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Writing For Radio And TV > Exam 1 > Flashcards

Exam 1 Flashcards

1
Q

Who are you writing for when you write for a mass medium?

A

Mass Audience

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2
Q

Potentially millions are ____ & _____ at the same moment what you wrote

A

Seeing and Hearing

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3
Q

Who are you simultaneously writing for?

A

for an individual, for a small number of people who have a lot in common, and for a large number of people who may have little in common

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4
Q

Surfing through content and flipping channels

A

Audience has a short attention span

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5
Q

What must every word and every picture be?

A

Purposeful, directed toward keeping the audience’s interest.

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6
Q

Writers must make certain that no ________ and no ________ ________ are in their script

A

Irrelevancies and no extraneous moments

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7
Q

Write ____, _____, and ______

A

Directly, Sharply, and Simply

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8
Q

most often financial rather than artistic or social considerations control programming decisions and content

A

Reality

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9
Q

Tries to reach and holds a large segment of the viewing or listening population as possible

A

Producers and advertisers.

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10
Q

Starting point for media writers

A

Targeting specific audiences

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11
Q

Allows for precise delivery of message to targeted markets

A

Targeting specific audiences.

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12
Q

Prevents wastede coverage to people falling outside the targeted audience.

A

targeting specific audiences.

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13
Q

Makeup of the potential audience for a given program

A

demographics

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14
Q

What are the principal demographics within the given markets’ locale?

A

Age and gender.

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15
Q

How do demographic studies go deeper?

A

Depper into job profession, income, and education.

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16
Q

What should you assume the best predictor is of future behavior?

A

Past behavior.

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17
Q

What tracks the online site-selection behavior of users so as to enable advertisers to serve targeted ads?

A

Online Behavioral tracking

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18
Q

Technological advances increase the ability to…. ?

A

Serve consumers at the risk of invading their privacy.

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19
Q

Describe aspects of consumers’ psychological make-ups and lifestyles as they relate to buying behavior in a particular product category

A

Attitudes, Values and Motivations

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20
Q

Consumers who reside within geographic clusters such as zip codes or neighborhoods also share demographic and lifestyle similarities

A

Geodemographics

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21
Q

What do advertisers want to know?

A

Not only how many people see their show, but whether the audiences they reach are likely purchasers of what they are selling.

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22
Q

What do the numbers (ratings) determine?

A

The prices charged for commercial air time.

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23
Q

What can affect the message?

A

The medium.

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24
Q

Writers must be able to ___________

A

Write for the eye and ear, also mastering the use of words.

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25
Q

Should be able to tell the story without ____

A

audio

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26
Q

Where a visual element can take effect, ___________________________________________________

A

it should take precedence over dialogue.

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27
Q

Through dramatic use of voices, music, and sound effects and even silence, ___________________

A

The writer can develop a picture in the audience’s mind that is limited only by the listeners imagination

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28
Q

No limitation on the setting or on movement

A

Complete freedom of time and place

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29
Q

Audience members “see” pictures in their ______. ________ - not limited by what the eye sees

A

Imaginations. Imagination

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30
Q

Enables the writer to create places, characters and events that might be extremely difficult or too costly to show visually

A

Radio’s subjectivity

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31
Q

The special mechanical and electronic devices of the medium

A

The studio, the cameras with its movements, lenses and shots and the control room including digital compute techniques, special video effects and sound

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32
Q

Vary in size and equipment, moving graphics and digital transitions between shots

A

The studio

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33
Q

The distance between the audience and the subject, The amount of the subject the audience sees, the audience position in relation to the subject and the angle at which the viewer sees the subject.

A

Four major areas of audience attention can be changed via the camera

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34
Q

The camera is mounted on a dolly, a movable platform that permits smooth forward or backward movement

A

Dolly-in and Dolly-out

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35
Q

Narrow the angle of view making people or objects appear closer

A

Zoom-in and Zoom-out

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36
Q

Changing the view from the same position to a higher or lower part of the subject

A

Tilt up and tilt down

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37
Q

The camera moves right or left on its axis. This movement is used to follow a character or particular action

A

Pan Right and Pan Left

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38
Q

Also called the travel shot or truck shot

A

Follow right and follow left

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39
Q

A Crane attached to a moving dolly enables the camera to boom up or down from its basic position. Also called a crane shot.

