FAITH Colleges — Scriptwriting and Announcing Basics (Weeks 4–6)

Course Context and Goals

  • Broadast: Weeks 4–6 theme focused on building professional competencies, commitment, and compassion in broadcasting.

  • Course title: Scriptwriting and Announcing Basics in Radio & Television Broadcasting.

  • Instructor/affiliation: J.A. Silva, CRS; Faculty member at FAITH COLLEGES; Case, BA in Communication Program.

  • Core aim: Apply principles of writing broadcast scripts suited for both auditory (radio) and visual (TV) media formats; develop voice delivery techniques for different program types (news, PSA, drama); interpret and execute cueing systems used in radio and television announcing and production.

Learning Outcomes (LOs)

  • Understand the principles of broadcast scriptwriting for radio and TV.

  • Demonstrate clear and effective voice delivery techniques appropriate for different program types (news, PSA, drama).

  • Interpret and implement cueing systems used in radio and television announcing and production.

O Pop‑In Activity: What Kind of Broadcaster Are You?

  • FAITH COLLEGES activity aimed at self-assessment of broadcaster persona.

  • Ten questions (pages 4–13) with four options each (A, B, C, D) to determine your broadcaster type:

Question 1

  • How do you usually tell a story? A. I give strong opinions and connect events to my views. B. I focus on facts and organize them clearly. C. I use voices, emotions, and sound effects. D. I keep it light, fun, and entertaining.

Question 2

  • Which environment excites you the most? A. A sports arena or political rally. B. A newsroom during breaking news. C. A studio with scripts and sound effects ready. D. A music booth full of playlists.

Question 3

  • How do you react to breaking news? A. I analyze quickly and add my opinion. B. I report the key facts immediately. C. I imagine how it could be acted out in a scene. D. I share updates in a casual, upbeat way.

Question 4

  • Your ideal broadcast tone is… A. Persuasive and engaging. B. Clear, calm, and authoritative. C. Emotional and expressive. D. Friendly and energetic.

Question 5

  • If you were given a microphone, what would you do first? A. Comment on the latest event. B. Announce the headlines. C. Play a character or dramatic scene. D. Greet the audience and play a song.

Question 6

  • Which skill do you value most? A. Persuasion. B. Accuracy. C. Storytelling with emotion. D. Creating a lively atmosphere.

Question 7

  • Which broadcast element excites you? A. Analysis and opinions. B. Breaking news delivery. C. Acting and dramatic pauses. D. Music and audience interaction.

Question 8

  • How do you deal with silence on air? A. Fill it with strong commentary. B. Stick to the script and continue. C. Use it for dramatic effect. D. Crack a joke or play a track.

Question 9

  • Your audience should feel… A. Informed and persuaded. B. Updated and aware. C. Moved and entertained. D. Relaxed and happy.

Question 10

  • Which of these phrases fits you best? A. “Let me explain why this matters.” B. “Here’s what happened today…” C. “And then… the twist you didn’t expect!” D. “Hey everyone, hope you’re feeling great today!”

  • Scoring (Page 14) yields four broadcaster archetypes:

    • Mostly A’s → Commentator — shines in giving opinions, analysis, and connecting events to meaning.

    • Mostly B’s → News Anchor/Reporter — excels in delivering facts clearly and concisely.

    • Mostly C’s → Radio Drama Talent — natural performer with emotion and imagination.

    • Mostly D’s → Radio DJ/Show Host — energetic, fun, and capable of keeping audiences entertained.

Writing for the Ear vs. Writing for the Eye

  • Writing for the Ear (Radio):

    • Use a conversational tone.

    • Favor short, simple sentences.

    • Repeat key information to aid recall.

    • Include sound effects and pauses to cue the audience.

    • Audience hears it once, so clarity is key.

  • Writing for the Eye (TV):

    • Visual support with b-roll and graphics.

    • Synchronize visuals with narration.

    • Avoid simply repeating what is seen; add value with narration.

    • Include stage directions or cues for visuals.

Key Quote

  • "Good broadcast writing is writing that sounds good when spoken aloud." — National Association of Broadcasters (NAB), 2021.

