RTV 309 Reading & Study Outline
Last Updated 4/29/14 -- Be sure to check back every week


COURSE SCHEDULE (subject to changes & updates; check back weekly for updates)

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Week 1   (1/13-17)    

Group Meeting at 5 pm in the TV Studio.  Everyone must turn in a mp3 file of some audio work (not a DJ aircheck).

Shifts scheduled that must start next week, at 5 hours per week every week.

Get the e-book here.

You can buy the Kindle version for $9.99 and use Kindle Cloud Reader, the Kindle app on your phone or iPad, etc.  You do not have to have a Kindle device to read it.


Week 2 (1/20-24)

Holiday Monday.  Those with Monday shifts must do those hours the previous week or another day this week.  Remember, the standard requirement is that you only miss shifts based on unexpected events (illness, etc.)--you cannot miss shifts 'when something else comes up'-- and, when you have missed for an approved reason, you make up those those hours within that same week.

Be sure you arrive on time, work the full time while there on your weekly assignment and/or semester project, and clock in and out.

Get the book and start reading:  Introduction, Preface and Chapter 1: Sound and Stories



Week 3:  (1/27-31)                 For the reading quiz Thursday at 5 pm

The 'every other week' group meeting is this week.  Scheduled for Thursday at 5 pm

There will be a test over the first reading:  study materials are here:
In the Foreward, he says "To report the “NPR way” requires a lot of -------; the urge to uncover the ---------; a deep dedication to ------, --------, and public service; and mastery of the craft...and the will to do it.  also in the Foreward, he tells you (a)  "At this writing, there are ---- (how many?) NPR member stations, which operate more than 735 stations or signals, and (b) that NPR is a ---------- organization and controls -------- on the member stations.  What facts does he tell you about NPR and its listeners, and what are some of the most notable shows from NPR he lists?   When they refer to some classic TV personalities, suggesting being part Ed Murrow and part Ed Sullivan, it's to say, at NPR environments, you have to be good at digging ----- or making sense of ------, and you still need to be able to ----- well and ----- well.  What is "the driveway moment" and what are the The Driveway Moments?    When contributing properly (he says) that the techniques and rules have changed over time and will continue to do so, so, when you love something and it works, let management know, and when you disagree, do the same, since one thing that hasn’t changed is being able to recognize how ---------.   He says for your first lesson in radio journalism: just -----.  In the Preface, he says he based the chapters on what?  To whom does he say the principles and practices covered in the book apply?  He also reminds you that it isn’t possible to read your way to a career in broadcast journalism; that ---- will always be the best teacher.
As you start with Chapter 1, keep in mind--read the chapter and make notes of ideas that stand out and tell you something new, while looking for answers to questions like these:  He tells you Radio became the new fad in what decade, and its 'Golden Age' was what decades?  In connecting the origins of radio to the current impact of the Internet, he says “radio” now has less to do with a specific kind of receiver or a means of sending signals from a transmitter than with ---- .  Then, as he continues, what examples does he give as to why this is true?  As one example, he says, regarding radio being 'inimate'--no matter how big the audience, a good radio host thinks of himself as talking to ---- .  In 'public radio style'--what does he say you can do in an interview rather than the 'ten second sound bite"?  The art of public radio journalism entails what skills that are also practiced by television or newspaper reporters?  In comparison, what are some big challenges to reporting news on the radio?  Since there are no 'headlines,'  radio uses “-------” or “------ ” to tell people what’s coming up each hour.  What is a 'billboard' for an NPR newscast and how is it structured?  Since radio (audio programming is what is is, besides There are No Headlines, since you have listeners, what other guidelines (that he lists on bold and describes) are there for you if you're doing public radio news?  As one example of these guidelines, he reminds us that "Time marches on—and with it, any opportunity a listener has to understand why a story is important or new, or to identify speakers or places or sounds--on the radio you get one chance to tell the listeners your story, and then there’s no going back"--BUT that this is less true when --------- .



Week 4      (2/3-7)            (Non group meeting week -- Chap. 2 will be on Quiz next week)

How are you getting your 5th hour this week?  Schedule a time with Jeff Amis and come it to do a production hour in the PAC.    SEE SYLLABUS if you did not get five hours this week.

