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UNIT 2 RADIO FEATURES AND
COMMENTARY
Structure
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2.0 Objectives
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2.1 Introdaction
2.2 Preparation for the Commentary
2.2.1 T h e Statc of the Art
2.2.2 Stcp by Stcp Writing ot Commcntar~lFeature
2.3 Tools to Master thc Art of Developing Commcntiiry and Scrrptlng N'trration
2.3.1 Broadcaster's Volce and Mlcrophonc Manners
2.3.2 Rhythm
2.3.3 Language
2.3.4 Avord Paddi~g
2.4 Tips for a Good Script
2.4.1 Keep the Script/Commentary Mov~ng
2.4.2 Enliven the ScripKommentary
2.4.3 Be Completely Natural '
-2.4.4 Keep Cliches Out
2.4.5 Keep on Looking for the Needs of the Markr*
2.4.6 Do not Speak Down to the Audience
2.5 Language of the Radio Commentary and Feature
2.6 Let Us Sum Up
2.7 Further R d i n g
2.8 Check Your Progress: Model Answers

2.8 OBJECTIVES
After going through this unit, you should be able to:
explain the all-important role of language in radio features and commentaries.
enumerate the diverse skills required to prepare a commentary or narration
far a feature on radio,
describe the steps to'be taken in drafting a narrationlcommentary,
a discuss the various characteristics of voice, its modulation and presentation on
air to suit the aural medium of radio.

2.1 INTRODUCTION
In the previous unit, we have discussed many important characteristics of the
news on radio. We have seen that news writing styles differ according to the
medium. Writing news reports for a newspaper is quite different from writing for
radio bulletins. The character and the demands of the audio midiurn make radio
different and unique.
In this unit, we shall discuss the various aspects of radio features and commentaries.
We shaii acquaint ourselves with skills needed to say and voice them. We hope
that, after going through this unit, you will be able to recognize a radio feature
noionly by identifying the type but also the quality. And perhaps even script a
radio feature on any tppic of your choice.
In the next two units of this b k k on 'writing for radio and television', we shall
first consider the news on TV.Thereafter, we shall study - 'Television Feature and
 Activit! I
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.At 3c)mt. tlr!ie or thc o t h c r . yoil niust have heard many radio commentaries
t ~ cit sports cvcrlts: . I \'11''5 tuncral, the Republic Day parade ctc. You may
bc in the habit of c;irrylng a small transistor set with you when there' is a,
cricket. hockey or footb;all match. Perhaps you switch it on to catch the
rclay commentary of your favourite game. And you may have more than
one good reason to remain within hearing distance of the live commentary :
pleasure, convenience, etc.
Before you proceed furthcr with this unit, write down 'your reasons for
listening to radio commcntarics. You may use the space provided below.

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2.2 PREPARATION FOR THE COMMENTARY

In the audio medium. voicc. wund effects and music are the crit~calelements
which gain the listeners attention and hold it. The spoke& word is crucial $0 'o.,
radio feature or a commentarv. Special attention has to be paid to what is said
and the tone in which it is uttered. A radio commentator is both the eyes and
ears of the listener. A commentator creates verbal pictures in the minds of the
receivers by simply combining the spoken word with n~usicand sound effects in
a creative fashion. While the narration itself IS the result of a carefully written
script, the tone in which it is delivered assumes equal if not more importance.
The contribution of the commentator is truly revealed by the fact that thefinal
quality of voice, diction, intonation, etc.. lends, take for instance the funeral
ceremony of the former Prime Minister Jawaharlal Nehru, the sober restraint and ,
dignified emotion in the commentator voice brought to the Iistencn thtx5ignificance '
of the events. Prior to going on the air, the radio commentator must make a
deep study of a number of things. In the above case, these included the route
the funeral procession would take, and information on say the historical backdrop
and occasions associated with Nehru.
Or, in another moment, with the body lying in state, the commentator would
point out ,the numerous impatient occasions when Jawaharlal Nehru visited the
Rashtrapati Bhawan, even at the time when it was the Viceregal Lodge and
history was being made between India's top political leaders and the British
Viceroy, Lord Mountbatten.