Script Types in Broadcast

  • FAITH COLLEGES overview: various script types for broadcast platforms.

Radio/TV News Scripts

  • Structure: Inverted pyramid (most important information first).

  • Attributes: Timely, factual, objective.

  • Visual cues: Include cues for visuals (TV) or sound effects (Radio).

Advertisement Copy (Ad Copy)

  • Tone: Persuasive.

  • Focus: Benefits, slogans, call to action.

  • Techniques: Use jingles or music beds.

  • Example sources include brand logos and commercials (logos shown in the materials).

Public Service Announcement (PSA)

  • Characteristics: Short and informative; clear message to promote awareness.

  • Appeals: Strong emotional appeal common.

Interview Scripts

  • Structure: Flexible outline with intro, key questions, closing.

  • Flexibility: Allows room for spontaneity.

Notes on Practice Content

  • The module includes visual and audio cues to enhance broadcast quality.

Voice Techniques and Delivery

  • Intonation: Rise and fall of the voice to convey meaning, emotion, or emphasis; signals questions, excitement, seriousness.

  • Clarity: Clear articulation and pronunciation; avoid slurring, mumbling, filler words; enunciate especially in news or formal segments.

  • Pacing: Moderate, steady rate; use pauses strategically for emphasis or to let information sink in.

  • Volume & Energy: Match volume to platform and mood; use higher energy for drama or PSA, more neutral for news.

  • Breathing & Projection: Use diaphragmatic breathing to maintain voice strength and control for long reads.

Practical Practice Scenarios

  • News Reporting (Neutral but Dynamic) — example:

    • Script: "Good evening, this is AstraTV News Update. In today’s top story, local farmers in Batangas celebrate a record harvest despite weeks of heavy rainfall." — Practice tips: Slightly raise pitch on greetings and key phrases; lower on serious statements.

  • PSA (Friendly & Encouraging) — example:

    • Script: "Together, we can keep our community safe. Wear your mask, wash your hands, and maintain social distancing—because your health matters." — Practice tips: Warm, rising tone on the opening; firm, steady tone for instructions.

  • Podcast Warm Welcome (Friendly, Upbeat) — example:

    • Script: "Hey everyone, welcome back to Campus Conversations, the show where we talk about stories that matter to you—straight from FAITH Colleges!" — Tip: Rise on welcome; pause after the title.

  • Radio Drama (Drama) — Tagalog excerpt:

    • Script: "Hindi ko alam… kung mas natatakot ako sa pagkawala mo… o sa katotohanang baka hindi na kita makita muli." (Simulan sa mababa at mabagal, pataasin ang tono sa "nakatakot ako", tapos ibaba ulit sa huling bahagi para maramdaman ang lungkot.)

  • Reading tips: Practice reading aloud; record yourself; mimic professional broadcasters for delivery.

Sample Script Pages

  • Sample Radio News Script (Radio) – Astra Radio 98.7:

    • SFX: News intro music fades in, then fades under

    • ANCHOR: Good morning, you're tuned in to Astra Radio 98.7 — delivering reliable news, right on the dot. This is [Your Name], reporting. Today, FAITH Colleges celebrates its $25^{\text{th}}$ Founding Anniversary with a week-long series of academic and cultural events. Students, faculty, and alumni gather to commemorate milestones and strengthen community ties. [SFX: crowd cheering, ambient sounds of campus] Festivities include academic fairs, live performances, and alumni recognition night this Friday at the Multi-purpose Gymnasium. This has been [Your Name] for Astra Radio 98.7 — keeping you informed and inspired.

  • Sample Radio Drama Script – FAITH COLLEGES:

    • SFX: Soft piano music playing in the background

    • JULIA (gentle, reflective): Sa dami ng alaala natin, hindi ko alam kung alin ang uunahin kong bitawan. Yung tawa mo? Yung yakap mo? O yung pangakong hindi mo tinupad?

    • MIGUEL (soft, emotional): Julia… akala ko kaya kong lumaban. Pero habang tumatagal, naiintindihan kong hindi lahat ng mahal natin, kaya nating ipaglaban.

