Thursday, November 13, 2008

Beyond the writing: Law/ ethics and fairness.

For better or worse, law is an important part of mass communication. The law is not always a threat to writers, of course. It can be a positive force. For example, he law can help writers by enabling them to protect their work against theft by obtaining a copy right. On the other side of the coin, the law places limitation and invasion of privacy. The federal government also limits writers’ freedom when it regulates such activities as broadcasting and false advertising.

 

Other issues for writers in the information age have been plagiarism and copyright violations. Information gathering today via the internet makes is easy to commandeer information and claim it as the writer’s own work- whether unintentionally or purposefully. Sometimes the writer stores information and later inadvertently uses it without attributing the original source. In other cases, the material is stolen outright. In any case, the writer may have plagiarized and possibly infringed on another’s copyright.

 

Copyright violations occur when writers use another’s work and don’t get permission. It is not sufficient simply to credit the original author, unless the material falls under a category known as fair use, explained later in the chapter.

 

You will learn

-       what libel is

-       the dangers of plagiarism and what constitutes copyrighted material,

-       how ethic policies guide writers, and

 

 

Libel

Libel can occur in any writing: a news article, a news release, a public service announcement, annual reports, corporate financial statements, a television talk show, a student’s web site, or a church bulletin. If a news release is mailed but not published, the writer could still be sued for libel because dissemination of the falsity occurred. A radio or television station that broadcasts slander or libelous statements can be sued under the state’s libel laws.

 

Libel often occurs when people write about topics they do not really understand. In experienced reporters, student writers, and occasional writers are most at risk. Food data collection, complete identification, and good writing techniques can prevent many libel problems.

 

The legal system will protect writers who do a good job of investigating and who use many sources. Innocent mistakes made without negligence or actual malice are not libelous. The protection often will hold even if they write something that turns out to be false and defamatory.

 

Plagiarism

 

Definition: Plagiarism involves using the work of another person and presenting it as one's own. Any of the following acts constitutes plagiarism unless the source of each quotation or piece of borrowed material is clearly acknowledged.

a) Copying out part(s) of any document or audio-visual material (including computer-based material);

b) Using or extracting another person's concepts, experimental results, or conclusions;

c) Summarizing another person's work;

d) In an assignment where there was collaborative preparatory work, submitting substantially the same final version of any material as another student.

Part of the reason

Encouraging or assisting another person to commit plagiarism is a form of improper collusion and may attract the same penalties which apply to plagiarism.

Opportunities and temptations for plagiarism have increased with the spread of internet access. Plagiarism is a serious threat to the teaching and accreditation process, and seriously undermines the collegial and ethical principles which underpin the work of a University

2) The Dangers of Plagiarism and How to avoid it

The integrity of learning and scholarship depends on a code of conduct governing good practice and acceptable academic behavior. One of the most important elements of good practice involves acknowledging carefully the people whose ideas we have used, borrowed, or developed. All students and scholars are bound by these rules because all scholarly work depends in one way or another on the work of others.

Therefore, there is nothing wrong in a student using the work of others as a basis for their own work, nor is it evidence of inadequacy on the student's part, provided they do not attempt to pass off someone else's work as their own.

To maintain good academic practice, so that a student may be given credit for their own efforts, and so that their own contribution can be properly appreciated and evaluated, they should acknowledge their sources and they should ALWAYS:

I) State clearly in the appropriate form where they found the material on which they have based their work, using the system of reference specified by the Faculty in which their assignment was set;

ii) Acknowledge the people whose concepts, experiments, or results they have extracted, developed, or summarized, even if they put these ideas into their own words;

iii) Avoid excessive copying of passages by another author, even where the source is acknowledged. Find another form of words to show that the student has thought about the material and understood it, but stating clearly where they found the ideas.

If a student uses the work of another person without clearly stating or acknowledging their source, the result is falsely claiming that material as their own work and committing an act of PLAGIARISM. This is a very serious violation of good practice and an offence for which a student will be penalized.

 

Ethic policies

 

Writing about ethical theories can often be daunting.  Here are some suggestions which may make it a little easier.

Choosing and Defining a Topic

If the topic for your paper is not assigned by your instructor, here are some suggestions about how to proceed.

