Commissioning Round for

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2 BBC World Service Commissioning Round for Timetable and Guidelines to making programmes for BBC World Service The Commissioning Timetable Thursday 21 st September 2017 Commissioning Launch in the 7 th Floor Learning Zone, New Broadcasting House. Guidelines will be published on Thursday 21 st September Thursday 2 nd November (12 noon) Time period in which you can submit your initial proposals into Proteus. At this stage Commissioning Editors only require THREE LINE DESCRIPTIONS. Please use the SHORT SYNOPSIS box only Thursday 23 rd November Pre-Offers Results published in Proteus. Thursday 14 th December (12 noon) Final offers deadline to submit your proposals into Proteus. January 2018 Results will be published in Proteus. Contacts Mary Hockaday, Controller mary.hockaday@bbc.co.uk Steve Titherington, Senior Commissioning Editor steve.titherington@bbc.co.uk Simon Pitts, Commissioning Editor simon.pitts@bbc.co.uk Murray Holgate, Network Manager Murray.holgate@bbc.co.uk Anna Doble, Digital Editor Anna.doble@bbc.co.uk Jon Manel, Podcast Editor jon.manel@bbc.co.uk Vanessa Morris & Karen Howe, Commissioning Assistants vanessamorris&karenhowe@bbc.co.uk 1

3 Guide Prices Documentaries and k The Compass Various and K The Hour Doc K Heart and Soul K BBC Music Extra K Witness K Sporting Witness K The Cultural Frontline and K In the Studio K Top of the Pops K (for 52 weeks) (Two Year Contract Starting from April 2018) The Proteus system is used for the submission of offers. All proposals must be delivered in Proteus. We do not require hard copies of any proposals. BBC departments access PROTEUS via ndependent companies access PROTEUS via a portal: Enter in: World Service Commissioning Round Commissioning Year: Commissioning Round: 1 2

4 World Service English The BBC World Service is a 24-7 network of news, current affairs and rich radio. News programmes include Newshour, The Newsroom, Outside Source and Newsday. Alongside this spine of News content we have programmes specializing in sport, business, science, culture, debate, human interest and analysis. With new investment, we have been able to add to the range and depth of programmes on the network and related digital content. We have a massive global audience (and an important audience in the UK) who all share a sense of curiosity about the world and a desire to connect with that world. Our audience is everywhere. Our surveys show the biggest single audiences are in the United States and Africa, but listeners find us on short-wave, FM, online and mobile in just about every country: And that audience is increasing and now reaches more than 75 million people. Our audience is both discerning and demanding. They are also making a choice to listen to us. In most places there will be increasingly vibrant local media and access to other global media, so we have to be both appealing and relevant. The World Service schedule is flexible so we can adapt to breaking news, but we always try to ensure there s a broad range of topics and styles on the Network. Five minute news bulletins sit at the top of every hour and a two minute summary of world news at the bottom of every hour, so News is an ever present part of the Network. But increasingly we want to take people on a journey that offers much more in terms of a portrait of the world and how we live. We want programmes that stimulate thought, provoke discussion and offer solutions as well as show problems. We want to be a place where people who care about the world can understand it better in all aspects of life. We broadcast at least four documentaries every week. They are among the most important ways we show our audience the power of our journalism, the inventiveness of our story telling and the range of our interests in the world. They need to be at the forefront of all these aspects; the best journalism, the most innovative storytelling and widest range of interests and voices. At weekends there is a more relaxed feel programmes with leading authors, exploring science, hearing about history from those who witnessed it, discussing ideas and culture and hearing fresh new music as well as sport. Recently we have launched new programmes which continue to evolve the sound and approach of the Network: CrowdScience, BBC World Hacks, In the Studio, The Arts Hour on Tour and World Questions. All take a conversational, contemporary and global approach, but are as sharp and rigorous as ever. Radio and Digital Increasingly, we reach audiences via digital and social platforms. This document includes notes on how to make sure your content will thrive in this arena. We may want a separate podcast, online feature material, photographs, clips, quotes, facts and short form visuals, and we ll discuss with you how to promote your programme as a podcast. All designed to bring people to your content. 3

5 What we are looking for? Documentaries on the BBC World Service make a major statement about who we are and our relationship with our audience. They shape our schedule; they are ambassadors for our brand of journalism. Whether single programmes, or a landmark series, we promote documentaries heavily as flagships of the World Service and they will appear separately online and on rebroadcasters. They need to be clever, conversational and inclusive. They should be effortlessly international and stand up to scrutiny from the people or country being discussed in the programme as well as relevant to a world audience. Our mission is to connect, explain, inform and also to celebrate great listening and fantastic stories. We need to be funny as well as serious, to challenge preconceptions, and reveal a world which is exciting as well as sometimes frightening. We create a space for deeply personal views and experiences to be expressed freely. We will put all the resources necessary to make what we do together the very best it can be. We want great story-tellers. We let people speak to the world. We love sound and a sense of place; being where our audience is out in the world matters to us more than anything. We want engaging, challenging ideas. We welcome collaboration; building fresh talent and simply trying something new. Be bold. 4

6 Slot Title: Commissioner: Editor: Duration: TX: The Documentary Steve Titherington Various Two durations 22 59" and 26'29 Tuesday 90 CHARS As it appears on digital radios World Stories SPOKEN BILLING A rip and read description of the programme. The Documentary is where the BBC gives new insight into important global issues and events, it explores why people do what they do, and what the consequences are. DESCRIPTION A summary for partners. High impact, topical and highly produced single documentaries or series dealing with important and arresting global issues. With cutting edge reportage and the best production values, it s compelling listening. OBJECTIVE How does this programme help the listener? Helps listeners to understand the world they live in and to unravel complicated news stories and events. Provides a truly world view on what s going on, however local the story Gives vital background to help understand daily news coverage on the BBC World Service Makes big issues more accessible. CONTENT, FORMAT & STYLE The design brief for programme makers. There is no prescribed format for these series; they use whatever documentary formats suit the story most and will inform and entertain the listener to best effect Presentation is crucial to The Documentary. Often the reporter is going on a journey of discovery along with the listener, and his/her experiences are relevant to the story. Clarity of purpose is a key component for the World Service audience clearly spell out the journey the listener is about to go on. Programmes use a rich range of material including a high proportion of location recordings. Rigorous investigative journalism where necessary, brings revelation and new understanding to a story BBC branding within the programme adapted to radio or digital delivery. 5

