Chapter 3: Radio Programmes
On the evening of 30 October 1938, an American radio network broadcast a play adapted from H. G. Wells’s novel about an invasion from Mars. The director, Orson Welles, and his Mercury Theatre company chose to script much of the drama as a series of interrupted music programmes and urgent news bulletins, rather than as an obvious work of fiction. A dance orchestra would fade out; a grave voice would break in with a “special announcement.”
Many listeners tuned in after the opening announcement, which named the programme as a play. Hearing only the news-style interruptions that followed, a number of them believed a real event was unfolding, and alarmed calls reached police stations and newspaper offices across parts of the United States that night.
The broadcast is still studied today, not because radio can trick people, but because it shows how differently a listener responds to different scripts. The same voice, on the same frequency, produces panic when it borrows the form of a news bulletin, and produces enjoyment when it is heard as a story. Everything a radio programme is trying to do — inform, entertain, persuade, warn — is shaped by how its script is built.
This chapter will help you answer the questions below.
Diagram
Fig. 3.0-1 – a stylised 1930s valve radio set on a table, with a single sound wave line leaving the speaker grille and branching into several thinner lines labelled “news”, “drama”, “talk”, “music”, “jingle”; label the branching to show one medium producing many programme forms
3.1 Radio as a Medium of Mass Communication
Radio is a medium of mass communication that carries sound over long distances so that a large, scattered audience can receive the same message at the same time. It began reaching listeners in the early twentieth century, and in India it has remained in continuous use for close to a hundred years, long before television or the internet existed.
Radio works through the transmission of sound signals using electromagnetic waves. A studio converts sound into an electrical signal, which is carried through the air on a specific frequency and picked up by a receiver — an ordinary radio set, a car stereo, or a mobile phone app — and converted back into sound. No wire connects the studio to the listener; only the wave does.
Diagram
Fig. 3.1-1 – flow: sound in the studio → microphone → transmitter → electromagnetic wave carrying the signal through the air → receiver (radio set) → loudspeaker; label each stage and show the wave travelling outward from a transmission tower to several receivers in different locations
What makes radio a sound-only medium
Because radio has no picture, everything it communicates must be built out of voice, music, sound effects, and silence. This is why radio is sometimes called a sound-only medium — a form of communication that carries no visual information at all, so every idea, mood, and setting has to be suggested through what can be heard.
This limitation is also radio’s particular strength. Since the listener sees nothing, radio depends on the listener’s own imagination to fill in faces, places, and action. A well-written script uses this to its advantage, letting a few carefully chosen sounds do the work that a camera would otherwise do.
Radio’s adaptability
Despite the growth of television and digital platforms, radio has not become outdated. It has adjusted to each new technology instead of being replaced by it — moving from the large valve sets of the twentieth century to FM broadcasting, to car radios, to mobile phones and online streaming of the same programmes.
This adaptability matters because it keeps radio close to how people actually live. A listener does not need to sit down and give a screen their full attention; radio plays in the background of a commute, a kitchen, or a shop, asking only for the ear, not the eye. In a country as linguistically and geographically diverse as India, a medium that is accessible, affordable, and easy to receive even with simple equipment continues to matter a great deal — a point the next section develops through radio’s specific roles in Indian life.
3.2 Importance of Radio Programmes
Radio matters to a media student not simply because it is old, but because it continues to do several distinct jobs at once. The syllabus names five of these: radio informs, educates, entertains, advertises, and supports public safety and social awareness. A single programme often performs more than one of these roles together, but each is worth understanding on its own terms.
3.2.1 Informative Role
Radio’s informative role is its ability to keep listeners updated on current events through news bulletins, weather reports, traffic updates, and similar programming. Because a bulletin can be prepared and broadcast within minutes, radio often delivers news faster than a printed newspaper can.
This role becomes especially important in regions where other sources of information are limited. In many rural and remote parts of India, a household may not have reliable access to a newspaper, a television connection, or the internet, but a small battery-powered radio set still reaches them. Radio needs very little electricity and no complex equipment, so it continues to function even when other systems — power grids, mobile networks — are disrupted, which is precisely when accurate information matters most.
3.2.2 Educational Role
Radio’s educational role lies in spreading knowledge and awareness on subjects that improve everyday life — health and hygiene, farming methods, literacy, environmental protection, and social reform among them. Because programmes can be made in a region’s own spoken language rather than only in a script-based written form, they reach listeners who may not read easily.
