Lecture 2: The Broadcast Script

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Introduction
A broadcast script is like a road map that guides the production and presentation of both live
and recorded programmes. Broadcast script writing means writing for radio and television. The
radio script is all about writing for the ear while scriptwriting for television is explained as
writing for the ears as well as the eyes. Broadcast writing is different from print writing in that
print writing comes in hard copy and can be read at when and where the reader wish, but in
broadcast script writing, simple and short sentences are employed to make it conversational to
make it fit into its transient nature. This unit is dedicated to taking student through the process
of script writing, scripts formats and other elements that can be incorporated into broadcast
script.

Scripting
Writing for radio and television requires that the copywriter adopt a more natural friendly tone
to make the script appear as if the presenter is carrying on a conversation with another person
even if the message is targeted at millions of people. Doing this meant using the spoken words
of everyday speech. Writing for broadcast medium also entails understating the medium, the
uniqueness, advantages and challenges of the medium.
It is important to keep in mind when writing for radio and television, that the words spoken are
heard once as such it is critical to always use easy, simple short sentence and understandable
words that the audiences know. For radio, the scripts are delivered through sound and the in
case of radio of television sound and picture, the script should therefore try to bridge the gap
between the present and his/her audience.

The script’s purpose

If you are working entirely by yourself on a simple production, you might get away with a few notes on
the back of an envelope. But planning is an essential part of a serious production, and the script forms
the basis for that plan. Scripts do the following:

■ Help the director to clarify ideas and to develop a project that works

■ Help to coordinate the production team

■ Help the director to assess the resources needed for the production

Although some professional crews on location (at a news event, for instance) may appear to be shooting
entirely spontaneously, they are invariably working through a process or pattern that has proved
successful in the past. For certain types of production, such as a drama, the script generally begins the
production process. The director reads the draft script, which usually contains general information on
characters, locations, stage directions, and dialog. He or she then envisions the scenes and assesses
possible treatment. The director must also anticipate the script’s possibilities and potential problems. At
this stage, changes may be made to improve the script or make it more practical. Next the director
prepares a camera treatment. Another method of scripting begins with an outline. Here you decide on
the various topics you want to cover and the amount of time you can allot to each topic. A script is then
developed based on this outline, and a decision is made concerning the camera treatment for each
segment. When preparing a documentary, an extended outline becomes a shooting script, possibly
showing the types of shots that will be required. It may also include rough questions for on-location
interviews. All other commentary is usually written later, together with effects and music, to fi t the
edited program.

Is a script needed?
The type of script used will largely depend on the kind of program you are making. In some production
situations, particularly where talent improvise as they speak or perform, the “script” simply lists details
of the production group, facilities needed, and scheduling requirements, and it shows basic camera
positions among other fi ne points.

An outline script usually includes any prepared dialog such as the show opening and closing. If people
are going to improvise, the script may simply list the order of topics to be covered. During the show, the
list may be included on a card that the talent holds, on a cue card positioned near the camera, or on a
teleprompter as a reminder for the host.

If the show is complicated with multiple guests or program segments (scenes) and shows the following:

■ The topic (such as a guitar solo)

■ The amount of time allocated for this specific segment

■ The names of all talent involved (hosts and guests)

■ Facilities (cameras, audio, and any other equipment and space needed)

■ External content sources that will be required (tape, digital, satellite, etc.) When segments (or edited
packages) have been previously recorded to be inserted into the program, the script may show the
opening and closing words of each segment and the package’s duration, which enables accurate cueing.

Basic script formats

There are many different script formats. However, basically, script layouts take one of two forms:
  A single-column format

 A two-column format

SINGLE-COLUMN FORMAT

Although there are variations of the single-column format, all video and audio information is usually
contained in a single main column. Before each scene, an explanatory introduction describes the
location and the action. Reminder notes can be made in a wide left-hand margin. They include transition
symbols (for example, X Cut; FU fade-up), indicate cues and camera instructions, and incorporate
thumbnail sketches of shots or action.

This type of script is widely used for narrative fi lm-style production and single-camera video, where the
director works alongside the camera operator. It is perhaps less useful in a multicamera setup, where
the production team is more dispersed but everyone needs to know the director’s production
intentions.

TWO-COLUMN FORMA T

Like the one-column format, there are many variations of the two-column format. This traditional
television format is extremely flexible and informative. It gives all members of the production crew shot-
by-shot details of what is going on. Crew members can also add their own specifi c information (e.g.,
details of lighting changes) as needed.

Two versions of the script are sometimes prepared. In the fi rst (rehearsal script) the right column only is
printed. Subsequently, after detailed planning and preproduction rehearsals, the production details are
added to the left column to form the camera script.

The full script

When a program is fully scripted, it includes detailed information on all aspects of the production.

■ Scenes. Most productions are divided into a series of scenes. Each scene covers a complete
continuous action sequence and is identifi ed with a number and location (Scene 3: Offi ce set). A scene
can involve anything from an interview, to a dance routine, a song, or a demonstration sequence.

■ Shots. When the director has decided how he or she is going to interpret the script, each scene is
subdivided into a series of shots, each shot showing the action from a specifi c viewpoint. The shots are
then numbered consecutively for easy reference on the script, in the order in which they will be
screened. In a live production, the program in shot in the scripted order (running order). When taping a
production, the director can shoot in whatever order is most convenient (shooting order) for the crew,
actors, or director. The director may decide to omit shots (“drop shot 25”), or to add extra shots (“add
shots 24A and 24B). He or she may decide to record shot 50 before shot 1 and then edit them into the
correct running order at a later time.
■ Dialog. The entire prepared dialog, spoken to camera or between people. (The talent may memorize
the script or read it off teleprompters or cue cards.)

■ Equipment. The script usually indicates which camera/microphone is being used for each shot (e.g.,
Cam. 2. Fishpole).

■ Basic camera instructions. Details of each shot and camera moves (e.g., Cam. 1. CU on Joe’s hand;
dolly out to long shot.)

■ Switcher (vision mixer) instructions. For example: cut, fade. ■ Contributory sources. Details of where
videotape, graphics, remote feeds, and so forth appear in the program.