7 Slot Title: Commissioners: Editor: Duration: TX: The Documentary One Hour Steve Titherington Various A clocked hour Weekends 90 CHARS As it appears on digital radios World stories SPOKEN BILLING A rip and read description of the programme. This special hour long Documentary offers an in-depth look at the way people live around the world offering insight into the global issues and events of the age we live in. It explores why people do what they do, and what the consequences are. DESCRIPTION A summary for partners. High impact, topical and highly produced documentary series dealing with important and arresting global issues. With cutting edge reportage and the best production values. It has to be compelling listening, held together by a strong narrative structure which holds the audience across the hour. OBJECTIVE How does this programme help the listener? As for The Documentary but also provides a real immersive experience allowing time for discovery reflection and understanding. CONTENT, FORMAT & STYLE The design brief for programme makers. This is high calibre documentary making of the highest order. It has strong use of sound throughout. It uses personal testimony to the fore and has strong character led story lines. The presenter must be able to hold the audience through sharing their own personal experience and conviction. The listener must be clear as to what they will gain by hearing the whole hour. The second half must have fresh material characters, themes or locations or all three. It must be made clear in the first half of the programme what the purpose of the second half is. In the second half it must be made clear where we are with the story. The Billboards at the top and the bottom of the hour must serve as continuity to wed the listener to the format. The programme will be adapted if required for both radio and digital listening. Presentation is crucial to The Documentary. Often the reporter is sharing a journey of discovery along with the listener, and his/her experiences are relevant to the story. Clarity of purpose is a key component for the World Service audience clearly spell out the journey the listener is about to go on, where they are going and where they have been. Rigorous investigative journalism. where necessary, brings revelation and new understanding to a story. 6

8 Slot Title: Commissioner: Editor: TX: Dur: The Compass Mary Hockaday Various Wednesday Two durations 22'59" and 26'29 90 CHARS As it appears on digital radios The Compass - Exploring our world SPOKEN BILLING A rip and read description of the programme. For the next three/four/six weeks you can hear. DESCRIPTION OBJECTIVE CONTENT, FORMAT & STYLE PODCAST A summary for partners. This enables us to schedule series and runs of programmes about stories, ideas, arguments and trends which need time to tell. Taking typically three to six weeks, each series will help explain the world with a narrative arc across the weeks, so that the listener feels they have heard a definitive take or deeply satisfying experience. Every series will capture something of our time and reflect something new and essential about the early 21 st Century. The quality will be high. To create landmark series which have real impact with audiences and bring credit to BBC World Service and partners for quality, analytical depth and originality. To create a new space and place to think on the network and content which will work well as podcasts/downloads too. To create content which becomes essential listening. The arc of each series will bring listeners back to WSE week after week and so deepen the relationship with the audiences on the network, podcasts and digital platforms. This will vary. Authoritative and informative but contemporary in sound and feel. Takes time to make new thoughts and complex stories accessible and compelling. Production formats will vary but the story-telling and production quality will be high. Whether narrative, explanation, analysis or argument, the route will be clear, structured across programmes or the series. Each series will feel definitive or revelatory. Listeners will feel they have learned something as well as experienced great radio. Presenters and talent will be high calibre - with a real sense of their own authorship and journey, or their quality as an intelligent companion for the programmes and podcasts. There needs to be very clear structural progress and clarity of purpose in moving through each programme and/or series. YES While the style of each mini-series will vary, they will form part of our podcast feed of The Compass. We will require a separate bespoke podcast version, which will explain what The Compass podcast is and how your mini-series fits within it. We may also require promotional podcast audio. 7

9 Slot Title: Heart and Soul Commissioner: Simon Pitts Editor: Nicola Swords Duration: TX: Weekend 90 CHARS As it appears on digital radios Personal approaches to faith and spirituality. SPOKEN BILLING A rip and read description of the programme. Each week, Heart and Soul explores personal experiences of spirituality and faith from across the traditions. DESCRIPTION A summary for partners. Heart and Soul is a weekly half-hour programme that explores different experiences of spirituality from around the world. Whether examining religious faith or any other belief-system, the programme talks to believers and non-believers. OBJECTIVE CONTENT, FORMAT & STYLE How does this programme help the listener? The listener gains knowledge and understanding of the way different people practice their faith around the world. It gives background and context to stories in the news that may have a spiritual or religious component It is non-prescriptive and non-judgmental - listeners hear discussions and explorations of different belief systems. The design brief for programme makers. Heart and Soul has scope for using different formats to suit the subject matter. Some programmes are one-offs, others are part of a short mini-series and link with each other. An intelligent, engaging look at world spirituality in all its forms. Each programme has a strong story and narrative drive; it s a journey of spirituality and discovery. Location reporting with a strong sense of place and good use of sound. Rigorous reporting and investigation into contentious issues and current ethical dilemmas. BBC branding within the programme. Please also indicate thinking about accompanying the audio with 1-2 minute stand-alone digital stories for our web and social channels in such formats as video, FB Live, Audiograms, 360 Video, binaural sound and so on. Finally please also consider the potential for collaborations with other programming on WS or other production units (WS Language Services, BBC.com, BBC Connected Studios or BBC Taster for example) and do indicate your suggested TX dates and diary pegs.finally please also consider the potential for collaborations with other programming on WS or other production units (WS Language Services, BBC.com, BBC Connected Studios or BBC Taster for example) and do indicate your suggested TX dates and diary pegs. 8