2.2.1 The State of the Art

Lest you assume that a commentator's job is a cakewalk. first considert-t
of hard work that must have gone into preparing an interesting and informati
commentary. The road to success is an uphill task all the way. Ideally, a
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commentator would require a skillful combination of an observant eye, a read<
tongue, nimble wit, imagination, tact and a sense of humour.
In Activity 1, we have had a chance to mention the different occasions when
running commentaries are broadcast: a sports event, proceedings of Independence
Day and Republic Day celebrations or a funeral ceremony of an important lea&r
of the State. We thus have different types of commentaries based on their.subjects
ahd occasions. A commentary is loved and interspersed with location,- sound 91-
ambience.
A radio f c ; ~ t t ~hits
r c a r l y 11urnl)crof topics under the sun upon which to elaborate.
I t is a crei~tivecapsule presentation of an equally creative area o r theme. Nariation
i b ;I crucial clement of a radio fcature. The spoken word is liberally supported
by sound cffccts and music.
Commentay is a n art and its successful practice depends on attention to a special
technique-clcscriptivc powcr and narrative style. This is possible only when one
has,the capacity to notice the finer details and also express them in simple but
evocative terms. Without preliminary preparation, the commentators would find
themse.lvcs in serious trouble. The best plans can be thrown out of gcar by some
unforeseen circumstance say a new twist to the event.
An intelligent and resourceful commentator will be able to place his thoughts
and ideas across without much difficulty. In order to evoke a vivid word picture,
one wn~lldrequire alert human faculties, and a vast knowledge of men and matters
gathered through extensive reading and intense involvement in the social, political
and cultural developments in the country.
In short, a radio commentary describes an occasion or event in vivid words. The
attempt is always to verily transport the distant listeners to the scene of action
or attention. Naturally, the commentators has to be all ears and eyes to perform
the job perfectly.

2.2.2 Step by Step Writing of CommentaryIFeature

A commentator has to obtain all the information necessary about the location of
the commentary broadcast: the occasion, the background information. technical
terms and areas of emphasis. Accordingly, he will have to write the script or
take notes. Usually, commentators visit the site of action, e.g.. stadium, football
or hockey ground, the scene of a cultural show, the route of a funeral ceremony,
the cremation or burial ground, etc. This he does to familiarise himselves with
intricate, even trivial details and to trace the history leading up to the occasion,
then he is ready to make a layout of the course as seen from one or more
vantage points, and note all the important details, Finally, before the broadcast
day, he must keep a sharp lookout for any picturesque spots or amusing incidents
to relate during the commentary.
Sometimes, technical snags can cause problems for the unprepared commentator.
As a result of interrupted transmission the commentator may be forced to end
the relay commentary at short notice. At the other end of the spectrum, one
may have to prolong the commentdry indefinitely! This actually took place once,
during the visit of the (late) U.S. President Eisenhower to India.
Since the arrival of his plane was delayed by quite a few hours, the commentator
had to go on and devise his own "show" to see him through his trouble. These
days, one can promptly had the programme back to the studio in the face of
any technical faults. Even that requires commentators with presence of mind to
size up the situation withopt any panic.
There is a well known saying that anyone can say anything into a microphone,
but what comes out at the other end is what matters. This holds good in the
case of commentators as well. Commenting is a balancing act: neither must you
unnerve~thelisteners with monotonous, high-pitched or excited commentary from
beginning to end nor must you slip up in what you say and thereby irk the
listeners. Undoubtedly, rendering commentary is a job best left to mature people
quick on the uptake, capable of taking any new development in their stride.
The audio medium thrives on word pictures created in the mind of the receiver.
A programme meant for broadcast, let us say a commentary, a feature, a play,
etc., which ignores this peculiarity is so much a waste of breath on the air. It
is on the projection of one's personality through the microphone that the
effectiveness of a broadcast ultimately rests. Broadcasting, therefore, is not a
mechanical process. "The technique of delivery is of fundamental importa'nce".
as pointed out by the late Prof. Harold Laski with reference to successful
broadcasting. Winston Churchill had said during World War I1 to the Americans.
"Give us the tools, and we will finish the job." The broadcasters tools will be
discussed in the next section.
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Check Your Progress 1
Note: i) Use the space given belo\+ fc;r your answers
ii) Compare your answers with those given at the end of this unit
1) It has been decided that a farnii;!\ football player would be the i7i:it.t
guest of the annual sports event oi rhe 1 .CAI school called "Vivekanand
Vidyapeeth". You have been askzil hc the compere for the event
and give commentary as .~i?!i :-.-::u!rt.tl. List all the a5pzct.r t h t
.j.?r(.!-e3

