from one story to another eg:

End of 1st story:

“But the Irish Prime Minister has said he won’t attend any peace talks.” Beginning of 2nd story: “In Israel, prisoners have gone on a hunger-strike ….”

� Pause slightly between different stories. Like intelligent

stressing, your pauses will act as signposts for the listener.

� Avoid emotion. You’re a newsreader, not a Hollywood actor. Communicate the story: not your feelings about the story.

� Make sure you don’t fall into a sing-song “newsreading rhythm” through unnatural intonation/pitch.

� Watch your timing: before you go to the studio you should mark where the final minute of your script begins (usually 180 words or about 18 typed lines from the end). If you’re running out of time be prepared to drop a story.

� If you have a “tailpiece” (funny story) make sure you pause and smile before you read it.

� If you’re reading the weather: pause and lighten your tone.

� Above all: aim for CLARITY. A news bulletin is often framed by commercials. The news

reader should NOT voice any of these. Neither should the

news reader say “this news bulletin is brought to you by….”

Such endorsements undermine the credibility and

independence of your station’s news team.

23

Reading Commercials Here’s your chance to explore what your voice can REALLY do.

Commercials (or “spots”) are designed to be dramatic and larger than life. So go back to the “7 Ps of Presentation” and see how you can use pace, pitch, personality - and so on – to become a voice artist of note. Just make sure you moderate the hype when it’s time to present your daily show again! And remember: not ALL commercials are “hard sell.” Some require a subtler “soft sell” approach. Listen carefully when you’re being briefed – if in doubt ASK.

☺ SMILE

while you present most spots (but use your intelligence: smiling could be inappropriate)

�MARK YOUR SCRIPT

especially KEY words (like the name of the product). Indicate pauses, too.

Make sure that the listener doesn’t confuse the spot with the main body of your programme (although some radio stations DO this). And be VERY wary of lending your personal endorsement to a product. How might it affect your credibility?

Reading Station Promos

Promos don’t need the Hollywood

treatment but when you present them

sound as though an interesting thought has

just struck you. A thought you want to

share with your listener – because you

know s/he won’t want to miss this

programme/item/whatever.

How do I handle

voice spots that need

to be read during my

show?

Any special advice?

24

Microphone Techniques

The microphone is your way into the listener’s ear. So treat it with care and respect. Microphones vary enormously: get to know the one you’re working with in the studio. What can it do? What are its limitations? Here are some of the issues you need to consider when using a microphone:

♦ Proximity How close should you be to the microphone? This will also vary according to the time of day. A late-night presenter will probably go for a close-up, intimate approach; a morning drive-time host needs to be more bouncy and energetic (and not so “in your ear”). ♦ Angle Speak into the pick-up area (or most sensitive part) of the microphone. This will depend on the type of microphone you’re using. But make sure that you’re not off-mic, simply because your head is facing the wrong angle. ♦ Popping This is sometimes called “mic blast” and occurs on the “p” sound when there’s too much breathiness too close to the microphone. Sibilance occurs on the “s” sound for the same reason. If you have this problem, move slightly back from the mic – and don’t be so breathy. ♦ Other mouth noises Don’t smack your lips. Control excess saliva by avoiding sugar before you go on air.

♦ Non-verbal noises Watch out for paper rustling, clunking faders (eg as you bring up/take out music) and rattling jewellery (yours or a guest’s).

Try to persuade your

station to invest in a good

quality presenter’s

microphone: one that

brings out the warm,

lower notes of the voice

and allows the presenter to

come in close.

Don’t speak TO the

microphone but

THROUGH it…to the

one listener who’s sitting

just opposite you.

Communicate across

NOT down.

25

Different Kinds of Microphones Microphones have varying degrees of directional sensitivity. Some are designed to pick up sounds from a very small area only. Other microphones have a broader sweep. Your studio mic will probably have different settings. This means you can change its directional pick-up area according to your need. For a one-to-one interview (where you sit opposite your guest) you’ll use a “figure of eight” setting. For radio drama you might need to use an omni-directional setting (of 360 degrees). Here are some of the kinds of microphones you might encounter:

♦ Lip Often used by sports presenters during outside broadcasts. Designed for very close working.