10 Slot Title: PODCAST YES Heart and Soul cont. We will require a bespoke podcast version of your programme. While the styles and format of the individual episodes will vary, the podcast needs to fit within our Heart and Soul podcast strand, which we are developing. We may also require an additional podcast specific introduction. 9

11 Slot Title: Commissioner: Editor: Duration: TX: BBC Music Extra Steve Titherington Various 1 hr clocked Weekend 90 CHARS Minimal billing How music shapes the world. SPOKEN BILLING DESCRIPTION OBJECTIVE CONTENT, FORMAT & STYLE A rip and read description of the programme. Each week BBC Music Extra brings you the story of the people and events that shaped music around the world and how music itself is shaping people s lives. A summary for partners. Each programme offers a hour of diverse music and speech looking at musical history, the key musical movements, performers, composers and producers. It also tells stories about contemporary events through the music that accompanied them. It is an hour rich in sound and voices and brings real authority to understanding one of the most shared art forms in the world. It offers in depth interviews and location recordings and uses music intelligently and creatively. The words help bring the music to life and the music brings new sense and understanding to the words. Each programme creates an hour of diverse music and speech for listeners across the globe exploring major musical legacies or issues which have a direct interest to our younger audiences. It will be as comfortable exploring the legacy of Lead Belly as it is discussing Teenage Depression. All will use music as a way of narrating stories. All programmes will aim at 60/40 speech/music ratio. How does this programme help the listener? To expand the amount of music journalism on the BBC World Service and the range of music heard. It s intelligent, entertaining listening which does what radio/audio does best great listening through story-telling and brilliant music. It should help return the WS as a must go to place for hearing the widest possible range of music from around the world. The design brief for programme makers. The music is what makes this programme stand out. Used imaginatively throughout. We d expect the music to tell the story as well as illustrate the narrative. Great, revealing interviews, and a real understanding and enthusiasm for the subject should leap out. The listener should understand the significance of the music, and have time to hear its full effect as well as understanding the impact the music had on society. The programme is an hour long and the mix of music and speech should be carefully distributed through the whole programme. There should be a very clear reason for listening across the divide at half way should be clearly expressed. Archive can also be a great way to illustrate the roots and progression of musical trends. 10

12 Slot Title: Commissioner: Editor: Witness Duration: TX: Mon-Fri Steve Titherington Kirsty Reid 90 CHARS As it appears on digital radios History told by the people who were there. SPOKEN BILLING A rip and read description of the programme. We hear from those who saw for themselves key events in history. DESCRIPTION A summary for partners. Extraordinary moments of time brought to life by those who were there. The story of our times told by the people who witnessed history being made. Revealing history through recollection and archive. OBJECTIVE How does this programme help the listener? To provide an historical perspective to events To bring you the human story. To provide a different perspective from live daily news. To provide a different texture from live daily news CONTENT, FORMAT & STYLE The design brief for programme makers. It has a less hurried, more carefully built approach than is usually possible with reportage and live news Use of archive material and actuality BBC branding and set-up It should be factual, and clear in style. The programme should work as a self-contained module as a stand-alone on the schedule and for use by re-broadcasters. Witness will now also form an integral and important part of Outlook as a presenter introduced final segment to the programme. Each episode may need to be adapted for podcast and digital use. PODCAST YES 11

13 Slot Title: Sporting Witness Commissioner: Steve Titherington Editor: Simon Watts Duration: TX: Weekends 90 CHARS As it appears on digital radios Key events in sporting history brought to life by the people who were there. SPOKEN BILLING DESCRIPTION OBJECTIVE CONTENT, FORMAT & STYLE PODCAST A rip and read description of the programme. We hear from those who saw for themselves key events in Sporting history. A summary for partners. Key events in sporting history brought to life by the people who were there. The story of our times told by the people who witnessed sporting history being made, through recollection and archive. The inside and personal story of the key sporting moments that seized the world s attention. Using archive and personal recollections from the athletes themselves Sporting Witness usually concentrates on a single indepth interview and uses minimal links. This is a series that gets to the bottom of well-known sporting myths as well as tackling less familiar tales of inspiration and achievement. How does this programme help the listener? To provide a sporting historical perspective to events To bring you the human story. To provide a different perspective from live daily news. To provide a different texture from live daily news The design brief for programme makers. It has a less hurried, more carefully built approach than is usually possible with reportage and live news Use of archive material and actuality BBC branding and set-up It should be factual, and clear in style. The programme should work as a self-contained module as a stand-alone on the schedule and for use by re-broadcasters. Sporting Witness will now also form an integral and important part of Sportshour as a presenter introduced final segment to the programme. Each episode may need to be adapted to podcast and digital delivery. YES 12

14 Slot Title: Top of the Pops Commissioner: Steve Titherington Editor: Various Duration: TX: Weekend 90 CHARS As it appears on digital radios The BBC s weekly pop chart countdown with interviews and new music from the UK and around the world. SPOKEN BILLING A rip and read description of the programme. The BBC s chart show bringing you the UK top twenty singles and downloads plus the best of the other UK charts and a preview of new releases. DESCRIPTION A summary for partners. Top Of The Pops is a weekly UK music chart show. It features live performances on location and in the studio, exclusive backstage interviews with big names in pop music plus all the new entries and rundowns of both the UK s album and singles charts. Can be taken as an hour, 30 minutes or 15 minutes. OBJECTIVE How does this programme help the listener? Top of the Pops keeps the listener closely in touch with the latest UK chart news and music Topical interviews and background to the top twenty give interesting information and context to the music CONTENT, FORMAT & STYLE PODCAST The design brief for programme makers. NO A well-paced programme with lively and engaging presentation. Top of the Pops has a clearly structured first half that leads into the drama of the chart countdown in the second half The programme is structured so that partners can use it at different lengths Music and Interviews with key performers. UK chart is central plus a run-down of the chart in another country. BBC branding within the programme 13