Chapter 2
For most journalists, no charge stings worse than an allegation of ---- .  In relation to this he says the only measure of a story’s worth is whether you _________— not how many people were ________.   (Part of your work with KETR means you should listen to what is on the station--so in the coming weeks, listen to some NPR news and try to identify the bias in their stories or coverage.  KEEP A LOG of when you listen and what they covered, noting as you listen whether or not they covered stories completely and fairly--in essence, did they do what this chapter says they should do?  Bring this to the next meeting in two weeks -- each person must do his / her own listening.  This will be included on Quiz 3.)  He says broadcast news is driven by --------, and under time pressure, you are sure to make mistakes.  The NPR Journalist's Code of Ethics says (a)  "--------"means that they present all important views on a subject, (b) "-----" means that they separate their personal opinions— such as an individual’s religious beliefs or political ideology— from the subjects we are covering, and (c) "-------" means that each day they make rigorous efforts at all levels of the newsgathering and programming process to ensure their facts are not only correct but also presented in the correct context.  T or F:  In the broad sense of journalism, he says it is obvious that journalists everywhere would accept these guidelines.  What reasons does he list for why public radio values fairness, balance, and accuracy so highly?  He says if you ask radio journalists to identify the reasons why any particular story may not be entirely balanced, they say that they often ------- .  He calls it the the newsroom "------," where reporters and editors fail to represent some viewpoints mainly because they all see events from the same perspective.  Related to this, he says if newsrooms were as diverse as the rest of America , there would be -----------, but this doesn't happen because broadcast journalists are more like one another than they are like the population as a whole.  How do they know this is true?  (Again, relate what he tells you here about these findings related to your assignment noted above.)  Describe how he says the echo chamber can distort newsgathering and editing.  He says journalists, like scientists, also have to be careful of "---------" — the inclination to observe and record facts or opinions that confirm their hypotheses and to ignore those that don’t.  (note that some of the quiz questions will come from facts not listed in these sample questions--so don't skip over the examples)  He says a valuable exercise if you are truly committed to reportorial balance is to try to frame any controversial story in ------ .   What does he say are the percentages of public radio listeners who describe themselves as 'conservative' vs. those who identif themselves as 'liberal?'  Verifying Assertions is based on what need?  If you produce a seemingly “balanced” story that relies on ------, you do the audience a disservice.  When hearing assertions of 'facts' from someone, it is not enough simply to attribute a claim to a person or special-interest group; you have to do your best to determine ------- .  He makes a comment like "reporter includes an actuality"--what does the term 'actuality' mean?  In terms of 'getting both sides'--when an allegation concerns a ---- or ----------, you have to make an even more exhaustive effort to represent all important sides of a story.   His example of "a common kind of analytical piece in which a reporter begins with several public statements— the President justifying his position on tax cuts, for instance, or the CEO of a drug company defending its procedures for ensuring product safety—and then turns to others to criticize those statements" a sort of "----------------"--a bowling analogy.  He calls things like calling a missile “the Peacekeeper,” or describing zoning plans as “smart growth or use of the term “reform” as ------- language that should be avoided.  ( be sure to read thoroughly and take similar notes throughout the chapter)




Week 5    (2/10-14)

HOURS MISSED because of weather must be made up this week.

Group meeting at 5:00 pm Thursday in PAC computer lab.
If you are late or absent it counts the same as late to a shift (see syllabus). 


Meeting starts with Quiz over Chapter 2. 
ALSO-bring any content you have created so far, ready to share and discuss with the group.



Week 6     (2/17-21)           Reading:  Chapters 3 and 4

Part of your work with KETR means you should listen to what is on the station--so in the coming weeks, listen to some NPR news and try to identify the bias in their stories or coverage.  KEEP A LOG of when you listen and what they covered, noting as you listen whether or not they covered stories completely and fairly--in essence, did they do what this chapter says they should do?  Bring this to the next meeting NEXT WEEK -- each person must do his / her own listening.  This will be included on Quiz 3. 
BUT ALSO -- you should have started finding listening times this week, no later than Tuesday--see bottom of this description. 
NOTE:  The standard times to listen would be during Morning Edition, 5-9 am and/or All Things Considered, 4-7 pm.  You can listen to 88.9 FM or you can listen online at ketr.org.  Each time you listen, keep a log that states: (a) what time did you listen?  (listen to each NPR news time for no less than 15 minutes)  (b) what time did you start listening and what time did you stop?  (c)  list the name(s) of people you heard reporting news information when you listened   (d)  list the topics of the stories you heard covered, and (e)  comment about how fair and unbiased the stories were--or indicate and describe anything they covered that you think was biased one way or another.
REMEMBER:  each person must do his / her own independent listening--this is not group work.  We will have log of stories covered on NPR this week and next to compare against your list--so list only actual times you really listen--fabricating the report is academic dishonesty and will cause failure of RTV 309 and reporting to university officials for further disciplinary action.  You should listen at least four different times of 15+ minutes each -- and report this hour as an hour of Practicum work.
You must do two different listening times this week, starting no later than Tuesday--and send a brief inittail report to rtv309@yahoo.com The subject of the email MUST BE "NPR listening" and the email must be sent by noon Friday.