♦ Stereo Picks up sounds from left and right and gives a more three-dimensional effect.

♦ Rifle Highly directional – good for outside recording where there may be distracting background noise.

♦ Directional Highly sensitive in a specific direction. .

♦ Omni-directional Picks up sounds from 360 degree radius.

Don’t let the

microphone come

between you and

your listener!

26

Getting Used to the Studio During the course you’ll have a chance to explore studio work for yourself – in a practical context. You’ll soon understand the function of the desk, the PFL (pre-fade listen) buttons, the faders and the computer system. But understanding is one thing. Feeling completely at ease with the microphone, various faders, CD players, jingles and spots offers a different challenge. In short: it’s up to you. And the more practice you can put in, the better.

� No drinks, food or cigarettes in the studio � No paper on top of faders. � No “practical jokes” – you’re there to do a job. � Watch the studio cue lights. � ALWAYS bring down your mic fader as soon as possible.

CRAZY (BUT USEFUL) SUGGESTION

Fix up a simulated “studio” at home: you

just need a table, bits of cardboard (to push

up and down like faders), old cereal boxes

(for CDs/computers). Use your

imagination! But whenever you practise a

presentation script, pretend you’re

ACTUALLY in the studio and push

buttons, slide faders, cue CDs accordingly.

You’ll be surprised how quickly studio

operating becomes as natural as breathing.

27

Types of Interviews Interviewing is a fascinating, complex art. Why? Because – no matter how much preparation you’ve done - you never really know what will happen until you start talking to the interviewee. But what are the different kinds of interview? Here are some examples:

A chat with the leader of a Soweto choir who’s just taken the group to perform at the International Choir Festival in Tokyo. How was the experience?

An interview with Gladys Kubeka – the first woman to be put in charge of SA’s Correctional Services Dept. What kind of person is she?

Tebogo (you’ll use his first name only) - a survivor of child abuse who now wants to tell his story for the sake of others who may be in the same position.

Interview with an MEC for Health. What can

s/he tell you about the Sarafina Three scandal? You decide to open the lines about a 2010 World Cup issue. You want a quick cross section of views from the listeners.

The 2010 issue again. This time you take your portable recorder into the streets and ask various passers-by one (focused) question on the issue. Make sure it’s not a closed question!

The informative

human interest

interview

The highly

sensitive

interview

The

“pinning-

down”

interview

The

personal

profile

Vox

pops

The

telephone

chat show

28

Preparing for an Interview Preparation is the key to successful interviewing.

In Interviewing for Journalists, Joan Clayton describes how to do a CQR. Although she’s addressing the needs of print journalists we can adapt her technique for radio.

Drawing up a CQR Put the name of your interviewee in the middle of the page. In separate boxes around the name, write one important fact from your research. NOW: focusing fact-by-fact, jot down any interesting questions that spring to mind. Don’t censor yourself! Here’s a CQR in progress. The subject is Gladys Kubeka – the first woman to head Correctional Services. Try to finish it yourself.

• Do as much detective work as you can: talk to people,

use Google.

• Find out about the person you’re interviewing, their

context and the major issues raised by both.

• Sit down with your material and draw up a CQR

(Creating Questions from Research) plan.

Gladys Kubeka

Left

country in

1977

Parents died

when

She was 10

Brother died

in jail - was a

political

prisoner.

She’s a judo

champion –

loves martial

arts

Where did

she grow up?

What are her

memories of

them?

Impact on her

attitude to

prison? Link with

her job?

Link with

’76?

?

?

?

29

Setting up an Interview Usually your producer will be responsible for setting up interviews. But you may have to do it yourself. Here are some tips:

� Before you pick up the phone decide… WHO you want to interview WHY you want to talk to them (and why should they talk to you?) WHEN you’d like to interview them (time and date) HOW you’ll get hold of them (have a list of possible contacts)

Before you make the call… REHEARSE what you’ll say. If you’re feeling nervous, consciously relax and write down a “script” for yourself. Make sure you have your diary handy, in case they’re not available at the time you’d like.

