Writing Television Script

Planning is an essential part of a serious production, and the script forms the basis for that plan. The script usually begins the production process.

 Scripts do the following:

• To Help the director

1.    clarify ideas and develop a project that successfully communicates to the viewers.

2.    coordinate the entire production team.

3.    determine what resources will be needed for the television production

A script is then developed based on this outline and decisions are made concerning the camera treatment for each segment.

 1. THE PRODUCTION PLAN –

THE UNSCRIPTED PRODUCTION PLAN

There are some types of program that cannot be scripted. For example, sports events cannot be controlled; you never know where they are going to go. However, the director still needs to think through a quasi-script, or what is often known as a production plan.

  THE OUTLINE SCRIPT: SEMI-SCRIPTED PRODUCTION 

The type of script used will be some production situations where talent improvise as they speak or perform—when the “script” simply lists details of the production group, facilities needed, and scheduling, and shows basic camera positions, and so on. The script may just list the order of topics to be covered. 

An outline script usually includes any prepared dialogue, such as the show’s opening and closing.

If the show is complicated, with multiple guests or events occurring, a show format is usually created. This lists the program segments (scenes) and shows the following:

• The topic (such as a college day celebration).

• The amount of time allocated for this specific segment.

• The names of all talent involved (hosts and guest

• Facilities (cameras, audio, and any other equipment and space needed).

• External video content sources that will be required.

 When the director has decided how he is going to interpret the script,

1.       each scene will be subdivided into a series of shots;

2.       each shot shows the action from a specific viewpoint.

3.       The shots are then numbered consecutively for easy reference on the script, in the order in which they will be screened.

In a live production, the program is shot in the scripted order (running order). When taping a production, the director can shoot in whatever order is most convenient (shooting order) for the crew, actors, and/or director. The director may decide to omit shots (“drop shot 25”) or to add extra shots (shots 24A, 24B, etc.).

He or she may decide to record shot 50 before shot 1 and then edit them into the correct running order at a later time.

THE SCRIPT AND PRODUCTION PLAN

Format

The show format lists the items or program segments in a show in the order in which they are to be shot. It may show durations, who is participating, 

shot numbers, and the like. Example CARING FOR THE ELDERLY/Tirunelveli Saranalayam

Total duration: 15 mins 1.

OPENING TITLES AND MUSIC 00:10 2.

PROGRAM INTRO 00:30 3.

PROBLEMS OF MOBILITY 2:20 4.

INJURIES 02:15 5.

DIET 02:45 6.

 DAILY ACTIVITIES 03:40 7.

EXERCISES 01:20 8.

AIDS THAT CAN HELP 01:15 9.

CLOSING 00:25 10.

END TITLES 00:10 15:00

 

 

FULLY SCRIPTED SHOWS

When a program is fully scripted, it includes detailed information on all aspects of the production, as described in the following subsections.

The full script is used differently by various members of the production team. 

For the director, the script has two purposes: 

• as a reference point when developing treatment, 
• estimating the duration of sequences, planning camera moves, 

 The director’s assistant(s) follows the script carefully during rehearsals and taping, checking dialogue accuracy, noting where retakes are needed, timing sections (their durations, where a particular event occurred), and perhaps readying and cueing contributory sources, as well as “calling shots” on the intercom—for example, “Shot 24 on 

Scenes 

Most productions are divided into a series of scenes. Each scene covers a complete continuous action sequence and is identified with a number and location (Scene 3—office set). 

 

Shots

 When the director has decided howis going to interpret the script, each scene will be subdivided into a series of shots; each shot shows the action from a specific viewpoint.

 The shots are then numbered consecutively for easy reference on the script, in the order in which they will be screened. In a live production, the program is shot in the scripted order (running order). 

The director may decide to omit shots (“drop shot 25”) or to add extra shots (shots 24A, 24B, etc.). He or she may decide to record shot 50 before shot 1 and then edit them into the correct running order at a later time.

 

Dialogue 

The entire prepared dialogue, spoken to the camera or between people. The talent may memorize the script or read it off tele   prompters or cue cards.

Equipment

The script usually indicates which camera/microphone is being used for each shot (Cam. 2 Fishpole). Basic Camera Instructions Details of each shot and camera move (Cam. 1 CU on Joe’s hand; dolly out to long shot). 

Switcher (Vision Mixer) 

Instructions For example: cut, fade. 

Contributory Sources 

Details of where video recordings, graphics, remote feeds, and so on appear in the program.

 

SCRIPT STAGES

 The fully scripted show is developed in several stages, as described in the following subsections.

1. Draft/Preliminary Script/Outline Script/ Writer’s Script

The initial submitted full-page script (dialogue and action) before script editing.

2.  REHEARSAL SCRIPT

A script prepared for television and used for pre-studio rehearsal. The script details the locales (settings), characters, action, talent directives, and dialogue (Table 5.3).Rehearsal script: Script prepared for television and used for pre-studio rehearsal. Script details the settings, characters, action, talent directives, and dialogue.

3. CAMERA SCRIPT

A revised script for camera rehearsals, augmented with details of production treatment: cameras and audio, cues, transitions, stage instructions, and set changes (Table 5.4).

Camera script: 

·         A revised script for camera rehearsals, including the details of the production treatment: cameras and audio, cues, transitions, stage instructions, and set changes..

·         The camera script outlines for each camera operator the exact size of shot and precise camera moves the director expects throughout the scene. 

·         For example, s/he might note that s/he wants to shoot the scene in five different ways:

1 - wide shot of whole scene
2 - reaction shots of other characters in scene from WS perspective
3 - MCU on two-shot of Liz and Rico
4 - CU Liz
5 - CU Rico

Fact sheet/Rundown sheet: Summarizes information about a product or item for a demonstration program, or details of a guest for an interviewer.

 Outline script: Usually includes any prepared dialogue, such as the show opening and closing.

Preliminary script/writer’s script: Initial submitted full-page script (dialogue and action) before script editing.

Running order: In a live production, the program is shot in the scripted order.

Shooting order: When taping a production, the director can shoot in whatever order is most convenient for the crew, actors, and/or director.

Show format: Lists the items or program segments in a show, in the order in which they are to be shot. It may show durations, who is participating, shot numbers, and so on.

Synopsis: An outline of the characters, action, and plot. This synopsis helps everyone involved in the production understand what is going on.

 Treatment: A film treatment, or script treatment; it is more than an outline of the production and less than a script. It is usually a detailed description of the story that includes other information such as how it will be directed.

 

4.FULL SCRIPT

 It simply informs everyone about what is expected at each moment of the production. 

Rehearsal time is too precious to use up explaining what is expected of everyone as you go. The full script is a changeable plan of how the production will proceed that has details added to it as the production develops.

 Fully scripted approaches can be found in newscasts, drama productions, operas, situation comedy shows, documentaries, and commercials. 

 The full script can be a valuable coordinating document, enabling you to see at a glance the relationships between dialogue, action, treatment, and mechanics. During planning, of course, it helps the team estimate how much time there is for a camera move, how long there is for a costume change, whether rearranging shooting order will give the necessary time for a makeup change, the scenes during which the “rain” should be seen outside the windows of the library set (the audio effects introduced), and the thousand and one details that interface in a smooth-running show. 

SCRIPT BREAKDOWN DEFINITION

What Is a Script Breakdown?

