This encouraged me to look again at what it takes to write for a continuing series on radio and to make some observations on the whole business of spec script writing for television and particularly for radio. If you want to write for a series like Coronation Street or EastEnders or Hollyoaks be sure to choose a series that you enjoy watching or listening to, and for which you feel best qualified to work. Make sure you know the programme thoroughly. Find out the name of a script editor by watching credits or contacting the programme office.
On the surface it has obvious attractions for the writer in its very simplicity and freedom from technical restrictions.
It is the medium of the word — where anything that can be described can be imagined. It can span centuries and continents and can present extremes of action and movement without the limitations imposed by the cost of sets and costumes. In short, it is a medium of almost unlimited possibilities — even in times of economic stringency.
It would be wrong to assume, however, that this freedom makes it easier to write for than other media. On the contrary, it calls for a greater discipline of structure and a more precise awareness of the nuances of language than most other forms of dramatic writing.
Given that the listener must be attracted and held by means of sound alone, then that sound must be constantly stimulating. The visual media can rely on a variety of stimuli — on light and colour and movement — to compel the attention. In radio, the writer must provide everything in his dialogue.
The producer can underline, heighten or embroider by skilful casting, timing and use of effects and music, but he can seldom, if ever, create from scratch an idea which is not originally planted in the dialogue.
So the dialogue in a radio play will actually contain more information than is normal in everyday speech, but it should still be able to sound completely natural.
A sequence in a radio play may be several pages long or it may be simply one line. Of all the media, radio can most easily create boredom — and is fatally easy to switch off.
When nearing the end of a sequence, it is important to prepare the listeners, as subtly as possible, for the next one. It is easy enough to make a rapid change of scene from a technical point of view but the listeners need help.
When the scene or viewpoint has changed, an equally subtle signpost should confirm it. It should be remembered that the listeners will always quite involuntarily supply their own mental images in response to what they hear. They should be given enough ideas to work on but never so many that they become restricted or confused.
Radio is not a definitive medium.
At all levels, it should stimulate only, so that the listener can adjust the basic idea to his or her individual experience. If there are too many characters in a scene, the listeners will lose track or become confused.
This variety can be achieved in lengths of sequences, number of people speaking, pace of dialogue, volume of sound, background acoustics and location of action.
The difference between a noisy sequence with a number of voices and effects, and a quiet passage of interior monologue, is dramatic and effective. There is no formula for writing a successful radio play. It requires all the basic techniques of good dramatic writing plus an imaginative awareness of the restrictions and advantages of a medium where nothing is seen.Oct 19, · Watch video · The Archers: Listeners in shock as Radio 4 soap 'goes all Fifty Shades Of Grey' Meet the cast who voice the main characters from BBC Radio 4 show The Archers.
Play Author: Andrew Bullock.
Radio 4's The Archers stars and script writer are coming to Penzance News. Video Loading. Video Unavailable. Click to play Tap to play. The video radio soap opera and has aired more than. As requested by @libbymiller, here is my Python script that plays the best radio station in the world: Radio 4 without the Archers..
It works out the time until the next Archers episode, then plays the Radio 4 stream, slowed down just enough to allow you to skip the next episode. BBC Radio 4 - The Archers - Pat Archer. BBC Radio 4 - The Archers - Pat Archer BBC Radio 4 - The Archers - Play Archers Bingo!
[Updated] See more. Find this Pin and more on Radio Drama by John Leasure.
My perfect weekend: Joanna Toye, writer for The Archers - Telegraph 30 Nov How to write for radio: 7 tips by a BBC Radio 4 commissioner.
Chris Smith. when I look at commissioning a first sitcom or play a writer will have already had work commissioned on one of our open door shows because that’s how you find the right producers.
How to write for radio: 7 tips by a BBC Radio 4 commissioner. The broadcaster’s play Keeping in Touch, aired on Radio 4, is a reply to the classic drama about the pair’s clandestine seven-year relationship Published: 22 Apr