University&of&California&at&Berkeley& Graduate&School&of&Journalism& Spring&2018& J)275&Intro&to&Radio&(4)& Thursday&9:30am&to&12:30pm,&Room&209,&“The&Greenhouse”&(subject&to&change)& Instructor:&Ben&Manilla,&&415.235.8491,[email protected]& Office&Hours:&Wed&and&Thurs&1)4pm&Room&B41F& Fellow: Cat Schuknecht, 415.913.0474, [email protected]
& Radio&news&in&America&today&is&one&of&the&gold&standards&for&journalism.&&NPR,&and& non)commercial&radio&in&general,&have&set&a&high&bar&for&journalistic&excellence.&&At& the&same&time,&commercial&news&radio&continues&to&be&a&vital&part&of&people’s&lives& across&the&country.& & As&a&working&producer/journalist&with&an&on)going&career&that&stretches&over&thirty& years,&I&draw&upon&my&experiences&and&contacts&to&bring&the&real)life&world&of&radio& and&podcasting&to&our&students.& & The&skills&acquired&in&this&course&–&while&wrapped&around&radio&broadcasting&–&are& transferable&to&many&other&media&including&podcasting,&audio&slide&shows,& animation,&television&and&any&medium&which&uses&audio.& & J)275&is&designed&as&solid&training&for&all&the&basics&needed&to&become&a&professional& audio&reporter,&producer&and&story)teller.&&By&the&end&of&the&semester,&every&student& is&able&to&write&and&announce&a&newscast,&to&conduct&interviews&in&the&field,&to& produce&broadcast)ready&features&of&the&highest&caliber,&to&use&sound&powerfully&in& moving&a&story&forward,&to&create&an&on)air&persona,&and&to&appreciate&the& possibilities&of&creative&audio.& & At&its&core,&the&class&revolves&around&a&weekly&live&broadcast&that&the&students&write,& host&and&produce.&&The&show,&North&Gate&Radio&(NGR),&is&an&award)winning&program& broadcast&live&on&the&campus&station,&KALX.&& & In&the&past,&many&student&features&produced&for&the&program&have&been&broadcast& by&stations&around&the&country.&&In&addition,&we&work&with&representatives&from& KALW&radio&and&KQED&radio,&leaders&in&the&public&radio&space,&to&find&a&larger& audience&for&quality&student&work.& ! The&course&follows&three&distinct&streams.& & & 1.&&Editorial:&reporting,&interviewing,&and&writing&for&audio& & 2.&&Performance:&reading©&and&directing&others&to&do&so& & 3.&&Technical:&using&remote&and&studio&gear&and&a&Digital&Audio&Workstation& &
Manilla&–&J)275&pg.&1& Every&class&session&touches&on&these&three&aspects&of&audio&journalism;&some& sessions&concentrate&on&one&aspect&more&than&the&others.& & Twice&in&the&semester,&national&talent&coach,&Marilyn&Pittman,&works&with&the& students&individually&and&collectively&to&fine)tune&their&performance&skills.&&Twice& during&class&sessions,&the&Fellow&works&with&the&students&to&perfect&their&digital& editing&and&mixing&skills.&&The&Fellow&is&also&available&throughout&the&semester&to& support&audio&production.& & As&part&of&the&curriculum,&guest&speakers&join&the&class&to&help&demonstrate&the& editorial&fine&points,&to&help&students&with&their&pitches,&and&to&describe&careers&in& audio.&&In&the&past,&guests&have&included:& & Tamara&Keith,&NPR,&Political&Reporter&(J)School&Graduate);&Daniel&Zwerdling,&NPR,& Investigative&Reporter;&Roman&Mars,&Producer,&99%&Invisible;&Davia&Nelson&and& Nikki&Silva,&The&Kitchen&Sisters;&Ed&Cavagnero,&KCBS)AM&&&FM,&Program& Director/News&Director;&Mike&Sugerman,&KCBS)AM&&&FM&and&TV,&Feature&Reporter;& Teresa&Chin,&Producer,&Youth&Radio&(J)School&Graduate);&Caitlin&Esch,&Producer,& Marketplace&(J)School&Graduate);&Victoria&Mauleon,&KQED)FM,&Producer,&The& California&Report&(J)School&Graduate);&Matt&Martin,&KALW)FM,&General&Manager;& April&Dembosky,&KQED&Health&Reporter&(J)School&Graduate);&Anna&Sussman,& Producer,&Snap&Judgment&(J)School&Graduate);&Mia&Lobel,&Freelance&Café,&Founder;& and&Joshua&Johnson,&host&of&the&NPR&program&A1,&etc.