15 Slot Title: Commissioner: Editor: Duration: TX: The Cultural Frontline Simon Pitts Rebecca Stratford Two durations 22 59" and 26'29 Weekend 90 CHARACTERS Seeing the world through the eyes of artists. SPOKEN BILLING Seeing the world through the eyes of artists. DESCRIPTION Each week THE CULTURAL FRONTLINE meets creative artists of all kinds who are making news and influencing our worlds. Its visual artists working in the medium of raw crude oil, sculptors placing statues underwater off the coast of Tenerife, and its writers, designers, performers, filmmakers and musicians of all kinds daringly engaging with and responding to contemporary life. OBJECTIVE This is vivid topical culture programming aimed the widest non-specialist audiences. We hear about artists visceral, thoughtful, rebellious, dynamic and brilliant engagements with contemporary local and global culture. It keeps general listeners updated about worldwide creative artists who matter each week. With its distinctive sound-rich, on-the-ground journalism it gives a strong sense of place and atmosphere. CONTENT, FORMAT AND STYLE This year we are inviting ambitious and laterally creative bids for programming that expands and enhances the editorial possibilities of the weekly edition. We seek bold and imaginative treatments that will connect widely on audio and digital. We are looking for programming bursting with intellectual and empathetic curiosity, brimming with editorial purpose, and for guided storytelling led by richly-integrated local figures. Shortlisted bids will demonstrate stand-out editorial distinctiveness, ambition for barelycontainable shareability and will all be accessible to the widest general World Service English audiences, with a special consideration for younger and female audiences. We are looking for treatments for pairs, trios or for all six slots. These do not need to be pitched as series for sequential TX and programmes can be individually scheduled to go out across the next financial year. It will be very helpful to see suggested reporters with must-tell-you charisma to present the radio programmes, together with some named guests and identified locations. Please also indicate thinking about accompanying the audio with 1-2 minute stand-alone digital stories for our web and social channels in such formats as video, FB Live, Audiograms, 360 Video, binaural sound and so on. Finally please also consider the potential for collaborations with other programming on WS or other production units (WS Language Services, BBC.com, BBC Connected Studios or BBC Taster for example) and do indicate your suggested TX dates and diary pegs. PODCAST YES We will require a bespoke podcast of the programme. 14

16 Slot Title: Commissioner: Editor: In the Studio Simon Pitts Rebecca Stratford Duration: TX: Tuesday 90 CHARACTERS With the world s artistic elite as they make their work SPOKEN BILLING Meet the world s creative elite: artists of all kinds, designers, musicians and performers as they make their work DESCRIPTION Each week IN THE STUDIO brings us up close to the creative processes of world cultural figures as they make their work. OBJECTIVE In The Studio follows stars and cultural leaders. Programmes bring audiences into the minds of creative figures of all stripes: designers, visual artists, architects, film-makers and musicians as they make their work. This is thrilling culture programming aimed the widest non-specialist audiences. Editions variously offer insights into the creative process, special behind-the-scenes access and even late-career knowledge-transfer. CONTENT, FORMAT AND STYLE The focus is on intimacy with creative minds, exploring the ideas they are working to express, understanding their distinctive individual approaches and how they work. With wit, humour and style, programmes capture influences, production complexities and contradictions, serendipitous discovery and more. We seek bids with access so that audiences truly get close to the challenging processes of artistic production. The strand is for the widest listenership: for general, female and young millennial audiences. IN THE STUDIO is intelligent, distinctive and warmly accessible radio. Key is the marriage of treatment and subject. The right presenters bring insight and accessibility and the strand showcases diverse, original and creative production styles. Tonally inclusive treatments may include reporter-led single editions, specialist/celebrity-led encounters, longitudinal production over months, and more. Commissions from the 2017 round include the David Simon-presented exploration of Kwame Kwei-Armah s theatre rehearsal process from Baltimore, Joanna Lumley s programme with shoe designer Christian Louboutin, landscape garden designer Manoj Malde creating a garden for the Chelsea Flower Show, and the Canadian world champion ice-skaters Eric Radford and Meagan Duhamel on creating their routine for the 2018 Winter Olympics. These have run alongside programmes featuring established legends in their fields such as Ai Weiwei in Berlin and opera director Elijah Moshinsky in rehearsal, as well as huge regional stars such as Kenyan rapper Octopizzo, prize-winning writers including Marlon James, genre artists including Batman comic artist Frank Quitely, together with underground leaders such as Chicago club DJ The Black Madonna. This year we are looking to further develop the editorial ambition. We re looking for bids featuring well-known show-runners on big TV series; global stars of music, film directing, design and classical performance as well as pitches featuring the world s creative elite in the widest lateral senses.

