POWER  OF  SUGGESTION The human mind is a vast storehouse of scenery. The radio  writer  suggests  to  the  audience  what  the  scene should be, and listeners — through their mind’s eye — can see anything from a pinhole to Waikiki Beach. PACING AND TIMING You must prepare the material for delivery within a definite time frame. Within this timeframe, the changes in quality, emotion, thought or feeling of the material are controlled. FREEDOM  OF  MOVEMENT As the radio writer, you can take listeners from one point on earth to another, or even into outer space with words, sound effects or the appropriate music. CONFLICT Radio writers call conflict the backbone of interest in radio writing. Conflict is the ageless formula of hero against villain, good against evil, the fight for survival and the solution to difficult problems. RADIO  NEWSWRITING LEARNING  OBJECTIVE:  Recognize  the  basic rules of radio newswriting. As  a  Navy  journalist  your  first  encounter  with  radio writing will probably be as a radio newswriter. In that assignment your job will be to meet the deadlines and rigid standards of the electronic media with the Navy’s news  story. Radio  news  style,  while  dictated  by  the  need  for getting and holding the attention of an audience, differs from   station   to   station.   It   is   alive   and   constantly changing along with the broadcast industry itself. As  with  most  areas  of  journalism,  there  are  few absolutes.  When  scripting  broadcast  copy,  you  will  face many subjective choices that can only be made by using your own common sense. The   guidelines   presented   in   this   chapter   are intended to be consistent with the style recommended by  The  Associated  Press  and  United  Press  International. However, keep in mind that these guidelines are just that — guidelines. For your copy to serve any worthwhile purpose, it must be the kind of spots and releases the individual   radio   stations   in   your   geographical   area desire and are able to use. Most local broadcast stations have  individual  preferences  regarding  their  newscasts and  announcements.  To  be  responsive,  you  must  be willing to adapt to those preferences. Study the styles of the stations in your area. If your material does not meet the requirements of the stations you are attempting to serve, then make the necessary modifications. Initially, be aware that writing for broadcast media is not the same as writing for print media. True, the same rules   of   accuracy,   propriety   and   good   taste   apply; nevertheless,   there   are   a   number   of   differences, particularly in writing style. Your job is to tailor each release for the medium that will use it. A release sent to an  area  newspaper  may  be  turned  down  by  area broadcast stations if it is not rewritten in broadcast style. Remember that any station is more likely to use your release if it is in a form that does not require the news- casters’  reworking.  Do  not  create  extra  work  for  the news outlet. This is a fundamental step and should be practiced by every public affairs office. Broadcast  writing  is  highly  personalized  —  far different  from  writing  for  the  print  media.  Broadcast copy is written and designed for the ear. It is personal and  has  a  sense  of  immediacy.  The  listener  becomes involved and feels as though he is a part of the event being  reported. THE SIX Cs In   keeping   with   the   requirements   previously covered, your broadcast copy must measure up to the following  six  Cs: l   Clear l   Concise l   Complete l   Conversational l   Current l  Correct Clear Clear  copy  is  written  in  a  simple,  easy-to- understand  manner.  It  is  developed  in  a  logical  way, flows smoothly and is easy for the listener to follow. Even the simplest story may be misunderstood on the basis  of  one  hearing.  The  listener’s  attention  may  be divided between any number of distractions. Therefore, 13-2