A script breakdown is an important filmmaking process that allows you to identify all the script elements needed to prep, schedule, and budget a film production.

 A breakdown happens at a scene level. The person tasked with the job will create scene breakdown after scene breakdown until a full, start-to-finish script breakdown is completed. This will be used to determine technical and creative requirements for each department.

A script breakdown element is an object, person, or process that is identified when creating a scene breakdown, such as:

 

·         Cast / Characters

·         Extras

·         Props

·         Set Dressing

·         Costumes

·         Makeup

·         Vehicles

·         Stunts

·         Special Effects or VFX

·         Livestock

·         Sound

·         Music

·         Special Equipments

·          

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Television Production Script

 

 

 A script is an entire program committed to paper. It includes dialog, music, camera angles, stage direction, camera direction, computer graphics (CG) notations, and all other items that the director or script writer feels should be noted.

Generally, the script must be created very first, because it will be the source of every other area. The script, usually contains general information on characters, locations, stage directions, and dialogue. A director visualizes the scenes and assesses the possible treatment. The director must also anticipate the script’s potential and possible difficulties.

There are many different kinds of television programs, each with unique requirements of the script. Most programs fit into one of the following categories

•Lecture. 

The lecture program format is the easiest format to shoot; the talent speaks and the camera shoots almost entirely in a medium close-up.   Other names for the lecture format are BTF (big talking face) or talking head. This format has the lowest viewer retention( the action of keeping something or of being kept.) and is often the mark of an amateur.

 https://www.youtube.com/watch?v=M-4mcXhXT6A&ab_channel=SunNews

•Lecture/Demonstration. 

The lecture/demonstration format lends itself to the numerous cooking shows, how-to shows, and infomercials seen on television today. This format is more interesting to watch than a lecture alone because of the action and many props used by the performers.cookery show

•Panel Discussion. 

The many Sunday morning network programs that bring a group of professionals together to discuss current news and political topics are examples of the panel discussion format. Also included are the popular daytime talk shows. These programs are not difficult to produce, as long as there is a limited number of people on the panel. Panel discussions are driven by the program’s content, not action.

https://www.youtube.com/watch?v=83VhpFRB2R4&ab_channel=HongBaoMedia

•Interview.

  The interview format is often shot with only one camera. To get various camera angle cuts between the interviewer and the interviewee, the interviewee is shot for the entire duration of the interview. The audio picks up the questions asked by the interviewer , but the camera only shoots the interviewees' face.  The interviewer does not say anything, but simply “nods” naturally as if listening to the answer to a question. When collecting nod shots, the interviewer faces the direction where the interviewee was positioned during the interview. In the editing room, the angles and not shots are cut together to create what looks like a conversation between the two people.

interviwe with lash award winner rap

•Documentary. 

A documentary program is essentially a research paper for television; the topic is researched, the information is outlined, and the script is written. 

The audio in a documentary may be either off-camera narration, or on camera narration, or a combination of both. The audio portion f the script should be roughly written out before any shooting begins. In the process of writing, a shot sheet is develop. 

 When shooting, the shots on the list are captured.. Additionally , the director watches for other shots that include specific items, people, or anything that adds to the program's content and would be interesting to the viewers.

https://www.youtube.com/watch?v=XmtXC_n6X6Q&t=44s

https://www.youtube.com/watch?v=7MFKy7DJsCY&t=17s  death of budha

story of India

•Drama. 

This term includes both dramas and comedies. The drama format requires a different kind of talent, actors. Actors take on a role in a program and perform as someone or something other than themselves.

https://www.youtube.com/watch?v=mfU1MbUHu5U&t=10s

 •Magazine. 

The magazine format originated from programs like “60 minutes,” but has become more than news-oriented programming. A regular news broadcast presents each story in two minutes or less. A magazine format program is comprised of feature packages that address a single story. This allows more interesting detail to be included about each story, but fewer stories to be included in each program. 

anne frank

•Music Video. 

The music video has become a common and influential force in our culture. Items such as clothing shoes, fashion accessories, and hairstyles gain popularity when seen in a music video. Music videos also serve to promote a band or a new song or album, in the hopes of increasing the sales of CDs and concert tickets. Most music videos are one of three types:

villu pattu

•Concert Style. 

 A concert style music video may include a compilation of different concerts the band has performed, a studio performance, or a various locations. 

1. •Story Style. The audience hears the music, but never sees the band. Instead, actors act out a story line that is supported by the lyrics of the song.  rasputin
2. •A hybrid of a concert style https://www.youtube.com/watch?v=sWpVoQk924kand a story style music video.earth song
1. When producing a music video, copyright permission is the first and foremost consideration. Do not break the law! 
3. •Public Service Announcement/Ad (PSA). Generally, Public Service Announcements/Ads are 30 or 60 seconds in length. The purpose of a PSA is to inform the public or to convince the public to do (or not to do) something in the interest of common good. Anti-drug and anti-drinking and driving campaigns are examples of PSAs. A typical television ad, on the other hand, attempts to convince the public to purchase goods or services.air pollution

Visualization

Visualization is the ability to mentally picture the finished program. Visualizing a program is similar to daydreaming. The visualized details of a program should be put on paper, so that others can share the vision. Only when everyone, the crew an cast included, shares the vision for the program can it become a reality. Until computer graphics technology was sophisticated enough to realistically reproduce onto the screen the creatures and worlds he visualized in his mind. 

Storyboards

 Some professionals use storyboards to help with visualization. Storyboards resemble comic books, in that they present a sketch of the way image on television should look. The disadvantage in using storyboards is the considerable time and talent required to draw each scene. 

Research

 Both documentaries and interviews require that the program topic be researched. When interviewing someone, it is important to be proficient enough on the topic to hold a conversation that is interesting and informative. When developing a research paper, the research information is often organized on note cards. The notes are then turned into individual paragraphs of the paper. In television, the individual paragraphs become scenes.

The Program Proposal 

The program proposal is created by the scriptwriter and provides general information about the program, including: 

1. •The basic idea of the program. 
2. •The applicable program format. 
3. •The message to be imparted to the audience.
4.  •The program’s intended audience.
5.  •Budget considerations. 
6. •Shooting location considerations.
7. •A rough program shooting schedule.

 The program proposal is presented to an executive producer for approval, either in written form or orally in a meeting.

 https://wecommunication.blogspot.com/2022/05/how-to-write-tv-show-proposal.html

The Outline 

If a program proposal is accepted, creating an outline is usually the next step. All dramas, lectures, lecture/demonstrations, and documentaries use the same kind of outline. It is very brief, and not at all like the outline written for a research paper in school. An outline includes comments, noting the direction of the program. In any of the formats described, the developed outline is submitted to the executive producer will either: 

1. •Disapproves it. 
2. •Tweaks the outline a bit. 
3. •Gives suggestions to modify it. 
4. •Approves it. - If approved, the next step is writing the actual script.

Drama Outline

 An outline for a drama breaks each major event in the story into the fewest number of words possible and places each on a different line. It is a brief, chronological listing of the program's progression. The dialog is either nonexistent or minimal-just enough to relay the main point of each scene. 

Music Video Outline

 The Outline Concert style music videos do not require an outline. Only those with a story line corresponding to the lyrics and music require an outline. The second step in producing a music video may be to obtain copyright permissions or once obtained, begin outlining and scripting. By this point, the executive producer should have heard the music and approved the quality and suitability of the lyrics. 