  •      Choose a topic you’re interested in.  Papers are simply a lot easier to do if you’re interested in the topic you’re working on, and all other things being equal you will do a better paper as a result.
  •      Choose a topic that you’ll get something out of.  Your time is too valuable to do things that are not worth your while.  If, for example, you are already clear about your position on a particular moral issue and have already thought through the arguments on both sides, you will probably learn more by doing a paper on some other moral issue that you are still perplexed or uncertain about.
  •     Choose a topic that you can cover within the time you have available and space limits of the assignment.  Don’t, in other words, bite off more than you can chew.
  •      Sit down and figure out what you believe.  Sometimes it’s difficult to know what your own views are, especially when you see a lot of different arguments for and against a position.  If this happens, you may find it helpful simply to sit down and start to list (a) the things you think are true in regard to your topic and (b) the claims you think are false.  It gives you a starting point for developing your own ideas.
  •      Develop and continually refine your thesis.  In most cases in ethics papers, you will be developing and refining a thesis, that is, a claim which you are defending through reasoned arguments.  In the course of working on your thesis, you will usually find yourself narrowing it down and making it more precise, more finely textured.  You might begin, for example, with some general claim that euthanasia is wrong, and gradually refine it to a much more specific thesis about the role of physicians in voluntary euthanasia for persons with very painful non-fatal diseases.
  •      Consider the objections to your thesis.  Your thesis is developed and refined through a dialogue with other thinkers about your topic.  The process of considering objections to your own position and developing replies to those objections is an essential part of the intellectual life.  Through this process, your own ideas become clearer and sharper.

Remember to choose your topic carefully. Your time is valuable, and it is not worth doing things in life that you do not care about.

 

Finding Sources

There are a number of helpful sources for gaining information about material on your topic.

  •     The card catalogue of college and university libraries usually contains both a subject index and an author index.
  •     The Philosophers’ Index lists articles and books by specific topic; it also contains abstracts for many of the articles.  It is available both in bound volumes and on-line for computerized searches through Dialog Information Service.  Consult with your college librarian about how to choose keywords for searches.
  •     Several philosophy journals specialize in articles about ethics: Ethics, Philosophy and Public Affairs, Journal of Value Inquiry, Social Philosophy & Policy, the Journal of Social Philosophy and the Hastings Center Report.  In addition to this, some journals have individual issues devoted to particular topics.  The Monist and Midwest Studies in Philosophy, for example, have had several issues devoted specifically to ethical issues.
  •     Anthologies are often an excellent source both of reprinted articles and bibliographies.  Often they contain bibliographical essays or introductions that map out the current state of the discussion.
  •     Several excellent reference works are available in ethics, especially The Encyclopedia of Ethics (2002), 3rd ed., edited by Lawrence and Charlotte Becker; A Companion to Ethics (2002), edited by Peter Singer, and The Encyclopedia of Philosophy (1967), edited by Paul Edwards.

         Talk with your reference librarians.  They are often delighted to help.

Some Common Pitfalls

There are a number of common pitfalls that you can easily avoid with a careful review of the draft of your paper before you submit it.