Send your second report for the second week of listening no later than our Thursday 2/27, 5 pm meeting time.

Chapter 3:  Be sure to read the full chapter and take notes.  Fewer sample questions does not imply fewer quiz questions--just more you need to know on your own.
Questions:  The chapter starts by saying "If you want an instant lesson in the difference between writing for a newspaper and writing for radio, try ______ .  (note the story examples as you read the chapter)  Remember: when you are on the air, you are communicating with _______ person(s) at a time.   How we write for broadcast is based on the idea that you have to give out information at the pace and in a form that allows people to ______ it.  While doing a radio newscast we have to remember that— as far as that listener is concerned— we are indeed _________, not reading.   When we sound like we’re speaking to one listener at a time, it’s working; when they hear us _______, it's not working.  What does "being like Belinda Bruce" mean to our writing style?   Good broadcast writing often requires us to unlearn _______ .       ________ is one of the most commonly offered pieces of advice that we give in every writing workshop. Expressing your thoughts in short, declarative sentences doesn’t require you to _____________—just to ________.  Don't use words on the radio you wouldn't ___________.  What's wrong with words like “rebel-held,”“mineral-rich,”“storm-weary,” and “tech-heavy”?  As asked before -- he uses the term 'actuality'--what does that mean?  Continue to note examples--syntax issues, avoiding 'to be,' etc.  Keep it simple; allot ___________ to each idea, and wherever possible put the subject at ___________.   Attribution in a broadcast news story goes where?  How should people's titles be used?   Continue to note examples--short sentences, active voice, rhetoical / hypothetical questions, etc.  Generally, if it sounds wrong on the radio, _____________— even if the grammar books say otherwise.  Continue to note examples...



Week 7    (2/24-28)                 Read Chapter 4

REMEMBER--(a) as noted in the email sent weeks ago--you must have an Engrade account to take the chapter reading quizzes--if you do not, you do not receive a grade for any quiz, and (b) first formal work reports are due this Friday.  Be sure to review the course syllabus and submit the report as assigned.

Complete NPR listening assignment (see above).   Group meeting Thursday at 5 pm in PAC computer lab.  Late counts the same for meetings as shifts--see syllabus.   Send your second report for the second week of listening no later than our Thursday 2/27, 5 pm meeting time.