17 We re welcoming ideas following leaders of international institutions too. We aim to be close to the creative processes of events like the Academy Awards, MineCon, the Venice Biennale, the FESPACO Burkina Faso film festival and more. We re looking to get closer too to the processes of record label moguls, artistic directors of theatres and cultural creatives of all kinds. And we re seeking surprises and introductions: to YouTubers and leading subculture figures too. IN THE STUDIO is never focussed on the end cultural product (the finished book, the completed film or released album) and interviews always take place during the process of creative production. Programmes never feel as if they are PR-ed or promoting a release or product. Each programme bid should indicate plans for related social and web content suitable for the BBC WSE Facebook account and webpages. PODCAST YES There is a separate bespoke podcast version of In The Studio, introduced by the Artistic Director of the Royal Academy, Tim Marlow. This has its own separate life and does not conform with the radio schedule. We will require an adapted version of your programme and may ask for a separate additional introduction. 16

18 Titles and Descriptions It s not just the programmes that need to have a sense of excitement and the ability to create curiosity in our audience and potential audience. Whatever we publish, titles, billings, on-line descriptions etc. will have an effect on how the audience reacts to what we offer. In addition programme titles, and how we write about programmes, can directly affect whether or not potential listeners are even aware of our programmes in places like itunes and other spaces where content is aggregated, like search engines. We need to have titles and programme descriptions 5 weeks before the transmission date. This ensures that both Press and Publicity have time to adequately promote the programme, and that these descriptions are ready in time for the automated systems that use them. It can be difficult to update programme descriptions at some of their publication sites if the information arrives too close to transmission. Titles These need to be simple and tell the listener what the programme is about. They can be clever, but not at the expense of clarity. Writing Programme Descriptions We need you to provide 2 different lengths of programme description (or information): One of 90 characters (approx. 12 words), and one of 1800 characters (about 250 words). It is also important to provide different information for each part of a series if you are making more than one programme. Whatever the length, the same rules apply to the way they are written. If these rules are followed then you can dramatically improve the chances of potential listeners both finding and listening to your programme. These are the rules: Writing for publication (Online or Press) is not the same as writing a radio script. Don't copy and paste the top of your script or the original proposal summary, to make do for your online text. It doesn t work for the reasons outlined below The first 8-10 words are the most important. Do not waste valuable character count with phrases such as "In this week's programme", instead encapsulate the subject matter efficiently and get to the point straightaway. Think about where the programme descriptions will appear (mobile phones, on Freeview and other electronic programme guides, etc. See below ). Use images or metaphors instead of statistics e.g. 'the tongue of a blue whale is the size of an elephant' Decide on one tense and stick to it. Present tense is often best 17

19 Explain acronyms and abbreviations Don t forget to spellcheck! Remember to include the keywords your audience would use to find your programme in Google or itunes. 80% of us find online content this way. Use strong words and short sentences. Tease and intrigue to illustrate the story, don't describe it. Darren weighs 57 stone - and he's only 13-years-old. He hasn t left his bed for over three years. Meet him at his home in Philadelphia. NOT: A quirky documentary delineating the everyday life of the world s most obese teenager. Provide context to make the subject matter more intriguing: The diabetes treatment insulin has been with us for 90 years, but in countries like Mali, insulin costs are as high as 40% of annual income. Why does the treatment cost so much and how can children in countries like Mali get access to it? Your writing should be true, accurate and unambiguous. Check that everything s 100% legally and editorially correct. Avoid: Using today, tomorrow, next week etc. Lists of questions Radio-speak e.g. 'We discuss / find out more / take a sideways look at / send our roving reporter out to...' Lots of clauses and commas in sentences Over-flowery prose Clichés e.g. You could cut the atmosphere with a knife With this in mind you can expand the short description to the long version. But don t forget that the first eight to 10 words are still the most important whatever the length of the programme description. Here is an example of how this can work: Short How are Kazakhstan's gerbils preventing an outbreak of the bubonic plague among humans? Long The underground world of Kazakhstan's great gerbils harbours a deadly secret - the bubonic plague. Instead of dying out with the Great Fire, the Black Death continues to thrive in groups of wild animals across Africa, Asia and the Americas. With the risk of cross-transmission and the apparent rise in human deaths from the plague, scientists need to find ways of controlling it. Infectious disease expert Mike Begon from the University of Liverpool explains how the unique 18

20 transmission of the disease through gerbil populations can help predict plague outbreaks, and how work on an early warning system could help prevent future outbreaks in both wildlife and humans. To look at the wider implications of wildlife disease, animal epidemiologist Andrew Cunningham from the Zoological Society of London explains how plague and other illnesses can drive species to extinction. He also discusses how controlling global trade including the import of crates of bananas - could help stop wildlife diseases in their tracks Digital Assets In order to reach as many people as possible with your content, you need to think from early on about digital and social platforms. There s no doubt that the web is a visual medium. In order to make your programme stand out - in search engines, on social media and on the World Service and other BBC websites - you need strong visuals. If you are making a programme for World Service then you should normally provide some still images. It s much easier to source these at the time you make your programme, so plan ahead. These should be delivered with the programme information described above, and you should ensure these are rights-cleared before offering them. This usually means that either you have taken them yourself, or you have the written permission of the person who took them. Ideally this permission should include use on social media. The World Service Facebook page has over 5.5 million likes and our Twitter account has more than 300 thousand followers. If you have pictures associated with your programme, we ll be able to promote and share your programme better, extending its shelf life, and potentially reaching a new, digital audience. You may also get a commission for a text feature piece from the BBC News Magazine off the back of your programme several of our spin-off articles have got over 2m+ page impressions. We may talk to you about complementary engagement e.g. a Facebook live. Video or visualized audio and graphics can also be an important part of reaching audiences and supporting your programme. The most important thing, if you get a commission, is to talk to us early about digital, social and short-form content. You can contact the Digital Media team on Wsncamultimedia@bbc.co.uk 19

21 Where do these descriptions/pictures appear? Short descriptions appear in many places, including the Episode Guide on the BBC World Service website. They also appear on the BBC iplayer Radio app: 20

22 Short descriptions are also pulled in automatically when posting on Twitter: Long descriptions appear on the programme page on the World Service website: 21

23 And the BBC Search results page: And on Google search pages: And pictures are used on all BBC World Service social media accounts: 22