  • Avoid rhetorical questions.  Often we use rhetorical questions as a way of dismissing an idea.  If the question is worth asking, it is worth answering.  If you find yourself asking a question such as, who’s to say what is moral? Try to answer the question.  This transforms it from a question into an assertion which can then be assessed on its merits.
  • Avoid clichés.   Sometimes we resort to stock phrases that we have heard time and again but perhaps not really thought about.  How often have you heard someone say reject an idea by claiming that it's like saying that the end justifies the means?  If you think about it for a minute, you will see that the end often justifies the means.  Indeed, for pure consequentiality, it is the only thing, which justifies any means.  Similarly, You cannot legislate morality.
  • Be aware of exact meanings of words.   Do not use big words in order to sound impressive.  Philosophers often use a specialized vocabulary that has a precise meaning within the philosophical community, just as any group of specialists does.  Use this vocabulary when it is needed and when you have mastered it.  (The glossary in this book is intended to help you gain a mastery of some of this vocabulary.)  Do not use it if you do not know what it means or if it's not appropriate to the context and to your audience.
  • Be specific and concise.  
  • A spell-checker is not enough!   If you prepare your paper on a computer, use a spell-checker and, if available, a grammar checker.  However, after you have done that, check the text yourself.  A spell checker cannot differentiate between there and their or between effect and affect.  If you forget the h in threat, it becomes a treat.
  • Use gender-neutral language.   In recent years, we have become increasingly conscious of the ways in which our language gives the (sometimes unintended) impression that we are referring just to men when it is more appropriate to refer to both men and women.  Many of us now try to avoid this.  Some authors use constructions like he/she or her or him; others alternate, sometimes using feminine pronouns and at other times using masculine ones.  My own inclination is to use plural forms whenever appropriate or to use constructions that avoid the need to employ gender-specific pronouns, since I find the other two ways stylistically awkward.
  • State what you’re omitting.   It is usually impossible in a paper, or even a book, to cover all the relevant issues.    There's nothing wrong with admitting this.  In fact, it's often advisable to let your reader know that you are aware of important issues that you have chosen not to treat in that context.  Often, this can be accomplished in a sentence or even a clause.  Here are a couple of examples. 
    • I realize that Kant’s philosophy is open to criticism on many fronts, but in this paper I will concentrate solely on issues about how maxims can be formulated and then subjected to the test of universalizability.
    • Many thinkers have offered important insights into the nature of courage in a wide range of situations, but here I will be concerned only with instances of courage within a military context.
  • If you’re undecided about an issue, say so.  It's OK to say that you're undecided about an issue.  Sometimes you have reflected on an issue and see strong arguments on both sides of the question and have not yet decided where you stand.  It's often appropriate to admit this as long as you show a critical awareness of the arguments on both sides and give some indication of how you have progressed in your thinking on the issue.
  • When you make a mistake, learn from it.  Keep a list of the spelling and grammatical mistakes that you make in each of your papers, along with the appropriate corrections.  Review it before you submit the final draft of your current paper and then proof read your current paper in light of the mistakes you typically make.

Saturday, October 25, 2008

How to produce a documentary film

Writing for Film and why documentaries are different

·      Film is visual.

·      Film shows motion.

·      Film reveals what the eye often can’t see.

·      Film transcends time and space.

·      Film is subjective.

·      Films choose audience.

·      Films emphasize and emotionalizes.

·      Documentary deals with fact, not fictional

·      Documentary is flexible

·      Documentary inspires movement and action.

·      Documentary involves less control

·      Documentary subject is paramount.

·      Credibility is key in documentary.

·      Form is more important than formula.

Conceptual consideration, the screenwriter must ask a number of practical questions as well:

·      1. Why is this film being made?

·      2. What does the producer/client/financier want to achieve through the film?

·      3. Who is the target audience and what should their reaction to the film be?

·      4.what will be the film’s technical conditions of use?

·      5. What is the budget of the film?

Short introduction to documentary

Over the years, several documentary styles evolved that came and went from fashion.

These styles ranged from newsreel to realist to romantic to propaganda and many more.

3 emerged as the most popular and encompassed most of the documentary films made well up to the 1990’s

Classical cinema

The most structured and traditional form of documentary. It gives great importance to clarity of narrative and image.

Direct cinema

This style of documentary originated in the late 1950’s and reached new heights of popularity in the 1960’s. Aimed for an extreme naturalism, using non- pro actors.

Documentary drama

This style mixes the techniques of drama and the factual elements of documentary.

Research you can’t say it enough!

Curiosity

Research is done when there is genuine desire on the part of the scriptwriter to learn more about the subject of his documentary.

The scriptwriter must ask himself some important question:

·      1. What have I not yet been told about this subject?

·      2.Is everything I have been told the truth?

·      3.What would I personally like to know about this subject?

·      4.If I were a member of the audience, what would I want to learn about this subject?

·      5.What can I find that is little known on this subject?

·      6.If the shooting has not yet started, what information can I gather that would aid the filming process?

 

Quantity Vs Quality

One of the more important question that scriptwriters have, “ How much research is enough?”

The quality of research is far more important than the quantity.

The scriptwriter must ask:

·      1.Is this information or source of information directly related to the subject of my film?

·      2.Is it necessary for the audience to know this information?

·      3.Will this information add to the overall quality of the film?

·      4.Even if is relevant and will add value, is it more relevant than all the other information I’ve gathered?

Digging Deep

What exactly is digging deep and going beyond the facts?

·      1.the top of the issue includes the facts.