you would consider whilc j ! . ' , , t j l , . :. : his c i c:r~t.

2) Which t\\o step ~ i c i u l t i,.,..! ,:..>:.. : :I: .:-kL,d p ~ ~ c l x ~ :I

t~? ri:
commenlary or narratio~~
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~riting'forRadio and
Television 2.3 TOOLS TO MASTER THE ART OF DEVELOPING
COMMENTARY AND SCRIPTING NARRATION
A radio commentator/feature narrator must have cnrtain essential physical
characteristics. In using the word physical, we imply the personality of the
commentator as reflected in the cradence and vibration of speech delivery which
actually holds the key to success on the job. We shall now enumerate the various
desirable attributes of the commentator and narrator.

2.3.1 Broadcaster's Voice and Microphone Manners

Whether one is a commentator, interviewer, newsreader or announcer, one must
take care of one's voice. T o make a beginning, one needs to breathe correctly,
enunciate clearly and attend to the vocal rhythm in order to ensure a liquid
stream of pure sound.
How does one breathe properly? One must breathe from the diaphragm as one
does when asleep. This in turn helps you to speak rhythmically and the reserve
breath helps to carry you smoothly from one sentence to another. Breathing from
the diaphragm instead of the throat or through the nose also helps you to avoid
extreme breathltssness, which the microphone is quick to catch and amplify.
Hence, never speak on your last breath.
Proper enunciation is extremely important. This helps you to overcome the slurring
of speech to a great extent. Ope way is to properly enunciate the consonants
while leaving the vowels to lodk after themselves. How does one achieve this?
By opening one's mouth widely to raise the soft palate and keeping the lower
jaw forward. By doing so, you give free play to a remarkable variation of sound
and the English language, in particular, is rich in sound. If one does not pay
due attention to this aspect, one would throw away a wealth of meaning and emphasis:

2.3.2 Speech Rhythm ;

Rhythm is' the life blood of ipeech. Without this very important input, speech
becomes lifeless and mechanical. Nothing kills a broadcast more surely than
the monotony of delivery. Remember, words are the petrol of the speaker's
thoughts, and rhythm. is the, oil that lubricates that vehicle. Therefore, the
broadcaster's sound not only sends messages, but also ensures that the listener
is persuaded by it. Again, every broadcast has to be kept alive and this is mainly
achieved by correct emphasis, stress, and pause in the speech.
All top class commentatorS/broadcasters pitch their voices higher than used in
ordinary speech. This is because the very low notes are apt to muffle the
a consonants, causing a booding effest on the microphone. Evenso, in an interview,
the lower the pitch of the broadcaster's voice, the less is the energy required.
Also, there is less tendency to tighten the throat and back muscles. The low
pitch is best for speech. However, it must be achieved with ease and not by
suppressed so.und. This definitely contributes to attractive and effective narration
and commentary.

