Radio and the Divine Commission—No. 2

Broadcasting ' officials are generally quite astute in judging the quality of a program. The listening public, however, passes the final judgment. If a program has merit, a certain volume of fan mail may be expected. If fan mail is lacking, the program is likely not to be continued long. It is, therefore, of prime im­portance for us to develop a program of the very highest quality, but, if possible, to origi­nate some feature that will catch and hold the attention of the radio audience. If we do not have outstanding musical talent at our com­mand, it is better to use a studio record. Choose something appropriate—such as, per­haps, the "Hallelujah Chorus." This is atten­tion arresting. Commercial broadcasters use this strategy continually. Oftentimes ideas may be gleaned from commercial broadcasts that may be adapted to religious uses with good success.

Securing Free Time.—In trying to secure free time, we should work out our program very carefully. No amount of time and effort should be spared to give it appeal. When we approach the station management, we should be fully prepared as to our plans and purposes, and be ready to give the reasons why we think our program will be successful. Take an open and fair attitude of mind to the station, and, after much prayer, be prepared to abide by the decision of the management. You are asking the station for time that at the card rate would, in the course of a year, amount to several hun­dred dollars. All that the station gets out of free time is public "good will," and the man­agement has a right to decide whether your program has sufficient merit to get that good will. It is unfair to expect the station to carry a program that will not do this. Of course, if time is being paid for, then responsibility for the merit of the program rests with the sponsor.

In approaching a station for free time, it is well to listen in and become as conversant with its programs as possible. Learn the history of the station, its wattage-power, and the names of the personnel, if possible. In short, learn all you can, so that you may be able to talk intelligently at the time of applica­tion. Most stations. have a program director, and in arranging for an audition or a broad­cast, he is the one to see.

Preparation of Script.—A successful broadcast demands careful preparation. Mat­ter that goes to press may be proofread for mistakes, but mistakes made before the micro­phone are not subject to correction. The goal, 'though seldom achieved, is a perfect delivery. Public speaking allows certain idiosyncrasies, grammatical errors, and errors in pronuncia­tion, clearing of the throat, blowing of the nose, self-corrections, etc., but the persistent indulgence of these in radio speaking will soon mean failure.

It is, therefore, highly important that all material that is presented to the radio audience, even to the prayer, be carefully prepared and written out before presentation. A well-prepared script gives confidence and goes far toward assuring a good delivery. To attempt to speak from notes or an outline lessens con­fidence, upsets the tempo, and impairs delivery. Furthermore, listeners oftentimes challenge statements made, and it is imperative to know the ground covered.

Broadcasts Cannot Wait.—If a minister, in delivering his morning sermon, runs over five or ten minutes, the consequences are not likely to be serious. But this cannot be in radio preaching. Likewise, a minister might be a few minutes late to an appointment, and peo­ple would wait for him. But if he is a few minutes late to a radio broadcast, the broad­cast cannot wait. If our program runs over the allotted time, we gain the ill will of the station management. This is unwise, espe­cilly when we are getting free time. The program director, in arranging the week's schedule, divides each hour into four fifteen­ininute parts. The program that follows ours may be a paid one, and the broadcaster may be anxious to make the most of every moment of his time. His program is timed for fifteen minutes. He neither wants to crowd it nor cut out any part; so it is imperative that we begin and close on time. In fact, we should close from fifteen to thirty seconds before the ex­piration of our time, as this allows the an­nouncer opportunity to close our program and open the following one.

Arranging the Pages.—Therefore, in pre­paring our program we should time it accu­rately. There should be no guesswork in this respect: We should go over and over our presentation until we know we can deliver it, without crowding, in the specified time. It is far better to cut out a paragraph, if need be, than to run over. The script should be type­written if possible, and double-spaced on one side of the paper. The microphone picks up every sound—the desired and the undesired. Papers should not be crackled, but handled noiselessly. The best way to eliminate any undesirable noise is to allow the completed sheet to fall to the carpeted floor. For this reason the sheets should never be stapled or fastened together.

Another caution is to number each sheet in consecutive order and see to it that they are in that order before beginning the broadcas. I well remember the anguish I experienced through making such a blunder. In giving a question-and-answer program, the answer to one question ended at the bottom of the first page. The third and closing sheet was in the position of the second, and, without noticing it, I began to read. It was only by the Lord's blessing that I managed to complete the broad­cast without marring it.

Beware of sentence insertions and marginal notes. They cause confusion of mind, and result in many a stumble. There is no time to hem and haw before a microphone, to decipher insertions and marginal notes. Go over your manuscript until you can almost tell what is coming next without looking—until it is almost as familiar as well-known Bible verses. Leave nothing undone that will ensure a smooth, un­interrupted, continuous delivery. Sometimes mistakes are made which the audience will not detect. When such is the case, it is never wise to correct them. Go right on—don't interrupt the program. Remember, what comes out of the home radio or the public loud-speaker is the finished product, and should be as smooth and perfect as possible.

Posture and Voice.—It is generally better to stand before the microphone than to sit, as you can give more expression to your words when you are standing. Stand still, facing the clock. Don't move around after you begin to speak. Learn the proper distance to stand from the microphone. It is generally about eleven or twelve inches. If you are too close, the microphone will pick up hisses and lip sounds. The same voice level should be main­tained from beginning to end. Do not start with a high pitch and gradually lower the voice toward the close. The reason for this is that the operator sets the volume properly at the start, and if the voice is lowered, the volume is not right then. Unless the operator detects a change, the reception is affected.

Do not shout, but use inflection for empha­sis. A moderate tone of voice must be main­tained throughout; yet a monotone must be avoided. This may be done to a large extent through inflection. "A great many words are softened and sweetened and made almost poetical in their sound by the least bit of inflec­tion," says William Black. By inflection we bend words upward or downward. Do not spead too rapidly, but by all means avoid speak­ing too slowly.

Never under any circumstances eat peanuts, candy, or anything else, or chew gum, before going on the air. Sometimes someone in the studio will pass candy or peanuts around, but be sure to refuse ; otherwise delivery will cer­tainly be impaired. A flow of saliva is started, especially by peanuts, which necessitates con­stant swallowing.

Avoid coughing, sneezing, or clearing the throat as far as possible. This can fre­quently be done by sheer exercise of the will power. The best way to avoid coughing is to take care of your health. Avoid catching cold. Watch for the first signs of a coming cold, and do all possible to prevent its develop­ment. This, of course, is not always possible; so in case of a severe cold or other sickness, it is wise to have three or four transcriptions made and held in reserve against such an eventuality, particularly where no substitute speaker is available.

Don't knock other churches or speak dis­paragingly of them. Remember, every knock may be a boost. On one occasion a fellow radio minister named the religious programs that were being given over that station that were worth listening to, but he did not men­tion my program, "The Bible Question Box." This was immediately challenged by telephone calls, cards, and letters of protest.

Remember Mr. and Mrs. Average Citizen

Convey your message through the medium of simple, direct sentences that the average person will be sure to understand. The edu­cated person will not be offended ; so make your discourse simple, plain, connected, and logical. People appreciate and benefit from that which they understand. If we fail to get our message across to Mr. and Mrs. Average Citizen, we suffer loss.

And now something about pronunciation. The dictionary should be consulted freely con­cerning any word on which we may be in doubt. It is generally better in radio work to substitute a word for one we have trouble in pronouncing. Even though we may go over and over the difficult word until we think we are sure of it, still, under the tension of the broadcast, we may find that memory has failed when we come to it.