| Information
For Writers and Producers of Radio Drama
Radio
play layout: How to put a radio play together & How to set it
out
SOME
BASIC INFORMATION
The department, for a variety of reasons, most of them legal,
has recently decided not to consider unsolicited work in the future
- instead we will be asking writers to approach us through an agent.
- Scripts
must be typed or printed. Hand-written scripts will be returned
unread.
- Please
use one side of the paper only.
- Please
use A4 sized paper.
- Names
of characters should be clearly separated from the speech and
should be given in full throughout. You know who Mrs B. is but
the reader may not.
- Sound
effects, and other technical information should also be clearly
differentiated from the speech.
- Radio
plays often have to conform to a precise length (see slot information)
but there is no way of measuring this by number of words or pages.
Reading aloud against the clock, making allowances for effects,
music and pauses is the only reliable method.
- Please
attach a synopsis of the play together with a full cast list and
brief notes on the main characters.
- If
you want your manuscripts returned, enclose a stamped addressed
envelope.
HOW
NOT TO DO IT!
1.
Act 1 Scene 1 NO!
Radio has no "scenes" in the way a stage play has. A sequence
in a radio play might be one line long, or last for 20 pages but
no single sequence should go beyond its natural length. Beware of
boring the listener. Radio is fatally easy to turn off.
2.
GEOFF, CAROL, ALICE, ROGER AND RICHARD ARE IN A CROWED PUB WITH
SOME OTHER FRIENDS. NO!
The only means of establishing a character's presence is to have
them speak or be referred to by name. If there are too many characters
in a scene the listener will lose track.
3.
GEOFF (LOOKING ANGRILY AT IRENE, HIS PALE FACE FLUSHED) "I
WILL NOT" NO!
"Stage directions" for the producer's or actor's benefit
are to be avoided. If it is important it should be there in the
dialogue.
4.
A CAR DRAWS UP. ENGINE OFF. DOOR OPENS AND SHUTS.
FEET WALK TO THE FRONT DOOR. KEY IN THE LOCK. DOOR OPENS FEET WALK
DOWN THE HALL TO THE KITCHEN. " I'M HOME DARLING". NO!
Sound effects should be used sparingly. They should work with the
dialogue. Out of context they will mean little. Effects are useful
in setting a scene but the sign posts must be subtle.
5.
GEOFF'S BREATHING IN THE PHONE BOX BECOMES MORE LABOURED; PAINFUL.
BEHIND HIM A SYMPHONY ORCHESTRA, AT FIRST QUIETLY, PLAYS MAHLER'S
FIFTH.
BRING UP INTERIOR OF ALBERT HALL.
YES, THINK IN SOUND!
HOW
IT SHOULD BE DONE:
Do you want to
write drama or comedy for Radio 4? Find out how right
here
Follow the guide for laying
out a Radio
Drama script
(Note: These documents are in PDF format, and you
will need Adobe Acrobat to read it. If you don't already have Acrobat,
follow the instructions to download
it for free now.)
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