2.3.3 Language
The broadcaster's language is indeed easy to understand because only the simplest
possible terms are used. It is important to remember that the language be
intelligible to the majority of the listeners. You must know that qne picturesque
phrase will do more to arouse the listener's interest than a bunch of literary and
idiomatic expressions.
Usually, a listener reacts quickly t o the broadcaster's manner. There are a few
thumb rules which a broadcaster would do well to follow. We shall enumerate
these rules here.
a) Do not patronise the listeners. At least, for having taken the trouble to listen -
to you, the listeners ought to be treated with courtesy. The listener is a
friend. Would you not treat a friend in a natural-and respectful mannef? So,
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address the listeners too on equal terms.

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b) 13e trieridly without twi~igI'it~ll~li.;~
i)ti iirl[ take thc listcr.~crsl'or granted. DO Features and
not shout (31- preach Speiih ii~~~)~-cssivelq, confidently and with dignity.
c) Finally, be yourself and not what you would like the listeners to think you
are. While thc listener is seldom deceived, you may flounder and reveal your
true colours sooner rather than later. Give your listeners the best of listening
by being vour natural ebullient self.

The art of writing a production script f o r the radio very often lies i i l the art of
knowing what not to say. It is said in BBC TV circles that a commentator is
paid as much to comment as to keep quiet.

2.3.4 Avoid Padding

The term 'Padding' refers to the filling out of a sentence. publication, etc., with
superfluous matter.
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While preparing the script for a radio programme, you. must not pad out the
narration. As a rule, avoid, using unnecessary words, and admitting irrelevant
contexts or distantly related topics in your scripts. One dull patch can imperil
the broadcaster's hold on the listeners. Therefore, never let your script or
commentary/narration meander even for a moment.

Check Your Progress 2 I

Note: i) Use the space given for your answers.

ii) Compare your answers with those given at the end of this unit.
1) Why do you think a commentator's voice and rhythm are very important?
Respond in two sentences.

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2) Why is simple language very essential for a successful commentary?

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Activity 2
Recollect a commentary that you have listened to recently. Comment
on its merits and demerits in terms of the
Language :
Voice quality (of the CommentatorMarrator)
, Content :

2.4 TIPS FOR A GOOD SCRIPT

We should acquaint ourselves with the ingredients of quality radio scripts. Their
success 'rests entirely on the right mix of words and sounds in the
narratiodcommentary.
Writing t i ~ rKsdio nnu r-l

2.4.1 Keep the Script/Commentary Moving

The shorter your sentences and crisper your narration, the greater will be the
commentary's impact. While padding has to be avoided at all costs, repetition of
the main points is permitted and may even necessary. This you can do towards
the end of the programme in the form of a summary. It is to ensure that all
the points that you want your listeners to remember are, in fact, briefly expressed
again.

2.4.2 Enliven the Script/Commentary

The wider your vocabulary, the more visual are your images. And this, in turn,
helps you to vary your form and have a firm hold over listeners/audience.

2.4.3 Be Completely Natural

It is very life of your broadcast that you, read aloud your narration/script/commentary
as you write, if it is not off-the-cuff broadcast, e.g., running commentary. If it
sounds natural, as though you were talking, you are on the right line. If on the
other hand, it sounds like formal written language, you will immediately know
you are off-the-track. G e t your friends and well-wishers to help'you with their
reactions. This tried and tested method will be of immense help to you in
improving your performance.

2.4.4 Keep Cliches Out

This applies to hackneyed phrases as much as to journalistic ones. The microphone
only reinforces their staleness. It is only radio journalism at its worst.

2.4.5 Keep on Looking fir the Needs of the Market

It is well to remember that broadcasting is essentially a family affair. Good taste
is what matters and should be the main criterion. The writer's script should be
simple and conjure visual rather than oral images in the listeners mind. Remember:
short sentences and short words are always more effective than long-winded and
pedantic phrases.

2.4.6 Do not Talk Down to the Audience

In any programme where the spoken word dominates -in a running commentary
or any other--one must take precautlorl agalnst ilnv slip of t!le tongue thal Radio Feature\ and Commentary
~vouldoffend a listener. Be professional when you have to explain some matter.
Do not svund like the know-all teacher talking down to the students.