·      2.the heart of the issue.

·      3.the root of the issue.

·      4. The branches of the issue that would add value.

·      5. Finding challenges.

 

The plot of the story

Plot is to move the story forward towards a goal.

There needn’t be dramatic twists and turns or high-pressure suspense or shocking surprise.

Backstory

Backstory is the background story that occurred before the start of the film.

Point of view

Where do they locate themselves in space to view the action?

3 types of POV

·      First- person POV

·      Second- person POV

·      Third person POV

 

Putting a script together

The three sacred “C’s”

·      1. Character- everyone knows films have characters. But why?

·      2.Conflict – is one of the most important aspects of a documentary. Conflict is to documentary what sound is to music.

·      3.Change- something, or many things, must definitely happen to keep the audience in their seats.

Writing visually

1. Show, don’t tell.

2. Show through action and movement

3.visual pertinence

4.Emotional pertinence

5.moods and metaphors

6.special effects.

Writing narration

Options in narration:

1.     First person narration.

2.     The voice of god

Basic steps that are imperative before making your documentary:

1. Determine if you have an original idea.

2.Read. If you've never made a film before, you have a lot to learn. Spend some time acquiring advise from the pros.

3.Watch. Go to the best DVD store in the area and take out every documentary you can.

4.Research. You must determine how to make your subject come to life, first on the page (the treatment) and then on the screen. Make sure that you will be able to gain access to all of the individuals, information sources and locales that you will use in your film.

Final Assignment 20%

Documentary Topic : 

Eye Of Malaysia

- Tourism Malaysia

- Eco system Malaysia

- Food

- Economy

- Technology

- People / culture

Requirement

- 30-minute script.

- Must have images or video clips. While doing your presentation

- WORK ALONE or with a group of 2

Progress

28-10-2008 Outline / Idea

4-11-2008 Storyboarding

11- 11-2008 Execution


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Final Assignment

Monday, October 6, 2008

Tuesday E-media tutorial session is CANCEL

This Thursday second assignment presentation will remain .

Wednesday, September 24, 2008

4th Journal

Create a news article by selecting one of Aesop’s fables
(which contain a moral at the end of the story).

The exercise allows us to think creatively and demonstrate an understanding of 
the inverted pyramid.   

Objectives:

  • Discuss article writing expectations
  • Identify the inverted pyramid components within a newspaper article
  • Implement creative cognitive skills when writing a news article
  • Demonstrate an understanding of their ability to apply inverted pyramid checklist (leads, second paragraph, attribution, AP style, wordiness, and transitions) 

Activities/Procedures:
WARM-UP/DO-NOW:
1. When you watch, listen to, or read news reports, what facts and details do you expect the      reporter to include?”
2. “Why do you think most articles contain one long lead sentence?”
3. “What information could wait until the end of the story?” 

Inverted Pyramid

When you write an inverted pyramid news story, use the following checklist to make sure that you have done it correctly.

Information should be presented in descending order of importance.

Leads

  • one sentence
  • 30-35 words maximum
  • lead tells the most important information in the story and gives specific facts

Second paragraph

  • expand or develop some idea introduced in the lead
  • should not drop the story into a chronological narrative

Attribution

  • All major information should be attributed unless it is commonly known or unless the information itself strongly implies the source.
  • Don’t dump a string of direct quotations on the reader.
  • Direct quotations should be no more than two sentences long.
  • Direct quotations and their attribution should be punctuated properly. Here’s an example:
    “John did not go with her,” he said.
  • Elements of a direct quotation should be in the proper sequence, as in the example above:direct quote, speaker, verb.

AP style
Always. Check numbers, dates, locations, titles, etc.

Check the following

  • pronoun-antecedent agreement
  • it, its, it’s
  • “it is . . .”, “there is . . .”, “there are . . .” structures; avoid these. They are passive and vague.
  • Use the past tense, not the present.
  • Comma splice or run-on sentence, such as
    He picked up the ball, he ran down the field.
    Sally does not know where he is he is not here.
    These are grammatically incorrect.
  • Plurals -- don’t make them by using an “apostrophe s”.

Short paragraphs -- any paragraph more than three sentences is definitely too long; any paragraph that is three sentences is probably too long.

