Programme Metadata Style Guide

High quality programme metadata is crucial in helping BBC audiences find and select content to watch and listen to.

This guide aims to ensure clarity and consistency across iPlayer, Sounds and third-party platforms such as electronic programme guides (EPGs) and RSS feeds.

It is for use by production teams submitting programme descriptions and by editorial staff preparing programme metadata for publication.

Programme Structure

BBC programmes are structured using a combination of brands, series and episodes. Each have one title and three synopses: short, medium and long.

An episode is the basic editorial unit of a programme, playable when available and presented as a self-contained piece of audio or video (BBC Proms, 2025, Prom 1).

A series is the container for groups of episodes that are limited in scope, due to a story narrative, a commissioning agreement or a time/event constraint (BBC Proms, 2025).

A brand is the top-level container that groups related series and episodes (BBC Proms).

There's no need to group episodes into series if there’s no audience benefit in doing so (Storyville, Desert Island Discs). Some brands feature episodes in series as well as non-series episodes such as Christmas specials.

It is recommended that all series have a parent brand, even if no further commissions are expected. Doing so creates a stable structure that can easily be added to and shared with third parties.

Avoid beginning a new series before another has concluded as it will make new episodes in the older series harder to find, and never use a series for a continuing programme.

When combined with well-written titles and synopses, this structure allows the BBC to present programmes coherently, allowing audiences to effortlessly find what they are looking for.

The following guidance does not apply to clips, except in the case of trailers on iPlayer.

Titles

The primary function of programme titles is to differentiate programmes from one another, particularly episodes within the same brand or series.

Titles can be 128 characters in length, but anything over 30 characters will truncate on smaller screens and anything over 50 characters will truncate almost everywhere.

Episode Titles

Most people scan episode list pages only quickly before deciding whether to watch or listen so clear and concise episode titles allow on-demand audiences to choose something with ease.

When writing episode titles, firstly identify what consistently differs between episodes and use that to define each one (guests, topics, themes, locations, news stories, opponents etc).

Then…

• be specific so that each episode is uniquely defined
• be clear and avoid ambiguity or anything cryptic or mysterious
• be concise for scannability and to reduce messy truncation on smaller screens
• be consistent in style and format

• begin with the most important information (in case of truncation)
• include diacritics (Beyoncé, Emily Brontë)
• use title case

• never repeat the brand or series title in the episode title
• never end a title with a full stop
• don’t write a headline

The best way to differentiate episodes may simply be to use the date (28/01/2026) or an episode number (Episode 1).

This could be true for longer, live programmes that are not intended for on-demand audiences, for programmes where the genre or format is the primary hook (eg news bulletins, panel shows) and for narrative programmes where the best episode is the next episode (EastEnders, The Archers, Line of Duty).

For episodes directly below a brand, the default title is the date. For those in a series, it’s often the episode number but could also be the date (Match of the Day).

Numbering

For iPlayer, do not add episode numbers to the beginning of titles. They are entered elsewhere.

For Sounds, until numbering is treated similarly, episode numbers should be added to titles but only when the total number of episodes is known (thus making it a series) and listening to them in order is advisable.

The standard formats for numbering in episode titles are:

Episode 1 (if there’s nothing else in the title)

1. The Beginning (if there’s a number and further wording)

If creating a series is not viable, or if episodes in a series would otherwise have the same title, add a number to the end of each title to differentiate them, much like Episode 1, Episode 2 etc.

If the episodes follow a narrative arc, instead follow the title with a comma and then Part 1, Part 2 etc.

Common Terms

If sibling episodes share a common theme, venue or competition, but cannot be grouped into series, add the common term to the beginning of the title, followed by a colon. This signposts the primary information and helps to keep titles concise and easily understood.

Magazines

On Sounds, magazine programmes may cover several subjects in a single episode, so titles may…

• list the main features
• separate them using commas (not semicolons)
• use sentence case for each new feature

Trailers

Some programmes include a short audio or video preview. In the podcast industry, they may be referred to as an episode zero.

On Sounds, title them simply as Trailer, which is concise and sufficient in combination with the brand and series titles.

On iPlayer, trailers are clips rather than episodes. They exist directly under the brand and the convention is Trailer: <series title> or Trailer: <episode title>.

Bonus Episodes

A bonus episode is an additional installment of the programme, released outside the routine publishing schedule. It may feature behind-the-scenes content, additional interviews or something else that provides extra value to viewers or listeners without necessarily adhering to the standard length or format.

