| |
| |
| Preface to the fifth edition | |
| |
| |
| |
| Characteristics of the medium | |
| |
| |
| Radio makes pictures | |
| |
| |
| Radio speaks to millions | |
| |
| |
| Radio speaks to the individual | |
| |
| |
| The speed of radio | |
| |
| |
| Radio has no boundaries | |
| |
| |
| The transient nature of radio | |
| |
| |
| Radio on demand | |
| |
| |
| Radio as background | |
| |
| |
| Radio is selective | |
| |
| |
| Radio lacks space | |
| |
| |
| The personality of radio | |
| |
| |
| The simplicity of radio | |
| |
| |
| Radio is low cost | |
| |
| |
| Radio for the disadvantaged | |
| |
| |
| Radio teaches | |
| |
| |
| Radio has music | |
| |
| |
| Radio can surprise | |
| |
| |
| Radio can suffer from interference | |
| |
| |
| Radio for the individual | |
| |
| |
| Radio for society | |
| |
| |
| The public servant | |
| |
| |
| Types of radio station | |
| |
| |
| 'Outside' pressures | |
| |
| |
| Personal motivations | |
| |
| |
| |
| The radio studio | |
| |
| |
| Studio layout | |
| |
| |
| The studio desk, mixer, control panel, console or board | |
| |
| |
| Computers | |
| |
| |
| Digital compression | |
| |
| |
| Digital audio workstation | |
| |
| |
| Tape formats | |
| |
| |
| Editing principles | |
| |
| |
| Editing practice | |
| |
| |
| CDs, albums and other discs | |
| |
| |
| Microphones | |
| |
| |
| Stereo | |
| |
| |
| Equipment faults | |
| |
| |
| |
| Ethics | |
| |
| |
| Declarations of intent | |
| |
| |
| Objectivity, impartiality and fairness | |
| |
| |
| Watchdog | |
| |
| |
| Bad practice | |
| |
| |
| The status of the media | |
| |
| |
| |
| Writing for the ear | |
| |
| |
| Who are you talking to? | |
| |
| |
| What do you want to say? | |
| |
| |
| The storage of talk | |
| |
| |
| Words | |
| |
| |
| Structure and signposting | |
| |
| |
| Pictures and stories | |
| |
| |
| Double meanings | |
| |
| |
| The script | |
| |
| |
| |
| News - policy and practice | |
| |
| |
| Codes of Practice | |
| |
| |
| Objectivity | |
| |
| |
| Legality | |
| |
| |
| News values | |
| |
| |
| Investigative reporting | |
| |
| |
| Campaigning journalism | |
| |
| |
| The news reporting function | |
| |
| |
| Accuracy | |
| |
| |
| Intelligibility in the writing | |
| |
| |
| Being fair | |
| |
| |
| Giving offence | |
| |
| |
| Causing distress | |
| |
| |
| Civil disturbance and war reporting | |
| |
| |
| A summary | |
| |
| |
| The newsroom operation | |
| |
| |
| Style book | |
| |
| |
| Radio car, mobile phone | |
| |
| |
| Equipment in the field | |
| |
| |
| The news conference and press release | |
| |
| |
| |
| Interviewing | |
| |
| |
| The basic approach | |
| |
| |
| Types of interview | |
| |
| |
| Securing the interviewee | |
| |
| |
| What the interviewee should know | |
| |
| |
| Preparation before the interview | |
| |
| |
| The pre-interview discussion | |
| |
| |
| Question technique | |
| |
| |
| Question 'width' | |
| |
| |
| Devil's advocate | |
| |
| |
| Multiple questions | |
| |
| |
| Leading questions | |
| |
| |
| Non-questions | |
| |
| |
| Non-answers | |
| |
| |
| Non-verbal communication | |
| |
| |
| During the interview | |
| |
| |
| Winding up | |
| |
| |
| After the interview | |
| |
| |
| Style | |
| |
| |
| Interviewing 'cold' | |
| |
| |
| Interviewing through a translator | |
| |
| |
| Location interviews | |
| |
| |
| The triangle of trust | |
| |
| |
| |
| Vox pop | |
| |
| |
| Phrasing the question | |
| |
| |
| Interviewing children | |
| |
| |
| Choosing the site | |
| |
| |
| The recorder | |
| |
| |
| Putting the question | |
| |
| |
| The editing | |
| |
| |
| |