A

Boom Shot

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40
Q

Brings the picture in from a black screen.

A

Fade

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41
Q

Takes the picture out until a black level is reached

A

Fade-Out

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42
Q

One picture smoothly dissolving into the next- replaced or being replaced by the other

A

Dissolve

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43
Q

The cut is the technique most commonly used and consists simply of switching from one picture to another

A

Cut

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44
Q

The _____ is the placing of one image over another

A

Superimposition; The Super

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45
Q

What do you do to obtain necessary contrast in the superimposition?

A

One picture must have higher light intensity than the other

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46
Q

An object appears to move across the screen, revealing a new picture. Can be from any direction horizontal or vertical, from either sides (closing doors). Can designate a change of place or time

A

Wipe

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47
Q

In the _______ the picture on the air is divided, with the shots from two or more cameras.

A

Split Screen

48
Q

Holding a scene on the screen for a desired length. It is often used at the close of a commercial to highlight the advertiser’s name or slogan

A

Freeze Frame

49
Q

And electronic device using a typewriter- like keyboard to produce printed words

A

Character Generator

50
Q

An electronic effect that permits an image (usually lettering) to be cut into a background image like phone numbers, addresses.

A

Key

51
Q

Uses music as program content or background

A

TV

52
Q

The sound or music does not replace visual action but support or heightens it

A

TV

53
Q

Helpful means of organizing shots and video

A

Two-Column Script

54
Q

info goes in the left column

A

All Video

55
Q

Infor foes in the right column

A

All Audio

56
Q

News story in a newspaper ranges from hundreds to thousands of words. Same on radio or TV may have to fit into ________- perhaps no more than _________

A

30 Seconds; 100 words

Be brief

57
Q

Retain an ____ ______

A

Informal Tone

58
Q

Message is heard or seen ______

A

Just Once

59
Q

Vague, generalized action or info tends to be confusing- audiences switch stations. Make Sure ___ and ____. Retain and ______

A

Simple and Clear; Informal Tone

60
Q

Short Sentences

A

10-12 Words

61
Q

Always use…

A

Active Voice

62
Q

Emphasize ________________ sentence structure

A

Subject- Verb- Object

63
Q

The gun was fired by the robber

A

Passive Voice

64
Q

The robber fired the gun

A

Active Voice

65
Q

Don’t use what word

A

By

66
Q

________ Create complexity

A

Commas

67
Q

_____ are essential to understanding and reaching a specific audience

A

Demographics

68
Q

Should give the listener the impression that the broadcaster is talking to them rather than and audience

A

The overall process

69
Q

Use personal pronouns to create ownership/belonging, intimacy, to demonstrate what’s in it for me

A

You, We, Us

70
Q

Contractions are part of being ____

A

informal

71
Q

Its essential to have ______

A

conversational tone

72
Q

must get listener and the viewers to _______________

A

Understand an intricate plot of unfolding news within a matter of seconds

73
Q

Master of first impression

A

less is more

74
Q

Must consider ______________________________________

A

Timing, visual and aural materials and the personalities of the newscasters who will present the news.

75
Q

What is the story?

A

It is about people

76
Q

Through _______, the reporter draws the audience into the story

A

Storytelling

77
Q

Broadcast writing is the _____ ______

A

Spoken Word

78
Q

Broadcast news is written for the ear while in newspaper it is written for the eye. People are human; they expect you to sound human. Words must be understood immediately without second thought. `Sound’ is a key word here. Thoughts must be expressed quickly, with clear and crisp sentences. Aimed at ordinary people .

A

Making it conversational

79
Q

Broadcast copy must be as simple as possible. So keep your sentences simple and use basic, easily understood words. Mid sentence clauses force the listener and viewer to reassemble the sentence in their head. One should give one declarative sentence
after another. Also, we do not communicate in real life using long suspended clauses - avoid doing so in a newscast.