Wordiness -- have you checked for too much verbiage, redundancies, unnecessary repetitions, etc.

Name, title -- When you put the title before a name, do not separate them with commas, such as
(WRONG):
 Game warden, Brad Fisher, arrested the trespassers.
When the name comes before the title, the title should be set off by commas.
Brad Fisher, the game warden, arrested the trespassers.

Transitions -- use them to tie your paragraphs together. Don’t jump from one subject to another in a new paragraph without giving the reader some warning.

Don’t copy the wording of the information sheet.

Names -- check them once more to make sure they are spelled correctly.


The errors above are some of the most common that  students make in writing inverted pyramid news stories. 


Broadcast writing style tips

General rules of writing

1. The best way to learn broadcast style is to listen to radio deejays and television anchors/reporters.

2. Write clearly. Read copy aloud to hear how it sounds.

3. Use conversational style—simple and direct.

4. Transitions are necessary, but pay close attention to how natural they sound in the broadcast.

5. Use active voice.

6. Emphasize the latest news of a continuing story, but give necessary background early to provide context for the story. The rule is that every story should stand on its own.

7. Use present tense, but don’t belabor it. Not every story must sound as if it just happened moments before the newscast.

8. Don’t cram too much information into the lead. The 5 W’s and H lead (from the print media) will confuse audience. Try for a softer lead with non-essential facts that get audience’s attention to the story but are not too complex.

9. At the same time, don’t underestimate your audience and talk down to them.

10. Keep sentences short (easier for broadcaster to say and easier for listener to follow) and economical (give necessary info in as few words as possible).

11. Avoid highly technical words, professional jargon, clichés and obfuscation by bureaucrats.

12. Avoid sexism in pronouns.

13. Find the lead, then tell story chronologically.

14. Answer logical questions, and if you don’t know the answer, say so but do not ignore the question.

15. Use humor sparingly. Humor often muddles the distinction between a serious subject and a lighthearted one.


II. Mechanics of style and grammar

1. Contractions:
 Use them because that’s how we speak. Be careful when contracting "not"—n’t is not always discernible to the audience and can create serious miscommunication.

2. "Says": In broadcast more than print it is necessary not to overuse a word. Some suggestions for replacement:
acknowledge convey claims
admit recount confirm
declare state explain
*note=see Be Careful entry below for warning against using in improper context.

3. BE CAREFUL!
 The following words have more than one meaning and must not be used improperly:

accident= Accidents happen all the time, but so do intentional acts. Don’t predetermine cause by a haphazard word choice.
admit= Other than meaning to grant entrance, the word means to concede or confess and implies acknowledgement of wrongdoing.
claim= Claim means to demand or assert a right (generally used in legal context).
elderly= This may be viewed as a negative. Use only for people 65 years of age and above—and even then, use carefully.
ghetto= Don’t use lightly. This is a section of the city overwhelmingly inhabited by members of a minority group and/or a minority group that has been forced to live in that section.
guerrilla, insurgent, rebel= Guerrilla fighters generally employ hit-and-run tactics; insurgents or rebels fight against the government generally and are more appropriate terms to use in most cases.
illegal= Use only in reference to a violation of law.
leftist, rightist, radical= Use more precise political descriptions. These are at best subjective terms as are conservative, left, right, moderate. Also, a radical wants upheaval of the existing government, so be particularly careful.
sanction, sanctions= Sanction, as a verb or noun, means authoritative approval. Sanctions, as a noun, usually in international law, refers to efforts of one or more countries to force another to change some policy. When speaking, be sure to make the distinction clear.
survey= Only use this word if there has been an actual survey.

4. Common problems. The following list represent some of the most misused, misunderstood or mispronounced words by broadcasters. Be sure to articulate words accurately so they cannot be misunderstood as another word with a different meaning. Also, make sure the word you say, is the one you mean!

accept, except= accept is to take; except is to exclude
allude, refer= allude is to speak of something indirectly; refer is to speak of directly
allusion, illusion= allusion is a casual reference to something; illusion means to create a false impression
boycott, embargo= boycott involves an organized refusal to buy, use or participate in something; embargo involves a government-imposed restriction on trade
die, kill= all people eventually die; some people are killed
emigrate, immigrate= emigrate means to leave a country to settle elsewhere; immigrate means to enter a country from the outside.
ensure, insure= unless you’re speaking about insurance, the proper word is ensure
irregardless= not a word, use regardless instead
rebut, refute= rebut means to argue against with evidence; refute means to prove wrong
toward= not towards
whether or not= should almost always be just whether