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Check Your Progress 3
Note: i) Use the space given below for your answers.
ii) Compare your answers with those given at the end of this unit.

1) Suppose All India Radio (AIR) finds you suitable for various commentary
assignments. AIR keeps your name on the roster. How would you
prepare yourself to go live on air? Suggest practical steps.

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2) 'Cliches should be avioded even in every day speech, why is this especially
true for the radio featurelcommentary?
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Activity 3 \ '
A producer has just planned the ingredients that would go into a radio
feature on the XI International Book Fair. We shall mention them here
in a moment, but hasten to caution you that the treatment of the
feature's content is not in chronological order. Try your hand at putting
them all in proper order.
Music interlude
concluding summary : perceptions of producer of radio feature or the
statement of the feature
Excerpts from
various interviews : with stall owners, visitors, publishers about their
perceptions and suggestions if any
Introduction : about the world of books and book lovers
Excerpts from the Chief Guest's speech at the inaugural ceremony.
Location sound effects
Theme of Book Fair 1994
Narration : on the crowds and sales and what exactly accounts ,
for the success of the Fair.
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2.5 LANGUAGE OF THE RADIO COMMENTARY

,AND FEATURE
The language of speech (the spoken word) differs considerably from the language
of writing (the written word). The differences arise ,in the
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RadioI and vocabulary,
Television
sentence length,
sentence structure, the
density of distribution of information, the
writer speaker's intention and attitude to the subject and toward the listeners.
The important factors which make or mar a commentary are the
stress on syllables and the
accent of one's speech together with the
amount of information and the
actual speed of delivery.

One must take into account the varying spans of memory and levels of comprehension
of different listeners. Clarity of both content and actual narration is thus essential.
One must remember that it is an individual's memory' and comprehension that
we deal with. Listeners generally cannot turn to anybody for explanation. Neither
can they be expected to have reference books at hand. Therefore, all the necessary
aids to memorj and comprehension are, generally built into the programme material.
Scripts for radio commentary and features ought to be written with this vital
factor in view. The narrators too must be chosen with due care and given
instructions about the required pace of narration, style of delivery, etc.
The radio is an audio medium. The secret of the ideal radio broadcast is the
unexpressed will to woo listeners to stay tuned for the entire programme by
simply providing the right fare. A good radio feature or running commentary is
one that strives to describe the subject or phenomenon cogently and comprehensively.

A radio feature and commentary is written in words that create appropriate

atmosphere and concrete pictures in the listener's mind. It is by improving the
script and presenting it creatively that a radio feature writer and commentator
make even the most complex subject appear simple. It is in their hands to make
listening a gainful and lasting pleasure. They have only to wield their power
correctly to endear themselves to their audience.
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Check Your Progress 4

Note: i) Use the space given below for your answers.
ii) Compare your answers with those given at the end of this unit.
Just sit down for a while. Recollect all the major points that you have been
reading about in this unit. Now write down five major things that you, as
a radio commentator or ,narrtion writer, should'not be doing.

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2.6 LET US SUM UP

In this unit, we have learned that it is important to conduct extensive research
and collect information and fac!s before venturing into a radio commentary
assignment. Only adequate preparation can help build one's confidence to write
commentary or narration for a radio feature.

A radio commentator paints pictures with words. Therefore, the words must be
c;mnlo qnrl o ~ c x r tn
. ~nnrloretqnCI
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A radio commentator must possess the knack of observing even the minute details,
and also, a swift tongue to describe those details in appropriate language.
Many times it is said that if ope wants to talk f ~ five r minutes in a radio
kadio Features and Commentary

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programme, one has to prepare for it for five hours. Indeed, a thorough preparation
is required for a successful commentary. This preparation includes library work
and personal visits in advance to meet important people.
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During the actual commentary, the broadcaster must pay attention to his voice,
rhythm, breathing and language.
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I A comrnentator usually writes thecommentary, while the featGe writer scripts the
narration and does not necessarily narrate the part(s). Under these circumstances, the
script assumes much importance. The words you choose to put in the ~arrator'smouth
must be chosen with care. The language must befit the occasion as must the style of
presentation. The commentatorlnarrator would do well to address the members of
the audience as equals.-It is best to avoid talking down to a listener even by
implication. One ought to resist the temptation to pad out the commentarylnarration.
Finally enliven the 'commentator must ,nake all the efforts to the commentary.