When you make the call…

☺ SMILE – it’ll make your voice sound more assertive, confident and friendly. Remember this is your ONLY chance to clinch the interview. Be prepared to explain why you need to do the interview. Be ready to counter comments like…

I’ll need a list of your

questions first…..

Be polite, positive, friendly and clear!

30

Conducting an Interview These comments apply more to the informative, human interest interview than to the hardline “pinning-down” (or “confrontational”) interview. The latter is usually handled by the station’s news or current affairs team.

1. Before you go on air

● Make sure you allocate at least a few minutes to get to know the interviewee. If you’re talking to them by phone and can’t speak to them first personally, ensure that your producer does so.

● Is the interviewee looking tense? � Try to get them to relax. Watch

your own body language! If you’re feeling tense, make a conscious effort

not to be. SMILE! ☺ Body language is infectious. So are vocal

characteristics (especially pace & pitch). ● Interviewing someone “famous”? Are you nervous? Don’t be. They’re human. On the other hand, don’t be over-familiar. ● Make sure the interviewee is clear about how much time you have together – even if you’re recording the interview and plan to edit it. ● Never rehearse with them exactly what you’re going to say (or they’ll lose spontaneity during the real thing) BUT give them an idea of the kind of issues you hope to chat about. This will help THEM and YOU to focus. ● Make sure they understand the red light/green light (on/off air) signal system. ● Make sure you have a pen and paper ready – you may want to jot down follow-up questions as you listen. ● Make sure you know EXACTLY who your interviewee is and – if necessary – their official title. ● Make sure you’ve scripted a short, informative introduction – in note form if necessary.

A good interviewer is

someone who thinks

on their feet!

31

2. During the interview

● LISTEN – and adapt your questions accordingly. ● Make sure your first question isn’t too deep or complex – or too broad. ● Keep your questions very short and simple. NEVER ask multi-layered questions which the interviewee struggles to understand. ● SHOW that you’re listening: by eye-contact, body language, repeating key bits of information (“You say you first started composing at the age of six. How did you start so young?”) ● Ask OPEN questions (ie beginning with: how, what, why) to encourage your interviewee to open up. ● Ask CLOSED questions (ie to which there is only a yes/no/one word answer) ONLY if you want to pin them down or focus them (if they can’t stop talking!) Sometimes follow-up such an answer with a simple “why?”. ● Invite the interviewee to give specific examples, experiences, stories: things that only THEY can tell you (eg “Take us back to the first time you performed in public. What happened?”) ● REMEMBER: you are there to help your interviewee come alive as a person and tell their story. You are not there to show how clever YOU are. Be responsive without trying to steal the spotlight. ● If you need to interrupt, do it with a smile as the interviewee takes a breath. Try NOT to raise the volume - or pitch - of your voice. And try NOT to come in over the top of them – it sounds aggressive. ● Keep thinking of your listener. What would THEY want to ask?

3. Rounding off

● Keep watching the clock � and be aware of when you need to start bringing the conversation to a close. Do so as naturally as possible. ● DON’T say “Well, I’m afraid we have to stop there as we’ve run out of time” – your listener will feel cheated. And you’ll sound unprofessional! ● Thank the interviewee simply – there’s no need to go overboard.

32

Interview Questions

There are hundreds of different ways of asking questions. Here are some thoughts and tips. Add more as you gain experience. There’s one MAGIC question. It’s short, simple and usually forgotten.

Yes, that’s the question.

Try it for yourself in your next interview. Notice the rich response that

simple word releases. Use it to open up OR to pin down. It works.

Here are some other useful “opening-up” questions:

And some “pinning down” questions…

And a good closing question (especially for a profile or “soft” interview) …

Why?

Tell me more… Take me back to

the first time

you (performed

in public/flew a

jet)…

What was going through your mind

when…

What do

you mean?