| Cues and links | |
| |
| |
| Information for the broadcaster | |
| |
| |
| Information for the listener | |
| |
| |
| Links | |
| |
| |
| |
| Newsreading and presentation | |
| |
| |
| The seven Ps | |
| |
| |
| Newsreading | |
| |
| |
| Pronunciation | |
| |
| |
| Vocal stressing | |
| |
| |
| Inflection | |
| |
| |
| Quotation marks | |
| |
| |
| Alterations | |
| |
| |
| Corrections | |
| |
| |
| Lists and numbers | |
| |
| |
| Station style | |
| |
| |
| Continuity presentation | |
| |
| |
| Errors and emergencies | |
| |
| |
| Headphones | |
| |
| |
| Trails and promos | |
| |
| |
| |
| The discussion | |
| |
| |
| Format | |
| |
| |
| Selection of participants | |
| |
| |
| The chairperson | |
| |
| |
| Preparation | |
| |
| |
| Advice to contributors | |
| |
| |
| Contributor nerves | |
| |
| |
| Starting the programme | |
| |
| |
| Speaker control | |
| |
| |
| Subject control | |
| |
| |
| Technical control | |
| |
| |
| Ending the programme | |
| |
| |
| |
| Phone-ins | |
| |
| |
| Technical facilities | |
| |
| |
| Programme classification | |
| |
| |
| The open line | |
| |
| |
| Support staff | |
| |
| |
| Choosing the calls | |
| |
| |
| The role of the presenter | |
| |
| |
| Presenter style | |
| |
| |
| Reference material | |
| |
| |
| Studio operation | |
| |
| |
| Additional telephone facilities | |
| |
| |
| Use of 'delay' | |
| |
| |
| The specific subject | |
| |
| |
| 'Early lines' | |
| |
| |
| Consumer affairs | |
| |
| |
| The need to be fair | |
| |
| |
| Linking programmes together | |
| |
| |
| Personal counselling | |
| |
| |
| The presenter as listener | |
| |
| |
| Non-broadcasting effort | |
| |
| |
| Anonymity | |
| |
| |
| Phone-in checklist | |
| |
| |
| |
| Listener participation | |
| |
| |
| Letters and e-mails | |
| |
| |
| Programme follow-up | |
| |
| |
| Texting | |
| |
| |
| Helpline | |
| |
| |
| Visitors | |
| |
| |
| Special involvement | |
| |
| |
| Travelling roadshow | |
| |
| |
| Major events | |
| |
| |
| |
| Music programming | |
| |
| |
| Attitudes to music | |
| |
| |
| Clock format | |
| |
| |
| Computerized selection | |
| |
| |
| Requests and dedications | |
| |
| |
| Choosing music | |
| |
| |
| Item order | |
| |
| |
| Prefading to time | |
| |
| |
| Preparing letters and cards | |
| |
| |
| Programme technique | |
| |
| |
| Guest programmes | |
| |
| |
| DJ programmes | |
| |
| |
| |
| Sequences and magazines | |
| |
| |
| Programme title | |
| |
| |
| Signature tune | |
| |
| |
| Transmission time | |
| |
| |
| The presenter | |
| |
| |
| Linking style | |
| |
| |
| Information content | |
| |
| |
| Programme construction | |
| |
| |
| Programme variety | |
| |
| |
| Programme ideas | |
| |
| |
| Voice piece | |
| |
| |
| Interview | |
| |
| |
| Discussion | |
| |
| |
| Music | |
| |
| |
| Sound effects | |
| |
| |
| Listener participation | |
| |
| |
| Features | |
| |
| |
| Drama | |
| |
| |
| Item order | |
| |
| |
| Production method | |
| |
| |
| Responding to emergency | |
| |
| |
| |
| Making commercials | |
| |
| |
| Copy policy | |
| |
| |
| The target audience | |
| |
| |
| The product or service 'premise' | |
| |
| |
| Writing copy | |
| |
| |
| Voicing and treatment | |
| |
| |
| Music and effects | |
| |
| |
| Stereo | |
| |
| |
| Humour in advertising | |
| |
| |
| |
| Outside broadcasts (remotes) | |
| |
| |
| Planning | |
| |
| |
| Visiting the site | |
| |
| |
| Communications to base | |
| |
| |
| People | |
| |
| |
| Hazard assessment | |
| |
| |
| Equipment | |
| |
| |
| Safety | |
| |
| |
| Accommodation | |
| |
| |
| Programme research | |
| |
| |