Community-level educational broadcasting is one of radio’s most valuable applications in India. A local station addressing a specific district’s crops, water sources, or health concerns can speak directly to problems a national broadcaster would never mention, making learning something that happens through the radio at home rather than only inside a classroom.
3.2.3 Entertainment Role
Radio’s entertainment role covers everything it does purely to give listeners pleasure and relaxation — music, radio drama, storytelling, comedy, and similar programming. Because radio is a sound-only medium, this entertainment works by engaging the listener’s imagination rather than their eyes, which is part of why it can feel personal and involving in a way a screen sometimes does not.
3.2.4 Advertising Role
Radio’s advertising role is its use as a medium for promoting products, services, and brands through commercial announcements, sponsored segments, and jingles. Radio advertising is comparatively inexpensive to produce and broadcast, which makes it accessible even to small, local businesses that could not afford a television campaign.
Because listeners can be reached at particular times of day — while commuting, at a shop, or during a specific programme — an advertiser can target a message to the audience most likely to want it. Repetition, catchy sound, and a simple, memorable message are what make a radio advertisement work, since the listener usually hears it only in passing rather than giving it full attention.
3.3 Types of Radio Programmes
Every radio programme, whatever its purpose, is built from a script — a written plan that guides what will be spoken, played, or cued on air. A script is not always a word-for-word text; sometimes it is closer to a list of points a presenter must cover. What a script contains, and how tightly it controls what is said, changes from one type of radio programme to another, and that difference is what this section teaches.
The syllabus identifies ten forms that a radio programme regularly takes: news bulletins, talk shows, interviews, announcements, documentaries, radio drama, feature programmes, commentary, radio jingles, and music programmes. Each is examined below for what it is and, in particular, for how it is scripted.
3.3.1 News Bulletins
A news bulletin is a radio programme that presents brief, accurate, and up-to-date information about current events, broadcast at regular, fixed intervals. Its job is to inform the public quickly and reliably, not to entertain or persuade.
Script Characteristics of News Bulletins
A news bulletin script is written to be read aloud within a strict time limit, so nothing in it is wasted.
- Concise and fact-based: only the most significant, verified details of each story are included; there is no room for repetition or personal comment.
- Fixed structure: the script typically follows an opening, a set of headlines, the detailed news items, and a formal conclusion, in that order.
- Neutral and objective tone: the newsreader presents information without expressing opinion, emotion, or judgement, so the listener can form their own view.
- Simple, spoken language: sentences are short and clear, since the script must sound natural when read aloud rather than silently.
- Accuracy and verification: every fact, figure, and name is checked before broadcast, because a bulletin’s entire value depends on being trusted.
3.3.2 Talk Shows
A talk show is a radio programme built on conversation and interaction rather than formal narration, usually featuring a host in discussion with one or more guests. Talk shows cover subjects such as social issues, education, health, and everyday concerns, and their informal tone is what makes them easy for a listener to relate to.
Script Characteristics of Talk Shows
Unlike a news bulletin, a talk show script is not written word for word.
- Conversational, not word-for-word: the script provides an outline of topics and questions rather than fixed dialogue, so the host and guest can speak naturally.
- Segment-based structure: the programme is divided into planned sections — opening, guest introduction, discussion, audience interaction, and conclusion.
- Flexible and semi-scripted: the host can modify a question or change direction based on how the guest responds, while the outline keeps the discussion on track.
- Interactive elements built in: phone-in segments and listener messages are planned for in advance, even though what a caller says cannot be scripted.
3.3.3 Interviews
A radio interview is a planned and purposeful conversation between a presenter and a guest, conducted to gather information, opinions, or personal experience. It is used across public service and commercial radio to bring expert views and real stories to the listener.
Script Characteristics of Radio Interviews
An interview script functions as a planning tool rather than a fixed text, guiding the interviewer’s content, time, and tone without removing spontaneity.
- Guiding questions prepared in advance, built around key themes the interviewer wants the programme to cover.
- A clear structure — introduction, main discussion, and closing — that keeps the conversation easy for a listener to follow.
- Interactive design, since the interviewer listens actively and asks follow-up questions the original script could not have anticipated.
- Ethical framing of questions, especially on personal or sensitive subjects, so that the guest’s dignity is protected throughout.