Read More

A column is a regular piece or an article in a newspaper, magazine or any publication. Sometimes it is published daily or it appears weekly. 

This piece of writing contains the writer's opinion or point of view. A spot is allocated to the writer in the editorial page and often it is also named 'Opinion' where his or her write-up containing his or her opinions or views on a particular topic or subject appears. The column endows the writer with an opportunity to give his or her opinion freely. 

There is no restriction involved in column writing whatever the observation, experience and knowledge the writer has about the specific topic or subject, A column showcases the in-depth knowledge of the subject the writer possesses. In order to extract the information about the topic a columnist is going to write a column on, he or she uses his contacts in the field or community.

 A column is a voice or a viewpoint of a columnist not the newspaper and it is generally written using first person singular or third person singular. It speaks about the hot issues in society or politics or even displays the experiences of the writer about a specific subject.

 The reader is free to agree or disagree with the opinions of the columnist. The columnists can make or break anything. Most of the time, their experiences go in a right direction and their sources bring up the correct information, which reveals the hidden facts.

Write with conviction – Put forward your opinion as something you truly believe in. Argue your case with conviction. 

Maintain your focus – Make your column about one thing and one thing alone.   

Understand opposing viewpoints – Be mindful of the opposing argument. Anticipate objections to your point of view and deal with them convincingly with sound reasoning.

Refer to facts – Use of facts from reputable sources. 

Use analogies – Using a simple analogy from eve r yd ay l i f e m a k e s t h e i s s u e m o r e understandable and relevant to the reader.  

Be Critical – People like reading columnists who dare to criticize real life people. It make your column an interesting and exciting read. 

Do reporting – It is possible to write columns without doing any reporting but the best columns typically involve some form of reporting. When you report, you get on the ground and you gain a better sense of what’s really happening. 

Localize and personalize – Localize your story whenever possible. Aso tie it to some personal experience. This makes more real, relevant and memorable to the reader. 

 Be passionate and provide a solution.

Inside Twitter, fears Musk will return platform to its early troubles

Now many executives at Twitter and other social media companies view their content-moderation policies as essential safeguards to protect speech. The question is whether Musk, too, will change his mind when confronted with the darkest corners of Twitter.

Written by Kate Conger

Elon Musk had a plan to buy Twitter and undo its content-moderation policies. On Tuesday, just a day after reaching his $44 billion deal to buy the company, Musk was already at work on his agenda. He tweeted that past moderation decisions by a top Twitter lawyer were “obviously incredibly inappropriate.” Later, he shared a meme mocking the lawyer, sparking a torrent of attacks from other Twitter users.

Musk’s personal critique was a rough reminder of what faces employees who create and enforce Twitter’s complex content-moderation policies. His vision for the company would take it right back to where it started, employees said, and force Twitter to relive the past decade.

Twitter executives who created the rules said they had once held views about online speech that were similar to Musk’s. They believed Twitter’s policies should be limited, mimicking local laws. But more than a decade of grappling with violence, harassment and election tampering changed their minds. Now many executives at Twitter and other social media companies view their content-moderation policies as essential safeguards to protect speech.

The question is whether Musk, too, will change his mind when confronted with the darkest corners of Twitter.

“You have said that you want more ‘free speech’ and less moderation on Twitter. What will this mean in practice?” Twitter employees wrote in an internal list of questions they hoped to ask Musk and which was seen by The New York Times.

Another question asked, “Some people interpret your arguments in defense of free speech as a desire to open the door back up for harassment. Is that true? And if not, do you have ideas for how to both increase free speech and keep the door closed on harassment?”

Musk has been unmoved by warnings that his plans are misguided. “The extreme antibody reaction from those who fear free speech says it all,” he tweeted Tuesday.

He went on to criticize the work of Vijaya Gadde and Jim Baker, two of Twitter’s top lawyers. Gadde has led Twitter’s policy teams for more than a decade, often handling complicated moderation decisions, including the decision to cut off Donald Trump near the end of his term as president. A former general counsel for the FBI, Baker joined Twitter in 2020.

Twitter CEO Parag Agrawal did not directly respond to the criticism, but in a tweet, he wrote, “Proud of our people who continue to do the work with focus and urgency despite the noise.”

Read more |'Elon is the singular solution I trust', says former CEO Jack Dorsey

Employees of Twitter and other social media companies said that Musk seemed to understand little about Twitter’s approach to content moderation and the problems that had led to its rules — or that he just did not care. Some of the suggestions he has made, including labeling automated accounts, were in place before Musk launched his bid.

“He’s basically buying the position of being a rule-maker and a speech arbiter,” said David Kaye, a law professor at the University of California, Irvine, who worked with the United Nations on speech issues. “That has been really fraught for everybody who’s been in that position.”

In its early years as a small startup, Twitter was governed by one philosophy: The tweets must flow. That meant Twitter did little to moderate the conversations on its platform.

Twitter’s founders took their cues from Blogger, a Google-owned publishing platform that several of them had helped build. They believed that any reprehensible content would be countered or drowned out by other users, said three employees who worked at Twitter during that time.

123.மர்மங்களின் குரல் -4

நேதாஜி சுபாஷ் சந்திரபோஸ் விமான விபத்தில் இறந்து விட்டதல அவரது ஒரே மகள் அனிதா போஸ் ஏற்றுக்கொண்டார். அவரிடம் ஒரு பேட்டியின்போது நேதாஜி விமான விபத்தில் தான் இறந்தார் என்று எப்படி உறுதியாக நம்புகிறீர்கள் என்று கேட்கப்பட்டது. நேதாஜி விமான விபத்தில் இருந்து தப்பி பிழைத்து இருப்பார் என்று எனக்கு தோன்றவில்லை.

வங்காள மக்கள் நேதாஜி மீது அளவுகடந்த பாசம் வைத்திருக்கிறார்கள் என்பதை நான் அறிவேன். வங்காள மக்கள் மட்டுமல்லாமல் இந்தியர்கள் அனைவருமே நேதாஜியை நேசிப்பவர்கள்தான். அவர்கள் மனத்தில் நேதாஜி இன்னும் வாழ்ந்து கொண்டுதான் இருக்கிறார். ஆனால், கொடுக்கப்பட்டுள்ள ஆதாரங்களை வைத்துப் பார்க்கும்போது நேதாஜி உயிரோடு இருப்பதற்கான வாய்ப்புகள் இல்லை என்றே தோன்றுகிறது.

விமான விபத்தில் தப்பிய ஜப்பானிய அதிகாரிகளை நேர்காணல் செய்தபோது நானும் உடன் இருந்தேன். அவர்கள் அளித்த வாக்குமூலம் நம்பர் தக்கதாகவே இருந்தது என்றார்.
(எழுத்துருவாக்கம்: ஆதலையூர் சூரியகுமார், தேசிய சிந்தனைக் கழகம், தஞ்சாவூர்)

124. நம்பிக்கையின் உருவமாக நேதாஜி

பகவான்ஜி என்ற பெயரில் மாறுவேடத்தில் நேதாஜி இந்தியா வந்து சேர்ந்து விட்டார். பல பகுதிகளில் பலர் நேதாஜியை நேரடியாக பார்த்து இருக்கிறார்கள். ஆனால், யாரிடமும் தன்னை பற்றி சொல்ல வேண்டாம் என்று அவர் கேட்டுக் கொண்டிருக்கிறார். என்ற செய்தி நாடு முழுவதும் நீண்ட காலம் பரவி இருந்தது.