Chap. 4:   He says that, for the tag line—“ NPR Takes You There," they do that, most of the time, through __________.  What are some of the ways he says reporters can be assigned?  Despite the variety of ways reporters report, all have what common goals?  What qualities and skills are shared by successful reporters of all stripes?   David Folkenflik says "a reporter should view the world “with ________.     “You need to be an aggressive, questioning person,” says Washington-based correspondent Larry Abramson, and the reminder that a reporter has to doubt what he or she hears--are based on the guideline that a good reporter has to be ________.   The best reporters are driven by their zeal to find the facts , no matter where they lie; they don’t assume that any one person or group has a monopoly on virtue or veracity ...“The idea is to master the two poles of the possible truth”--are based on the guideline that a good reporter looks and listens ________.       “The best reporters I know,” says Bill Marimow, “are the people who know how to elicit personal, colorful, detailed information —who can instinctively, without trying, establish trust, rapport, and mutual respect"--are based on the guideline that a good reporter has to ________.    The guideline that a good reporter _________ is especially important if you’re doing daily stories and news spots, or working as a general assignment reporter where almost every story requires coming up to speed quickly.   "It doesn’t matter how good you are at digging up stories if you can’t communicate them on the air" is based on the principle that a good reporter __________ effectively.    “The very heart of your job is accuracy, thoroughness, and fairness. Those three attributes supersede everything else, including active sound, mood, ambience—everything”--is the foundation of the final principle listed in the chapter--that a good reporter _____________ .   What is a 'beat'?    What are your 'sources of news'?    Laura Sullivan says she listens for the kind of things that will make someone tell his or her spouse, “You know what I heard today at work?” That, she says, is sure to be a story ___________, too.   They say the best reporters _______ with their sources--“You have to go to lunch with people.”    (Note other facts about developing source relationships.   Many investigative stories draw on _________ .  The ____________— which applies to all departments and federal agencies in the executive branch—allows you to request copies of records that are not usually distributed to the public, and sets standards for determining which records must be made available.  When he says "you can do both—he means ___________.     _____, ________ and _______ are good places to meet key people, and potential sources, face-to-face.  Many of the stories radio reporters cover every day don’t arise from their personal enterprise, but are dictated by __________ .   Some of the saddest words you can hear at NPR are __________.    It is a tenet of public radio reporting that the best pieces rely on ______ .   Sometimes they are speaking _________--in other words, they are willing to give you information that you can quote or paraphrase in your report, but only if you do not attribute it to them by name.  (Note other issues about getting actualities.)  When reporters who have uncovered a great story needs someone involved talking--and does not want is to have to tell everything without any actualities from the key sources, like the Philadelphia police dogs story, you try to talk to a ________ whom you can quote.  How do you get great actualities?   many organizations have “__________” offices and officials, who may see their role as “providing accurate information to reporters in a prompt and comprehensive manner,”  but from the reporter’s point of view, “their job is to get in your way .”  What kind of questions lead to good actualities?  What are the several tips for doing all this on deadline?  What are his tips for still being creative while working under deadline (starting under Beyond Acts and Tracks)?  "A Storytelling Sampler" demonstrates what content and helps us appreciate what?

additional Chapters to be added below as we get to them -- remember to keep reading the book, and check back for review questions.

Group meeting at 5 pm Thursday.  Starts with quiz over Chapters 3 & 4 -- you must have an Engrade login or you will not receive a grade for the quiz.  Note the the Chapter 5 quiz next week information below.



Week 8   (3/3-7)                   Read Chapter 5 **

** You must log in to your Engrade account and take the Chapter 5 quiz this week.  It is a timed quiz and it will be open Wednesday through 5 pm Thursday.  If it does not close on time and you take it late, the score will not count.

Remember--shifts must be completed through your Friday shift.

Chapter 5 sample questions:  ______ do technical jobs, like mix pieces for broadcast and book studio time; they suggest story ideas and conduct research; they may arrange interviews, and even write a script or suggest questions for a host to ask.     _______ are those, in an undercredited role, who go on a remote assignment with a program host or reporter, to research, book interviews, go out and gather the sound, and help put the story together.  One of the first steps many field producers will take is to help _______ the story— and to make sure that the reporter’s or host’s impressions or insights are supported by ________.  In initial research to cover a story, Jane Greenhalgh suggests is, “ if you find one person to talk to about the story that you’re doing, before you hang up the phone, ask them for ________.  For a field producer, as you make calls and gather information, meet frequently with the host or reporter to ________.   A lot of the planning for arranging interview and doing research during field producing is __________, Anne Hawke says, “making sure that the distances are travelable, and if one interview runs late you won’t be screwed up.”   When there isn’t much time to research and book a big story, “you go out and you just cross your fingers that you’ll get ____________."  Once you’ve got a plan for the trip to collect materials for a story clearly laid out, meet at least one more time with the person doing the reporting to make sure you haven’t forgotten anything.  Field producers know hosts often do ______ interviews a day when they’re at home, and assume they can do as many when they’re out on assignment.   To put people at ease , many field producers make a point of letting the interviewees know _______.  The whole point of going out on a story is to capture _________.
(be sure to read thoroughly and take similar notes throughout the chapter)



SPRING BREAK!


Week 9   (3/17-21)                   Read Chapter 6 up to the heading 'The Intro'

Group Meeting 5 pm Thursday.  Late arrival counts the same as late to a shift (see syllabus). 
Quiz over reading -- you must have an Engrade account as assigned several weeks ago.