Let’s be more

specific. Are you

saying…?

To recap. Do

you mean

that…?

What’s your message

to … (eg other young

people) …?

33

Interview Listening Skills Active listening is the key to successful interviewing. Here are some tips. Add your own as you gain experience.

1. Be aware of your own body… If you’re tense, you won’t be able to listen effectively. Make a conscious effort to release the tension from your neck and shoulders. Take a few deep breaths. Let your body feel FREE but ALERT.

2. Listen actively… Watch out for key-words, surprises, colourful expressions, changes in body language or tone. Follow them up! Don’t concentrate so hard on your next question that you miss what’s happening NOW.

3. Show you’re listening… Nod, smile and make eye contact (as appropriate!) BUT don’t make too many listening noises (“uh-huh”, “mmm” etc). Communicate your interest in a sympathetic but QUIET way. (Listening noises sound irritating on radio)

4. Repeat important information… Offer back key phrases or expressions to show your interviewee you’ve understood what they’ve been telling you. (“You say that school ‘filled you with terror’ – why?”)

5. Seek clarification… Don’t be afraid to ask ‘stupid’ questions if you haven’t understood. Your role is to speak for the listener – not show how clever you are.

6. Listen – and wait… Don’t rush to fill pauses. Give your interviewee time to think and to respond. And when in doubt….shut up! You might hear something surprising.

“… but when I left the police

force I became the first South

African woman to sail single-

handed round the world.”

34

The Telephone & its Challenges These days the telephone is an indispensable part of radio. We use it for news soundbites, live interviews and phone-in contributions from listeners (in the chat-show format). But the telephone also offers special challenges. Remember to:

Speak more slowly than usual.

Speak into the telephone mic/mouthpiece.

Make an extra effort to be clearer. Show the caller you’re still at the other end. SMILE! Watch voice levels and be prepared to adjust them.

Be extra alert about faders and cut-off buttons. Telephone chat-shows (where listeners phone in with opinions or contributions) are very popular. But they can give you some problems:

SMILE and interrupt (“Thanks for your point”) then move the discussion forward.

SHOW that you understand why they’re upset. Use the listener’s name when you respond to him/her. Don’t raise your voice – be polite, friendly and professional. Resist the temptation to counsel them over the phone – you’re NOT a pyschotherapist!

APOLOGISE and cut the call. It doesn’t matter how interesting the caller is. Quality is quality. If possible, ask the listener to call you back – and hope for a better line.

How do I handle the

listener who won’t shut

up?

How do I handle a

very upset/angry

caller?

What if they’re

making a great point

but the line is bad?

35

Handling Panel Discussions You often hear panel discussions on radio. But you seldom hear a discussion that’s truly gripping.

Why?

� The Chairperson doesn’t chair effectively. � The speakers are tedious – not good communicators. � There’s no interplay between speakers: one speaks for a couple of

minutes; then the other one takes over. � The discussion rambles all over the place. It lacks direction and focus. � You’ve tuned in half way through and you have NO idea of who’s

talking or what organisation they come from. � The debate is just heating up when the Chair says:

Recognise the problems? 1. Make sure both/all participants are lively speakers (ask around,

discreetly). 2. Brief the participants and tell them that they should be prepared to

talk for no more than 45 seconds at a stretch at the most. 3. Prepare thoroughly and come up with sharply focused questions. 4. Give a very brief introduction which gives an overall context for the

discussion and sums up the main issues at stake. 5. Make sure no speaker bashes the table to make their point. 6. During the first minutes of the discussion keep referring by name to

the speakers (so the listener knows who’s who). 7. Interrupt when the discussion starts to flag. 8. Sum up and move the discussion forward. 9. Use humour (when appropriate) to change the pace. 10. Watch the clock and shape the discussion accordingly.

Well, I’m afraid we’ve run out of time –

what a pity! Join us again next week for

another thought-provoking discussion.

What should the chairperson do?