நேதாஜியை உயிருக்குயிராக நேசித்த அனைவரும் இந்த வாதத்தை நம்பினார்கள். நேதாஜி இறந்துவிட்டார் என்பதை ஏற்றுக் கொள்ள அவர்கள் தயாராக இல்லை என்பதால் எங்கோ ஒரு மலைப் பிரதேசத்தில் அல்லது குகையில் சாமியாராக வாழ்ந்து கொண்டிருக்கிறார் என்ற நம்பிக்கை நேதாஜியை பின்பற்றுபவர்களுக்கு நிம்மதியாக இருந்தது. நீம்சார் என்ற பகுதியில் பகவான்ஜி இருக்கிறார் என்று சொல்லப்பட்டது.

அவருடைய நெருங்கிய நண்பர்கள் ஒரு சில உறவினர்களுடன் கடிதப் போக்குவரத்து கொண்டிருந்ததாக சொல்லப்பட்டது. டாக்டர் பபித்ரா மோகன் ராய் என்பவர் இந்திய தேசிய ராணுவத்தில் பணியாற்றியவர். இவருக்கு நேதாஜியிடம் இருந்து தொடர்ந்து கடிதங்கள் வந்ததாக சொல்லிக் கொண்டிருந்தார். 1978 ஆம் ஆண்டு பகவான்ஜியிடம் இருந்து வரும் கடிதங்கள் நின்று போய் விட்டன.
(எழுத்துருவாக்கம்: ஆதலையூர் சூரியகுமார், தேசிய சிந்தனைக் கழகம், தஞ்சாவூர்)

125. நினைவுகள்

1967 ஆம் ஆண்டு 350 பாராளுமன்ற உறுப்பினர்கள் ஜனாதிபதியிடம் நேதாஜி மரணம் பற்றிய ஆய்வு நடத்த வேண்டும் என்று மனு கொடுத்தார்கள்.

அதன்படியே பஞ்சாப் ஐகோர்ட்டின் தலைமை நீதிபதி கோஸ்லா என்பவரை கொண்ட ஒரு நபர் விசாரணை கமிஷன் அமைக்கப்பட்டது. அவர் ஜப்பான், தைவான் உட்பட பல நாடுகளுக்கும் பயணம் செய்து தகவல்களை சேகரித்தார். விமான விபத்தில் நேதாஜி இறந்தது உண்மைதான் என்று அவர் இறுதியாக தனது அறிக்கையை சமர்ப்பித்தார். காலத்தின் தேவைக்கு ஏற்றவாறு தேசப் பணிபுரிவதில் நேதாஜிக்கு இணையாக இன்னொருவர் இனிமேல் தான் பிறக்க வேண்டும் என்று காந்தியால் பாராட்டப்பட்டவர் நேதாஜி.

1978 ஆம் ஆண்டு பாராளுமன்றத்தில் நேதாஜியின் உருவப்படம் திறந்து வைக்கப்பட்டது. 1992ஆம் ஆண்டு நேதாஜிக்கு பாரத ரத்னா விருது அறிவிக்கப்பட்டது. வாழ்க நேதாஜியின் புகழ்!

(எழுத்துருவாக்கம்: ஆதலையூர் சூரியகுமார், தேசிய சிந்தனைக் கழகம், தஞ்சாவூர்)

Our Lokpal movement to schools, water, power — Gandhi’s vision endures

What makes Gandhi especially relevant in the times we live in is his unflinching commitment to democracy and the wisdom of the people.

As a product of the Gandhian Jan Lokpal movement against corruption in high places, I have witnessed the power of Gandhian methods of resistance and protest. Mass movements throughout independent India’s history as well as around the world have taken inspiration from the original mobiliser of the masses, Mohandas Karamchand Gandhi. In this context, as long as there is injustice in the world, Gandhi will remain relevant.

What makes Gandhi especially relevant in the times we live in is his unflinching commitment to democracy and the wisdom of the people. The idea of decentralising power from the hands of a few to the hands of many was a romanticised utopia for many of us as activists. “True democracy cannot be worked by twenty men sitting at the centre. It has to be worked from below by the people of every village,” Gandhi wrote in Harijan.

Long before India introduced the 73rd and 74th constitutional amendments, the Right to Information (RTI), and other decentralising measures, Gandhi had championed this powerful idea. He believed that the strength of democracy is when power is given not to the executive, but to the people themselves. This was the essence of the Anna movement as well. The movement was not merely a mobilisation against a corrupt regime. It was an attempt to compel the government to involve the people in the process of lawmaking. Unfortunately, the UPA did not see merit in hearing the voice of civil society and forced the ordinary people of our country to enter politics.

In the time I have been chief minister — nearly five years, I have witnessed Gandhian decentralisation of power being brought to life. Before 2015, the education minister was the most powerful authority when it came to all issues related to schools. For the smallest of expenses, administrative authority lay with the minister. Such a top-heavy power structure can never effectively run any public system, even in a city-state like Delhi.

In 2015, I along with Manish Sisodia met 1,000 principals of Delhi government schools and asked them to give us a list of the things they have wanted to do in their schools, but have not been able to for lack of funds. We made proposals based on the principals’ inputs and that is one of the reasons why Delhi’s education budget suddenly doubled that year to consume 25 per cent of the entire state’s budget. The year after that, instead of going back to the principals once again, we gave them complete discretion over funds, and the freedom to use them. For the first time in the history of India’s education system, government school principals were given the means and resources to run their schools the way they wanted to. This transformed the school administration, suddenly making it more efficient and energetic.

Similarly, we formed groups of parents — School Management Committees — to help with the school management: Maintaining cleanliness, keeping up mid-day meal standards, among others. Involving the people in governance by providing them the power to take decisions for themselves, and giving them the means to exercise that power, is the key to progress.

Today, a government school principal, along with the parent-led SMC, is empowered to hire a resource person, maintain their school infrastructure, purchase books of their choice for libraries, bring in experts for teaching music, arts, sports. All of this, without sending a single file to the department for permission. This is Gandhian governance being realised.

In the last five years, the government of the common man has been led by the most Gandhian of philosophies — looking out for the last man in the queue. In one of his last notes before his tragic death, he had said, “Recall the face of the poorest and the weakest man whom you may have seen, and ask yourself, if the step you contemplate is going to be of any use to him.” It was Gandhi’s dream that we build a country where every child has access to good education, every person gets quality healthcare, and all people live together in peace and brotherhood. I am happy this has started to become a reality in today’s Delhi.

Many of us believed that most Indian cities including Delhi have had 24 hours electricity supply for years now, but the reality is otherwise. Many parts of the city did not have access to such a basic necessity when we assumed office in February 2015. Our government had to push for more transformers, infrastructure upgrade to ensure all households have 24-hour electricity. Only about 58 per cent of the colonies were connected by water pipelines in 2015. Today, we have taken that number to 93 per cent, ensuring that lakhs of families do not have to rely on water tankers any more. Most importantly, the government of the common man has attempted to build a system where ordinary citizens no longer have to plead before bureaucrats for basic services.

Gandhi envisioned a country where every person can dream of a better life. In Delhi, today, there is a semblance of opportunity for people to lift themselves out of poverty. We are working towards building a Delhi where a dignified life is the right of all citizens. It is humbling when one realises just how little of India’s progress would have been possible without Gandhi and the idea of Gandhi. My heartfelt tribute to the man whose memory continues to inspire a billion Indians.