& & Every&semester&these&professional&appearances&are&customized&to&student& preferences&and&guest&availability.&&In&addition,&there&are&non)mandatory&field&trips& to&working&radio&stations&to&see&news&and&production&teams&in&action.&&These&field& trips&have&included&KQED&(NPR&Information&radio&at&88.5FM),&KGO&(NewsTalk&at& 810AM),&and&KCBS&(NewsTalk&at&740AM/106.9FM.)& & Beyond&the&three&main&educational&streams,&the&course&illustrates&the&nuts&and&bolts& of&being&a&working&audio&journalist,&including&detailed&discussion&on&the¤t& state&of&the&business&of&broadcasting.& & J#275!does!not!subscribe!to!"Berkeley!time."!!Class!begins!promptly!at!9:30am.&& There&will&be&a&mid)term&consisting&of&a&fully)produced&and&broadcast)ready&four) minute&feature.& & Each&semester&all&students&produce&3)&4&feature&length&pieces&and&will&be&expected& to&enhance&those&audio&pieces&with&further&content:&bonus&audio,&still&photographs,& video,&research,&and&related&materials&for&the&radio&program's&companion&website.&& & There&is&an&audio&“wiki”&designed&as&the&go)to&spot&any&time&there&are&immediate& issues&that&need&answers.&&The&wiki&provides&basic&contact&information&for&all& involved,&guides&to&the&many&facets&of&the&course&requirements,&and&real)life&tips&on& story&structure&and&technical&issues.&
Manilla&–&J)275&pg.&2& Students&will&be&graded&according&to&the&following&formula:& & & Mid)term&=&20%& & Class&participation/teamwork&=&20%& & Web&extras&=&20%& & Produced&pieces&=&40%& & Unapproved!absences!will!lead!to!a!lower!grade.! ! It!is!not!permissible!to!drop!this!class!after!Week!Three.! & & WEEK!ONE! ! As&an&introduction,&each&student,&the&Fellow,&and&the&Instructor&stand&in&front&of&the& entire&class&and&detail&their&favorite&radio&programs&or&podcasts&as&well&as&their& expectations&for&the&course.&&Beyond&having&each&participant&introduce&themselves,& this&exercise&prepares&the&students&for&working&in&a&"presentational"&medium.&&& & Next,&we&outline&the&flow&of&the&semester&and&address&the&expectations&of&both& students&and&Instructor.& & We&discuss&the&basics&of&how&waves&transmit&sound.&&We&illustrate&the&power&of&the& spoken&word&with&a&classic&radio&skit&from&Stan&Freberg.&&We&hear&two&versions&of& the&same&news&story&)&one&from&NPR's&All&Things&Considered;&the&other&from&APM's& Marketplace.&&We&dissect&the&two&reports&and&learn&some&basic&distinctions&such&as& track&(announcer©),&act&(actuality&or&interview&clip),&ambiance&(the&sound&of&a& place)&and&characteristic&sounds&(the&sounds&unique&to&a&particular&place.)&&These& core&distinctions&are&absolutely&necessary&to&speak&the&language&of&21st¢ury& audio&story)telling.& & We&hand&out&the&field&equipment&and&explain&how&to&set&it&up&and&operate&it& properly.&&This&includes&recording&procedures,&monitoring&tips&andµphone& placement.&& & We&demonstrate&the&distinction&between&mono&and&stereo&and&point&out&how&that& impacts&the&work&they&are&about&to&undertake.& & Homework:! Assigned&recording:&from&Class&1&through&Class&5,&students&have&a®ular& assignment&of&recording&thirty&seconds&of&their&own&announcing&–&the©&can&be& from&a&book,&article,&cereal&box,&whatever.&&Those&recordings&are&sent&to&a&fellow& student&for&feedback.&&That&student&then&chooses&one&of&the&recordings&to&play&in& class&the&following&week.& &