5. Names, titles, initials:
a) Do not begin a sentence with an unknown name unless preceded by an identifying title
b) Drop middle and first initials from names
c) No courtesy titles (except for clarifications)
d) Long, involved titles should follow a name
e) Professional titles may be used on first reference

6. Beware of personal pronouns. Make sure no doubt as to the reference.

7. Attribution at the beginning of the sentence or as a break in the sentence, but never at the end.

8. Direct quotes:
a) Use phrases to tell reader of a direct quote (ie: The senator attacks what he calls—”Needless and irresponsible use of federal powers.”)
b) Use sparingly
c) Avoid quotes with “I” or “we”
d) Use neutral verbs—says, declares—to avoid editorial flavor where not indicated by speaker

9. Make sure location of story is clear.

Sources:
UPI Stylebook, Third Edition: The Authoritative Handbook for Writers, Editors and News Directors. Lincolnwood, Illinois: National Textbook Company, 1992.

Popper, Robert A. Broadcast News Writing Stylebook. Boston: Allyn and Bacon, 1995.

Tuesday, September 16, 2008

Broadcast style

Broadcast style

Introduction

Without a doubt, electronic journalism can be easy for listeners or viewers to absorb. But it also can be more difficult to comprehend because viewers typically are doing other things during newscasts; electronic journalism information is often one time only; the viewer or listeners use ASTRO recording device or another recording device for review of news stories. Therefore, it is of the utmost importance that reports in the electronic media write clearly and simply. The fact- filled lead including who, what, why, where, when and how can be a tongue twister and could cause the best newscaster to run out of breath. Besides, these leads normally contain too much information for the listener to digest.

 

Rules of style

Numbers

Of all the categories customarily covered in style sheets, numerals are perhaps of greatest importance to the beginning writer of broadcast news. Two premises should be established: first, some stories, such as those on the national budget, may have many large figures, and they are of such significance that they deserve intelligent coverage. (with such stories, reporters must decide which figures are of paramount importance, and they must weed out those that are not essential.) Second, a story that presents numerical information should be written in such a way that the announcer can read it easily and the listener can readily comprehend and remember it.

 

To facilitate the process, here are the given suggestions:

-         Whenever reasonable, simplify complicated numbers. It is often convenient and honest to use terms such as approximately, more than about and almost.

-         Vary wording to help both the announcer and the listener. To avoid repetition and to make trends or changes clearer, use phrases such as dropped sharply, tumbled 40 percent, more than doubled, cut in half and slightly more than 15 percent.

-         Spell out numbers under 12. Use numerals from 12 to 999. Keep in mind however, that such rules differ from newsroom to newsroom. Some news directors prefer that reporters spell out all numbers (twenty- five, two-thousand-two-hundred-fifty-three). That minimizes mistakes in copying numerals (such as a misplaced comma or extra numeral) and leaves no doubt about what the number is.

-         Use a hyphenated combination of numerals and words to express thousands; for example, 35-thousand farmers. For millions, billions and trillions, hyphens are not needed to separate the numerals and the words, but the writer should precede the word by its first letter to help guard against typographical errors. For example: 21 (m) million families.

-         Translate Many figures, especially large ones, into round numbers whenever feasible: rm 2,001,897.46, in most cases, should be written as “slightly more than two(m) million dollars.”

-         Spell out symbols for dollars and cents: 29-dollars and 60-cents.

-         Write fractions as words, and hyphenate them: two-thrids.

-         Write out and hyphenate decimals: 5.3 percent should be “ five-point- three percent.” Instead of 12.3percent, write “ twelve-point-three percent.”

-         Remember that, in most stories, ages are not essential. In deaths, accidents or special situations where the age is needed, do not use this common newspaper style, because it is not conversational:” Marvin smith,6 , was honored.” For broadcasting , write “ Six-year-old Marvin Smith was honored.”

-         For Certain types of numerical information, such as automobile licenses and telephone numbers, Use a hyphen to break the break the sequence into its component parts in the way they would ordinary be read aloud: “Illinois license number J-U-M-8-3-2.”

