This lesson plan sets out the steps required to make informative long-form news and current affairs documentaries for radio.
It’s based on the training module ‘Making documentaries for radio‘ which is published on Media Helping Media and which we recommend you read before adapting the training outline below for your own needs.
Introduction
This one-day workshop is designed to equip media students and professional journalists with the fundamental skills required to produce compelling radio documentaries. The course moves from the conceptual stage of defining what a documentary is through to the technicalities of sound design, interviewing, and narrative structure. Trainers should encourage a hands-on approach, ensuring participants understand that a radio documentary is more than just a long news report; it is a creative treatment of actuality.
Sessions timetable
- 09:00–10:00 – Session 1: Defining the radio documentary.
- Aims: To distinguish the documentary format from standard news features and identify the core elements of narrative storytelling.
- Presentation: Explain the definition of a radio documentary as an in-depth look at a subject, person, or event. Highlight the importance of using actuality, ambient sound, and narrative arcs. Discuss the different styles, such as fly-on-the-wall or narrator-led formats.
- Activity: Play two short audio clips – one a standard news report and one a documentary excerpt. Ask participants to list the differences in tone, pace, and use of sound.
- Discussion points: Why do we tell stories through documentaries? How does the lack of visual elements in radio change the way we describe a scene?
- 10:00–11:00 – Session 2: Choosing a subject and finding the angle.
- Aims: To help participants identify subjects that translate well to audio and develop a clear focus.
- Presentation: Focus on the criteria for a good documentary: Is it original? Is there a conflict or a journey? Does it have strong characters? Explain the importance of the pre-interview and site visits.
- Activity: In small groups, participants brainstorm three potential documentary topics based on local issues. They must select one and write a 50-word pitch explaining the central character and the main conflict.
- Discussion points: What makes a character compelling for radio? How do you ensure your subject is manageable within a specific timeframe?
- 11:00–11:15 – Break
- 11:15–12:45 – Session 3: The art of the documentary interview.
- Aims: To master the technique of gathering evocative and emotional content rather than just facts.
- Presentation: Discuss the difference between a news interview and a documentary interview. Emphasise the need for open-ended questions, allowing for silence, and capturing the sounds of the environment while the subject speaks.
- Activity: Pair up participants. One acts as the producer, the other as the subject. The producer must conduct a five-minute interview about a significant life event, focusing on eliciting descriptive language and emotion.
- Discussion points: How do you build rapport with a subject? What do you do if a contributor becomes emotional or refuses to answer?
- 12:45–13:45 – Lunch
- 13:45–15:00 – Session 4: Capturing sound and scene-setting.
- Aims: To understand the importance of wild track, sound effects, and atmosphere in building a mental picture.
- Presentation: Explain the technical requirements for high-quality field recording. Discuss how to use sound to transition between scenes and how to record action sound (e.g., a door closing, footsteps, a kettle boiling) to punctuate the narrative.
- Activity: Participants head out with recording devices for 30 minutes to capture a soundscape of the local area. They must record at least five distinct sounds that tell a story about that location without using words.
- Discussion points: How does sound replace the camera lens? What are the common mistakes when recording in the field?
- 15:00–15:15 – Break
- 15:15–16:15 – Session 5: Structure and scriptwriting for the ear.
- Aims: To learn how to weave together interviews, narration, and sound into a cohesive script.
- Presentation: Cover the importance of the hook in the first 30 seconds. Explain how to write narration that is conversational and serves as a bridge between audio sequences. Discuss the use of sequences rather than just a series of interviews.
- Activity: Using the pitches from Session 2, participants draft a storyboard or a basic script outline for their documentary, marking where music, actuality, and voiceover will sit.
- Discussion points: How much narration is too much? When should you let the audio speak for itself?
- 16:15–17:00 – Session 6: Ethics, law, and final review.
- Aims: To address the ethical responsibilities of the documentary maker and review the day’s learning.
- Presentation: Discuss informed consent, the right to reply, and the ethical handling of vulnerable contributors. Briefly touch on copyright issues regarding music and archival audio.
- Activity: Present a series of ethical dilemmas (e.g., a contributor wants to withdraw their interview after the documentary is edited). Participants must decide on the best course of action based on journalistic principles.
- Discussion points: What are the risks of editing a person’s words for brevity? How do we maintain objectivity while telling a personal story?
Assignment
Participants are required to produce a three-minute mini-documentary pilot. This must include at least one interview, recorded ambient sound (wild track), and a scripted narration. The pilot should demonstrate a clear narrative arc with a beginning, middle, and end.
Materials needed
- Portable digital audio recorders or high-quality smartphone recording apps.
- External microphones and headphones.
- Audio editing software.
- Handouts on script formatting and ethical guidelines.
- Sample audio clips of award-winning radio documentaries.
Assessment
- Participation: Engagement in group discussions and practical exercises.
- Pitch quality: Clarity of the documentary focus and its suitability for the audio medium.
- Technical execution: Quality of the recorded sound and effective use of ambient noise.
- Narrative structure: The ability to tell a logical and engaging story within the three-minute assignment.
Summary
This lesson plan provides a comprehensive roadmap for training journalists in the craft of radio documentary production. By focusing on storytelling, sound textures, and ethical interviewing, trainers can help participants move beyond basic reporting to create immersive audio experiences.
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