Manilla&–&J)275&pg.&3& Assigned&writing:&each&student&selects&three&source&stories&and&re)writes&each&one& into&a&thirty)second&news&story.&&The&scripts&are&due&two&days&before&class.&&The& Instructor&edits&each&story&via&email.&&The&final&edits&are&read&aloud&in&class.& & Assigned&listening:&each&student&listens&to&top)of)the)hour&morning&newscasts&from& the&BBC,&CBS,&and&NPR&networks.& & & WEEK!TWO! & Each&student&plays&back&the&chosen&audio&homework&and&then&reads&aloud&one&of& their&thirty)second&news&stories.&&We&critique&the&delivery&and&the&writing.&&In& addition&to&the&Instructor&and&Fellow&giving&feedback,&we&encourage&the&start&of& team)building&and&editor)training&by&having&the&students&critique&one&another.& & We&then&listen&to&various&top)of)the)hour&newscasts&to&illustrate&story&selection,& editorial&focus,&pacing,&delivery,&etc.&&The&exercise&is&also&used&to&reinforce& distinctions&such&as&track,&act,&and&anchor&lede&(story&introduction.)& & Homework:! Assigned&recording:&Each&student&is&assigned&a&new&partner&and&then&records&five& new&examples&of&their&voice&work.& ! Assigned&writing:&each&student&must&write&three&new&thirty)second&self)contained& news&stories.&&& & Assigned&listening:&the&class&chooses&one&podcast&or&radio&show&to&listen&to.& & & WEEK!THREE! ! Each&student&plays&back&the&selected&audio&homework&and&then&reads&aloud&one&of& their&thirty)second&news&stories.&&We&critique&the&delivery&and&the&writing.&&! ! Much&of&this&session&is&focused&on&the&technology&used&to&tell&audio&stories.& & This&class&revolves&around&the&specific&skills&needed&to&gather&audio&in&the&field,& transfer&it&to&a&computer&and&then&manipulate&the&audio.&& & The&Fellow&will&work&collectively&and&individually&with&all&the&students&to&ensure&the& basic&skills&of&the&Digital&Audio&Workstation,&Audition,&are&absorbed.& & Homework:! !
Manilla&–&J)275&pg.&4& Assigned&recording:&each&student&must&create&a&sixty)second&piece&of&audio&story) telling&)&a&profile&of&a&person&at&work.&&The&assignment&is&to&interview&someone&for& five&minutes&about&their&job.&&& & Students&do¬&include&their&own&voices&in&the&final&piece.&&& & This&helps&them&elicit&complete&thoughts&from&interview&subjects.&&The&final& assignment&must&include&ambi&and&characteristic&sounds&interspersed&with&the& interview&to&tell&a&story&with&a&beginning,&middle&and&end.&&This&assignment&presses& students&to&be&able&to&use&field&equipment&to&gather&sound;&to&transfer&that&audio&to& a&computer;&and&ultimately&to&edit&and&assemble&an&audio&story&using&Audition.& & Assigned&recording:&Each&student&is&assigned&a&new&partner&and&then&records&five& new&examples&of&their&voice&work.& & Assigned&writing:&three&more&news&stories.& The&constant&re)writing&of&news&stories&for&radio&prepares&the&students&for&the&live& five&minute&newscasts&that&are&an&integral&part&of&the&NGR&radio&show.&&In&just&a&few& weeks,&a&team&of&students&will&need&to&come&in&on&Thursday&morning&at&6am&to&write& a&newscast&that&will&air&at&9am.& & & WEEK!FOUR! ! We&start&by&listening&back&to&the&produced&sixty)second&assignments.