have worked with media
professionals from many
developed and developing
countries, and the training they
receive is so often the same,
worldwide. Journalists and factual
programme-makers are trained in
‘Who, What, Where, Why, When
and How’. But there is rarely any
sophisticated theory: no story
theory, nothing about formats or
combining them to tell stories, no
learning and persuasion theory. It
is this combination of story, format,
learning and persuasion theory that
is unique to my and RNTC’s
approach. Programme-makers need
a rigorous but usable theoretical
basis, which they should explore by
analysing examples, followed by
producing programmes based on
this approach.
What is wrong with the five “Ws”?
That doesn’t build a story. In my
experience, Western journalists are
very resistant to Story Theory –
unlike their colleagues in developing
countries. Story, they think, means
fiction, which, of course, it doesn’t.
Of course information in every
factual programme has to be
accurate and thoroughly
researched. But if you don’t deliver
this information in a story, people
can’t remember it. “Story” is not a
dirty word, it is the main vehicle for
human communication and we do
not train enough of our media
professionals in how to tell great
stories in any format.
How do you persuade audiences?
Good programmes and stories
persuade audiences, but
programme-makers often persuade
by chance, not design. Any
programme that has an impact on
an audience persuades them about
something new. If there’s nothing
new in your programme, there’ll be
no impact. The key to persuasion is
being aware of the emotional
journey your audience goes
through. Giving new information
changes people’s understanding,
and there’s an emotional dimension
to it. A truly powerful programme
operates on an intellectual and
emotional level. If you want to have
an impact every time, you need to
use a persuasion theory, in
harmony with story and format,
otherwise your successes are not
repeatable because you won’t really
understand why it had an impact.
Are your ideas relevant everywhere?
Yes. Just because you cross a
geographical border doesn’t change
the way your brain works; it
doesn’t change the fact that you
communicate through stories. If
you tell someone a great story, they
will remember it. They can share it.
If you throw bare data at them,
after 20 seconds they can’t
remember a word. The feedback to
my training approach is equally
high in developed and developing
countries.
You use the term “audience
mapping” – what does that mean?
Broadcasters often use too broad a
definition of “audience” – such as
“We’re aiming at 18 – 24 year olds”
or “People in the North of
England”. These are definitions
inherited from advertisers. But
they’re meaningless; these
audiences don’t exist as a cohesive
audience because of the diversity
and complexity within each group.
You really have to decide which
micro audiences within the macro
audience you want to reach, and
then craft your story accordingly.
Audience Mapping is the technique
for identifying and then selecting
the range of micro audiences your
programme or series is designed to
have an impact on. This level of
awareness is present in some areas
of advertising and behaviour
change campaigning – but not in
standard programme-making.
You offer training in drama and
soap opera production – and now
also game shows and comedy ?
The majority of media training
tends to be journalism training,
which we run also; but why not
share our expertise for other
important formats and genres? All
broadcasters need their high rating
programmes, and there are very
few international training courses
for game shows and other types of
programmes. Some soap opera
producers that have been on our
courses now produce their
countries’ most viewed
programmes.
And your plans for the future?
Breaking as many fixed patterns of
training as possible! It’s all about
breaking new ground and taking
the old ways of doing things and
keeping the good and taking it into
a new form in the future. We are
going to launch an Online
Academy of Excellence where
journalists and programme-makers
of many genres can learn about
story, format, learning, persuasion,
creativity and the mapping of
audiences. Training will be through
play and social media, one-on-one
coaching and interactive seminars
introducing high level theory.
Participants are expected to practise
what they’ve learnt: produce
programmes, upload them and get
feedback. The online platform
should keep costs down and enable
us to reach a wider audience.
There’ll be journalism and factual
productions, drama, comedy, game
shows and broadcast management.
We’re aiming to train the media
stars of tomorrow.
Thank you,Turan Ali.
A truly
powerful
programme
operates on
intellectual
and
emotional
levels
“
”
Turan Ali, the new director of
Radio Netherlands Training
Centre RNTC, is a seasoned media
all-rounder, with over 20 years
experience of producing radio and
TV programmes while at the same
time gaining an international
reputation as an innovative media
trainer. In 2015 RNTC will become
part of Radio Netherlands
Worldwide and Turan Ali has
ambitious plans to expand the
range of RNTC’s courses beyond
the 70 countries they currently
serve. He explains what is central
to his approach
PERSUADING
BYDESIGN
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