Chapter 6 sample questions:  If a story seems convoluted and poorly structured, the _______ is often the one who gets blamed.
There are _______ prizes for reporting, photography, commentary, and even cartooning— but not for editing.   In public radio, one ________ often does the jobs of several different editors at newspapers— he or she makes assignments, suggests sources, raises questions, helps structure the story, and revises copy.   The _______ is the electronic system for distributing information across the public radio system--among its messages are the NPR program lineups, which include summaries of all the pieces slated to air in upcoming shows.  Above all, public radio editors are responsible for making sure that reports are _________.  Whether a story is memorable will depend in large part on the quality of the __________.  While the field producer was also noted as being involved in this, for stories done at the station, the editor and the reporter work together on the “___________”— a one-sentence description of what the proposed story will be about.  The editor helps the reporter deal with the '________' as Alison Richards describes it, in editing science stories, that poses a big challenge--making it mean something to people's lives.   _________ stories often take a high and wide view of a news event, while _______ stories go deeply into a single idea or episode.  Almost every good story has a few basic ingredients: it has _________; it is set _________; it has a clear ___________; and there is some sort of _______ that makes the listener or reader eager to find out how things are resolved.   The best stories are built around _______— either ________ or _______.  What are different ways stories can be structured?  The fact that the editor serves as a surrogate for the listeners— a one-person focus group to determine whether a report “works” on the radio, is what this chapter calls 'editing by _________.'   The most obvious difference between script editing in public radio and editing at magazines or newspapers is that the radio reporter is always expected to __________.   Andrea de Leon— who has edited more than a thousand pieces from member station reporters— says it doesn’t matter how a script ________; she only cares how it _______.    Why does Alison Richards say she never wants to read an actuality before she hears it?   A(n) ________ is the radio term for the same thing TV calls a sound bite, typically a short interview except or of someone close-miked, speaking at an event.  Most NPR radio pieces are allotted a specific amount o time, about _______ would be average, although they may be much shorter elsewhere.  Related to the overall length of a piece (story), each actuality also has a time limit -- although they don't discuss it here: you should know each actuality is to be 'about only one thought the sound bite guest had' and typically might be about :07 to :12 long.  Listening to a piece, rather than reading it, ensures the editor that it will sustain a listener’s interest for its full length--doing as Alison Richards puts it, “...driving the audience’s ________ and _______ all the time.”  (be sure to read thoroughly and take similar notes throughout this section of the chapter)

 


Week 10   (3/24-28)                 Read the test of Chapter 6, starting at the heading 'The Intro'

You must log in to Engrade this week and do the quiz online over the second part of Chapter 6.  It is a timed quiz and it will be open Wednesday afternoon through 5 pm Thursday.  If it does not close on time and you take it late, the score will not count.

Chapter 6 (second part) sample questions: The _________ is one of the most important— if not the most important— part of a radio story.   What should this DO?  What should it NOT do?  (be sure to read thoroughly and take similar notes throughout this section of the chapter--questions will be about a lot of these examples)  What are 'boilerplate' constructions?   One of the ways to get around the conundrum of 'if the story’s news lead goes into the intro, what does the reporter say first' is to start the story with ________, but after 30 years of reporters doing this, it has become _______.   A tried-and-true way of grabbing the listener is to ________.   The best editors are good ________.  What are the mistakes that are likely to occur in pieces that include actualities and sound?  Instead of sentences that start with 'There is' or 'There are' reporters are urged to use strong ___________.   “Sometimes”— you can help a reporter write better by getting him or her to have a _________ on his story, but this doesn’t mean slanting the story.   Just as you have to pay close attention to the intro and the start of the report when you’re editing, you should make a habit of checking that _________.   Some NPR editors say that if they’ve done their job right from the start— if __________.    Like a good field producer, you should know which facts need ________, and how to _________.    One of the ironies of the news business is how much of what we report is ________.    As the editor, you are the critical middleman between the _______ and the _________.  (be sure to read thoroughly and take notes throughout the reading)


Week 11   (3/31-4/4)                    Read Chapter 8 

A rough cut of your semester project is due along with your montly report (see syllabus for specifics).  You should also submit all media content created as assigned projects done since March 3rd--either within one folder on a flash drive or uploaded and the URLs sent with in the body of the email with your report that is due on Friday.  If submitted on a flash drive be sure the drive is named 'Your Name' and your name is also externally marked on the drive.

Thursday 5 pm -- group meeting in PAC 117.

