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:

How to write a drama or comedy for Radio 4. Find out how right here

Follow the guide for laying out a Radio Drama script


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