&&We&discuss& challenges&the&students&had&in&lining&up&interviews,&challenges&faced&in&getting&good& recordings,&and&the&challenges&of&mixing&audio.&&More&time&is&spent&on&the&art&of& story)telling.&& & Each&student&plays&back&the&selected&audio&homework&and&then&reads&aloud&one&of& their&thirty)second&news&stories.&&We&critique&the&delivery&and&the&writing.&&! & The&Fellow&returns&to&refine&the&students'&skills&with&the&Digital&Audio&Workstation.&& We&discuss&how&to&use&music&and&best&practices&in&prepping&their&sessions&for& professional&presentation.& & Time&is&spent&on&the&tricks&of&editing&interviews.&&We&also&discuss&theðical& implications&of&editing&interviews.&&& ! At&this&point&the&focus&turns&to&the&NGR&radio&shows&that&begin&Week&Eight.&&We&go& over&the&show&clock&and&the&internal&elements&and&begin&preparing&for&the&mid)term& that&takes&place&on&Week&Seven.&&We&speak&at&length&about&the&responsibilities&of& each&participant.& & Emphasis&is&placed&on&the&concept&of&the&"show&script"&)&the&continuity&read&by&the& show&anchors&and&written&by&the&show&producer.&&We&discuss&what&goes&into&each&
Manilla&–&J)275&pg.&5& week’s&show&script&and&the&vital&part&it&plays&in&the&overall&program.&&We&describe& the&different&approaches&to&the&script&and&ways&the&anchors&can&make&the&scripts& come&alive.& & We&go&over&possible&topics&for&each&of&the&mid)term&projects&(a&four)minute&radio& feature.)&&We&discuss&the&two&guiding&principles&for&radio&stories:&What!is!your! story?&&and&Why!should!anyone!care?&&These&core&questions&need&to&be&answered& succinctly&and&powerfully&for&every&radio&piece&produced&and&every&story&written.& & We&use&the&George&Carlin&routine,&"The&Seven&Words&You&Can&Never&Say&on& Television,"&to&spark&a&discussion&of&what&can&and&can¬&be&said&on&broadcast& radio.&&We&create&the&distinction&"person&in&the&public&eye."&&We&track&Supreme&Court& decisions&and&fines.&&We&discuss&NPR’s&broadcast&guide&to&indecency.& & This&session&of&class&is&pivotal.&&Students&are&beginning&to&get&a&sense&of&what&they& sound&like.&&They&are&beginning&to&gain&mastery&of&Audition&and&they&are&starting&to& think&about&what&makes&good&audio&storytelling.& & The&final&half&of&the&class&moves&downstairs&to&the&studios&and&control&room&of&the&J) School&radio&lab.&&The&instructor&and&Fellow&lead&a&training&session&to&cover&the& workings&of&the&mixing&console.&&We&follow&the&audio&path&to&help&students&grasp&the& basics&of&a&mixing&board.&&Beyond&that,&students&learn&how&to&set&up&and&conduct&a& telephone&interview,&how&to&record&their&script&narrations&and&how&to&use&the&ISDN& (remote&studio)&recording&system.& & Homework:! We&provide&a&script&and&an&interview&for&a&simple&"Acts&and&Tracks"&feature.&& Students&must&read&the&Tracks,&edit&the&Acts,&and&mix&the&elements&to&conform&to&the& script.&&In&addition&to&providing&a&basic&structure&for&the&students,&it&teaches&them& about&script&formatting&and&gives&them&practice&in&voice&editing.& & Assigned&recording:&Each&student&is&assigned&a&new&partner&and&then&records&five& new&examples&of&their&voice&work.& & Assigned&writing:&Students&must&submit&a&pitch&for&their&mid)term&project.&&Pitch& must&include&potential&interview&subjects&and&potential&audio&available.&&What! makes!this!a!RADIO!story?&&The&pitch&needs&to&also&address&why&anyone&should& care&about&the&story.&&All&students&must&have&their&pitch&accepted&by&the&Instructor& before&beginning&production.&&& & & & & WEEK!FIVE! !
