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Y a
 writer, your challenge i to

 that information
for your


o that they can  
  

 
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Thoma Jeffer on once aid,
The mo t valuable of all talent i that of never u ing two
word when one will do





 



 
 
 


 

 





 
 
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Current copy i  
 both in 



and the way it 


One way you can make your copy ound much
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 new  
 u e a different
tructure than print journali m
While the 
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  , including
the who, what, when, where, and why of
the tory, 
 



  
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Then, in tead of u ing the print tyle of the
fact in order of importance, 
 




 

 

 

 

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That one rea on why 
i con idered
the   

 


    the informing
medium, and

 

(the dual-channel medium) the
involving
or emotional
medium

 

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While the new paper reporter might take
700 word to tell the tory, youll often
have



&
'(

  
 


   
You mu t learn to write in a more  


 

   
That mean generally  tarting a
entence with a

  



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The ingle mo t important word in a entence i
the 

Y verb i a word that expre e

 ,

, or
   
It provide the   in your entence

erb
erb come in variou form
There are
and 
verb


verb and
verb combine to
make
 


 
    mu t have complement
they how a tate or condition and do not
convey action
erb can become 
(verbal
adjective ) or  (verbal noun )
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There are ix main verb ten e

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2re ent Ten e

The 
ten e provide a

  









   or
indicate 


 






  
  

^
^

2re ent Ten e

It i the  
 for u e in

  
 but 




  

(
     ^
 or
youll confu e your audience

2a t Ten e
U e the ten e when you tie 






 
but dont confu e pa t ten e with 



 


   
 
 


^




uture Ten e
The  ten e indicate the event ha not
yet taken place
)
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Ten e
You can often u e the pre ent ten e in place of the
future
Since it 



 
, the

  i the econd mo t preferred
ten e
U e it to make a pa t action ound more current

2 2 )
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^

Ten e
You will rarely u e the   ten e,
and the    ten e ha become
all but ob olete


 
oice refer to the relation hip between the
action, agent/actor, and recipient
I the agent/actor performing the verb
action or i it being acted upon?
What i the  of the verb action?

oice
Con ider the following example

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)


2
))

  
!))*

  



 
  
))*))


2
))

  !))*

ir t, in the active voice example, the action

flow from the thief (agent) to the handbag
(object)
In the pa ive voice, the verb i pa t ten e but
ha no auxiliary verb

oice
In the pa

ive example,

the object become the ubject,
and the actor

follow the verb
The action flow in the oppo ite direction
Y form of the to be
verb i u ed a an auxiliary
verb
ormed correctly, pa ive voice alway ha a
verb phra e con i ting of a form of the to be

verb and a pa t participle

Yctive oice



 


 
It i more conci e and more
conver ational
Stronger and clearer in meaning
Conver ely, pa ive voice generally
re ult in wordy, dull entence


 




 
You mu t learn to recognize pa
you can correct it

ive voice before

Con ider the following three tep proce

 Identify the 

Identify 


  the
verb action
3 Identify the  


rom 2a

ive to Yctive oice

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the verb phra e (wa arre ted) and
the actor (policeman

2a ive entence tructure doe nt alway include

an actor The above example might have read

))*  ||

  



 
  
To re tructure a pa ive voice entence, you mu t

 Identify it!
Relocate the actor or identify the mi ing actor
and in ert it into the entence
3 Change the verb
or example

) `

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)

) 



  
   
 
 

^^





 
^

` 
  


 
There are ome in tance when pa ive
voice i preferred over active voice
or in tance,

 When it a


normally

poken in the pa ive voice

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When the

  or you want
to 
 

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(By me!)

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3 When the  


  




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(OR)
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2ractice recognizing pa ive voice by

evaluating the e entence

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How many time have we heard a new ca ter
u e the phra e
 




How many wa ted word are in the phra e
  


I it really nece

ary to ay !


 

 `  
Some other meaningle word include
conjunctive adverb like

 
 and 
^
Dont rely on the e crutche a tran ition

 

 `  
Ynd dont forget to 

 
 
Your li tener cant refer back to your original
reference
Work on a more natural flow of idea



 

To you R and R
might mean re t and
relaxation,
but to omeone el e it might
be the name of their hometown bowling
alley



 

Ynd which term ound more profe
up
or re-enli tment
?

ional, re-

Would the civilian in your audience more ea ily

under tand 00 hour
or thi evening at
9
00
?


$ 

 

  




Beware of foreign phra e
They could al o totally confu e your
li tener
U e better known word or phra e
common to the country



 
We u e contraction naturally in day-today conver ation It
replace it i

and there i
become there

Contraction al o add to the
conver ational delivery of

copy
There are exception

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One i the u e of  , which ound
awkward in a
 entence
Yl o, remember that contraction tend to
de-empha ize word
If you mu t empha ize a word, do 
contract it

 
 
Where are  and  to your
audience?
I  in ide the radio tudio?

