Broadcast scripts
- 1. Writing PR Scripts MCM 241: Writing for PR and Advertising Fall, 2017 John Couper
- 2. ▪ Broadcast PR/Ad is not like print materials ▪ Script-writing experience improves all writing ▪ Concise, vivid, logical, direct ▪ There are many script formats ▪ News, drama, live, etc. ▪ TV, radio ▪ All try to achieve ▪ Clarity ▪ Impact ▪ Involvement
- 3. ▪ Both print and broadcast stories: ▪ Should tell an interesting story with impact ▪ Must consider the audience ▪ Include levels (ideas, categories, detail) ▪ Get attention, explain, elaborate, close strongly ▪ Are concise and expressive ▪ Are appropriate (language, images, ideas, etc.) ▪ Need to be timely and selective ▪ Are ethical ▪ Use symbols to add power ▪ Emphasize verbs and nouns, not adjectives
- 5. 1. We cannot return to check details So conservative “subject-verb-object” is best 2. The ear “expects” different information short, vivid, anglo-saxon, noun-adjective 3. Scripts need to be absolutely clear One idea per sentence Avoid words with more than one meaning Keep modifiers as close as possible
- 6. Make Words Visual ▪ Scripts work from visual to verbal ▪ Words should “illustrate” images ▪ Imagine the final product intensively ▪ Then “describe” it in the script ▪ Scripts that start from words, then add images, almost never work
- 8. Main Aspects for Success ▪ Core message (“Big Idea”) ▪ What viewers will take with them ▪ Style ▪ Relaxed, pushy, professional, etc. ▪ Music ▪ To engage emotions and add continuity ▪ Locations ▪ To add realism and impact ▪ Information ▪ Provocative and persuasive but credible
- 9. Purposes and Styles ▪ Persuasive: attitude-changing ▪ conversational, actionable, outcomes ▪ Educational: inform ▪ strong source, facts, clear goals ▪ Impressive: credible and authoritative ▪ encourages respect and belief ▪ Relational: ▪ dialogical, identifaction-biulding, comfortable
- 10. Tone ▪ Spot style has a huge impact ▪ Reassuring, challenging, humorous, etc. ▪ Each should be decided and integrated ▪ Decide words, images, and combinations ▪ Trigger effective associations ▪ Comfort, energy, togetherness, etc. ▪ Contrasting two tones is very powerful ▪ Change from gentle to terrible, etc. ▪ Needs to be consistent and clear
- 11. Range of PR Spots ▪ Simple read-only radio PSA ▪ Complex radio ads ▪ Simple, one-camera video and V/O ▪ Same, but with Chyron subtitles ▪ Multi-camera, single scene, one talent ▪ Multi-camera, varied scenes, more talent ▪ Video and animation, Chyron
- 12. ▪ Source, verb, object, result ▪ “Our company wants action so we can safeguard our children” ▪ Keep elements in chronological sequence ▪ “Once the water was safe, but now it is sick” ▪ Present or perfect tense when possible ▪ “We know what matters to you” ▪ Keep verbs familiar but expressive ▪ “Keeping you safe is our life’s work” ▪ Make connections ▪ Use “we”, “our” as much as possible
- 13. Production Crew ▪ Writer: Someone who offers a relationship in a friendly and informative way. ▪ Summarize the message in a short statement that viewers can easily recall. ▪ Director: somebody with experience, energy, and ideas, who can think and work on several levels and mobilize the crew ▪ Crew and talent: A typical crew is a shooter (two if possible), an audio operator, and a set designer. You will only need a handful of actors, and often a voice- over actor.
- 14. Steps of Script Writing 1. Writer and client discuss important issues, the tone and overall message of the spot. 2. Meet with director and producer to discuss the storyboard draft and logistics, like transportation, lighting and props 3. Distribute script to cast and crew details so make-up, wardrobe, and crew have what they need. 4. Schedule a “table read” to make script and logistical improvements and changes 5. Give a shoot schedule and final scripts to cast, crew, and candidate 6. Shoot video and audio, including voice-overs and scene shots 7. Edit video footage to match the tone and message, OK with client decision-makers and main advisors. 8. Reproduce and distribute video where target public will see it; consider all genres
- 15. Remember… Make the core message clear and concise. Make sure every fact is true... or defensible Decide how to make the client look good Avoid claims that could be questioned Keep it positive-- or at least possible
- 16. Main Kinds of Script 1. Simple audio reader Just copy to read directly 2. Film-type One-column with audio, video, directions 3. 2-column one for video, one for audio 4. Storyboard boxes drawn simply, for complex visual content
- 17. Special Terms a. ▪ Actuality: recorded live in the field ▪ SOT: sound on Tape ▪ MOS: without audio (“mit out sound”) ▪ VO: voice-over (narration) ▪ Standup: reporter speaks to camera ▪ B-roll: secondary video as illustration ▪ Soundbite: short, memorable comment ▪ CG: generated words: name, location, etc. ▪ C/U, MS, LS: Closeup, Medium shot, long shot ▪ Nat sound: natural background audio
- 18. ▪ Talent: performer, reader, reporter, etc. ▪ IN Q, OUT Q: first and last words of script ▪ GFX: Graphics effects inserted from computer ▪ Nat: video recorded in regular location ▪ Seg time: exact length in seconds ▪ Package: pre-edited report ready to show ▪ Reader: story only read, without video ▪ Lead-in: short narration to intro footage ▪ Wrap-up: closing thought ▪ Tee up: identify a name audiences don’t know
- 19. ▪ Include only essential information ▪ Minimal attribution ▪ Emphasize the concrete/vivid ▪ Create a “chain” of ideas/details ▪ Spread out SOT, ACTs, etc. ▪ Write simple, declarative sentences ▪ Tutorial: http://newscript.com
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- 21. ▪ Start from video ▪ Only use words for what is missing ▪ Start from “IP plus wrap-up” format ▪ Challenge words of 2 or more syllables ▪ Save strong video for open and close ▪ Never pagebreak a sentence, or linebreak a phrase