 

Time References

Because the element of immediacy is one of the strongest assets of the broadcast news media, every effort should be made to give up-to-the-minute reports and to write copy in a way that makes it sound fresh and timely. With this in mind, present tense should be used whenever accurate and appropriate. For example, if there is a long-running strike by tuckers, it is preferable to write in the present tense:” Striking truckers are still deciding when they will return to the highways.” Thor Wasbotten, general manager of television operations and senior lecturer at Penn State, who is a former news director, offers a word of caution: Using “ false present tense” is one if the fastest – growing  and most disturbing trends in electronic journalism, especially television. The reason for this trend is simple; writers confuse tense and voice. They are not interchangeable. A writer should not take an even that occurred in the past and repot it as if it is still happening. For example, do not write:” A car rolls off a bridge, and plunges into the river below.” Instead, flesh out of a story an element that is current:” Police are trying to answer why a car rolled off a bridge and plunged into a river.”

 

-         If the subject performs the action of the verb, we call the verb”active.”

-         If the subject receives the action of the verb, we call the verb”passive.”

-         A verb that is neither active nor passive is a linking verb, a form of the verb “ to be.”

 

Some suggestions

-         As much as possible, Avoid Emphasizing old time elements. Be wary of emphasizing such words as last night in lead sentences. Look for a new development and a fresh approach when possible.

-         Avoid undue repetition of “today.” In some instances, the day should be broken into its component parts: “late this morning,” “this afternoon” and so forth.

-         When appropriate, try to pinpoint times in terms that listeners can relate to. It would generally be more effective, for example, to report that one lane of the freeway will be closed “during rush hour” than to report the precise time, such as from 5p.m. until 6p.m.

-         In capitalizing on immediacy, be alert to occasional uses of interest- catching time references. These include “ at broadcast time this noon,” “ within the past half-hour” and so forth. There is, however, no defense for referring to a “ late bulletin” when the bulletin was transmitted an hour ago.

 

Names and titles

Most broadcasters agree that writers should ever start a lead sentence for radio or television with an unfamiliar name. Without a “warm up” for the ear, it is too easy for listener to miss the name entirely or to misunderstand it. The newspaper style “John Jones, a well-known Hill city banker, was named chairman” would become in broadcast style, “Hill city bank named a new chairman today.

 

Suggestion

-         Titles should precede names, preparing the listener or viewer for the name to come; for example, Massachusetts senator Edward Kennedy.

-         If an official is well-known within a given listening are (such as the governor of the state in which the station is located), omit the first name; for example, governor smith. Likewise, you can omit the first name of the president of the United States.

-         If the title is needed to put the story in perspective but it is so long that the newscaster would have difficulty running it together with the name, use two sentences; for example, “that’s according to jerry smith. Smith is vice president for academic affairs at the University of United States.

-         Shorten long titles, or break them up. Placing part of the title in from of the name and the other part after the name can be effective; for example, “ Senator John Jones, the chairman of the armed services Committee, Said that a meeting will be held soon.”

Punctuation

Correct punctuation for other forms of writing is also correct for broadcast news. Punctuation marks are highly valuable to the silent reader; and they are even more valuable to the person at the microphone who is striving for instantaneous interpretation, for inflections, for phrasing, for emphasis and for other qualities that will make the reading more intelligible and more interesting to the listeners.

Two somewhat unconventional punctuation practices are popular among broadcasters. First, many announcers feel that the dash is useful in setting off certain types of explanatory or identifying material. For example, “the new chairman of the budget committee- Senator sam smith- will make his recommendations to the entire legislature.” The second device is the use of dots as a guide for a long , dramatic pasuse. Often, such dots are used where a comma would naturally be placed. For instance, “ he gingerly touched the flywheel of the new machine, adjusted his safety mask and reached for the switch… and a deafening explosion rocked the laboratory.” Three dots are sufficient. Some writers will use a series if five or more dots. This, however, takes more time, is more difficult to read and serves no functional purpose.

Always remember to end a sentence with a period.

Naturally, style elements can vary slightly based on the preferences of the anchor who reads the copy on the air. As is the case at newspapers, the nuances of style often differ from newsroom to newsroom. Broadcast journalists who are well grounded in basic style, however, can readily make appropriate adjustment.