Manilla&–&J)275&pg.&6& Each&student&plays&back&the&selected&audio&homework.&&We&critique&the&delivery&and& the&writing.&&! & Next,&we&begin&discussing&the&structure&of&their&upcoming&broadcasts.&&We&show& students&the&importance&of&the&"broadcast&clock"&and&break&down&the&program&into& its&various&parts&by&creating&a&clock&for&their&program,&North&Gate&Radio&(NGR).& & Each&episode&of&the&radio&program&can&be&unique,&but&the&standard&run&down&(clock)& is&as&follows:& & )Sixty&second&pre)produced&Billboard&(this&provides&highlights&of&the&&&&&& upcoming&show&and&serves&as&a&'tease'&of&what&is&to&come.)& )Five&minute&live&newscast&with&two&anchors.& )Program&introduction&and&anchor&lede&for&first&piece.& )Produced&Piece& )Interstitial&dialogue&from&anchors.&&Anchor&lede.& )Produced&Piece& )Interstitial&dialogue&from&anchors.&&Anchor&lede.& )Produced&Piece& )Interstitial&dialogue&from&anchors.&&Anchor&lede.& )Produced&Piece& )Interstitial&dialogue&from&anchors.&&Anchor&lede.& )Produced&Piece& )Credits& & Each&episode&of&NGR&is&half&an&hour&long.&&Each&episode&has&a&Producer,&an&Assistant& Producer,&two&anchors&and&five&reporters.&&The&students&alternate&those&roles&each& week.&&At&this&time,&we&begin&to&delineate&the&authorities&and&responsibilities&of&each& role.&& & PRODUCER:& Coordinate&episode& Edit/manage&reporters& Write&continuity&& Overall&responsibility&for&the&broadcast& & ASST.&PRODUCER:& Record&broadcast&& Webmaster& Coffee&and&pastries!& & HOST& Write&newscasts&& Present&program& & REPORTER&
Manilla&–&J)275&pg.&7& Report&and&produce&pieces&& Schedule&and&record&one)on)one&interviews& & FELLOW:& & Engineer&broadcast& & Assist&with&pre)production& & Initial&script&edits& & During&the&final&half&of&class,&we&are&joined&by&Marilyn&Pittman&who&offers&a&crash& course&in&announcing.&&The&students&use&the&30)second&stories&that&have&written& (edited&by&the&Instructor)&as&their©.&&& & Each&student&works&individually&with&Ms&Pittman&by&standing&in&front&of&class&and& reading&one&story&into&aµphone.&&Students&witness&how&Ms.&Pittman's&coaching& affects&their&own&performance&and&the&performance&of&others.&&Students&generally& hear&a&dramatic&change&in&the&way&they&themselves&can&deliver©.&&Each& individual&coaching&session&is&recorded&and&made&available&to&the&students&so&they& can&listen&back&to&the&specific&coaching&they&received.&&The&students&are&encouraged& to&listen&to&these&recordings&before&they&go&into&a&studio&to&record&new&voice&tracks.& & Homework:! & Assigned&listening:&everyone&listens&to&the&same&episode&of&NGR&from&a&previous& semester.& & Assigned&listening:&Instructor&provides&a&link&to&a&lecture&given&by&Ira&Glass&(This& American&Life)&about&how&to&tell&compelling&stories&on&the&radio.& & Assigned&reporting:&students&begin&gathering&audio&for&their&mid)terms.& & & ! WEEK!SIX! ! The&Instructor&and&Fellow&critique&student&pitches&for&their&mid)terms.&& & We&then&fashion&a&Production&Schedule&that&lists&each&student&and&the&stories&they& are&working&on.&&This&Production&Schedule&becomes&the&basis&of&all&the&radio& programs&to&come.&&We&will&be&constantly&refining&and&updating&this&schedule&as&the& semester&progresses.& & The&guts&of&classroom&work&in&Week&Six&is¢ered&around&the&mid)term&pieces&that& are&due&the&following&week.&&Typically,&several&students&will&have&already&begun& production&of&their&pieces,&in&which&case&the&Instructor&works&with&the&student&to&go& over&the&Audition&session&with&the&class&watching.&&& &
