ABSTRACT
First and foremost he or she has ideas – ideas for programmes, or items, people to interview, pieces of music or subjects for discussion – new ways of treating old ideas or creating a fresh approach to the use of radio. New ideas are not simply for the sake of being different, they stimulate interest and fresh thought, so long as they are relevant. But ideas are not the product of routine, they need fresh inputs to the mind. The producer therefore must not stay simply within the confines of the world of broadcasting, but must get involved physically and mentally in the community being served. It is all too easy for media people to stay in their ivory tower and to form an elite not quite in touch with the world of the listener. Such an attitude is one of a broadcasting service in decline. Ideas for programmes must be rooted firmly in the needs and language of the audience they serve; the producer’s job is to assess, reflect and to anticipate those needs through a close contact with his or her potential listeners. If the audience is far away, then it’s important to read their newspapers and magazines, talk to the returning traveller, carefully study the incoming mail, and visit their country as and when possible. The producer will carry a small notebook to jot down the fleeting thought or snatch of conversation overheard. And if it is difficult to think of genuinely new ideas, then act as a catalyst for others, stimulating and being receptive to their thoughts, and at least recognize an idea when one arises. Only then may the experiential producer retreat to the quiet of an office to think – to shape and develop ideas into draft outlines.