This article first appeared in the print edition on October 3, 2019, under the title ‘From protest to governance’. The writer is the Chief Minister of Delhi.

A city safe for women — it’s possible: Arvind Kejriwal

Delhi can be a truly world-class city. All it will take is the right ‘neeyat’, writes Arvind Kejriwal.

I came to Delhi in 1995, after completing my training as an IRS officer, on my first posting as assistant commissioner of Income Tax.

I had not imagined in my wildest dreams that I would fight elections in the national capital. But over the last 20 years, I have worked in Delhi as a bureaucrat, an activist, a politician and briefly as chief minister of this unique city state.

At a personal level, my parents, my children and my better half have stood by me in these phases of transition in life and never complained about the disturbance in their daily lives. For a person like me, born in a village about 150 kilometres from Delhi, this city has always held a fascination.

A national capital conveys the image of a country to the world and I feel a lot needs to be done to make Delhi a truly modern city, where residents live with pride, irrespective of their religious identities and cultural roots. Some recent developments have been disturbing, but I am confident there is no place for retrograde and divisive views in today’s Delhi.

India is governed from Delhi, and I feel that the political class needs to give back to the city that offers them so much. I feel sad and angry when I read of rapes or other crimes against women. It is a shame that we have failed to make even our capital city safe for women — the heartrending account of a young rape victim, published in this paper (‘See something, say something’, IE, January 1), is an eye-opener for what is wrong with the city. It is yet another wake-up call for decision-makers and those in positions of power, before it is too late.

There are so many cities around the world where women walk safely on the roads even at midnight. Why can’t we make Delhi safe for women? I am confident that is possible. My party has come up with a detailed plan to make Delhi safer. We would instal CCTV cameras in all public places. Any potential culprit would then know that he could get recorded and thus caught. We would provide a security guard in every bus.

If anyone misbehaves with a woman in the bus, that person will be caught on the spot. We would also provide a “security button” on each mobile phone. If any woman got stuck in an unpleasant situation, she could press that button and the police would get to know her exact location. They could reach her within minutes and save her. Many more steps need to be taken to make Delhi a safe place for women.

When we used to shout slogans for a “Bhrashtacharmukt Bharat” during the Anna days, there was always a doubt in some corner of our minds as to whether it was possible to achieve that dream. Many people would say that Indians are born corrupt and corruption is in our DNA. I did not believe that. Today, our strongest critics admit that bribery levels came down substantially during the 49 days of our government. Most of the government departments started working without bribes.

It has become fashionable to talk about “ease of doing business”. But has any party taken concrete steps to make the businessman’s life simpler? During the Congress regime, the VAT department of Delhi used to conduct 200 raids every month. Under the BJP now, the number of raids has gone up further.

During our regime, we stopped all raids. By the earlier logic, tax collections should have decreased drastically. On the contrary, we had record tax collections in Delhi for the quarter when our government was in place. We collected Rs 5,666 crore in tax, Rs 1,000 crore more than in the previous quarter and Rs 2,000 crore more than in the next quarter.

And this record collection was at a time when the overall economy was not doing well. We just believed in our traders. I assured trade associations that no inspector from any department would harass them. In return, I asked them to help meet tax collection targets. We therefore took concrete steps to improve “ease of doing business”.

Delhi has one of the highest VAT rates in the country. Our government would reduce these rates to the lowest in the country. That would bring more trade to Delhi. More trade would mean more jobs. Lower tax rates would also improve compliance and thus increase tax collections. Finally, a lower tax rate would help reduce inflation. We would also ensure that if anyone wishes to set up a new business in Delhi, he gets all the clearances within a prescribed time.

Today, you get the best education and health facilities in Delhi if you have the money. They have become so expensive that good quality education and healthcare are out of the reach of even most middle-class families. The private sector needs to be regulated. The rules of the game need to be laid down and strictly enforced. The government also needs to play a more proactive role. The condition of government schools and hospitals is quite pathetic. It is quite possible to improve the quality of services in the government sector, provided you have
the right “neeyat” or intention.

I favour the role of the private sector in power. But no one would argue that the private sector ought not to be made accountable and transparent. It should not resist any kind of audit. It is possible to provide 24-hour electricity in Delhi at affordable rates.

The city is home to roughly two crore people. All these people meet their daily water needs from somewhere or the other. If there were actually a huge scarcity in water, as is made out, a lot of people would leave Delhi. But all two crore people have adequate water for drinking, cooking, toilets, washing and cleaning.

It is just that this water does not reach their taps. They have to “manage” water from illegal sources every day. So, Delhi’s water problem is less of scarcity, more of management.

We can make Delhi a truly world-class city. It is also possible to make it the first corruption-free city of India. It is possible to provide it with the best infrastructure, good, affordable education and health services for all sections of society, 24-hour power supply at cheap rates, potable water from taps and much more.

Before our 49 days in government, we were driven by a lot of romanticism and a strong belief in our cause and ideology. Today, after having worked in government, we are confident that change is possible if you have the right “neeyat”.

The writer is a former chief minister of Delhi and national convenor of the Aam Aadmi Party.

Read More

EDITORIAL WRITING

http://14.139.185.6/website/SDE/sde67.pdf 

Editorials or leaders as they are often called are an essential and most important part of a newspaper or journal..Editorial can be called the conscience of a newspaper or the mirror of its opinions. It can also be called the voice of a newspaper. It is a well- studied and carefully structured composition in a sober style with a serious approach on a significant issue.

Legendary editors Frank Mores said that in a democracy when the opposition is weak it is the job of the press to act as a strong opposition to the ruling party. While critically examining government policy and performance, editorials act as principal spokesperson of the opposition.

It provides the newspaper to present its policies, views, perspectives and stand points regarding many burning current issues. It should be very objective, unbiased, expertise and logical point of view. It tries to influence public opinion so as to make its readers to subscribe to its own perspective. It informs as well as calls in to action.

Brief History of Editorial

Writing Editorials are the content component of a journal. In fact, the most intimate form of writing for communication is expression of a communicator’s personal views or opinion on a subject, the communicator thinks to be of general interest. Viewed in this framework, the editorial writing started when someone thought of conveying the views he/she thought must be shared with everyone who is a member of our information society.

Editorials  meaning

Editorials are basically expression of opinion by an individual or a small group which is viewed as being important for the people by and large. Editorials are not orders, announcements and general instructions or suggestions. The opinions and views contained in an editorial set the tone of public discourse in a democratic set up. Editorials are vox populi.

Evolution of Editorial 

Newspapers were initially launched to express opinions of the persons who brought them out. All initial newspapers in India, Hickey’s Bengal Gazette (1780) to Raja Ram Mohan Roy’s Sambad Kaumudi (1821) or Mirat- ul- Akhbar (1822) were meant to express strongly held beliefs and views of their promoters. This trend continued till the Times of India (1838), The Statesman (1875) and The Pioneer (1864-65), all inspired by the British newspaper industry, appeared in India and gave new professional dimension to print media. 