Diagram
Fig. 3.3-1 – flow: theme and purpose selected → guest researched → guiding questions prepared → introduction on air → main interaction (planned questions) → follow-up questions (unplanned, responsive) → closing; label the point in the sequence where the script stops being fixed and becomes responsive to the guest’s answers
3.3.4 Radio Announcements
Radio announcements are short, purpose-driven audio messages, usually between fifteen and sixty seconds long, designed to deliver a clear message quickly. Their brief length and wide reach make them useful for both commercial promotion and public awareness.
Radio announcements are classified by intent into two kinds: commercial announcements, which promote a product, service, or brand, and Public Service Announcements (PSAs), non-commercial messages made in the public interest, usually by government bodies, institutions, or non-profit organisations.
Beyond this difference in intent, both kinds of announcement are scripted the same way: for a specific audience, within a fixed time slot, ending in a clear call to action, and reviewed for accuracy and ethical responsibility before broadcast. A commercial script is checked to avoid misleading claims about a product; a PSA script is checked for sensitivity, since it is often addressing a serious public concern.
3.3.5 Documentaries
A radio documentary is a non-fiction, long-form audio programme that explores a real-life subject in depth, combining narration, interviews, ambient sound, archival recordings, and music. Unlike a short news report, a documentary has the space to investigate a subject fully rather than simply announce it.
Script Characteristics of Radio Documentaries
- Clear narrative structure: an introduction sets the theme, a developed middle section explores it, and a conclusion reflects on its significance.
- Research-driven content: background information, historical context, and expert or lived viewpoints are woven in to give the subject a credible, comprehensive treatment.
- Storytelling technique: the script may follow an event, a place, or a person to give the factual material a narrative shape that keeps the listener engaged.
- Planned sound and voice: narration, interviews, ambient sound, and music are combined deliberately, always in support of the information rather than overpowering it.
- Objectivity and ethical responsibility: sensitive subjects are handled fairly, and the people who appear in a documentary are treated with respect.
3.3.6 Radio Drama
Radio drama is a fictional radio programme that tells a story entirely through spoken dialogue, sound effects, music, and silence, with no visuals of any kind. Because the listener cannot see anything, the script must do all the work a camera and a stage would otherwise do — establishing character, place, and action purely through sound.
Script Characteristics of Radio Drama
A radio drama script works as both a literary script, telling the story, and a production guide, instructing the studio on what to record.
- Fully scripted dialogue, since speech alone must carry character identity, action, mood, and movement.
- Structured plot progression — introduction, conflict, development, and resolution — revealed entirely through what the characters say and how they say it.
- Scene and setting established through sound, using dialogue cues, narration, and ambient noise to signal a change in time, place, or situation.
- Technical cues for sound and music, written directly into the script to guide the recording and mixing process.
- Guidance on voice performance and timing, so that pace, stress, and pauses land correctly within the broadcast duration.
Diagram
Fig. 3.3-2 – a radio drama script page layout; left column shows dialogue lines attributed to named characters in plain text; right column shows technical cues in capitals such as SFX: DOOR CREAKS OPEN and MUSIC: FADES UNDER; label how the two columns run in parallel, so a sound engineer and the performers read the same page differently
3.3.7 Feature Programmes
A radio feature is a creative, interpretative form of broadcast writing that combines factual accuracy with expressive storytelling. Unlike a news bulletin, which values immediacy above all else, a feature has the flexibility to explore a social reality, a cultural practice, or a personal experience in a reflective, unhurried way.
Script Characteristics of Feature Programmes
- In-depth research, woven into the script as background, context, and expert or lived viewpoints.
- A narrative style of writing, using sequencing, description, and personal accounts to make factual material engaging rather than dry.
- A structured yet flexible format — introduction, exploration, and a reflective conclusion — that still allows smooth movement between narration, interviews, and sound.
- Balanced, unhurried presentation, avoiding sensationalism and giving space to more than one point of view where the subject calls for it.
A feature and a documentary can sound similar, since both are non-fiction, research-based, and built from narration, interviews, and sound. The difference lies in scale and intent: a documentary usually investigates a subject as its central purpose, while a feature often uses a smaller, human-scale story — one family, one event, one voice — to open up a larger theme.
3.3.8 Commentary
Commentary is a radio programme that involves live or near-live verbal narration and interpretation of an ongoing event, delivered by a commentator who combines subject knowledge with the ability to describe what is happening as it happens. It is commonly used for sports broadcasts, public events, and discussions of current affairs.