Manilla&–&J)275&pg.&8& We&fine)tune&the&mid)term&projects&and&work&to&make&sure&students&understand&the& expected&challenges&unique&to&each&story.&&We&also&make&sure&the&students&prepare& for&balanced&coverage&of&any&potentially&controversial&topic&so&that&multiple&points& of&view&can&be&illuminated.& & We&review&the&Ira&Glass&lecture&in&detail&and&discuss&how&audio&stories&are&told&and& how&to&construct&a&story&with&a&beginning,&middle&and&end.&&& & We&also&stress&the&importance&of&the&anchor&lede&and&the&web&extras.&&The&anchor& lede&to&a&produced&piece&is&written&by&the&reporter&who&produced&the&piece.&&The& lede&is&read&by&the&announcers&and&provides&the&listener&a&context&for&the&pre) produced&feature.&&The&lede&prepares&the&listener&for&the&experience&they&are&about& to&have&and&helps&pique&listener&interest&in&the&story.&&& & We&go&over&the&web&extras&due&with&each&final&piece.&&Web&extras&are&links,&photos,& extra&interview&audio,&etc.&that&get&added&to&the&website&to&enhance&the&storytelling& for&web&visitors.&&In&the&real&world&of&21st¢ury&radio,&these&web&extras&are&a& necessary&adjunct&to&any&audio&story.& & We&also&go&over&the&workings&of&the&Word&Press&website&we&are&using.&&Each&student& will&act&as&Assistant&Producer&at&least&once.&&The&AP&is&responsible&for&updating&the& website.&&This&includes&uploading&the&web&extras,&the&individual&show&elements,&and& the&entire&NGR&show&to&the&website.& & & A!NOTE!ABOUT!SCRIPTS:&Any&and&all&scripts&must&be&edited&by&the&Instructor& before&any&story&scripts&or&show&scripts&are&broadcast.&&We&work&hard&to&have&each& script&go&through&three&rounds&of&editing&prior&to&recording.&&This&is¬&always& possible,&given&the&nature&of&news&stories.&&Nevertheless,&each&script&must&be& reviewed&at&least&twice&by&the&Instructor&prior&to&air.&&Often,&the&first&edit&is& conducted&by&the&Fellow.&&& & Often&in&Week&Six,&we&bring&a&guest&to&class.&&That&guest&is&invariably&an&audio& professional.&&The&guest&interacts&with&the&students&in&a&variety&of&ways,&but&the&core& mission&is&for&her&to&impart&her&expertise&to&the&students&and&offer&them&advice&and& counsel&on&careers&in&radio.&&Many×,&the&guest&also&provides&input&into&the& Production&schedule&to&suggest&connections&between&stories&or&suggest&possible& interview&subjects&or&story&angles.& & & Homework:! Complete&the&reporting&for&the&mid)term&production.&&Work&with&the&Instructor&to& flesh&out&three&iterations&of&the&script.&&Gather&all&the&audio.&&Record&the&voice&tracks.&& Edit&all&the&Acts&and&Tracks.&&Assemble&and&mix&the&four)minute&piece.&&& & &
