If you haven’t written your play specifically for radio, please re-work it for radio – and remove references to stage, film or video. Use the four building blocks - speech, sound effects, music and silence Even if this seems to be furthering the plot - characters should speak to one another. In the same way, show us moments of action and don’t report them: this is more dramatic (and therefore more interesting).ĭon't have characters telling each other information they already know. Fifty-three minutes of listening to one voice, even with the best actor in the world, is tricky to sustain! So, if you want to say that Nnedi has a difficult relationship with her mother, write a scene where they have an argument, rather than putting it in Nnedi’s narration. If you want to have one central character, think about how you can express character through dialogue and interaction with other characters, rather than them talking out loud to us for long periods. Express your characters between dialogue and interaction Watch our video on Writing in a Second Language 6. You can also have some small ‘doubling’ parts that only have a few lines each and can be played by the same actor who ‘doubles’ roles. Don’t have them all speaking in your tone of voice.Īim to have up to six key characters - but please don’t have main parts for children as these are very difficult to cast. Each will have their own individual speech mannerisms. Use the element of surprise! Audiences can begin listening at different points throughout your play, so you need to think about what will hook them in throughout the story and then what will keep them listening to the end? 5. Check that that doesn’t that feel predictable. Then think about how the situation in your play develops and changes through the middle of the play and then how it is resolved. Think about what will grab the audience in the first ten pages and then, as the play unfolds, why they should keep listening. Think about beginning, middle and end and your play. Make sure the structure keeps them listening Watch our video Creating Rhythm and Texture on enhancing the voice and making the play sound distinctive. Using a variety of backgrounds, scene lengths and sound effects will usually make the story more effective for the listener. Vary the pace and length of your scenesĪ radio play which has five ten-minute scenes, each set in a dining-room, is likely to be less effective than a play which varies its scenes and settings. Fifty-three minutes gives you a lot of time to develop your plot and your subplot. Good drama is not simply about one idea but about what happens when two ideas collide. Or, if you don’t want to write about a world you know, bring what you know to the world you write about.If you want to write about an historical event, think about how you are going to tell the audience something new about it. This is your chance to tell the world something about your world and what’s important to you. Why does your play matter? Write about something personal to you – write about a world you know. Think what you are trying to tell the world. Write about something that is personal to you However, don’t make the story too complicated with too many themes, characters and plotlines, or the listener will get confused. Whether you’re writing a tragedy, a comedy or a play to change the world, a great storyline will keep your audience listening. Radio Drama thrives on strong narratives.
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