On Sounds, episode titles may be prefixed with the word Bonus, followed by a colon, but do not include the word episode as this states the obvious and takes up valuable space. For similar reasons, consider excluding the bonus reference entirely.

On iPlayer, bonus episodes are common around Christmastime. They may appear as part of a series or stand alone within the brand, depending on the story-line and broadcast slot.

If there isn’t a specific episode title, name it Christmas Special <year> to differentiate it clearly.

Songs and Albums

If an episode title includes a musician and their work, add the artist’s name followed by a hyphen and the work.

Brand and Series Titles

When writing brand and series titles…

• be clear and avoid ambiguity or anything too cryptic or mysterious
• be concise to reduce messy truncation on smaller screens
• be consistent in style and format (with sibling series titles)

• never end a title with a full stop
• never repeat the brand title in the series title

• avoid duplicating existing programme titles
• avoid production-focused series titles eg Series 7b
• avoid series titles that reflect linear scheduling eg Series 7 (Peak)
  (as on-demand audiences won’t know or care when it was broadcast)

• use title case

Numbering

When series in a brand would otherwise have the same title, follow that title with a comma and Series 1 etc.

Reversioning

Some programmes have re-edited and re-packaged episodes (compilations, shorts, shortened, lengthened) that exist alongside the originals.

These episodes should be grouped into new brands and series to avoid immediately offering the audience what they’ve already seen or heard. The titles should reference the original brand or series, with additional detail to differentiate them.

If the original episodes are attached directly to a brand, create a new brand:

<Brand title> (Extended Versions)

<Brand title> (Shortened Versions)

<Brand title> Omnibus egThe Archers Omnibus

<Brand title> Highlights

If the original episodes are in a series under a brand, create a new series within the same brand:

<Series title> (Extended Versions)

<Series title> (Shortened Versions)

If the episodes are less than 10 minutes long:

<Series title> (Shorts) eg Series 2 (Shorts)

If it’s a mixture of more than one series:

<Series title> and <Series title> (Compilation) eg Series 2 and 3 (Compilation)

If it’s not possible to compare durations reliably, but all episodes in the reversioned series are the same length:

<Series title> (x-Minute Versions) eg Series 2 (30-Minute Versions)

Use brackets rather than hyphens or colons, and avoid the word reversion or anything similarly vague.

Presenters

Some brand titles feature the name of a presenter or host, and these presenters may change over time.

If the presenter is permanently replaced, either change the title to exclude presenter names or create a new brand to preserve the previous title.

If the host changes regularly, include the name in the episode synopses only.

If the regular presenter is replaced temporarily due to holiday or sickness, similarly include the stand-in presenter’s name in the episode synopses.

Books and Plays

To include the title of a written work and its author, lead with the work and follow with by the writer’s name.

Synopses

The primary function of a programme synopsis is to accurately describe a programme in an engaging and impactful way that is enticing for audiences.

For iPlayer, short and medium synopses are critically important for brands and series, whilst all three are required for episodes.

For Sounds, short synopses are mandatory. The medium and long are optional but can be used to add further detail. Building directly on the short synopsis makes best use of the Show more options.

Short: 90 characters maximum

Petroc Trelawny welcomes vocal consort Stile Antico into the studio for a live performance.

Medium: 180 characters maximum

Petroc Trelawny welcomes vocal consort Stile Antico into the studio for a live performance. This month the group marks its 20th anniversary with a tribute to Palestrina, the undisputed master of the style that gives Stile Antico its name.

Long: 5000 characters maximum

Petroc Trelawny welcomes vocal consort Stile Antico into the studio for a live performance. This month the group marks its 20th anniversary with a tribute to Palestrina, the undisputed master of the style that gives Stile Antico its name. Also on today’s show - more about the forthcoming Proms season from BBC Radio 3 controller Sam Jackson, and a surprise visit from virtuoso Theremin player Caroline Eyck.

It may be easier to write the longest synopsis first before editing it down.

All sentences, including those in short synopses, should end with a full stop or equivalent punctuation.

Episode Synopses

Whilst episode titles are the focus for on-demand, episode synopses are the focus for broadcast as the former are not usually displayed on platforms such as television EPGs, DAB radios and SoundsListen Live.

Even if there are no broadcasts planned, an episode synopsis should not rely on the episode title being present.