36

The two-minute radio talk One of the skills we’ll learn during this two-week course is how to script and present a two-minute talk for radio. You can tell a personal story, or speak about a particular issue …. anything is possible, as long as your talk holds the attention of the listener and proves that “on radio the pictures are better!”

When you’ve recorded your 2’ talk, play it back and listen carefully. Have you satisfied the points in this checklist? 1. VOICE

� Did you talk to ONE listener? � Did you smile enough? � Did you pause? � Were you too fast or too slow? � Did you LIFT the words off the page – or did you sound as though you were

reading? � How was your posture? Did you remember to do “my back is long and wide”? � Did you hold the script so you could look up and gesture? � Did your voice sound tight & tense or relaxed & warm?

2. SCRIPT � Did your introduction “hook” the listener and encourage him/her to carry

on listening? � Did you remember the “one idea per sentence” rule? � Did you paint word pictures? � Did you try to be as immediate and direct as possible? � Did you remember to use personal words like “you” or “we”? � Did you remember to use contractions (“can’t”, “won’t” “We’ll”)? � Was your ending satisfying, or would the listener feel as though you’ve just

left them hanging in the middle of the story? � Did you start sentences with “signpost” words? (like “so”, “and”, “but”)?

37

“Sonny-Boy: Gang Lieutenant”

During a community radio workshop in Cape Town participants learned about the power of telling personal stories on radio – especially through the talk format. Here’s what Bev Jansen (Bush Radio) came up with. Notice how well she writes “for the ear not the eye”, how she pulls us into her story by speaking to ONE person, and how she paints pictures through the words she chooses.

We all know the names of the gang leaders of the Western Cape. Some of us believe that the media have romanticised them. To some of us, I suppose, they’re heroes. But what of the lieutenants? The lesser leaders? Those school boys who’ve been appointed to lead hundreds of youthful gangsters in impoverished coloured communities. Like Sonny-Boy…well, let’s call him that..He’s one such leader. Streetwise and articulate. Casually dressed in jeans and sneakers , he turned up at one of our many community meetings. “How do we deal with the growing problem of gangsterism?” we asked yet again. He rose to speak: “We do not work. We have no education. Our parents have given up. No-one cares! The government’s let us down! Our leaders look down on us!” We froze. We thought they were just destructive little devils who needed to be disciplined in work camps! “I want OUT of gangsterism. You show me a way out.” He pointed an accusing finger at us. Later, in the coffee break, Sonny-Boy and I spoke. “I want to paint. I want to draw!” That sparked a fuse. “Why don’t we start by changing our ugly environment?” I said. “Let’s remove the gang graffiti from public buildings!” Sonny-Boy and his gang agreed. The next three weeks were a nightmare of logistic chaos. Paint, sugar soap, brushes, water, team-leaders, meetings. Finally the day arrived. Television cameras, newspapers, the Mayor, speeches – and off we went, to paint the town red, green and pink. Sonny-Boy led his boys towards a block of flats known as “die skruwwe flats”. So called because the exterior gave the appearance of brown, gnarled, parched skin. A visit to this block later had me speechless. The walls carried a scene of pastoral peace: soft greens and blues and pinks. The boys were removing not only the graffiti but the rubble. Mothers hung from upstairs windows, smiling, shouting encouragement. Fathers lifted themselves from their drink-induced lethargy and bonded with their gangster sons. For a day. I looked into Sonny-Boy’s eyes and was overwhelmed by love for him. He smiled. “This is great! We won!” Last I heard, he was visiting schools and speaking to youngsters about the evils of gangsterism. He feared reprisals. He had not broken the chains of gangsterism, fully. Yet. © Bev Janson

38

The Kunene North Water Project Script of radio talk by Lydia Nisbit (Namibia Red Cross)