Script Characteristics of Commentary
- Prepared content, spontaneous delivery: a commentator works from prior research, notes, and key statistics, which allows natural, responsive speech without loss of accuracy.
- An informed, interpretative viewpoint: the commentator’s opinions are grounded in knowledge and observation, not offered casually.
- A loose but real internal structure: introduction of the situation, ongoing analysis, and concluding observations, even when the language sounds spontaneous.
- Descriptive and analytical language together: description lets the listener picture the event; analysis explains what it means.
- Careful time awareness, since a live broadcast cannot be edited afterward the way a recorded script can.
3.3.9 Radio Jingles
A radio jingle is a short, music-based audio message, usually lasting between ten and thirty seconds, created to promote a brand, product, service, or social message. A jingle combines melody, rhythm, rhyme, and repetition to make a message stick in the listener’s memory almost without effort.
Like announcements, jingles fall into two kinds by purpose: commercial jingles, which promote a brand or product through catchy, energetic writing, and public service jingles, which promote social awareness through calmer, more trustworthy delivery.
Script Characteristics of Radio Jingles
- Extremely brief and impact-focused, with every word and musical beat planned to fit a fixed, very short time slot.
- Controlled repetition, so that a brand name, slogan, or core social message is heard more than once within the same short message.
- Built around melody and rhythm, chosen to be pleasant and easy to recall long after the broadcast ends.
- Simple, emotionally pitched language — cheerful and energetic for a commercial jingle, reassuring and calm for a public service jingle.
3.3.10 Music Programmes
A music programme is a radio format built around the selection, presentation, and interpretation of music, organised around a theme, a festival, listener requests, or a particular musical style. Beyond simply playing songs, a music programme combines curation — the deliberate selection and ordering of tracks — with narration, as the host introduces each track and speaks with listeners between songs.
Script Characteristics of Music Programmes
- Playlist-based planning: songs are selected and sequenced according to theme, mood, or time slot, with the script ensuring smooth movement between tracks.
- Short conversational links connecting songs through brief stories, reflections, or light commentary, rather than sustained scripted speech.
- Brief, relevant information about a song, artist, or cultural background, added without interrupting the music itself.
- Planned interaction, such as listener requests or dedications, built into the script even though the content of a listener’s message cannot be predicted.
A host who curates and presents a music programme is often called a radio jockey (RJ). The particular skills this role demands are examined in detail elsewhere in the syllabus; here, the point to note is simply that the script for a music programme is a guide for presentation, not a fixed text — its real content is the music itself.
Seen together, these ten forms show a single pattern: the more a programme depends on delivering exact, checkable information, the more tightly it is scripted; the more it depends on spontaneity, music, or performance, the more the script steps back and becomes a framework rather than a text to be read aloud.
3.4 Summary
Radio is a sound-only medium of mass communication, carrying electromagnetic waves from a transmitter to a receiver with no picture and no wire connecting the two. Because it has no visuals, it depends entirely on voice, music, sound effects, and silence, which is what makes a listener’s imagination such an active part of receiving it.
Radio has adapted across generations of technology — from early sets to FM broadcasting, mobile phones, and online streaming — while remaining accessible, affordable, and usable even where electricity and internet access are unreliable.
Radio’s importance rests on five roles named in the syllabus: it informs through news and updates; it educates on health, farming, and social issues; it entertains through music and drama; it advertises products and services cost-effectively; and it supports public safety and social awareness through warnings and civic messages during emergencies and beyond.
Every radio programme is guided by a script, but how tightly that script controls what is said differs by format. The syllabus identifies ten types, each defined by its purpose and its scripting approach:
- News bulletins — fully scripted, formal, and time-bound, delivering verified facts in a fixed structure with no personal opinion.
- Talk shows — outline-based and conversational, giving the host guiding questions rather than fixed dialogue.
- Interviews — semi-scripted around planned questions, with room for unplanned follow-up based on the guest’s answers.
- Radio announcements — very short, purpose-driven messages, split into commercial announcements (promoting a product) and Public Service Announcements (promoting public welfare).
- Documentaries — research-based, narrative non-fiction that investigates a real-life subject in depth.
- Radio drama — fully scripted fiction, told entirely through dialogue and sound cues, with no visuals at all.
- Feature programmes — flexible, narrative non-fiction that explores a theme through storytelling rather than immediate reporting.