| Liaison with the base studio | |
| |
| |
| Publicity | |
| |
| |
| Conflicts of approach | |
| |
| |
| Tidiness | |
| |
| |
| Gratuities | |
| |
| |
| |
| Commentary | |
| |
| |
| Attitude to the listener | |
| |
| |
| Preparation | |
| |
| |
| Working with the base studio | |
| |
| |
| Sport | |
| |
| |
| Communicating mood | |
| |
| |
| Coordinating the images | |
| |
| |
| Content and style | |
| |
| |
| News action | |
| |
| |
| Sports action | |
| |
| |
| Actuality and silence | |
| |
| |
| The ending | |
| |
| |
| An example | |
| |
| |
| Coping with disaster | |
| |
| |
| |
| Music recording | |
| |
| |
| Reproduction of internal balance | |
| |
| |
| Creation of a synthetic balance | |
| |
| |
| Studio layout | |
| |
| |
| Microphones for music | |
| |
| |
| Frequency control | |
| |
| |
| Dynamic control | |
| |
| |
| Echo | |
| |
| |
| Channel delay | |
| |
| |
| Mixing technique | |
| |
| |
| Recording technique | |
| |
| |
| Production points | |
| |
| |
| |
| Drama-principles | |
| |
| |
| Adapting for radio | |
| |
| |
| The idea | |
| |
| |
| Story construction | |
| |
| |
| The setting | |
| |
| |
| Characterization | |
| |
| |
| Dialogue | |
| |
| |
| Radio as story | |
| |
| |
| Get the evocative bits | |
| |
| |
| Rough the drama | |
| |
| |
| Prune and polish | |
| |
| |
| Truth vs drama | |
| |
| |
| Script layout | |
| |
| |
| The actors | |
| |
| |
| The acoustic | |
| |
| |
| Sound effects | |
| |
| |
| Music | |
| |
| |
| Production technique | |
| |
| |
| |
| Documentary and feature programmes | |
| |
| |
| The documentary | |
| |
| |
| Planning | |
| |
| |
| Research | |
| |
| |
| Structure | |
| |
| |
| Collecting the material | |
| |
| |
| Impression and truth | |
| |
| |
| Music | |
| |
| |
| Compilation | |
| |
| |
| Programme sequence | |
| |
| |
| The ending | |
| |
| |
| Contributors | |
| |
| |
| Programmes in real time | |
| |
| |
| The feature | |
| |
| |
| |
| The work of the producer | |
| |
| |
| Ideas | |
| |
| |
| The audience | |
| |
| |
| Resource planning | |
| |
| |
| Preparation of material | |
| |
| |
| The studio session | |
| |
| |
| Taste | |
| |
| |
| Ending the session | |
| |
| |
| Post-production | |
| |
| |
| Programme administration | |
| |
| |
| Technician, editor, administrator and manager | |
| |
| |
| |
| The executive producer | |
| |
| |
| Station management | |
| |
| |
| Staff development | |
| |
| |
| Scheduling | |
| |
| |
| Rescheduling | |
| |
| |
| Strategic planning | |
| |
| |
| Commissioning programmes | |
| |
| |
| Codes of Practice | |
| |
| |
| Complaints | |
| |
| |
| Website | |
| |
| |
| Archival policy | |
| |
| |
| |
| Programme evaluation | |
| |
| |
| Production evaluation | |
| |
| |
| Programme quality | |
| |
| |
| Audience evaluation | |
| |
| |
| Personal meters | |
| |
| |
| Research panels | |
| |
| |
| Questionnaires | |
| |
| |
| Letter response | |
| |
| |
| Cost evaluation | |
| |
| |
| |
| Training | |
| |
| |
| Triggers for training | |
| |
| |
| Learning objectives | |
| |
| |
| Course organization | |
| |
| |
| Stretching imagination | |
| |
| |
| Editorial selection | |
| |
| |
| News priorities | |
| |
| |
| News exercise | |
| |
| |
| Voicework | |
| |
| |
| Personal motivation | |
| |
| |
| Vox pop | |
| |
| |
| Commentary | |
| |
| |
| Drama | |
| |
| |
| New challenges for old producers | |
| |
| |
| Maintaining output | |
| |
| |
| Assessing quality | |
| |
| |
| Training evaluation | |
| |
| |
| |
| Back-announcement | |
| |
| |
| CD-ROM | |
| |
| |
| Websites | |
| |
| |
| Glossary | |
| |
| |
| Further reading-a selection | |
| |
| |
| Index | |