Read the following radio talk. Where does the writer: (a) talk directly to YOU? (b) “paint pictures” with words (c) break the rules of grammar to “write for the ear not

the eye” (d) use “verbal signposts” to show structure? Most of us take water for granted. We can get it so easily. We turn on a tap and …see! A stream of silver water gushes out. But not every Namibian is so lucky. Let me take you 800 kilometres north-west of Windhoek. To the Kunene North region. It’s dry and arid. The OvaHimba and OvaHerero people live here. A very beautiful people. They’re nomadic. So they depend on their livestock. But livestock needs water. And that’s the problem. People often have to trek 10 kilometres to collect their water. And even then, it’s not always clean. Here’s a typical day in their lives. Everything revolves around water. First they look after the livestock. And this takes all day. At the water points a lot of other things happen, too. Here they teach their children. The women plait their hair. They exchange news and gossip. And the men hold council. In the evening everyone fills their water pots and begins the long trek home. The Red Cross has been working in the Kunene North region since 1992. And the Netherlands Red Cross Society has supported us. We’ve been protecting water points so that the water is healthier and accessible. The project has improved the lives of seven thousand people. And that’s just the start. We’re lucky to work with a technician from the Netherlands Red Cross – Mr Alex Bor. And he’s working with four local team members. We’ve already protected 97 water points and we plan to protect a total of 140 by the end of this year.

39

When a well is being protected, the whole village helps. The men climb deep down into the hole to clear out the mud. Then the women and children take the mud away. Some women mix cement for the slab which covers the well. It sounds like hard work. But there’s lots of fun and laughter. And a great feeling of expectation! People sing and tell stories as they work. Everyone gets covered in mud – especially the kids – but nobody minds. So much for the technical side. But what about the educational aspect of the project? People need to know – and understand – the benefits of a project like this before they can begin to own it. But before we could go in as educators we needed to understand the day-to-day lives of people in this region. So we lived with the community for a week last November. And we learned so much about who they were. We woke up together to the smell of burning fires. We learned about their traditional ways of doing things –and about their educational needs. Now we can build on what we learned. Together with the community we can create an educational plan. To help them live a healthier life. © Lydia Nisbit

40

“Global Warming” Sample music show script & technical notes

Setting up: • Insert first 3 CDs in machine & make sure others are in denons

• Cue first 3 CDs, turn off cue button and re-cue when checked

• Make sure mic fader is up

• Go through the “My back is long and wide” routine

• Consciously think of ONE listener and SMILE

Programme Script (first few minutes)

PRESENTER Yo FM, 91.3. it’s five past ten.

I’m Annie Parhad – and this is the Global Warming Show. Tonight: Irish music from Chinese musicians, Sting as you’ve never heard him before – AND a Hindi lullaby with a difference. But first…

(HIT ‘ON’ BUTTON OF CHANNEL ONE AND GENTLY PUSH UP FADER TO

TALK OVER MUSIC)

Something to beat the winter chill. A glass of palm wine from SE Rogie.

• Station: Yo FM • Location: Yeoville, Johannesburg • Listenership: the people of Yeoville –

from all backgrounds & cultures, including many people from neighbouring African countries. Predominantly, but not exclusively, youth .

• Aim of show: to feature broad mix of “world music” & to introduce listeners to music they wouldn’t hear on “mainstream” shows.

• Time slot: 1005 –11pm weekly

41

(MIC BUTTON OFF, WHILE SLIDING FADER 1 UP TO CORRECT LEVEL)

CD1: “PALM WINE BLUES” – SE ROGIE 3’45” (AT 3’30” PUSH UP FADER 2 TO PREPARE FOR SEGUE.

WHEN ROGIE FINISHES, HIT ‘ON’ BUTTON ON CHANNEL 2, TAKE

FADER 1 DOWN AND HIT ‘OFF’ BUTTON OF FADER 1)

CD2: SEGUE INTO “LONDONDERRY AIR” – GUO BROTHERS 3’30” (WHEN CD2 STARTS, TAKE OUT ROGIE FROM CD1 AND CUE 4

TH PIECE

OF MUSIC IN CD1, REMEMBERING TO RE-CUE WHEN FINISHED.PUSH

UP FADER 3. AT ABOUT 3’20 PUT MIC BUTTON ON. TALK OVER THE

LAST NOTE OF GUO BROTHERS, PULLING DOWN FADER 2 AS THEY

FINISH)

PRESENTER: Well, I wonder if you recognised that famous

Irish folk song, the Londonderry Air? If it sounded a bit different it’s because it was played on Chinese bamboo flutes, by the Guo Brothers. Just one of many musical surprises from their new CD: East Meets West.

