Aural Storytelling

The Advanced Broadcast Journalism 2 unit has taught me that aural story telling is a difficult art to master.

It’s the most common way people tell stories and usually goes hand-in-hand with visual cues. But when its applied to radio journalism context it becomes a much more complex and sophisticated form of communication which takes a great deal of skill to be good at.

Along with fellow NextACT journalists Matthew Mitchell and Corey Hammond I developed radio packages on topics to do with the 2012 ACT Election.

It’s easy to slap something together for the sake of an assessment but where the challenged laid was in creating packages that were going to keep people interested. After all, it’s easy just to get on the radio and provide incessant rambling.`

As the saying goes; ‘variety is the spice of life’. We took this approach to our first package which explored the ailing health of Lake Tuggeranong. (click here)

We incorporated eight different voices within the five minutes to give people a variety of perspectives and didn’t get ‘bogged-down’ on one particular view.

The second radio package we created  analysed the contribution of the minor parties to the election campaign. (click here)

To keep listeners interested this time, we focused more on the production side of the package through the combination of sound and music with voices.

For example, we included a Thomas the Tank Engine soundbite when we were speaking to Tim Bohm from the Bullet Train party and a car starting sound when speaking to Motorist Party candidate Chic Henry.

They are just a couple of examples of little things you can add to make  radio package more interesting.

The trick to being a good aural storytelling is finding things that will grab the attention of people and combine that with content which is going to maintain people’s interest.

This was an important lesson for me- one that has prompted me to thing outside the square and become a more creative journalist and multimedia professional.

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