Chapter 8 sample questions:    There will be some occasions— during fundraisers, on talk shows, during live events or when there’s late-breaking news— when public radio reporters and hosts also will have to _______ , but most of the time they will instead be ___________.  You can “probably” get a job on the air in radio if your voice is not a wonderful speaking voice, but the probably is ultimately because there is no substitute for ___________.  For many people, the best training for working on-air will come from spending some time _________.  The principal thing to remember when you’re on the air— just as when you write your scripts— is that each listener feels like ______--as the heading says, sounding ___________.     As far as the listener is concerned, you’re not reading a script, you’re just _______.    The first step toward reading well is _________.  Sora Newman says— in addition to writing conversationally and imagining ___________— a good reader needs to “inhabit” the copy.  The phrase ________ means you’re not just reading the words— blah, blah, blah— but you’re really thinking and feeling what you’re saying . You’re trying to communicate.”
Thinking about and feeling what you’re reading is not just an exercise; it’s the _______ of being on the radio (look it up--what does that mean?).  One mistake many newcomers to radio make is to ______________, compared to people when they're talking, where most of the time, they vary their pitch to emphasize just one or two key words in each sentence.  The goal of ______________ is to remind you how you would say the sentence if it were not written down at all, not to force you to read it with artificial emphases.   In some ways, ________ is more critical than emphasizing a particular word--it lets the listener have a second to take in what somebody’s saying, particularly if it’s complicated, and it lets you, the reader, breathe and stay aware of what you’re talking about.   Reading on the air is a ___________ process--it requires you to use your lungs and diaphragm, your vocal cords, and the resonance of your entire upper body.  Related to the physical delivery of reading a news story, this chapter says the greatest obstacle many people will face is ______.  What should you do a couple of times before you start to read a story?  The chapter says there’s a reason you don’t see opera singers sitting down when they perform and, in relation suggests you _______ or _________ when reading a script.  You should avoid what, to improve your delivery?  (as always be sure to read thoroughly and take notes throughout the reading)

REMINDER--
You must log in to Engrade NEXT week and do the quiz online over Chapter 10.  It is a timed quiz and it will be open Thursday afternoon through 5 pm Friday.  If it does not close on time and you take it late, the score will not count.

AND--see the syllabus about the reports that are due.



Week 12  (4/7-11)                    Read Chapter 10 

You must log in to Engrade this week and do the quiz online over Chapter 10.  It is a timed quiz and it will be open Thursday afternoon through 5 pm Friday.  If it does not close on time and you take it late, the score will not count.

Chapter 10:  Many public radio listeners aren’t getting their news from one of the flagship programs, like All Things Considered, but from ________.    According to NPR’s Office of Audience and Corporate Research, more than _________ (how many?) people tune into NPR newscasts each week.   While public radio reporters and editors make a big distinction between a short forty-five-second “spot” intended for the hourly newscast and a longer “piece” aimed at All Things Considered or one of the other programs, listeners hear them all as ____________.    Even on a slow news day, the AP and Reuters wires may turn out six or seven stories a minute--what are AP and Reuters?  The 'at least two different audiences every hour are made up of ________ and _________.  For three pages, the text lists factors that go into deciding what news to cover--be able to answer questions about those.  The chapters lists nine Public Radio Newscast Values and Principles--be ready to answer questions about those.  Composing a newscast, like most other broadcast news jobs, is a mixture of _____ and _______ .  What did their 'experiment' find when different NPR news people were given a list or stories and asked to decide how to compose a newscast from them?   Producer Rob Schaefer says that the goal of any lineup is to make a newscast ____________.    News "spots" for NPR News refer to ___________ .  Newscast producers are reminded, don’t let your news judgment be clouded by the availability of sound; make _______ decisions first, and _________ decisions second.  What is a stringer? Corey Flintoff calls it “_____________” when, just like a music show, a newscast has continuity--a beginning, a middle , and an end.
_______ refers to reading wire copy unedited on the air.  The two wire services noted in this book are ______ and _______ .  A good newsperson always verifies the facts in each story against a(n) _______ .  What are the reasons not to just copy text from wires and paste it into your scripts?  Craig Windham says don’t use excess baggage in your writing,” and that means writing in _____ sentences.  The cardinal rule for news writers is not just "keep it simple," but "make it _________."  Most newscasters agree that stories should be written in the ______ tense, especially when they deal with policies or opinions— things that remain in effect after they are articulated.
Also, look for ways to write spots and other copy in the _______ voice.  ETC>(continue to read thoroughly and take notes throughout the reading.)



Week 13  (4/14-18)                    Read Chapters 12 & 13

Thursday 5 pm -- group meeting in PAC 117.