24 BBC News website Magazine text features 23

25 If there are complexities with rights, especially around third party publication of the photographs, please consult You should also discuss plans for any video with a senior producer from our digital team in advance. They can be contacted on Wsncamultimedia@bbc.co.uk And in Press and Publicity Information Business Development publishes a monthly guide to the programmes on World Service and the long descriptions are essential for this. This guide goes to many of our most important partners and is well used, particularly in the US and Australasia. In addition the BBC Press Office will use the long descriptions as the basis for press releases which can generate interest from reviewers both in the UK press and online, and internationally. 24

26 How do I deliver the Programme Information? You should fill in the template shown below and send it to vanessamorris&karenhowe@bbc.co.uk at eight weeks before transmission. The template will be sent to you with the confirmation of commission. Short Description (90 characters / 12 words) Long Description (1800 characters / 250 words) 25

27 The Programme The World Service English schedule runs to a fixed time clock. This means that all programme slots at the same point in any hour have the same duration, although there can be some variation in this at the weekend and for special commissions. The World Service Clock 26

28 This is the standard World Service clock (shown above) with fixed times in each hour when programmes start and end, and also showing when trails and billboards are inserted. The standard hour starts with a 1 minute billboard which will trail what is going to follow on the network in 5 minutes time after the news. The news starts at 1 minute past and runs to 6 minutes past, but a post is inserted at 4 minutes past the hour that allows partner stations to leave the bulletin if they only wish to take 3 minutes of it. A post is just a short (2 second) pause that allows partner stations to leave in a way that sounds natural it is often preceded by a station ident. The post at 6 minutes past marks the end of the news bulletin and the start of the next programme. This programme then runs until 29 minutes past the hour when there is another post. There is then a one minute trail slot which ends on another post at 30 minutes past. At 30 minutes past the hour there is a 30 second slot for another billboard which will trail whatever is being broadcast in the back half of the hour. This ends with a post at 30 minutes and 30 seconds past the hour. A 2 minute news summary follows which ends on a post at 32 minutes and 30 seconds, after which the programme material in the back half of the hour is broadcast. This slot continues until 59 minutes past the hour when there is another post. The remaining minute of the hour is filled with trails and a prelude/station ident. This is the basic clock. At weekends when we are aiming for a more relaxed listen, some programmes have all the posts at the bottom of the hour removed and the trail slot, the billboard and the news summary are not broadcast. This allows a single programme item to run from 6 minutes past the hour to 50 or 59 minutes past the hour. This is often described as an un-clocked hour or unclocked 50 minutes The phrase un-clocked refers to the absence of the posts at the bottom of the hour. The posts at the top of the hour are almost never removed. To cope with this range of different programme lengths and whether or not there are posts at the bottom of the hour we have the following programme slot descriptions: 59 minutes clocked This comprises: 1 minute billboard at the top of the hour. 23 minute first part of the programme. 30 second billboard for the second part of the programme. 26 minute and 30 second, second part of the programme. Please see clock diagram in the appendix. 27

29 The exact audio durations for the slots outlined above are 1 second shorter than the length of the available slot. So the audio durations are: Top Billboard 59 Programme Part Bottom Billboard 29 Programme Part minute un-clocked 1 minute billboard at the top of the hour. 53 minute main programme. Please see clock diagram in the appendix. The exact audio durations for the slots outlined above are 1 second shorter than the length of the available slot. So the audio durations are: Top Billboard 59 Programme minutes clocked This comprises: 1 minute billboard at the top of the hour. 23 minute first part of the programme. 30 second billboard for the second part of the programme. 17 minute and 30 second, second part of the programme. Please see clock diagram in the appendix. The exact audio durations for the slots outlined above are 1 second shorter than the length of the available slot. So the audio durations are: Top Billboard 59 Programme Part Bottom Billboard 29 Programme Part

30 50 minute un-clocked 1 minute billboard at the top of the hour. 44 minute main programme. Please see clock diagram in the appendix. The exact audio durations for the slots outlined above are 1 second shorter than the length of the available slot. So the audio durations are: Top Billboard 59 Programme Programmes of less than 30 minutes duration These programmes can have similar overall durations (if the billboard is included in the duration) so they are differentiated by the duration of the main body of the programme. They appear in either the front half or the back half of the hour. 23 minute (front half) 1 minute billboard at the top of the hour. 23 minute main programme. Please see clock diagram in the appendix. The exact audio durations for the slots outlined above are 1 second shorter than the length of the available slot. So the audio durations are: Top Billboard 59 Programme (back half ) 30 second billboard at 30 minutes the hour. 26 minute and 30 second main programme. Please see clock diagram in the appendix. The exact audio durations for the slots outlined above are 1 second shorter than the length of the available slot. So the audio durations are: Top Billboard 29 Programme

31 17 30 (back half ) 30 second billboard at 30 minutes the hour. 17 minute and 30 second main programme. Please see clock diagram in the appendix. The exact audio durations for the slots outlined above are 1 second shorter than the length of the available slot. So the audio durations are: Top Billboard 29 Programme Pro grammes These programmes can appear in the front half of the hour or the back half, either between the 20 minute post and the 29 minute post or between the 50 minute post and the 59 minute post. They do not normally require a billboard. Again the exact audio duration is 1 second shorter than the length of the available slot. So the audio duration is: Programme 8 59 Managing the Clock Self-Contained Programmes World Service programmes should always be self-contained e.g. the presenter introduces the programme themselves and closes the programme there is no continuity as is common on other networks. This is to make sure all World Service programmes are lively and fresh and there is an immediate and direct relationship between the presenter and the audience the presenter is not a guest in someone else s room. This can appear daunting if you are used to having a continuity announcer to set up your programme for you, but it can be liberating. Both as producer and presenter you are much freer to establish the tone, pace and style of your programme at the very beginning of the programme, and it helps to bring the audience immediately to mind as the people you are talking to. There are no rules about how this should be done, but there are some guidelines that will help structure both the programme billboard(s) and the start and end of programmes and programme parts. 30