A

Declarative, short sentences:

80
Q

One should be able to convince the audience that the news is fresh. One should be able to make the news sound exciting and timely. One can either find something new to say about an earlier newscast. Or, one can rework the original lead to include new developments. Exciting details can be revealed about a story later on. An important skill is to
narrate a story without making it sound stale.

A

Up-to-date format:

81
Q

Broadcast news must always present an image of immediacy. The broadcast news writer’s job is to tell the news as though it is in progress or has just recently happened. Use of present tense verbs, particularly present-progressive verbs, which suggest ongoing action, add to that immediacy. Broadcast is the immediate medium, print is the reflective one.

A

Present tense verbs

82
Q

Say almost ten million rupees' instead of Rs.9.86 million. This makes the figures easy to register in the brain and retain in the memory. But some figures cannot be rounded off- like, the stock market figures. We can use graphics on TV for better understanding. Avoid phrases like less/fewer than’ and `more than’. Strive to reduce numbers in a broadcast story to the minimum.

A

Round Numbers

83
Q

Style dictates that the title should come before the name and some titles do sound conversational that way. However, `Secretary of Human Services and Welfare, Mr. Anand Shah’ is a mouthful. One way to handle the long title is to use the title alone on first reference and then in the next sentence, use the name only. Listeners will make the connection.

A

Shorten long titles

84
Q

Omit middle names and initials unless a person is well known by his middle name or initials. Do not use the courtesy titles or Mr' Ms’ `Mrs’. Don’t use unfamiliar names in leads. Instead characterize the person by what has made him newsworthy. For Example: A Summerville man died in a fire today.

A

Names and initials

85
Q

do not include the age of a person unless age is germane to the story. For example people are interested in how old a person is when he or she dies. People are also
interested in unusual angles to age. Broadcast stories rarely include addresses unless they are an integral part of the story.

A

Age and identification

86
Q

_____ is the most important part in a news story because it sets the tone for all that follows.

A

Lead

87
Q

Don’t “oversell” or deceive your audience
It will backfire. People know when they’re being talked down to.
Also, avoid clichéd portrayals of men and women.
Generally avoid anything too controversial.
Trying to sell not offend

A

Ethics

88
Q

When someone seen as a “good person” tells us to buy something, transferring
their goodness onto the product. Also, whenever an ad relates to one’s values.

A

Ethical Appeal

89
Q
  • based on the logic, facts, and evidence, which is usually considered to be most important to readers/listeners
  • shown through details, statistics, expert testimony of a credible source, facts, definitions, witness statement
  • normally considered most effective appeal
A

Logical appeal: Persuasion via facts.

90
Q

Appeals to non-logical, non- intellectual aspects and goes straight to your needs and wants. They get beyond reason to our desire for power,prestige and to be seen as having good taste.

A

Emotional Appeal

91
Q
  • Humor
  • Startling statement or visual
  • Rhetorical question
  • Vivid description
  • Novel situation
  • Suspenseful conflict
A

Get the audience’s attention

92
Q
  • Construct a mini-drama (a conflict that keeps us
  • watching until the resolution)
  • Anecdotes
  • Statistics
  • Examples
  • Exciting visuals and sounds
A

Hold its interest

93
Q

Finish strong by ____

A

Telling them what to do next. Call this number

94
Q

AIDA Formula

A 
A = Attention
I = Interest
D = Desire
A = Action
95
Q
  • Written for one-voice delivery.
  • Written to be delivered in a conversational, informative voice.
  • Follows AIDA formula, goal to motivate the listener.
  • Convey information to the listener.
  • Persuasive.
A

Straight Copy

96
Q
  • Sense of urgency
  • Price reductions
  • Short, punchy sentences ­ easy to read for fast pacing.
  • More words in script than time typically allows.
  • Sound effects ­ explosions, dramatic music, echo effects.
  • Slogans ­ hammering of slogans and repetition of phrases.
A

Hard-Sell Copy

97
Q
  • A commercial designed to enhance a company’s image or achievements.
  • Message promoting general image, reputation, and ideas of the company as opposed to straight products and services.
  • Associated with a soft sell.
A

Institutional Copy

98
Q
  • A commercial designed to enhance a company’s image or achievements.
  • Message promoting general image, reputation, and ideas of the company as opposed to straight products and services.
  • Associated with a soft sell.
A

Endorsements

99
Q

•Presents the comments of a satisfied customer.