Chapter 12:  As idea people, many of the reports and interviews that end up on the air began as suggestions from ________.   Art Silverman, who has been at NPR since 1978, says producers have to be tuned in to everything from _____ to _____.  After absorbing interesting and trivial things, and getting the sense that this one is right for people to hear, then the producer needs to think of a way to turn those brainstorms into ______.  Since All Things Considered went on the air in May of 1971, one of the defining qualities of NPR has been its _____ (what does that mean?) approach to the news.  As the PRPD puts it ______ is the fuel that drives our learning and pushes us to ask why, to dig deeper.  Since story ideas can come from anywhere and a good NPR producer has to be a generalist, successful producers _______, and on all sorts of subjects.  Beyond reading a lot of different materials, your ______ can lead to good stories.  Margaret Low Smith— who worked for many years as a producer at All Things Considered—describes the story-finding part of a producer’s job as “___________” all the time.  After giving many examples of story ideas drawn from an experiment, the chapter says after producers come up with ideas like these, the next step is to _________.  Producers should be prepared to defend their story ideas against _______.  Amog the things you should keep in mind before pitching a story to a reporter, editor, host, or program producer: (be ready to answer questions about each of the statements on the following pages).    A ______ of a story idea makes you feel something -- sad, disappointed or emotional, or makes you laugh.  Visitors to NPR are sometimes shocked to sit in on Morning Edition or another news magazine and discover that most of the interviews have been _____ (why is this done?).   Most public radio interviews will be _________, sometimes rather dramatically, before they go on the air.  What is required for a good interview? (questions about each of the points).  One of the ironies of editing interviews that your work will be noticed more if _____ than if ______.  (be ready to answer questions based on the pointers from veteran producers on how to edit interviews skillfully.)  Neva Grant says that in a way, a successful two-way is like a _______—one that ends just as one person steps out.  (be ready to answer questions about mixing reporter pieces.) Two kinds of music pieces are featured in most public radio news magazines: interviews produced with music taken from CDs, and _______, where the musician plays or sings in a studio.  (be ready to answer questions about producing music pieces.) ETC>(continue to read thoroughly and take notes throughout the reading.)
Chapter 13 (Production Ethics):  Responsible photo editors at American newspapers don’t purposely change photographs. But they do occasionally print one without realizing ________...AND, as a radio reporter, editor, or producer, you will have to deal with what kinds of analogous situations almost every day?  When a news story producer rearranges the order of questions in an interview, or even the order of sentences in an answer, s/he take these steps for what they consider to be production, not _______ reasons.  The fact that these things can be done— and digital audio editing makes it easier than ever to manipulate someone’s words— doesn’t always mean ____.
Since most of the interviews aired on Morning Edition and All Things Considered are pe-recorded then edited for broadcast time, typically about _____ percent of the raw interviews' questions and answers will have to be deleted before the interview airs. (Be ready to answer questions about the edited interviews used as examples.)  Why do some actualities need to be cut down?  Beyond editing that removes content, you can also cross onto shaky editorial ground if you keep all the sentences of an actuality intact , but change ____.  What is the sentiment among people in public radio regarding edits done by producers who do whatever they can to avoid ending a phrase on a rising inflection?  What are some other common production devices raise editorial questions?  What is a 'butt-cut'?  What does he describe as the kinds of issues that seem straightforward?  What is a tape-and-copy segment?  What does he describe as the simple solutions to deal with whether or not the listener undestands that the host wasn’t the author of the report they hear on air?
ETC>(read thoroughly and take notes throughout the reading.)



Week 14  (4/21-25)                    Read Chapters 14 & 15

Quiz over this week's reading will be available online--log in and take the quiz Thursday 4/24 between 5 and 8 pm only.

Chap. 14:  What represents the feeling of what it’s like to be a producer of one of the NPR news programs? What 'pieces of the puzzle' would be included in an NPR program?  Of these various pieces, _______ will usually begin the hour.   However complicated and frantic the process of putting the show together, the producer has to make sure the broadcast sounds ___________.  If producing a news program is like assembling a puzzle, ideally the end result— the “picture” it forms— should be __________.  How can a good radio show always be greater than the sum of its parts? Assembling a newscast with hard news at the top, a little softer news in the next segment, until wrapping up each hour with a 'kicker' feature is what Chapter 14 calls a(n) _______ approach.  How can you produce an NPR news show that appeals to “the whole person,” not just the news junkie?  Be able to answer individual questions about each of the tips that make sure your news program is more than a collection of discrete elements.  One of the first challenges a program producer has to face is _______.  What is a 'lead story?'  What is a 'billboard' as used in the text?  Just as there should be those “__________” inside each show that catch the listener’s ear, there ought to be individual programs that ________.   Since other media are now so readily available to the audience, program producers have to be ready at any point to replace their carefully planned programs with live, _______ if news breaks on their watch.  What is involved in going live?  When major news breaks, NPR and other broadcast networks may decide to label the programming “_________” and make it available to all stations.
ETC>(read thoroughly and take notes throughout the reading.)

