Radio Production
Structure of Drama
Action
Dialogue
Plot (beginning, middle, end)
Conflict
Suspense
Exposition
Dramatic elements
Attract attention
Compress time by expressing many thoughts in a small dramatic scene.
Producer consideration: (all accomplished through mic technique)
Creating the illusion of place
Giving the illusion of movement (physical, scene)
Making the background a fabric of believability. (sound perspective)
Radio Drama - Writing
The first requirement is a good story:
With a well defined plot
With clearly defined characters
And a logical movement from beginning to end.
The Plot
The good plots has:
Human interest
Focus on individuals with:
Strong characteristics
Has action
Excitement
Suspense
Conflict (mental/moral)
The Plot
It should build on memories and experiences with listeners can visualize.
It should draw the outlines of situations, leaving something to the imagination of the involved listener.
The structure
Not too many scenes – otherwise it is confusing.
Every scene should carry the plot forward a logical step.
Every scene needs a point of interest … a little climax, a new element in the story, a new character…
The structure
The total number of main characters is limited.
The plot should not depend on one line – it may be missed.
There are no limit of settings – outer space, subterranean, a palace, or mid ocean.
The character
The main characters should contrast: in temperament (nature), vocabulary (words), in
voice (women’s voices are hard to separate).
They should be recognizable on first hearing.
Voice, vocabulary should be consistent with the character, and consistent through out the play.
The character
The sound should give physical picture … what does a fat man sound like? And the lines of character A should not be inter-changeable with character B.
Indentify the character as they enter and leave … address by name, but not every time.
The character
Characters have to develop and changes as a result of the action about them; human
beings do.
Minor characters do not need development. To save confusion, do not even name them;
just use the form of address, for example, a policeman … “good evening inspector”.
The character
Personal characteristics should be mentioned in the dialogue, to help the listener visualize.
Shape
The opening is always vitally important, to attract full attention:
Use sounds to paint the scenery
Early indication of action or conflict
Character quickly sketched (do not keep listener guessing).
Atmosphere quickly created … not wordy or descriptive.
Shape
The climax:
Right at the end
Do not linger on after
All the ends tied up, all the characters played out.
The dialogue
Must be speakable: write aloud.
Natural, containing the attributes of the character … shy? Domineering? Arrogant? Selfish?
Saintly?
Developing the character, reacting to previous experience.
Natural dialogue is not in lengthy chunks or speeches: short and varied for interest’s sake.
The dialogue
It has to:
Tell a story, convey information
Describe the characters, physical features, personalities, emotions.
Indicate the setting.
Indicate the movement of the characters, the action,
Yet attract the listener, by being true to life, so that he shares the experiences of the characters.
Narration
Can be used for speeding up information, but is not as graphic, may be dull.
Better to … use dialogue or make a first person character the narrator.
Narration
Impromptu drama: it is possible with a good actors, to provide the outline of a plot, and a description of character, then they can extemporize, the story, with a natural spontaneity.
With editing and effects dubbed in later, it may be of broadcast quality.
Transcribed and “polished up”, it might provide a well written script.
Narration
The dialogue is a kind of unscripted drama.
The “role play”, used in management training training is also; this gives a clue to the uses to which format might be put in educational broadcasts.
Devices – For Changing Scenes
Silence
Music
Sound effects
Silence
New setting has to be quickly identified
Fade out …silence … fade in.
Narration
Sound effects. (Not every time)
Musical interlude. Suitable music hard to find?
Transitions can be suggested in dialogue … therefore listener is prepared for a new
scene.
A fade gives a smooth transition; a cut gives contrast.
Silence
For reducing characters and scenes
Telephone sequence (speech at both ends is unnatural)
A read letter or telegram, - gets information in speedily.
For clarifying Plot
Refer to absent characters in dialogue – to keep them in the story and remind listeners.
Music
Small groups and light scoring. (we do not have a 100 piece orchestra in the bedroom).
In perspective. If out of perspective, the listener visualizes the musicians.
Do not mix actuality music with atmosphere music.
If no very good logical purpose, cut it out.
Sound Effects
Dialogue should refer to sound to clarify. Many sounds are indistinguishable and confusion.
Can create mood, tell the story 9action), create color, and excite the ear. BUT, they always support the plot, not carry it.
Sound Effects
Like everything else they must move the plot forward, and give vital information.
The more the jumble (mess).
The imagination of the listener needs only suggestions … select sound effects, do not use every natural sound.
Simple effects are the most powerful.
Sound Effects
“Silence can be more expressive than words” – sound effects. Try contrasting silence with sound.
Possible the most important use of sound is to give a sense of place where the action is happening … combine with dialogue and acoustic.
Sound Effects
In producing, the relative level, the acoustic, the perspective of sound effects must be considered as well.
