NAEB Newsletter (Sept 1940)

NAEB NEWS LETTER.... SEPT 15, 194 0... .Page 6 part of the truly American scene 0 But I d m not going to talk about the cakes or ice cream^.Ko, there's-another part of the ice cream social....that*s itj The Japanese lanterns*.eyes, indeed..... Here we have used at least two tricks - flattery and pleasant memory approacho You have just been talking.....and after awhile you'll find that it's very easy to talk along in this vein....in other words, a personal personable, friendly conversational sjsyle,.But the program director won't let you talk that way in front of his microphones*..everything has to he read, and.•••It's easy then, to have a stenographer take down in shonthand your thinking aloud* Then you go over it...again and again...cutting out a phrase here, adding a colorful word here... making that talk a vivid, living, bit of good writing*..and good writing is nothing more than simplicity, sincerity, straight-forward- nessa radio script or talk can be a good piece of writing.,.it*e just a matter of bringing all the principles of good writing to it* So much for the talk.....the interview, the news broadcast, the narrative with sound, all can well stand considerable of the Informality of the good radio talk. Now, don't misunderstand me*...one of the easiest things to do Is to talk down to an audience, and academicians are prone to do this....they are likely to deliver their opinions we might say, ex cathedra....but this needn't happen....... Your radio talk, as every radio script, should have....and I quote these from Max Wylie of CBS....direction....purpose*...find familiarity ....By direction Wylie means that the script holds together...it proceeds from a beginning, has a middle, and a close»..elementary principle of good writing anywhere* By purpose, he means, that there's a reason for it.....I doubt very much if there's a good reason for my Japanese Lantern talk of a few moments ago....one might give it purpose and point if he wanted to do a little nostalgic bit of homesppn philosophy. And finally,, we come to familiarity... .this means familiarity with the subject. It would be rather difficult for me to do a broadcast talk on Calculus, because I am not familiar with that subject....yet, I see no reason, if properly handled, a talk written by someone who is familiar with Math, could not be as interest¬ ing as one on electricity or any other subject. In fact, I think a series on the Philosophy of Numbers, using historical material and common, every day examples of mathematical examples would go on the air Q To Mr. Wylies triology of direction, purpose and familiarity with the subject, I'd like to add another.... that is, sinoereity. Too many educational script writers always looking to the green pastures of Commercial writing and thinking they are second Arch Obolars or Irna Phillips©, kid their material....1 don't mean necessarily in the actual script, because an editor would soon discover that, but in their thinking* Supposing you were handed a subject, "The Wild Turkey" .....well, unless you are sincere in your approach to that subject, your script is going to reflect your attitude. Another thing, be sincere in your approach to your audience.•.if you have a message that is important enough to ha\ r e been given time on the air, it is important enough to handle sincerely* For years, in teaching microphone technique and speaking we have harped on sincerity..,sincerity..and Pear, the British psychologist, and no doubt many American psychologists