1. Editorials can be broadly classified as 
2. Interpretative editorials . 
3. Action-oriented editorials 
4. Critical editorial  and
5. Humorous editorial 

Any government, especially a democratic government that has to face masses in elections to return to power has to know the public mind well to be able to formulate its policies that appeal to the masses

Contents of editorials differ from journal to journal

THE STRUCTURE OF AN EDITORIAL

 All Editorials also have: an introduction, body and conclusion like any other media writing. a simple explanation of the issue, especially so if the issue is complex and needs elaboration to be understood by lay reader. an inviting new angle to attract readers. all good editorials talk and discuss issues and not personalities and they also refrain from name-calling. a good editorial should take a pro-active approach to be of constructive criticism and contain positive suggestions. a good conclusion that satisfies the readers by adding to their knowledge and understanding of the subject. 7.3.2 Journals and Editorials We can broadly divide all journals on the An editorial consists of

1.  a headline, 
2.  introduction of the topic,
3.  a body of serious critical analysis and 
4. a powerful conclusion. 

Features of an Editorial 

Editor generally look for the following things when writing an editorial: that the topic chosen for editorial is current and timely, and it is linked to some recent development of importance; and common interest. 95 that the editorial meets the concerns of readers and is relevant to them. the topic of the editorial has relevance in catchment area of the publication (where the newspaper or journal is circulated and read). that the editorial piece is small and generally not more than 500 words; and that it is clearly written and has simple and grammatically correct language.

Language of an Editorial

 The language of an editorial has to be simple, straight and sober. It should be such as to go straight to the point and leave no ambiguity in the mind of the reader. It should have force and flow but should be decent and uninvolved. There is no place for slangs and outdated expression in it. It should be impressive without being boisterous. However, in campaign journalism the norms about language are not observed. Journals brought out by political parties often attack the political opponents of their party in language which is aggressive, indecent and even defamatory. That is the reason you must be wary of words while writing or expressing yourself in media. Advocacy journalism is also making its appearance felt in Indian media world. While propagating their viewpoint, journalists often use language which is loud and less than decent. However, use of simple, sober and non-aggressive language is the best as it leaves a lasting impression on the minds of the readers.

TYPES OF EDITORIALS

Editorials can broadly be categorized into the following:

1] Appreciative: These editorials admire people and organizations for something done well. They are not common as the traditional role of media in our democratic set-up is critical appraisal of some development and not to give commendation certifications. 

2] Critical: These editorials constructively criticize actions, decisions or situations while providing solutions to the issues under discussion. The Immediate purpose there editorials is to get readers to see and be aware of the problem before country or society. 

3] Interpretative: Editors often use such editorials to explain the way their newspaper thinks about how a sensitive or controversial subject should be handled by the authorities concerned or stake-holders. 

4] Persuasive: Editorials of persuasion aim to give their readers a positive frame of mind so that they are encouraged to take a specific, positive view. 

5] Campaign Editorials: Such editorials are mostly written in journals of political parties, religious organizations or in government publications in support of some programmes of larger social good like pulse polio drive etc. 

6] Advocacy Editorials: Such editorials are often found in the publications of NGOs and other voluntary organizations in subject of the cause they work for. NGOs often work for poor and disadvantaged sections of society like Editorial Writing 96 

Analytical Writing unorganized labor, poor women and children, and physically challenged people. Editorials in their publications seek support for work for such people. 

7] Academic and Philosophic Editorials: Such editorials are written in academic journals and journals brought out by religious and spirituals organizations. 

8] Satirical Editorials: Often the third editorial in some newspapers especially the Times of India, is a satire. The idea is to give some comic relief to the mind of a reader who is tired of reading heavy stuff on the editorial page. There are some journals based on satire. 

PREPARING TO WRITE AN EDITORIAL 

For writing an editorial, you need to move in a definite direction and take the following steps: You should not start writing before you know what you are aiming at otherwise you will confuses your readers who will not know what they are supposed to do with your message. You must make up your mind. This will guide you about what you want to convey and how you say it through your writing. 

Select a Topic 

The topic you choose is the most important part of writing an editorial for your journal. The best topics are those pertaining to current issues, which are in public domain. Since everyone is interested in such issues, your editorial piece will get instant readership. 

Firm up Your Approach 

As a media person, you have your own views and opinion on important matters in public discourse. Besides your opinion on the policy of your organization on a topic of current interest also matters. Therefore, have a definite policy line on the issue.

Do Basic Work

 First of all think of a good but small two-three word headline that will attracts a reader’s attention and motivate him/her to read your editorial. While writing a good editorial you must have necessary facts, figures and even quotes of knowledgeable people in support of your line of argument. Moreover, you should use data to prove your line of argument. Steadily develop your case in support of your editorial line so that the strongest argument comes in the end and convinces the reader. 

Keep Deadline in Mind 

In media, you are always racing against time. Deadlines are important. While writing editorial that you should always keep deadline in mind. Since we are not supposed to leave any mistake in an editorial, it is revised again and again and this takes time. 

HOW TO WRITE AN EDITORIAL 

The following is a 10-point recipe for you to write an editorial:

 1) The Theme / Subject: Present your views briefly but unequivocally using fact and figures where necessary. 

2) The Presentation: Talk about the issue clearly and say why it is important. 

3) The Approach: Look rational. Discuss the opposite viewpoint as well. 

4) The Language: Use key words again and again for the readers to understand it well. 

5) The Thrust: Encourage critical thinking and pro-active reaction.

 6) The Wordage: Restrict it to 500 words. 

7) The Style: Never use “I” in an editorial even if you are the boss of newspaper or periodical. 

8) Revision: Once done you have to do two things – first revise it and then edit it. Revising should be done to ensure that your editorial is giving the message which you wanted to give to your readers. You can still think of a change in the basic argument put forth by you. Think if it is needed. While revising the draft of your editorial you have to ask yourself the follo

In haste: On vaccinating children against COVID-19

India could have waited for evidence of benefit of vaccinating all children

The emergency use authorisation (EUA) granted on April 26 to two COVID-19 vaccines — Corbevax for children 5-11 years, and Covaxin for children 6-11 years — is one more instance where the Indian drug regulator has acted in haste. Even if the EUA granted to Covaxin in January 2021 despite no safety and efficacy data of the phase-3 trial is condoned as a desperate measure in ensuring greater vaccine availability, the regulator clearly has no fig leaf to defend the greenlighting of the vaccines for children at this stage. Evidence from across the world after the deadly Delta variant and the extremely transmissive Omicron variant has shown that unlike adults, children in general, and little children in particular, do not suffer from severe disease. The ICMR’s fourth seroprevalence survey (June-July 2021) soon after the second wave peaked nationally found that 57.2% of children (6-9 years) and 61.6% of children (10-17 years) were infected by SARS-CoV-2 virus; seroprevalence among adults was 66.7%. Since vaccination of adolescents began only in early January 2022, the antibodies detected in children in mid-2021 were only from infection by the virus. The extremely infectious Omicron variant would have infected an even larger percentage of children. Yet, the number of severe cases and deaths in children 5-11 years has been very low. True, with schools reopening, children could be at greater risk of contracting infection. But with natural infection found to offer protection across age groups, India could have waited for validation of the available evidence on the vaccines for children.