Chap 15:    When does program editing take place?  What is involved?   Whatever is happening in the outside world, the ________ is at the nerve center of the program--a vital node on an editorial network that comprises the control room, studio, newsroom , production team— and the places where the news is actually being made.   Much of the news that’s on the air every day is dictated by events, making the news agenda is under whose control?   When news reporting exposes people to the same angles of the same topics on nearly all news media, like when a story appears first on the front page of a national newspaper; then is picked up by bloggers almost immediately; the next day it shows up on cable TV; a day later it's on the evening network news--is what Chapter 15 calls _____ news reporting.   Clustering related items in a show— letting people hear how two subjects or issues are linked, or covering a topic over several days, or even on different programs—is what is referred to as __________ for listeners.  Be ready to answer questions related to the types of common errors that can occur.  Be ready to answer questions related to the examples about how to 'massage the script.'  How are program editors involved in interviews?  What is involved with the 'editor as a manager'?
ETC>(read thoroughly and take notes throughout the reading.)


Some continuing issues with the Engrade quiz system -- this quiz will be open noon to 10 pm Friday.



Week 15  (4/28-5/2)                         Read Chapters 16 & 18

Thursday 5 pm -- group meeting in PAC 117.    Be on time--meeting begins with quiz over assigned reading--if you are late, you miss the quiz.    See the syllabus regarding content for the report due Friday.

Final semester project production due by meeting time.  Bring an MP3 file of the complete production and plan to play a 5 minute segment and tell the group about your production.

Shifts must be comepleted through final Friday shifts. 

Chap. 16:  ________ on NPR often top the list of the most-requested transcripts and most-emailed items, even though they take up a relatively small percentage of the airtime.  There is probably no part of our programming that stirs as much reaction as _______.  People writing and reading commentaries generally are not ______.  What kind of topics are included in commentaries?  Do commentaries have a place in 'news programming'?  If something is not an act of reporting or an informational interview, all commentaries, essays, two-ways and conversations offering analysis, opinion or criticism must be labeled as such, ________ (where?).   The first and most important step in finding topical commentaries is _______.   The point is made that when commentaries are aired that take a stand on a controversial subject, they must make it their practice ______.  How do you know what’s too hot for a single opinion?   How do broadcast commentaries differ from newspaper op eds?  What's wrong with a commentary from someone like a celebrity or politician?  What guidelne must be followed when you have a commentary from someone who is writing about his/her own life?  Whether you accept or reject a commentary, when you work with people who are not professional writers, you have to make sure they understand _______.  What does it mean 'sending in the piece on spec'?  Maeve McGoran notes in this chapter that a commentary will routinely go through ______ (how many?) edits and are about _______ (how long on air?).  McGoran says a common problem with commentaries is that people don’t have __________.  Sara Sarasohn gives what common tips to people about commentaries?  What has to be done and why in 'coaching commentators'?  A good intro for a news report often begins with the latest developments, but a topical commentary will frequently be paired with _____________.  What are are the tips for improving commentary intros?  Commentaries serve both ______ and ________ purposes.  How do commentaries make shows easier to produce? The first rule of commentaries, as of so many things, should be __________.  (read thoroughly and take notes throughout the reading.)


Chap. 18
When was NPR created?   The invention and proliferation of portable MP3 players— originally designed as devices for holding music—unexpectedly gave rise to what, that affects NPR's listenership?  What kind of work do radio journalists often have to do now because of the Internet?   What kind of editorial, production, and ethical questions do public radio journalists now face because of the Internet?  How does he say a radio network or individual station can distinguish itself from all the other online news sources? Be sure to study each of the suggestions about how NPR can distinguish itself in its online content related to its standard radio content: 'find new ways to use recorded audio,' 'provide text versions of the radio content,' and be sure to study the list of guidelines about podcasting.
etc. -> read thoroughly and take notes throughout the reading.