32 The first billboard... This is the billboard that starts the programme. In front-of-hour programmes and programmes longer than half an hour this will be at the top of the hour and will be a minute long. For back half programmes this will be 30. In either case these are the two most valuable times on the network and the presenter needs to tell the audience who they are, what station they re listening to and why they should stay listening for what follows the news. The billboard should be lively and conversational in style but not rushed don t try and cram everything in. Keeping the audience engaged in your programme through a 5 minute bulletin can feel like a big challenge. But you do have a whole minute to hook the audience. In that minute you need to share your passion with the audience and engage them with something from the programme that will make them curious, happy, puzzled etc. and impatient to hear more. As well as saying who you are and what the station is, there should be at least one clip from the programme, if possible the best excerpt from the programme, to drive their curiosity and give them a clear idea of what the programme is about. The minute can end with reiterating who you are, and that you ll be back in 5 minutes, or after the news. The same also applies to the shorter, bottom of the hour billboard. You need to say who you are, what the station is and what the programme that follows is about, and engage the audience s curiosity or emotions. It is obviously harder to get a clip into such a short duration, but if you do have a short money shot clip that needs little setting up, then use it, but a narrator-only billboard can also be very strong. The Programme Opening You cannot assume the listener has heard the billboard - so the programme needs to start as if the listener has only just started listening or only heard the news. Like the billboard, the start of the programme needs to be engaging, conversational and relaxed. You don t have to start with Hello, I m Jean Presenter and you re listening to the BBC World Service. Why not Is the world round? I'm Jean Presenter and for the BBC World Service, I'll be investigating.."? You need then to explain what the programme is about, why this matters, and how you re going to show them this matters. In other words there s no reason not to talk about the programme itself and what it is doing, while also telling the stories within the programme. This should include reminders of who the presenter is and the station. You can do this signposting as often as feels comfortable within the programme and we still don t do enough of it. Half the audience to WS English comes from partners, and we are losing attribution, and hence credit from the audience, for what we do. There should be at least one station ident within the body of the programme. The End of the Programme At the end of programme the presenter will close the programme. If it is a requirement to credit the producer and, in the case of an independent production, the production company as well this should be done in an informal and conversational manner in keeping with the style of the programme. There is no obligation for in-house productions to credit producers and editors and it is not the WS style to do so. If it's a series, trail ahead to the next part. Do this in a way that fits into the flow of the preceding programme. 31

33 Navigating the bottom of the hour. Programmes that are longer than half an hour, and clocked, need to navigate the trail slot and news summary at the bottom of the hour and also make their short midway billboard fit smoothly into the flow of programme elements. Again this can appear quite daunting but if you approach this sequence from the point of view that this is all still your programme it will help. The end of the first part of the programme As you approach the end of the first part of the programme you should remind the audience who you are and what the programme is about. It s important at this point to tell the audience that the programme isn t finishing. This can either be done simply by saying something like. and we ll be continuing the story of xxxx in a moment. Or go further and add a short trail to something that is coming up in the second part of the programme. It also helps to keep the presenters inflection flat as the first part of the programme finishes or even rising if they ve asked a question. This avoids any sense of the programme ending. Music is best avoided right at the end of the first part of the programme as the following trail may include music and the juxtaposition can sound awkward. It is also not necessary to identify the programme elements as part 1 and part 2 (as in In part 2 of the programme you can hear. ). This can get in the way of telling a continuous story and introduces an often artificial divide - offering an opportunity for the audience to lose interest. The bottom billboard The trail that follows the end of the first part is one minute long followed by a 30 billboard for the remainder of the programme. The same guidance applies to this billboard as any other, and don t be afraid to trail the same thing as you did at the end of the first part of the programme, but give more information and maybe a short clip to illustrate the point. Don t forget to remind the audience who you are, that it s the BBC and what the programme is about, ending with a point forward to after the latest news or that s in two minutes. or a combination of both. There is then a two minute summary after which you will need to remind the audience again who you are, that it s the BBC and what the programme is and what it s about. You can then pick up the story. All of this may sound repetitious, but experience and feedback suggests that you cannot tell the audience often enough who you are, what they re listening to (programme and station), and we need to do this consistently through the programme, certainly at least once within the body of each part of a one hour programme. It can also be very effective to couple the ident with a reminder of what s yet to come in the programme and also what they ve heard, where relevant. Adding announcements and/or billboards to programmes There are very unusual situations when you may need to ask for an announcer to read an introduction and a close, and also possibly, record a billboard. For instance, if your programme is a reversion of a Radio 4 programme and the original presenter is no longer available. In these circumstances the main audio durations (listed above) will need to be shorter to allow for these announcements. Should this be necessary you should contact the Channel Management 32

34 team at least 2 weeks before delivery of the programme to warn them of this and to arrange for an announcer to make the recording. You can then send the script to the Channel Management team who will record the audio and send it back to you to be incorporated into the programme. You can then deliver your programme and billboards to the durations outlined above. (Channel Management are on [ ] 40342) Podcasts BBC World Service English is very serious about podcasting. We aim to create the world s favourite podcasts and to become one of the market leaders, with a podcast collection that inspires, entertains and informs - great podcasts, amazing audio, new audiences. We currently reach hundreds of thousands of extra listeners every week through our podcasts and we aim to increase that further. Central to our WSE Podcast Strategy is reaching new and underserved audiences around the world. Podcast listeners tend to be younger than more traditional broadcast audiences and they might otherwise not hear/see/read our content. We aim to increase download figures each year. We could have the best podcast ever made but if nobody knows about it, no one will hear it. Descriptions, publicity and marketing are vital. In some cases, we will ask for extra audio or presenter links to help trail our podcasts. For some strands, we may ask for podcast-specific descriptions. The majority of our podcasts are heard via podcast apps and the descriptions need to be enticing, punchy and powerful enough to sell the podcast in the best possible way. They need to be short and to the point and the first few words are vital. In most cases, the name of the reporter or presenter is not relevant the description should be about why this particular podcast needs to be heard. There may also be changes in the way the programme needs to be constructed for podcast listening. Requirements will be clearly indicated in the TX confirmation . Due to a change in the way we may be starting our podcasts, we might require bespoke additional introductions to your podcast, which will act as short billboards. We may also ask for internal branding to be changed or removed to fit with podcast requirements. Again, this will be clearly indicated. It can be delivered in the same way as the TX version, with a separate file name indicating that it is for podcasting. There are a number of rights restrictions applying to podcasts particularly around the use of commercial music. You can find the guidelines below. Be aware that if any music is not cleared for use in podcasts it will have to be edited out. Guide to using music and other extracts in Podcasts Commercial recordings can be included in audio podcasts subject to the following: The maximum duration for any commercial recording of jazz or classical music used in a podcast is 60 seconds clean. 33