R 
 
To your li tener, i nt  where they are
at that moment?
The wider your
 area, the
greater the po ibility of confu ion
Whether
 i Nueva Ecija or 
 i
Nueva Ecija, ju t ay Nueva Ecija


  
Your audience no doubt know what a
a
and even 2i#are, but have they ever
heard of $%a ? Be ure you pell out an
unfamiliar acronym when you u e it for the fir t
time
    
 

  


Thi example illu trate one of the few time it
beneficial to plit a entence ubject with a
clarifying phra e





 

 
 

Omit a per on middle initial unle the

letter i part of a well-known name, like
 , *
)   
,


* +




 


      
Keep entence tructure imple ba ically
one idea to one entence
Edit your compound-complex entence
down to two or three imple entence

    
Ydhere to the 0/D rule, which limit
hard-new tory lead to 0 word and all
other hard-new tory entence to D
word

  
But al o remember to vary your entence
length
If you con tantly write hort entence ,
your copy will ound choppy
If you alway write long, wordy entence ,
your copy will drag
Try to develop a rhythm by combining
hort and long entence








Yvoid tarting a entence with a participial
phra e, and virtually never tart a tory
with one
It normally be t to e tabli h the ubject
at the beginning of your entence








or in tance




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+


 
You mu t al o remember to remain clear and
conver ational in your u e of clau e
or in tance, normal print entence tructure
often find a dependent clau e preceding an
independent clau e

Clau e

  
  

 




   
 


  
  

     


  

 
) **|
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)
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, 
) |    |!


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Ynd beware of eparating a entence ubject
and verb with a non-e ential clau e
 


 
 
`
  
 



 

 




    
 
Why not re tructure your entence or divide the
entence into two eparate entence ?

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) ) !)

 
Remember that it better to u e  
   entence with imple
$- -
$ (S--O) order
Yl o remember, to avoid confu ion,
generally place dependent clau e after
independent clau e

    |+

U e punctuation in your
   
to    and   


U 
 

 


  
f   
  
^

 The 
 i ju t one of even different

form of
 punctuation
The other include the   


 

 



and  


You may al o u e the   
but not in a hard new tory

2 

Y   indicate the end of a entence
or thought Stop; breathe; move on
Be ure to place two pace after each
period in your
   
Y indicate a pau e horter than a
period
Continue to u e comma to et off name
of geographical area and mo t item in
date and addre e

2 

The

help you phra e difficult
word and eparate element
|- !|-  

   ^

Do not hyphenate or divide word at the
end of a line
Spell out the entire word, or move it to the
next line

$

U e the 

to et off parenthetical
expre ion
 % ) 
  

   *

| |
/  %  
Micro oft word will automatically combine
the two hyphen into a lightly longer
da h

@ 
&

U e  
to indicate quote , or et
off nickname , book or movie title , or any cute

phra e that might create a tumble for the
announcer
*




)-)- )!  | ! HELICO2TER USED OR

TRYNS2ORTING

i
The  

i a erie of three dot indicating a pau e
longer than a comma
The pau e i for dramatic effect Thi 2aul Harvey type
pau e i part of the colorful  
 u ed in pot and
feature
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 ||  ||
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Youll very rarely u e the   in

  
 You might u e it with the imperative
mood in a elling po

@

 





   |+)|
 
 

When your audience fir t hear that tatement,
they have no way of knowing it not the
announcer claiming not to be a crook
There a good chance theyll become confu ed
and mi part of your tory

@ 

  
Your li tener cannot ee the quotation mark in
your copy
If you feel you mu t u e a direct quote, alert your
li tener it coming

)|
  
 )|


   |+ 

Unle the quote i very dynamic, youll

probably want to paraphra e it
)|
  !)  
|+
Remember to identify the ource of your
quote or paraphra e up front
Ylert your audience that a quote i next, and
begin the quote with the ource

@ 

  
Youll al o want to avoid u ing long quote
Ygain, the be t move you can make i to
paraphra e
Ynd if it nece ary to  a econd tatement
with the peaker, u e a conver ational, clarifying
phra e

 



 



@ 

  


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#

 





#


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@ 

  
%

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0)
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`

)*|)* !) /
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 )+) 

@ 

  

Dont worry about attributing the ource if

the fact are obviou or ea ily verified
'   

  

 
 
^


 


Yvoid tarting a
 tory with a
per on name
Definitely avoid u ing the name of an


individual unle youre triving
for a pecial effect a very rare in tance
in  

When you u e name and title together,
remember to put the ahead of the



Title and Name

*
 

 
   




 

     

   




  






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# 

 |
)
|
  |!