Unlike in January 2021 when approving vaccines for adults as soon as possible was the highest priority, and hence the EUA based on fewer cases and short follow-ups was seen as a necessity, the situation is not the same now, especially in the case of children as young as five. Hence, the regulator’s urgency to greenlight vaccines for children under the EUA route is highly questionable. Clinical trial data of Corbevax for children 5-12 years were posted as a preprint, which is yet to be peer-reviewed, on the day approval was granted; trial data of Covaxin for children 2-18 years were posted as a preprint in December 2021. The Health Ministry had already set a precedent last month by clearing Corbevax for children 12-14 years without first seeking the approval of the National Technical Advisory Group on Immunisation (NTAGI), which clears vaccines for the national immunisation programme. With NTAGI clearly against approving vaccines for children, there is every likelihood of the expert body being ignored again. Also, Prime Minister Narendra Modi’s message on April 27, a day after the EUA, that every eligible child should be vaccinated at the earliest might prompt the Health Ministry to sidestep the NTAGI once more, thus departing even more from evidence-based policy making.

1. What is an editorial? 
2.  How old is editorial writing? When were first editorials written. 
3. How do you plan to write an editorial? 
4. How is the content and character of editorials changing? 

Campaign Editorials : Such editorials are mostly written in journals of political parties, religious organizations or in government publications in support of some programmes of larger social good like pulse polio drive. 

vox populi : It is a Latin words. Its direct meaning is ‘Voice of People’. 

Editorial : It presents the opinion of a newspaper on an issue. It reflects the majority view of the editorial board.

பெரும்பாலானவர்களுக்கு அதிருப்தி தந்த பட்ஜெட்!

கடந்த ஆண்டு, ஸ்டாலின் தலைமையிலான தி.மு.க., அரசு பதவியேற்ற நிலையில், இம்மாதம் ௧௯ம் தேதி, தமிழக சட்டசபையில், முழுமையான முதல் பட்ஜெட் தாக்கல் செய்யப்பட்டுள்ளது. இந்த பட்ஜெட்டில் முதன்மையாக இடம் பிடித்துள்ள திட்டம், அரசு பள்ளிகளில் படித்து கல்லுாரிகளில் சேரும் மாணவியருக்கு, அவர்கள், தங்களின் படிப்பை முழுமையாக முடிக்கும் வரை, மாதம், ௧,௦௦௦ ரூபாய் உதவித் தொகை வழங்கப்படும் என்பதாகும்.

அதாவது, தமிழக அரசு செயல்படுத்தி வரும் ஐந்து வகையான திருமண நிதியுதவி திட்டங்களில், தாலிக்கு தங்கம் வழங்கும் மூவலுார் ராமாமிர்தம் திருமண நிதியுதவி திட்டம் மாற்றி அமைக்கப்பட்டு, மாணவியருக்கு உதவித்தொகை வழங்கும் உயர்கல்வி உறுதி திட்டமாக்கப்பட்டு உள்ளது. இதனால், ஒரு திட்டத்திற்காக செலவிடப்பட்டு வந்த தொகை, மற்றொரு திட்டத்திற்கு மாற்றப்பட உள்ளது. அதாவது, பல ஆண்டுகளாக செயல்பாட்டில் இருந்த ஒரு திட்டத்திற்கு ஸ்டாலின் அரசு புதிய பெயர் சூட்டியுள்ளது. அதே நேரத்தில், மூவலுார் ராமாமிர்தம் திட்டத்தில் பயனாளிகளை சரியாக தேர்வு செய்ய முடியவில்லை. அதனால், புதிய திட்டம் அறிவிக்கப்பட்டுள்ளது என்ற நிதித் துறை செயலரின் கருத்து, அரசு நிர்வாக திறனை கேள்விக்குறியாக்கி உள்ளது.

மேலும், ஐ.ஐ.டி., - ஐ.ஐ.எஸ்சி., போன்ற உயர்கல்வி நிறுவனங்களில் சேரும், அரசு பள்ளி மாணவர்களின் கல்வி கட்டணத்தை தமிழக அரசே செலுத்தும். அதாவது, அவர்களின் இளநிலை பட்டப்படிப்புக்கான முழு செலவையும், அரசே ஏற்கும் என்ற அறிவிப்பு வரவேற்கத்தக்கது தான். ஆனாலும், உயர்கல்வி நிறுவனங்களில் சேர, தேசிய அளவில் நடத்தப்படும் தகுதித் தேர்வுகளில், அரசு பள்ளி மாணவர்கள் வெற்றி பெறுவது மிகவும் குறைவாகவே உள்ளது. அரசு பள்ளி மாணவர்களை, அந்தப் போட்டித் தேர்வுகளை எதிர்கொள்ளும் வகையில் தயார்படுத்த வேண்டியது அவசியம். அதற்கான பயிற்சிகளுக்கு ஏற்பாடு செய்ய வேண்டும். இல்லையெனில், மிகக் குறைவான மாணவர்களே பலன் அடையும் சூழ்நிலை உருவாகும். ஏற்கனவே, மருத்துவ படிப்பில் சேர்வதற்கான, 'நீட்' தேர்வில் தமிழகத்திற்கு விலக்கு கோரி வரும் தமிழக அரசு, உயர்கல்வி நிறுவனங்களில் அரசு பள்ளி மாணவர்கள் சேரும் வகையில், சிறப்பான பயிற்சி அளிக்க முன்வருமா என்பது கேள்விக்குறியே. அரசு பள்ளி மாணவர்களுக்கு சிறப்பான பயிற்சி தர முன்வந்தால் மட்டுமே, தனியார் பள்ளிகளில் இருந்து அரசு பள்ளிகளுக்கு மாறும் மாணவர்களின் எண்ணிக்கை அதிகரிக்கும்.

அதே நேரத்தில், பட்ஜெட்டில் மாநிலத்தை முன்னேற்றப் பாதையில் கொண்டு செல்வதற்கான சிறப்புத் திட்டங்கள் ஏதும் இல்லை. அதற்கு, மாநில அரசின் மோசமான நிதி நிலைமை ஒரு காரணமாக இருக்கலாம். மேலும், முந்தைய அ.தி.மு.க., ஆட்சியாளர்கள் மாநிலத்தை கடனில் தள்ளி விட்டதாக, எதிர்க்கட்சியாக இருந்தபோது, தி.மு.க.,வினர் குற்றஞ்சாட்டி வந்தனர். அப்படிப்பட்ட நிலையில், வரும் நிதியாண்டில், ஸ்டாலின் அரசே 90 ஆயிரம் கோடி ரூபாய் கடன் பெற இலக்கு நிர்ணயித்திருப்பது கவலை அளிப்பதாக உள்ளது. இதன் வாயிலாக, மாநிலத்தின் கடன் சுமை, 6.53 லட்சம் கோடி ரூபாயாக உயர உள்ளது. அந்த வகையில், ஒவ்வொரு குடும்பத்தின் தலையிலும், 3 லட்சம் ரூபாய் வரை கடன் சுமை ஏற்றப்பட உள்ளது.

தி.மு.க.,வின் தேர்தல் அறிக்கையில், கல்விக் கடன் தள்ளுபடி, மகளிருக்கு மாதம், 1,000 ரூபாய்உதவித் தொகை, மின் கட்டணத்தை மாதம் ஒரு முறை வசூலித்தல், தனியார் நிறுவனங்களில் தமிழர்களுக்கு மட்டுமே வேலை வழங்க சட்டம் நிறைவேற்றுதல்.அரசு ஊழியர்களின் பெரிய எதிர்பார்ப்பான பழைய ஓய்வூதிய திட்டத்தை மீண்டும் அமல்படுத்துதல், பெட்ரோல், டீசல் விலை குறைக்கப்படும் என, ஏராளமான அறிவிப்புகள் இடம் பெற்றிருந்தன. அவற்றில் பல அறிவிப்புக்களை அமல்படுத்துவது குறித்து பட்ஜெட்டில் தெரிவிக்கப்படும் என மக்கள் எதிர்பார்த்தனர். ஆனால், அது நடக்கவில்லை.