    • [SFX: Wind chime, distant thunder]

    • JULIA: Kaya pala masakit ang magmahal… kasi darating sa punto, kailangan mong bumitaw kahit gusto mo pang kumapit.

    • MIGUEL: At mas masakit… kapag ikaw na lang ang kumakapit.

    • [SFX: Piano intensifies, then slowly fades]

    • JULIA (whisper): Paalam, Miguel. Hindi dahil ayoko na… kundi mahal pa rin kita.

  • Sample Podcast Script – Campus Chronicles:

    • Opening Jingle

    • HOST: "Hey, campus crew! Welcome to Campus Chronicles, your go-to for real talk on student life at FAITH Colleges. I’m [Name], and today—how do we balance school, friends, and ‘me-time’? Quick tip: treat your breaks like classes—schedule them. That way, you recharge without guilt and keep your mind sharp. I’m [Name], reminding you—study smart, live fully, and make memories. See you next time!"

    • Closing Jingle

Verbal Cues (On Air and In Show Production)

  • Verbal cues are spoken or audible instructions used during or off-air for coordination:

    • "Kill mic" — alerts talent and crew that the program is about to begin.

    • "Standby" — indicates program start is imminent.

    • "On air!" / "We're live!" — program is broadcasting live.

    • "Cue talent" — program is live and talent should perform.

    • "Wrap it up" / "Close in 30" — signal to end or finalize content soon.

    • "Mic check" / "Testing, 1-2-3" — test audio levels before going on air.

    • "Back to you" — return control between reporters and anchors.

    • "Clear" — segment is over or talent is off-air.

    • "Fade in/Fade out" — gradually increase/decrease volume or visuals.

    • "Stand by… 3, 2, 1…" — countdown to go live.

    • "Commercial break in 3…2…1…" — countdown to ad break.

Non-Verbal Cues (Signals & Body Language)

  • Non-verbal cues are gestures and expressions used in studio/control room to communicate quietly during live production:

    • Raised Hand (Palm Out) — stop or hold action/speech.

    • OK Sign — audio/visuals are good; proceed.

    • Pointing Upwards — "You're on!" or "Start now."

    • W Finger Roll / Spin Motion — keep going or stretch time.

    • Pinching Fingers Together — wrap up or shorten your speech.

    • Point to Ear — speak louder or check your mic.

    • Finger to Lips — silence on set.

    • Tap Wrist — time check or running out of time.

    • Wide Eyes / Raised Brows — pay attention or be alert.

    • Clapper/Clapperboard — sync video and audio for editing.

    • Slow Down / Pull Down — reduce pace or stretch time.

    • Cue to Start / Go Live — reduce pace or prepare to go live.

Activity Rubrics

  • TV News Reporting (Rubric: Short TV Report, Individual – 50 Points)

    • Content & Accuracy: Excellent (10) — Timely, well-organized, factual; minor issues if any.

    • Scriptwriting: Clear, concise, fits TV format; minor script issues if any.

    • Voice Delivery: Confident, engaging, appropriate; mostly effective.

    • Visual Cues: Well-timed visuals and cues; mostly aligned visuals.

    • Creativity & Style: Strong screen presence; some originality.

  • Radio Drama (Rubric: Scriptwriting and Performance)

    • Story & Creativity: Original, clear storyline with strong message; highly engaging.

    • Scriptwriting: Engaging, well-structured for radio; minor script flaws.

    • Sound Use: Excellent use of SFX and music.

    • Voice Acting: Clear character voices and emotion; distinctive.

    • Collaboration: Strong teamwork; rehearsals evident.

References

  • National Association of Broadcasters. (2021). Broadcast writing guide. NAB Foundation.

  • Zettl, H. (2017). Television production handbook (12th ed.). Boston, MA: Cengage Learning.

  • Ardley, N. (2019). The art of voice acting: The craft and business of performing for voiceover. Focal Press.

Closing

  • Thank you to FAITH COLLEGES learners for engaging with the material.