This is the Global Warming Show on Yo FM And here’s Sting – as you’ve never heard him

before. (HIT ‘ON’ BUTTON OF CHANNEL 3, PUT MIC BUTTON OFF. HIT

‘OFF’ BUTTON OF CHANNEL 2)

CD 3: “OUR HERO” – STING 4’15

(TAKE OUT GUO BROTHERS CD AND CUE 5TH PIECE IN CD 2,

REMEMBERING TO TAKE CUE BUTTON OFF AND RE-CUE WHEN

FINISHED. BEFORE STING FINISHES, PUSH UP FADER 1. WHEN

STING FINISHES, ALLOW A SLIGHT BEAT THEN HIT ‘ON’ BUTTON

FOR CHANNEL 1. BRING DOWN FADER 3)

CD 1: “HINDI LULLABY” – MARTA SEBESTYEN 2’15” Remember:

• Always keep one step ahead of yourself. • Always know what you’ve just played and what

you’re going to play next. • SMILE!!

42

And Finally… Well, I’m afraid we’ve run out of time. Whoops. I hope you’ve enjoyed this course – and that you’ve found the manual useful. Remember: it’s just a starting point. By now you’ll have lots more of your own material to add. Here’s one last bit of advice: listen as much as you can, to whatever station you can. Find out what the “competition” is up to; compare different styles and personalities. Is there a presenter you particularly enjoy? Ask yourself why. What makes them special? On the other hand, what doesn’t work for you? Why? Good luck with your career in radio. And remember: you are unique. There’s no need to copy anyone else.

© Fiona Lloyd

43

Glossary

Acoustic: quality of sound in enclosed space, will vary according to wall surfaces etc. Back-announcement: when details (of music/interview) are given after the piece Cans: headphones Clip: extract from longer recording (eg interview) Cue: presenter’s introduction to an interview or feature Cue light: in studio, used to show whether you’re live or off-air Drive time: morning and evening show aimed at people driving to and from work Fade: decrease sound Fader: volume control Fx: sound effect Hammocking: putting a popular piece of music either side of a less wel-known piece Insert: short item used in a programme (interview or feature) Jingle: musical station ID (or spot music) Level: test to check vocal volume Limiter: device which stops the sound distorting Log: record of station output (eg music played etc) Popping: too much vocal breathiness near the mic PFL: pre-fade listen (for cueing music off-air) Promo (sometimes called a “trail”): information about forthcoming programme/competition etc Q & A: Question and answer (similar to interview) between presenter and eg member of the news team/special correspondent Segue: joining one item to another back-to-back Sig tune: identifying music at beginning and end of programme Talkback: method by which presenter can communicate to controller/producer who is in cubicle separate from studio Throw-ahead: brief info about forthcoming attraction (eg a piece of music coming up after the news) Voice-over: vocal announcement over eg music Vox pop: canvassing public opinion about a specific issue Warm-up: preliminary chat before going on air (eg with interviewee) Wind-up: signal telling presenter to close programme because of time

44

Useful Reference Books Berry, C., Your Voice and How to Use it. Virgin Books, 1994 BBC pronunciation: policy and Practice. BBC Pronunciation Unit, 1974 Boyd, A., Broadcast Journalism. Focal Press, 1993 Clayton, J., Interviewing for Journalists. Piatkus, 1994 Grant, T., The Best of ‘From Our Own Correspondent’. St Martins, 1995 Fisher, HB., Improving Voice and Articulation. Houghton Mifflin, 1974 Keith, M., Broadcast Voice Performance. Focal Press, 1989 McLeish, R., Radio Production. Focal Press, 1994 Sheppard, R., The DJ’s Handbook. Javelin Books, 1986