- Commentary — prepared in content but spontaneous in delivery, describing and interpreting a live event in real time.
- Radio jingles — very short, rhythmic, and repetitive messages built around melody, used for both commercial and public service recall.
- Music programmes — playlist-based formats that combine curated songs with a host’s short conversational links.
Across all ten types, a single pattern holds: the more a programme depends on delivering exact, checkable information, the more tightly its script controls what is said; the more it depends on spontaneity, music, or performance, the more the script functions as a framework rather than a fixed text.
3.5 Key Terms
Advertising Role — radio’s function of promoting products, services, and brands through commercial announcements and jingles.
Commentary — a spoken radio programme that describes and interprets a live or recent event in real time.
Commercial Announcement — a short radio message designed to promote a product, service, or brand.
Commercial Jingle — a short musical radio message that promotes a brand or product through catchy, energetic writing.
Curation — the deliberate selection and ordering of songs or content for a programme.
Educational Role — radio’s function of spreading knowledge and awareness on subjects such as health, farming, and literacy.
Electromagnetic Waves — the invisible signals that carry a radio broadcast through the air from a transmitter to a receiver.
Entertainment Role — radio’s function of providing enjoyment and relaxation through music, drama, and storytelling.
Feature Programme — a non-fiction radio programme that explores a theme in depth through narrative, interpretative storytelling.
FM Broadcasting — a method of radio transmission that carries a clearer, higher-quality signal over a shorter range than earlier broadcasting methods.
Informative Role — radio’s function of keeping listeners updated on current events through news and similar programming.
Mass Communication — communication that carries the same message to a large, scattered audience at the same time.
Music Programme — a radio format built around a curated sequence of songs, linked by a host’s spoken commentary.
News Bulletin — a scheduled radio programme that delivers brief, verified, and objectively presented current events.
PSA (Public Service Announcement) — a short, non-commercial radio message made in the public interest, usually to inform, educate, or encourage responsible behaviour.
Public Safety and Social Awareness — radio’s function of protecting and informing the public as citizens, especially through emergency and civic messages.
Public Service Jingle — a short musical radio message that promotes social awareness through calm, trustworthy delivery.
Radio — a medium of mass communication that carries sound over long distances to a large, scattered audience.
Radio Announcement — a short, scripted audio message broadcast to communicate specific commercial or public-interest information.
Radio Broadcasting — the transmission of audio content over electromagnetic waves to a widely dispersed audience.
Radio Documentary — a research-based, factual radio programme that explores a real-life subject through narration, interviews, and sound.
Radio Drama — a fictional radio programme in which the entire story is communicated through sound alone, with no visuals.
Radio Interview — a structured but flexible conversation, scripted with guiding questions, in which an interviewer draws out information from a guest.
Radio Jingle — a short, musically structured message built around melody and repetition, used for advertising or public-interest recall.
RJ (Radio Jockey) — the host who presents and links content, especially music, on a radio programme.
Script — a written plan that guides what will be spoken, played, or cued on a radio broadcast.
Sound-only Medium — a form of communication that carries no visual information, relying entirely on voice, music, sound effects, and silence.
Talk Show — a conversational radio programme in which a host leads a discussion with guests and, often, the audience.
3.6 Points to Ponder
If a radio drama can be written to sound exactly like a news bulletin, does the responsibility for a listener’s confusion lie with the writer, the broadcaster, or the listener who did not hear the opening announcement?
A talk show script is deliberately left unfinished, so the host can respond to what a guest actually says. Does this make it less of a “script,” or a different kind of script altogether?
Radio can reach a listener with almost no equipment and no cost beyond the set itself. Does this make it a more democratic medium than television or the internet, or simply a cheaper one?
A commercial jingle and a public service jingle use the same scripting techniques — melody, rhyme, repetition — for very different purposes. Is it acceptable to sell a product with the same craft used to save a life?
A commentator is expected to offer opinion while an event is still unfolding. What separates an informed opinion, offered live, from an ordinary guess dressed up in a confident voice?
If a radio programme’s script becomes looser and more spontaneous as its purpose shifts from information to entertainment, what does that suggest about how much control a script actually needs to hold over what listeners come to trust?
3.7 Objective Questions
Which of the following radio programmes must be fully scripted, since it has no visuals at all to rely on?
