Write for the ear
Radio writing is a person-to-person relationship. The listener must understand the story as it unfolds, without rereading a sentence. Clear, accurate words, a natural voice and a rhythm that can be spoken comfortably matter more than elaborate literary effects or a borrowed broadcasting manner.
The essentials
Write for one hearing. Paul de Maeseneer’s approach begins with the fact that radio communicates through speech. Prefer active verbs, concrete images and the present tense when appropriate. Listeners cannot return to the previous paragraph as readers can, so avoid ambiguity and long chains of subordinate clauses.
Let words carry the action rather than burying it under adjectives and adverbs. If a sentence is awkward to say, pompous or confusing, change it. Reading aloud is part of writing, not merely rehearsal after the text is finished. Listen for the point at which the information becomes hard to follow.
Use a personal tone, like a conversation with a friend, rather than the forced public voice of a speech or the intimate tone of a secret. Your own personality matters more than imitating an accent. Keep enough breath to finish each meaningful phrase clearly; in French, the rhythmic group places particular weight on its final syllable. Time a natural reading and simplify wherever speaking or understanding becomes difficult.
Take it to the field
Time a natural reading. Simplify where you stumble and cut where breath runs out. Ask someone to retell the information after one hearing: whatever was not understood needs clearer wording or better organisation.
Your turn
Rewrite one of your print articles for radio, using active verbs, short sentences and concrete words. Read both versions aloud. Use the present tense where it fits, and let the ear judge what needs changing.