2.7 FURTHER READING

Cohler Koith, David, Broadcast Journalism, Prentice-Hall. New Jersey, U.S. A.
Iyenger, Shauta and Kinder, Donald R., News That Matters, University of Chicago
Press, Chicago.
Bliss, Edward, Jr. and Patterson John M., Writing News for Broadcast.
Bhatt S.C. (1993), Broadcast Journalism, Har-Anand Publications, New Delhi.

2.8 CHECK YOUR PROGRESS: MODEL ANSWERS

Check Your Progress 1
1) Collect in advance the background material on the famous football
player, his achievements, his present occupation, areas of interest and
competence
Visit in advance the place where the seating arrangements would be
made; the surrounding of the location.
Collect the programme schedule in advance, say from the
commencement of the sports events to the award distribution ceremony.
Collect material on the iinportant personnel of the school such as the
principal, teachers, phy5ical instructor.
Check for your self, one day prior to the event, the positioning of
your microphone for the commentary.
Prepare questions f o r a short interview with the chief guest.

2) D o the groundwork thoroughly, i.e. research comprehensively into

the subject of the feature or commentary. Choose words and phrases
with care to ensure both a truly vivid description and natural
presentation.
Writing for W;lclio itlid
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Television
Check Your Progress 2
1) The tone of the radio commentator's voice reflects enthusiasm and
authority regarding the subject. Besides, the correct intonation
acknowledges the respect one holds the audience'in. A professional
broadcaster would never be overwhelmed or pompous crver the fact
that one is actually advising an audience; instead of being one among
them. The rhythm of the voice contains the key to creative and artistic
presentation. A commentary or narration without rhythm in the
delivery is a lot less appealing to the listener's perceptive ear.

2) The use of simple language ensures the carrying of subject matter,

emotion, feeling, etc., most effectively, across to the audience.
I t is easy to understand.
I t alone establishes a meaningful equation between the commentator
and the listeners.

3) Do not patronize the listeners; that tone is boring and rubs the
audience members the wrong way.
Be friendly without being familiar. Address the listeners on a one to
one basis. Strike the middle path; do not enrage them nor sound too
chummy.
Be yourself. Do not put on airs or bluff your listeners into assuming
you have a personality that really is not quite yours.

Check Your Progress 3

1) Practice regularly t o improve the clarity of speech and pronunciation.
Practice voice modulation.
Improvs the ability to express ideas and thoughts lucidly.
Read a lot on various relevant subjects to gather information of all
types and varieties.
2) Prepare for the feedback, be it brickbats or bouquets, from your
listeners.
Cliches are overused phrases that seldom ring true to the Ilsteners.
They sound harsh and superfluous to the casual listeners. Quite possibly
the audience will tune the station out in response to the liberal
sprinkling of the hollow sounding phrases best avoided on the radio.

Check Your Progress 4

1) One should never use extremely formal language; words on radio
must be spoken for the ear, so as to be easy on the listeners ear.
Description must be vivid, nevertheless, in simple terms:
One should never use uncommon, idiomatic expressions or words that
are both difficult to pronounce and understand.
One should never sound hoity-toity. A commentator is different from
a listener only in that he has obtained the chance to speak on the
air. For the rest, both are very much equals.
One should never sit in a commentary box without adequate preparauon.
One should never move around without note book and pencillpen to
jot dawn ideas and elusive comments and phrases that he may occur
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in passing.