- Talk show
- Radio drama
- Interview
- Commentary [1 mark]
A radio news bulletin script avoids emotional language primarily to:
- Fit the bulletin into a shorter time slot
- Maintain neutrality and credibility
- Make the newsreader’s task easier
- Encourage listener imagination [1 mark]
Assertion (A): A talk show script is not written word for word. Reason (R): A talk show is designed mainly to promote a product or service.
- Both A and R are true, and R explains A
- Both A and R are true, but R does not explain A
- A is true, R is false
- A is false, R is true [1 mark]
Assertion (A): Radio jingles make deliberate use of repetition. Reason (R): Repetition helps a brand name or a social message stay in the listener’s memory.
- Both A and R are true, and R explains A
- Both A and R are true, but R does not explain A
- A is true, R is false
- A is false, R is true [1 mark]
Match the radio programme in Column A with its defining script feature in Column B. | Column A | Column B | |—|—| | a. News Bulletin | i. Prepared content, spontaneous live delivery | | b. Radio Drama | ii. Fixed structure, neutral tone | | c. Commentary | iii. Playlist-based, conversational links | | d. Music Programme | iv. Fully scripted dialogue and sound cues | [1 mark]
A ______ is a short, non-commercial radio message made in the public interest, usually to inform or encourage responsible behaviour. [1 mark]
State whether the following is True or False: Commentary scripts are completely unscripted and entirely spontaneous. [1 mark]
Write the full form of the abbreviation PSA. [1 mark]
Write the full form of the abbreviation RJ. [1 mark]
Which radio format combines curation of songs with a host’s spoken commentary between tracks?
- Feature programme
- Documentary
- Music programme
- Commentary [1 mark]
3.8 Check Your Concepts
Define a radio jingle, and name one social message it could be written to promote. [2 marks]
State two script characteristics of a radio news bulletin. [2 marks]
Differentiate between a commercial announcement and a Public Service Announcement, with reference to their purpose and tone. [3 marks]
Explain briefly, with an example, why a radio documentary is described as a “research-based” programme. [3 marks]
Explain how the absence of visuals shapes the scripting of radio drama, using one scripting technique as an example. [4 marks]
Evaluate the claim that a talk show script is “just an outline.” Give reasons for your answer. [4 marks]
Describe, with examples, how the scripting approach of a radio programme changes as its purpose shifts from delivering information to providing entertainment. Refer to at least three types of radio programme in your answer. [6 marks]
“Radio remains relevant despite the growth of digital media.” Discuss this statement with reference to at least three of the roles of radio described in this chapter. [6 marks]
3.9 Analyse the Media Text
- Read the following radio message: “Don’t wait for tomorrow — our festive sale ends this weekend! Huge discounts on everything you love, only at your neighbourhood store. Hurry in before it’s gone!”
- Identify whether this is a commercial announcement or a Public Service Announcement, giving one reason for your answer.
- Name one scripting feature from this chapter that this message illustrates, and explain how. [4 marks]
- Read the following described opening of a radio drama scene: SFX: FOOTSTEPS ON GRAVEL, A DOG BARKING IN THE DISTANCE MEERA: Is anyone there? I thought I heard someone at the gate. SFX: GATE CREAKS, FOOTSTEPS STOP
- Identify two script elements used here that are unique to radio drama’s sound-only format.
- Explain, in your own words, what each sound cue tells the listener about the setting. [4 marks]
- Read the following described opening lines of a radio talk show: HOST: Welcome back to the show. Today we’re talking about exam stress with a school counsellor who works with students just like you. GUEST: Thank you for having me. It’s a subject I think doesn’t get discussed enough.
- Identify which part of the talk show’s segment-based structure this excerpt represents.
- Explain one way this script differs from how a news bulletin script would open. [4 marks]
3.10 Craft Practice
Write a twenty-second radio jingle, including its lyrics, for a public awareness message on a social issue of your choice (for example, water conservation or road safety). State the target audience for whom you have written it, and submit the written lyrics along with a one-line note on the tune or rhythm you imagine for it. [4 marks]
Write a radio news bulletin script covering three original news items, structured according to the fixed format taught in this chapter (opening, headlines, detailed items, conclusion). The bulletin should not exceed one minute of reading time. Submit the full script. [6 marks]
Draft the opening four lines of a radio drama scene of your choice, including at least two sound cues written in the correct script format. State the setting your scene is meant to establish, and submit the script. [4 marks]