Manilla&–&J)275&pg.&9& WEEK!SEVEN! & We&listen&back&to&the&students'&mid)term&projects.&&We&go&over&each&piece& individually.&&First,&we&have&a&student&read&the&anchor&lede&to&his&piece.&&Then&we& listen&back&to&the&piece.&&& & Then,&we&ask&for&feedback&from&the&reporter.&&& & The&experience&of&listening&to&a&piece&with&an&audience&(including&your&teacher)&is&a& different&experience&than&listening&to&it&by&yourself.&&Many×,&students&hear&the& piece&for&"the&first&time."&& & Constructive&comments&from&the&other&class&members&follow&before&the&Instructor& offers&his&evaluation&and&criticism.&&This&structure&will&be&followed&from&this&point& forward&throughout&the&semester.&&It&encourages&students&to&develop&a&critical&ear,& to&accept&criticism&and&to&offer&criticism&in&a&constructive&manner.& & After¬es&are&given&to&each&student,&we&turn&to&the&broadcasts&that&will&begin&next& week.& & At&this&point&the&individual&show&Producer&becomes&the&point&person&for&each& episode.&&The&student&Producer&must&organize&the&team,&direct&the&talent&and&be& responsible&for&the&final&broadcast&and&web&upload.&&The&Production&Schedule&is& constructed&so&the&Assistant&Producer&becomes&the&Producer&the&following&week.& & The&final&third&of&the&class&is&spent&at&KALX&radio,&the&Berkeley&campus&station.&&The& class&meets&with&Station&Manager,&Sandra&Wasson.&&She&trains&the&students&in&the& rules&of&the&station.&&We&discuss&slander,&libel,&obscenity&and&blasphemy.&&We&make&it& clear&that&we&must&honor&our&licensee,&the&University&of&California,&and¬&do& anything&to&jeopardize&the&station’s&license.&&Ms.&Wasson&takes&the&students&through& the&news&studio&and&the&music&library&and&emphasizes&the&station's&protocol.& & & Homework:! ! Based&on&classroom&feedback,&tweak&the&mid)term&pieces&for&final&broadcast.&&Do&the& reporting&necessary&for&the&next&produced&piece.&&Write&a&script&for&the&next&piece.& & The&four&members&selected&to&be&involved&in&the&first&broadcast&must&also&begin&to& prepare&for&the&live&show.& & & & WEEKS!EIGHT!THROUGH!FIFTEEN! !
Manilla&–&J)275&pg.&10& The&class&produces&eight&episodes&of&North&Gate&Radio.&&The&first&episode&airs&Week& Eight;&the&final&broadcast&is&Week&Fifteen.&&From&this&point&on&each&week&between& classes&has&a®ular®imen.& & Here&is&the&typical&production&timeline&for&an&individual&episode:& & SUNDAY& 5PM:&PIECE&SCRIPT&DUE&TO&PRODUCER/ENGINEER& &&&&&&&&&WEB©&&&EXTRAS&DUE&ASST&PRODUCER&& & MONDAY& 5PM:&INITIAL&SHOW&SCRIPT&DUE&TO&ENGINEER/INSTRUCTOR& & TUESDAY& 12N:&CLIPS&AND&LEDES&DUE&TO&PRODUCER&& & 5PM:&SEMI)FINAL&SHOW&SCRIPT&DUE&ENGINEER&AND&INSTRUCTOR& & WEDNESDAY& 12N:&&FINAL&PIECE&MIX&AIFF&DUE&PRODUCER&& &&&&&&&&&FINAL&PIECE&MIX&MP3&DUE&ASST&PRODUCER&& &&&&&&&&& 6PM:&PRODUCTION&OF&BILLBOARD& &&&&&&&&&FINAL&ORDERING&OF&PIECES& &&&&&&&&&CREATION&OF&BROADCAST&ELEMENT&CD(S)& &&&&&&&&&REHEARSAL& &&&&&&&&&SHOW&SCRIPT&REVISIONS&& & THURSDAY& 6AM:&HOSTS&BEGIN&WRITING&NEWCASTS&& &&&&&&&&&PRODUCER/ASST&PRODUCER&EDIT&NEWSCASTS&AND&SHOW&CD(S)& & 8AM:&PRODUCER&DIRECTS&CAST&REHEARSAL&& & 8:30AM:&ARRIVE&AT&KALX/INFORM&ON)AIR&DJ&& & 9AM:&BROADCAST&BEGINS&& &&&&&&&&&ASST&PRODUCER&RECORDS&SHOW&& & 12PM:&ASST&PRODUCER&UPLOADS&AUDIO&TO&WEB&& & The&above×&are&"no&later&than."&&Sometimes,&given&students'&schedules,&the& rehearsals&occur&at&a&different&time.&&Sometimes,&given&a&late)breaking&story,&a&pre) produced&piece&is¬&finalized&until&the&last&minute.& &