35 The maximum duration for all other commercial recordings is 30 seconds clean. The commercial recording/s must have been part of the original broadcast programme. (Commercial recordings that have not been part of the broadcast cannot be included in a podcast). Podcasts which are about music and/or routinely feature music as part of the core content of the podcast must be restricted to the UK. Note: 'Clean' means without voiceover or other sound. Therefore durations can be longer than 30 (or 60) seconds where there is voiceover, but the "clean" element must not exceed 30 (or 60) seconds. You should only use a max of 30 (or 60) seconds clean from any one commercial recording/track in one podcast episode. There are particular restrictions on the use of particular commercial music in podcasts. Any queries about the use of music in BBC podcasts please contact Chris Hutchinson in the Music Copyright team on x Use of specially composed and library music: All podcasts can feature specially composed and library music (e.g. beds, jingles and stings), with no restriction on duration. Use of extracts of books, films and plays: If you were cleared under Fair Dealing to include such a clip in the original broadcast for the purpose of criticism and review, and it was also cleared to make this available via BBC iplayer, then you can include it in the podcast. As for a broadcast, these clips must: Be kept as short as possible - just enough to make the point. Be properly acknowledged - give the title of the work and the author (production company or studio for a film clip and, ideally, the director). Have previously been made available to the public. bbcworldservice.com Programme pages on the website are set up automatically. If you are an in-house producer you will be able to update your programme pages yourself. If you are an independent producer the programme information you have sent to us will be used by the World Service online team to make your programme page. Rights All rights for music, presenters or copyright material need to be cleared for your programme before it can be broadcast. If you are an independent producer this is part of the contract you make with the BBC when you agree to produce the programme. What rights need to be cleared are explained in the contract. 34

36 If you are an in-house producer you must ensure that all underlying rights are cleared before broadcast. You can take advice on this from your own Talent Rights advisors. Editorial Guidelines If you are an independent producer and need to consult the BBC s editorial guidelines they can be found here: It is essential that all material contained within a programme adheres to these guidelines and advice should be sought at the earliest stage possible. Confirmation of Commission This will be ed to you by the Commissioning team when your programme has been commissioned and has been given a preliminary slot in our schedules. Contains working title, slot, programme duration, proposed TX dates and contact details. These details are subject to change. 35

37 TX Confirmation This will be ed to you five weeks in advance of TX, when the programme is scheduled. This will confirm transmission placings, programme title, duration, details of opening and closing announcements and whether or not a billboard is required. The will also come with all necessary documents (e.g. Ofcom Compliance Form, if necessary, Presentation Details) and will include details of how to complete and where to then send the documents. TX amendment This will be sent to you if a change has been made to the scheduling, transmission or delivery arrangements for a programme after the TX Confirmation has been sent. How and where should I deliver my programme? Programmes should be delivered to the WSE Channel Management team as audio files* via VCS Highlander\VCS Dira Transfers. If you are working outside of the BBC network you can use a BBC provided MediaShuttle account which must be set up in advance. Precise details should be discussed and agreed with Channel Management at least one week before the delivery deadline, which will be given on your TX Confirmation . You can contact the team on ( ) or wsenglishchannelmanagementteam@bbc.co.uk. (*Audio files should be either.wav or.flac, and should be 2-channel stereo, 48kHz, 16bit) What is the delivery deadline? Deadlines vary and can be found on your programme's Transmission Confirmation sent five weeks before transmission. Programmes that are commissioned less than 5 weeks before transmission should agree a delivery date with their commissioner when they are commissioned. Listening copies should be delivered 2 weeks before transmission date. TX versions of documentaries and dramas should be delivered five days before broadcast. Those programmes with content relevant to a specific day should arrive before 12:00 on the day of TX for. For programmes containing material relevant to a specific week the deadline is 16:00 on the day before TX. These may vary for independent productions. Presentation Details If your programme is self-contained, we do not require presentation details. If it is not selfcontained and you require us to voice additional continuity announcements or a billboard, please fill in a Pres Details template (which you can download from here) and send it to: WSENGLISHchannelmanagementteam@bbc.co.uk. 36

38 OFCOM Compliance Form All recorded programmes must have a compliance form. They cannot be broadcast without one. For internal BBC users, this should be submitted using the Jportal Global News Compliance site here: If you need any help using this system or are not able to access it, please contact WS English Channel Management on x ( ) If you re an independent production company, you will be sent a blank compliance form template (attached to your TX Confirmation ). Please fill this in and send it to vanessamorris&karenhowe@bbc.co.uk. When and where is the programme going out? Your programme will be broadcast on various WS channels, often appearing three or four times on each during the course of its run. Details of these exact times and channels are available on request but we will send you details of the first and last placings on the Tx confirmation. Contact Numbers Murray Holgate, Network Manager Vanessa Morris & Karen Howe, Commissioning Assistants Channel Management Paul Blythe, Presentation Manager

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