 


 

 
 

 

  
  
 

The who, what, when, where, why, and how are
u ually included in the 


^

  
  

   
^

  
 


 `   
Conver ely, youll write the  


in the upright pyramid
tyle
Yt the peak i the new peg the ingle
mo t important fact (what happened)
You add the remaining four   and
)
to complete the new tory




*


Before you tart to write your new tory, pick
the main actor, action, and recipient, and then
u e them to hape a focu tatement
or example, in a public affair

relea e about a plane cra h that killed even
airmen at Dover YB, Delaware, you decide the
main actor i cra h,
the main action verb i
kill ,
and the recipient i airmen

Your focu tatement become
| )+ |


 

 
Everything you write about thi tory
hould relate to your focu /commitment
tatement
If you have written that tatement well, you
can maintain the ame tructure 
,


, and  
 in your  (





  

Depending on the policy at your tation,
the lugline can vary in length from one to
ten word
Thi allow the lug to double a a tea e

Thi al o en ure you can not only include

 happened in ten word or le , you
hould al o be able to include 
 it
happened if it i a local tory


  


| || )+ 
| 
a  |*| ) 
| )


  

Both lug con i t of ix word But, notice that
in the fir t example the lug i localized (Dover
YB), the what
i clearly pelled out (air cra h
and even dead airmen), and the non-e ential
word (article and helping verb ) are omitted
Like a new paper headline, it common to write
the hard new
lugline in the imple pre ent
ten e
U e horter topical lugline for feature torie
and pot announcement


Your , or  

 in a

new relea e, i de igned to
gain the li tener attention,
inform them of what happened, and
prepare them for what to come



*
 


| |*|  | )) 

+
  | 
 ,|
 
)|
 
 "

  *

 " 
 
    
" 
  


$ 

   

 
  (

!
   
  
 



 "  
 


   
 
 





   

  | |+

 

)| ,|
  
|
|*|  || *| ))
| 

Thi tructure not only put the key tati tic ( even) in a place where it
might be mi ed by your li tener (who may not be actively li tening
for the fir t word of the tory), it i written in the pa ive voice (were
killed)




 
   Stating the local tie
bring a greater impact to your audience
You generally dont u e #



#


in hard new tory lead
Y 
  might make your copy
read like a public ervice announcement,
and a   i hard for your
li tener to tune in to



Save que tion lead for oft new
and
feature torie (except for the occa ional
rhetorical que tion a an attention-getting
device), and
paraphra e quote important enough for
the lead (unle it an extremely
important quote like 2re ident Nixon I
am not a crook
comment)



Que tion and quotation lead may alert
the li tener to what ahead, but they
generally lack the depth of a general what
happened
lead
inally, recognize the difference between

  

 



one over the other



Strongly con ider u ing 
 

 



, e g ,
in tead of directly providing the game
outcome
   


 

 

  

  
 





Yfter youve written the lead, work on logically
developing the pecific of the tory in the body
Logical development imply mean   
continuing of the fact to flow moothly to the
tory conclu ion
Remember, youre a toryteller
Try a king your elf what your li tener want to
know next
Then deliver Your development may or may not
be in de cending order of importance


 
Learn the art of tran itioning between
idea without relying on crutche like
conjunctive adverb
The body of the tory mu t deliver the
good youve introduced in the lead
Ynd, mo t of all, do not forget that youre
 
 for your 
   i e ,


 

  


  

Yll torie have a beginning (lead), middle

(body), and an end
We call the end of the new tory the 
 ^

The napper i the la t entence in your tory
It bring the tory to a olid, 
conclu ion
It may contain a new fact, but a properly written
napper never rai e any new que tion
Dont undere timate it importance
Next to the lead, the napper i the mo t
important element in a new tory

* 
The feature tory provide a change of pace in
new ca t
eature are generally longer than hard
new
torie and mo t often focu on oft generally
longer than hard
new torie and mo t often
focu on oft-new
item
rom the local port hero or model airplane
buff, to the opera inger, cholar, or
coutma ter, feature concentrate on the


  tory angle



While you u e very few, if any, modifier in your hard

new  
, feature are a great opportunity to let your
creative  
 juice flow
The e torie dont have a hard new peg
They depend on your ability to u e a kaleido cope of
de cription
Concentrate on u ing dynamic, inten e, 
  
word with preci e meaning
Continue to u e action verb in the active voice a you
paint mental picture

|
)  | 

NORTON HELICO2TER CRYSH KILLS 0 YIRMEN
(30 SECONDS)

 NO 00[

YNNOUNCER

Y HELICO2TER CRYSH YT NORTON YIR ORCE

BYSE HYS KILLED 0 YIRMEN YND INJURED NINE
OTHERS
THE MILITYRY YIRCRYT WYS CYRRYING MEN YND
WOMEN OR TRYINING IN YRIZONY WHEN IT WENT
DOWN IN Y WOODED YREY NORTH O THE
RUNWYY EYRLY THIS MORNING

  
 


THE ICTIMS YRE YIR ORCE RESERISTS
YSSIGNED TO CYLIORNIYS YIR NYTIONYL
GUYRD
YIR GUYRD OICIYLS WILL RELEYSE THE
NYMES O THE DEYD YND INJURED
YIRMEN YTER NOTIYING THEIR YMILIES
THE YIR ORCE IS INESTIGYTING THE
CRYSH # # #

Re earched and prepared by

     
Broadca ter and Educator
097-3D 90D3; onnet7
yahoo com

Womantouch Media & Gender Ydvocate

Corporate Suite , Robin on Galleria, EDSY