A

Testimonial

100
Q
  • Is it funny?
  • Can the listener identify with the humor?
  • Does the humor sell? (Do you remember the product or just the comedy?)
  • Will the humor stand up over repeated airing?
A

Humorous Copy

101
Q

Attract new viewers/listeners - tell audience about upcoming programs
Hold on to the ones you already have. Keep interest in regularly scheduled programs.

A

Promotion

102
Q
  • Program originators supply stations with promotion information
  • Packets sent to local affiliates before programs are shown (publicity releases, star biographies,
  • photos, fact sheets, suggested on-air announcements, print ads)
A

Syndication

103
Q
  • Rely less on networks for programming than TV stations
  • Stations with network affiliation receive daily closed-circuit audio feed consisting of scheduling information and publicity material
  • With so many ______ broadcasters competing for audience, stations rely on giveaways and on location appearances by station personalities
A

Radio

104
Q
  • Promote overall _____ service as well as individual networks and shows.
  • Use on-air promotion as well as paid promotion and publicity, frequently advertise on broadcast television, radio and print.
  • Provide local systems with consumer marketing and sales materials to aid low-budget local promotions.
A

Cable

105
Q
  • Copywriter must know their audience and what they are selling. Sources of research - station, network, syndicator.
  • Scheduling ­ Promo placement “Priority One Schedule” - investment in product, cannot be preempted!
  • Unsold commercial slots (avails)
  • Outside advertising.
A

Promotional Strategies

106
Q

Sells audience the advantage of listening or viewing specific programming. Date and time specific.

A

Specific Promos– Topical Promos

107
Q

Helps build and maintain an image. Keeps product in front of the audience

A

Generic Promos ­ Branding or Image

108
Q

( 3 to 5 seconds) Include station’s legal identification and
program promotion. (Can use audio, video, or both ­ appear throughout station’s schedule ­ can be shared with network ­ local voice announcement and a visual logo all that must be added complete the ____)

A

IDs - Shortest form of on-air promos

109
Q

Brief visual and or audio announcement to stimulate interest in upcoming event or program. ______ used at end of program to promote interest in upcoming program. Written copy brief ­ but crucial ­ keep up interest. Tease viewer with story line ­ don’t give it away.

A

Teasers and Bumpers

110
Q

•Informational announcement (who-what-when-where)
•Should be prepared in varying lengths to increase the likelihood of their use on the air.
•Advocates an idea or goal-oriented - used to:
defend or extend a position, explain or justify the stance of a group and show that a position has benefits for the community

A

Public service announcements. Choosing type of PSA

111
Q
  • Like a commercial ­ delivering sales message (Example: Not a car but the
  • use of seat belts)
  • What is the objective to achieve?
  • What is the target audience?
  • What sales slogan to promote client?
  • What approach matches client’s message (tone, mood, or style)
A

Planning the PSA

112
Q

• A PSA that asks people to give for the good of others should appeal to human needs.

A

Framing the Appeal

113
Q
  • Analyze organization’s target audience, objective, methods
  • Determine what organization hopes to accomplish with PSA (Recruit volunteers, donations, change people’s’ behavior– should present only one main idea)
  • Must present cause in positive light countering negative image
A

Researching the organization

114
Q
  • Don’t play on fears –impart feeling of hope

* Carefully write and select visual material for cable and TV ­ don’t frighten audience away

A

Identifying audience sensibilities

115
Q
  • Air only those appropriate for their specialized listeners
  • Send topics most likely to run
  • Stations prefer PSAs easy to produce and run (single-voice script best format)
  • PSAs should be of standard length (10 seconds preferred)
  • Use the five W’s (who, what, when, where, why)
  • Prepare three versions of PSA –stations choose best version for station
  • Not all ______ PSAs are single-voice spots (can usemultiple voices/more sophisticated production to gain attention)
A

Radio PSAS

116
Q
  • PSA’s for radio should consider target audience
  • TV PSA should have strong visual quality
  • Radio stations will usually run PSAs if spot is brief
A

Points to remember

Writing For Radio And TV (2 decks)

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