When writing short synopses…

• describe the episode in a single, informative, engaging sentence
• include any big guests, features, stories, sporting opponents etc
• front-load the most important, interesting information
• reflect the tone and mood of the programme
• include diacritics (Beyoncé, Emily Brontë)
• use inclusive language
• be episode-specific
• be objective

• do not subjectively describe comedy as hilarious or an interview as brilliant (for example)
• do not assume the audience knows the programme, or that you know the audience
• do not use standard openers like A programme about…
• do not pre-empt a conclusion or finding
• do not use clichés (unless it is justified)
• do not repeat the title or genre
• do not mix tenses

• avoid time-specific phrases like tonight's show and this week’s programme
• avoid referring to us or you eg Gabby Logan brings us action from…
• avoid ambiguity or anything too cryptic or mysterious
• avoid spoilers and plot twists
• avoid bias

For longer episode synopses, additionally…

• combine series-level context with episode-specific detail
• use short sentences to make it feel pacy

Do not explain everything that happens but do cover every aspect of the programme so the audience aren’t confused by a synopsis that does not match what they are currently viewing or hearing. Synopses should entice the audience into watching or listening, rather than serve as an alternative to doing so.

Do not be England- or London-centric. For example, do not name London boroughs if you only refer to Yorkshire, and do not write Cardiff, Wales if you wouldn’t write London, England. Similarly, do not describe a team from Edinburgh or Glasgow as being from Scotland if you wouldn’t say that a team from Manchester or Leeds is from England.

If an episode synopsis has yet to be written, do not add a holding phrase like to be advised or description coming soon. If required, temporarily repeat the brand or series synopsis.

Even when describing complex concepts, words and sentence structure must be accessible and straightforward, so check the reading age of your copy (the target is 11 years old) as well as your grammar and spelling.

If the brand title includes a presenter’s name but another presenter is standing in, say so in the episode synopses.

Synopses can be updated after broadcast so any last minute guests, exclusives or spontaneous moments should be added to entice audiences further.

Finally, synopses should always reflect any content that may harm or offend, in accordance with BBC Editorial Guidelines.

Brand and Series Synopses

Brand and series synopses are designed to help hook the audience and immediately encourage them to press play, without bogging them down in detail.

Both should…

• reflect the tone and mood of the show
• get straight to the point
• show, not tell, the genre
• include key details

but not…

• assume the audience has existing knowledge of the programme
• use standard openers like In this two part series…
• repeat the title or genre
• include spoilers

A brand synopsis should neatly describe all the episodes and series contained therein, whilst a series synopsis should similarly describe all its episodes.

Genre

Dramas are distinctive pieces of content so copy should be confident and passionate.

• Identify the key hook of the drama (what makes it different?)
• Mention any well-known actors, writers, directors etc
• Add elements of mystery, emotion and tension

Comedy performers are of key importance for personality-led shows.

• Mention any well-known actors, panelist, stand-ups etc
• Focus on reflecting the tone of the programme (above explaining the plot of a sitcom, for example)
• Mention the sub-genre only if it’s not implicit eg comedy drama, sketch comedy etc
• Don’t try to be as funny as the show

News and Current Affairs programmes have a wide range of tones, from distressing experiences to lighter subjects so it is important to reflect the tone accurately.

• If there is a key presenter, lean into their reputation
• Avoid hyperbole and let the facts speak for themselves

Sport audiences are passionate, so share their passion in the copy.

• Assume the audience have knowledge of the sport and/or their team, so use specific terminology as required
• Keep details as up-to-date as possible, especially as tournaments progress, but avoid spoilers

Factual shows vary in weightiness, so it’s important that the tone of the synopses reflects the tone of the show.

• Dial up the passion for presenter-led pieces (it's about the journey of discovery they lead the audience on)
• Mention well-known presenters and contributors

Entertainment

For chat or variety shows, and celebrity specials, the guests are of key importance.

• Be fun, relaxing and sharp-witted but avoid elaborate puns
• Don’t re-explain the format if it’s always the same

For game shows...

• Mention specific contestants, rounds and questions to both engage the audience and differentiate episodes
• Avoid spoilers, particularly if previous episodes have yet to be released

Written English

For guidance on spelling, punctuation and grammar, please consult the BBC News style guide, which also deals with issues of accuracy, fairness, impartiality and how to write about sensitive subjects.