STEPS TO SET UP THE PROGRAMMING 
What steps to take? What elements taken into account? Let's do the programming, or reprogramming "of our station. Where do we start? What steps to take? What elements taken into account?
's and public
The kilometer zero is to respond to what and who we think the programming. We do not refer now to the major objectives of the project and previous radio (community service, human rights, the construction of citizenship.) It is more specific goals related to the profile of the radio. For example, a station will close indigenous cultural identity. In a highly patriarchal culture, gender issues will be prioritized. In a mining area, ecological problems will always be on agenda. Trying to determine the core, or the axis-cross the entire programming.
And for those who are designing the program. Because the hearing is not a homogeneous whole. There is an audience, but many audiences. What areas devoted to women and men, children, youth, adults and seniors? What languages? "In our coverage area speak a single language? And as for the social sector we want to achieve: more popular, more middle class, more urban, more rural, more migrants or informal?
Let's start there, face defining how and with whom we interact.
A good diagnosis
There are many things to know before embarking on the adventure of riding a schedule:
know the context. What institutions are in the area, which are credible, which are the centers of economic and political power, who are the friends and enemies, with whom we interact, with whom we make alliances? Knowing
audiences. Who do I go when I open the microphone? What are your hours, what they like and dislike? How to have fun, what music do you prefer? How do they talk, what sayings used? What are their most pressing needs? What other means consume media? "Culture, customs, religion? Know competition
. How many stations enter the recipients of my target audience, to what extent they have, what needs of the public respond? What are the best programs and your favorite speakers? What position they occupy in the rating? What are our comparative advantages in relation to these stations?
know our resources. What team have? What training have, how motivated they work, how they relate to each other and with each other? Are they creative? What technical equipment? Can we design a program bold street with them?
With these data, and some more that they occur to you, we can get down to programming. Until next radioclip!
STEPS TO SET UP THE PROGRAMMING A new program is like a newborn. We must join him in his early months to walk alone.
already set the mood for your programming and audiences that want to prioritize. You've done a good diagnosis of the context, your human and technical resources, and the stations of competition you face.
Now is the most creative. We need to invent, design and distribute the different spaces along programming. We must build the "grill" or "bar" of programs on 24 hours a day and seven days a week.
For each program (at least) you must specify them:
Program Name: Public
that goes:
Duration:
Frequency:
Entertainers / drivers:
production Responsible: Thematic
:
radio formats and resources:
Music:
modes of public participation:
overall program design, evaluation mechanisms
: What is the best frequency for a program? Let's say that radio is cyclical, like life. Again and again, not stopping. For this reason, the optimal frequency is daily, Monday through Friday, as is habit forming. Loose programs or every other day, or twice a week, do not give much result.
programs weekend they can attract a large audience. As Saturday and Sunday are days of rest and sports programming is also more relaxed and festive. Once armed
programs of the week and have regular programming. During the year, to design special programs as the holidays or other occasions.
should not take all new programs at the same time. It would be madness. Go slowly, throws one, evaluates and adjusts, throws another, and so on. The rest of the time, until you have established the main spaces, filled with music.
A new program is like a newborn. We must join him in his early months to walk alone. How goes like this, what causes reactions, how people participate, which leads down relationship with the public? Who has responsibility for the programming should continuously monitor the new space and not be guided by two or three quick call encouraging. If the program is good, could be better. If better can be the maximum.
One last tip. The hearing is not as stable as we want: tired, bored, seduced by other radios. Also the creativity of our farmers and producers wears and loses momentum. So, every so often, once a year, at least, do a poll of audience to learn how your radio is reaching the public that seeks to achieve. For this, you will surveys, interviews and focus groups.
CAMPAIGN TIME What do we need to design a radio campaign to get the results you expected? One or several times a year, a citizen can file radio campaign. This will include team work and programming for the purpose of that campaign.
How to ask a campaign? What do we need to design it so that it mobilizes and get the results?
Before undertaking a campaign, we must be clear about these points: OBJECTIVE
The first is to identify the problem that we face and know its real causes. This is causing changes in attitudes and behavior with respect to that problem. For example, to reforest an area. Or that the settlers take their ID. Or that young people use condoms. The general objectives campaigns reach far and tighten slightly. Goals should be specific, realistic and measurable. TARGET
Who is affected by the problem? Who and how they can solve it? What are the judgments or prejudices that are on this issue? AREA OF INTERVENTION
"The campaign will cover the whole area of \u200b\u200bradio coverage or focus on one neighborhood in a district in a specific area? NAME AND SLOGAN
A good campaign needs a catchy slogan and creative. The message must be clear (cognitive level), motivational (affective level) and motivating (Level of commitment.) This slogan was repeated in spots, on posters everywhere. Try not sound like "taxation", but "invitation." DURATION
A month and a half or two months is a recommended time. Maybe take a little more. But do not overreach the campaign because it will lose intensity. Perhaps it is better two brief campaigns that long. RESPONSIBLE
The station, who will be directly responsible? Although everyone work together, it is essential that there be a captain or captain of the campaign. ORGANIZATIONS INVOLVED
Who will be our partners and allies? A campaign against gender violence must articulate it with the Women's Police Station. The station will be linked to conventions and social movements related to the issue of the campaign.