அத்துடன், மின் வாரியத்தின் கடன் சுமையை குறைக்க போதிய திட்டங்கள் அறிவிக்கப்படவில்லை. அரசு போக்குவரத்து கழகங்கள் மற்றும் அவற்றின் தொழிலாளர்கள் பிரச்னைகளை தீர்ப்பதற்கான திட்டங்களும் இடம் பெறவில்லை. சிறு, குழு தொழில்களை மேம்படுத்துவதற்கான, அவற்றுக்கு ஊக்கம் அளிப்பதற்கான திட்டங்களும் பட்ஜெட் உரையில் இல்லை என்பதால், அந்தத் துறையினர் எல்லாம் அதிருப்தி அடைந்துள்ளனர்.

மொத்தத்தில் சில பிரிவினரை திருப்திபடுத்தி, பெரும்பாலானவர்களுக்கு அதிருப்தி ஏற்படுத்திய பட்ஜெட் என்றே, தமிழக பட்ஜெட்டை சொல்லலாம்.

அரசு மருத்துவமனைகளின் தூய்மைப் புரட்சி!

தமிழ்நாட்டில் ஆரம்ப சுகாதார நிலையங்கள் தொடங்கி அரசு மருத்துவக் கல்லூரி மருத்துவமனைகள் வரையில் அனைத்திலும் கடந்த சில நாட்களாக அமைதியாக ஒரு புரட்சி நடந்துகொண்டிருக்கிறது. தலைமைச் செயலாளரின் அறிவுறுத்தலின்படி மருத்துவமனை வளாகங்கள் முழுவதையும் தூய்மைப்படுத்தும் பணிகள் நடந்துகொண்டிருக்கின்றன. மருத்துவமனைகளில் சுகாதாரக் குறைவு காரணமாகத் தொற்றுகள் பரவுவதற்கான வாய்ப்புகளைத் தடுப்பது, அரசு மருத்துவமனைகளுக்குச் சிகிச்சை பெறுவதற்காக வரும் நோயாளிகளின் மனநிறைவை அதிகப்படுத்துவது, அரசு மருத்துவச் சேவைகளின் தோற்றத்தையும் வெளிப்பாட்டையும் அழகியல்ரீதியாக மேம்படுத்துவது ஆகியவை இந்தத் தூய்மை நடவடிக்கைகளின் நோக்கங்களாகும்.

மருத்துவமனையின் கண்காணிப்பாளர் அல்லது மருத்துவ அலுவலர் இந்தப் பணிகளை மேற்பார்வையிடுவார். மருத்துவமனை ஊழியர்களுக்குத் தேவையான பயிற்சிகளையும் வழிகாட்டுதல்களையும் அவர் வழங்குவதோடு, உள்ளாட்சி அமைப்புகளோடும் பொதுப் பணித் துறை, மின்வாரியம் ஆகிய பிற துறைகளுடன் சேர்ந்து, அவர் தூய்மைப் பணிகளை ஒருங்கிணைப்பார். ஏப்ரல் இறுதி வரையிலும் நடக்கவுள்ள இப்பணிகள் ஒவ்வொரு காலாண்டிலும் தொடர்ந்து மேற்கொள்ளப்பட வேண்டும் என்றும் அறிவுறுத்தப்பட்டுள்ளது. இது குறித்த அறிக்கைகள் மாவட்ட ஆட்சியருக்கு உரிய கால அளவில் அனுப்பப்பட வேண்டியது அவசியம். மருத்துவமனைகளின் வழக்கமான பணிகளில் ஒன்றாக தூய்மைப் பணியும் அமைய வேண்டும் என்பதே இச்செயல்திட்டத்தின் நோக்கம்.

ஒவ்வொரு மருத்துவமனையிலும் ‘சுத்தமான மருத்துவமனைக் குழு’ உருவாக்கப்படுவதோடு மருத்துவர்கள், செவிலியர்கள், அலுவலக ஊழியர்கள் என அனைத்துத் தரப்பினரையும் உள்ளடக்கியதாக அது அமையும். ஒவ்வொரு தளத்திலும் உள்ள கழிப்பறைகளைப் பற்றிய விவரங்கள் சேகரிப்பு, தொற்றுப் பரவலுக்கான வாய்ப்புகளின் அடிப்படையில் அவற்றை வகைப்படுத்துதல், தொற்றுநீக்குதல் உள்ளிட்ட தூய்மைப் பணிகள், அதற்குத் தேவையான பிரத்தியேக உபகரணங்களைப் பயன்படுத்துதல், கழிப்பறைகளைப் பயன்படுத்துவோரின் உடல்நிலைக்கேற்றபடி அவற்றை ஒவ்வொரு நாளும் எத்தனை முறை சுத்தம் செய்ய வேண்டும் என்ற அட்டவணை, பெண்கள் கழிப்பறைகளுக்கான சிறப்பு ஏற்பாடுகள் என்று மிகவும் விரிவான வழிகாட்டும் நெறிமுறைகளும் உருவாக்கப்பட்டுள்ளன. மேலும் பூச்சிகள், கறையான், கொசுத் தொல்லைகளை அகற்றுவதற்கான நடவடிக்கைகளும் மேற்கொள்ளப்படவுள்ளன.

தமிழ்நாட்டின் அரசு மருத்துவமனைகளைப் பொறுத்தவரை, அனுபவமும் நிபுணத்துவமும் வாய்ந்த மருத்துவர்களால் உயர்தரமான சிகிச்சைகள் வழங்கப்பட்டுவருகின்றன என்றபோதும் வளாகத் தூய்மை என்பது திருப்திகரமான அளவில் இல்லை என்பதே உண்மை. ஒவ்வொரு நாளும் நோயாளிகள், உதவியாளர்கள் என்று நூற்றுக்கணக்கானவர்கள் வந்து போகும் அரசு மருத்துவமனைகளில் அதற்கேற்ற வகையில் தூய்மைப் பணிகள் நடப்பதில்லை என்பது ஒரு குறைதான்.

தனியார் மருத்துவமனைகள் அரசு மருத்துவமனைகளிலிருந்து வேறுபட்டு நிற்கும் அம்சங்களில் இதுவும் ஒன்று. இந்நிலையில், தமிழ்நாடு அரசு முன்னெடுத்துள்ள இந்தச் செயல்திட்டம் பாராட்டுக்குரிய ஒன்று. இது தொடர்ந்து நடக்கும்பட்சத்தில், அரசு மருத்துவமனைகளும் பொலிவுபெறும். மருத்துவமனை வளாகம் தூய்மையாக இருப்பதில் நோயாளிகள், உதவியாளர்கள் ஆகியோருக்கும் பங்கு இருக்கிறது. புறநோயாளிகளும், தங்கியிருந்து சிகிச்சை பெறுவோரும் பின்பற்ற வேண்டிய தூய்மை நடவடிக்கைகள் குறித்த விழிப்புணர்வும்கூடத் தேவை.

Excercise

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