Manilla&–&J)275&pg.&11& The&Instructor&arrives&Thursday&morning&at&8:45am&to&the&classroom.&&All&students& not&a&part&of&the&day's&broadcast&team&are&invited&to&the&classroom&to&listen&to&the& program&live&on&the&air.& & The&broadcast&runs&from&9am&to&9:30am.& & All&students&assemble&at&9:30am&in&the&Greenhouse.&&The&recording&of&the&day's& show&is&played&back&and&feedback&is&offered&by&all.& & Then&we&discuss&the&next&three&episodes&of&the&show.&&The&Producer&quizzes&each& reporter&on&the&status&of&their&piece&and&we&discuss&editorial&approaches&and& possible&interviews.&&The&Production&Schedule&gets&updated&as&the&stories&unfold.& & After&the&fourth&or&fifth&episode,&the&Instructor&introduces&a&game&first&played&at&NPR& called&"Sound&Bingo."&&It&is&a®ular&Bingo&game,&except&instead&of&numbers&each& square&contains&possible&audio&elements&(vox)pop,&the&sound&of&weather,&a&child's& voice,&the&description&of&a&smell,&etc.)&&This&game&adds&a&level&of&fun&to&the&program& post)mortem.&&If&the&students&hit&Bingo,&the&Instructor&brings&in&pastries&for&the&next& class&meeting.& & During&the&final&eight&weeks&of&the&semester,&the&first&two&hours&of&class&follow&the& above&routine&for&each&meeting.& & In&the&third&hour,&a&guest&often&joins&the&class.&&Some&of&the&other&past&guests&are& enumerated&on&page&2&of&the&syllabus.&&And&Marilyn&Pittman&returns&to&class&in&week& 12&to&offer&up)dates&pointers&and&coaching&for&voice.& & In&addition,&one&class&meeting&is&dedicated&to&the&"business"&of&broadcasting&&The& Instructor&follows&the&finances&through&the&chain&of&commercial&and&non) commercial&broadcasting&as&well&as&Podcasting.&&This&illustrates&the&financial& underpinnings&of&the&similar,&yet&different&strains&of&the&audio&story)telling&industry.&& In&this&class&we&talk&about&ratings,&funding,&and&the&varied&career&opportunities.& & Another&class&meeting&is&dedicated&to&the&ins&and&outs&of&freelance&work.&&We&discuss& tax&consequences,&record&keeping,&pitching&protocol,&etc.&&The&Instructor&shares& actual&contracts&and&agreements&with&program&distributors&and&stations.&&& & Reading&assignments&are&assigned&throughout&the&semester.&Selections&are& customized&to&the&topic&at&hand.&&The&reading&list:& & Jessica&Abel&(2015),&Out&on&the&Wire,&Broadway&Books.& & Jonathan&Kern&(2008),&Sound&Reporting:&The&NPR&Guide&to&Audio&Journalism&and& Production,&The&University&of&Chicago&Press.& &
Manilla&–&J)275&pg.&12& John&Biewen,&Alexa&Dilworth&(2010),&Reality&Radio:&Telling&True&Stories&in&Sound,&The& University&of&North&Carolina&Press,&Chapel&Hill.& & Brad&Kalbfield&(2001),&Broadcast&News&Handbook:&A&Manual&of&Techniques&and& Practices,&McGraw)Hill.& & Marvin&Mencher&(2011),&News&Reporting&and&Writing,&McGraw)Hill.& & Tim&Harrower&(2010),&Inside&Reporting:&A&Practical&Guide&to&the&Craft&of&Journalism,& McGraw)Hill.& & Mitchell&Stephens&(2004),&Broadcast&News,&Harcourt,&Brace&Jovanovich&College& Publishers.& & & On&the&final&day&of&class,&following&the&last&broadcast,&we&participate&in&a&program& "post)mortem"&and&then&the&Instructor&treats&the&students&to&a&well)deserved&lunch.& & &
Manilla&–&J)275&pg.&13&