MEDIA FRIENDS
Wherever possible, we try to sensitize other media and journalists friends who are interested in the aim of the campaign. Send them press releases, invite them to planning meetings. They are not rivals, are colleagues.
radio activities can produce between 3 and 6 spots. They scheduled a dozen times a day throughout the duration of the campaign and most-watched hours prioritized hearing. It's good to validate the spots before launching into the air. We must also set other spaces: radioclips, panels, debates, the news sections, maybe a soap opera. All programming is in season.
ACTIVITIES OUTSIDE THE RADIO
A festival of song, a march for peace, a play on the street, a massive planting of trees, a protest outside the hall, a symbol in the central square, house to house visits. BUDGET
economic evaluations should be all campaign activities, including those carried out by the radio. For example, the recorded spots and patterns our station, but have economic value. Specify the local contribution will help us in seeking public and private sponsors for the greater success of the campaign. EVALUATION MECHANISMS
At the end of the campaign, we must evaluate the results. Have you met your goals? Why or why not? And now what we will follow this campaign?
DECALOGUE
radio program Love your audience above all else. radioapasionado A friend sent us the Ten Commandments of Good Radio Producer and Producer. It's nice. I can hang in front of your computer to remember none of these holy Ten Commandments.
I LOVE YOUR HEARING ON ALL THINGS Customize your speech. Imagine your audience. In the singular, not an anonymous mass. And above all, make very participatory sections. Good radio is bidirectional.
II NOT TAKE THE WORD IN VAIN Plan your program. Read, research. Search data. Arrange your ideas. And do not say what you say is important ... Make it important!
III sanctify VOCAL CORDS Your throat is your tool. Take care. Do not smoke. Learn to breathe. Modula and pronounce well. Take breaks. Talk to the whole body. Never pretend voice.
IV Honored With YOUR LANGUAGE TO MEN AND WOMEN not use sexist language that leaves out most of the population. Includes both sexes. Say hello to friends. Mentioned to boys and girls. It's worth the effort.
V NO KILL YOUR AUDIENCE OF BOREDOM Keep attentive and entertaining the audience. Use humor, laugh, tells stories, talks with sayings. Do not make speeches or give moral advice. Narrating is an art.
VI will not wish impure imitate others
Do not imitate other speakers or presenters. Discover your own style at the microphone. Be original, work creatively. And above all, gives free rein to the imagination. VII
ROBES WILL NOT PROGRAM YOUR PASSION Talk with enthusiasm and conviction. Conveys strong emotions. Your worst enemy is routine. And the best compliment, when you say you're a radioapasionada a radioapasionado. VIII
NOT LIE TO YOUR AUDIENCE ethics first. Consistency between what you say in the cabin and what you do outside it. You owe it to the public. Do not sell to the highest bidder political, religious or business.
not covet
IX NON LANGUAGES Perish the journalistic jargon called "hospital" to hospital and "mayor" to the mayor. Your language simple, popular, everyday. A "speech" and a natural tone. X
not covet STAY IN CABIN Go out, do interviews on the market and the plaza. Do debates in schools. That your programs are to people and from people. Because the best radio is off the radio.
PROFILE OF A COMMUNITY PROGRAMMING PROGRAMMING STREET needed, and increasingly, the radio goes on the street. Remove
microphones outside, people closer to where people are.
Street is the place radio production of community radio
A radio that does not expect to come to it, but must go to meet his audience. INTERACTIVE PROGRAMMING
do together This is the radio transmitters and receivers.
initiatives to benefit the public good, collective creativity that exceeds by far the team's producer.
The broadcasting ombudsmen are representatives and defenders of public interest. Its function is not limited to host journalistic or corrections to accommodate the right of reply.
They are the ones best able to provide a real interactive media mass communication.
Through them, the public participates not only in programs but in the same programming and design. PROGRAMMING
Sensual SENSUAL mean that we go through the five senses. The colors, smells, sounds, tastes, textures, all that we can create auditory images with good use of radio language, produce beauty. We need programs
technically and aesthetically well finished, well to music, superbly conducted, harmonious, colorful, poetic, attractive.
Captivating. Sexy and sentimental, so that the words are not in the skin and reach the heart, the spirit of the deep folds. And that is the sensuality that we seek is twofold: on programs and programmers. PROGRAMMING
The FANTASIA FANTASTIC. People to dream, to imagine other worlds. And imagine his own world transformed.
That's the fantasy: the ability to stick to black and white colors of everyday life. Everyday. The common, everyday. Therefore, we must fully understand the little word: the everyday is not an issue, but his treatment. Any subject can be addressed in simple language.
remember our educational programs called. In that deal?
Machismo, alcoholism, drugs, etc. price the bread rises, lowering morale, increasing crime ...
We talk about it, yes. But even days.
In the odd, let's talk about other things more refreshing. Fantasy
to return to it, but seeing with new eyes, soñándola different.
agile programming
cholesterol also goes up in programming.
Programs fat, become heavy, graceless, without rhythm. Speaking
flexible programs is talking about stitches and tips. Flashes, single notes, holders, mobile unit passes, firmware, microreportajes, minidramatizaciones, sketches, interviews very edited, shock effects fast inputs and outputs even faster. Programming
light and therefore no surface life is too fast, surprise.
Life, as John Lennon said, is what happens to you while you're busy making other plans ..
