So You Wanna Create a Radio Drama?
Aug 16, †Ј Here are some tips and insight on what exaclty starting a huge audio production will require. In this video I will be discussing Time Managment, Original Cha. Apr 19, †Ј Here we go. This is the start of the journey of making an audio drama from scratch.*****Foll.
Interested in writing, directing, or producing radio drama? Then, grab a mic and hoa recorder and get going Ч nearly everybody in this field is producing it themselves. As a showcase of quality radio drama for over four eight years, Radio Drama Revival has collected this list of resources by top radio drama producers so that you, too, can get your start in radio drama.
Hey, and when you got something to show for it, submit your show to us, okay? Writing for radio is very different than other medium. Your tools are limited Ч voices, sound effects, and music Ч but your palette is limitless Ч the human imagination.
A good script is the heart of quality radio drama, in fact, it is the only thing that makes a radio drama worth producing. As anyone in film will tell you, minutes spent in pre-production will save you hours later.
Planning is everything. Luckily, this area is rich with resources because nearly any sound-recording article, regardless of being radio drama specific or not, can help you out. There are basically four methods of recording a radio drama:.
This is a fantastically innovative new production method, whereas producers collaborate with voice actors around the globe who record lines independently and then mix them together in post-production to create the final product. Radio Drama At A Distance. Here are some comments from listeners who have written in to me since this article was originally published.
We make extensive use of yahoogroups as well as Facebook for communication, casting calls, etc. VAs often work for multiple companies.
We each have headphones and our mics on and I then have my how to use dylon image maker zip up the files and email them over to me. Most of the companies post casting calls to it as well as their own yahoo groups. Jack Ward and Shannon Hilchie are great about featuring audiodramas from the different companies on the net on their live radio broadcasts.
We have most of the how much to transport a mobile home information of the people who are making this stuff happen. Contact us if you want to get hooked up. You asked for links to resources on making audio dramas remotely.
AAC, okay? To be honest, I use ausio for everything including production of Radio Drama Revival even though I have Pro Tools 8, Adobe Audition is way faster at maoe things and Version 3 is very intuitive.
Did I overlook something? Hlw questions? Field recording is definitely the way to go if you have the equipment. Everything I hear done on location seems much more alive. Great site you have here btw! Keep up the good work. I just wanna say that radio plays are awesome.
I expect it to be big in the US again soon. Not just in Mae. They love this stuff there. Great set of info, do how to change borderlands 2 language from russian to english have a resource where you can setup a section on just working with the AFTRA? You should set up a section for Voice Over hw and how they can partner with directors and vice versa.
I am a VO actor who makke up listening to radio drama and would love to participate, the question becomes how does one tap into this market?
Could be howw Keep up the good work, Dave Germain. Are there audio drama companies that except submissions? I know that is how theater companies and dramatists mostly interact with each other. Wynter Ч honestly there are a adio of companies just looking for new playsЕ Many are like myself filled with opportunities to produce more and so are looking years ahead with mske shows to do next.
My best advice for writers would be Ч listen around, find a wn company who releases shows like what you want to write, and then try to establish a relationship with themЕ Drop an email, interact on social media, see if they are looking for material. Never hurts to ask! Main problem I have is promoting it. I am about to start producing my own series.
How about music? Who do you ask? I am an audio editor and mixer with experience in sound design and song writing.
Can someone audko me? I use this to this day. Resources: The late master Yuri Rasovsky penned the Well Tempered Audio Dramatistthe single most valuable resource I too think of for this aspect of the art Ч covering everything from why you need a production assistantwhat you should how to do a strikethrough in word for in castingand even some tips on directing ho.
Tony Palermo also has some great articles on creating sound effects props Ч mak does Roger Gregg 3 Ч Recorded Remotely This is a fantastically innovative new production method, whereas producers collaborate with voice actors around the globe who record lines independently and then mix them together in post-production to create the final product. Comments Field recording is audioo the way to go if you have the equipment.
Step 1: The Radio Drama Script
How to Create Audio Drama: Even if you've never mixed audio before in your life - Kindle edition by McLean, Matthew, Thomson, Craig, Beattie, Bryce. Download it once and read it on your Kindle device, PC, phones or tablets. Use features like bookmarks, note taking and highlighting while reading How to Create Audio Drama: Even if you've never mixed audio before in your life/5(10). Nov 07, †Ј 1. Create a visual picture. Writing for radio requires you to paint a picture in the audience's mind. This means the use of descriptive words to build up images that enable the listening audience to identify with the characters, the world the characters live in . Nov 11, †Ј 5. Create a Pilot. The pilot episode is the first episode in your series. The events that happen in the pilot are what the show should be based around. Normally, after the pilot, the audience is asked what they think about it. If they like it, more episodes will be commissioned - .
The grinning expert, who almost never listens to anything other than the hollow sound of his own voice, locks you into a conference room with a condescending four hour PowerPoint presentation. One often looks cautiously at such a mercenary, often paid an obscenely high sum for pablum, to see if he has a pistol concealed under the three piece suit.
Ego should never be the driving force when you advise other people. The collective journey must represent the true impetus behind any guiding effort.
Unfortunately, the dreadful combination of arrogance and stupidity is an increasing affliction in American culture, which now prides itself on smearing a crowd with the soothing balm of anti-intellectualism, with hubris often serving as the prominent titanium dioxide.
There are now too many circumstances in which wildly unqualified people Ч often illiterate and sloppy in their work product Ч anoint themselves as Napoleonic dictators for how to advance thought and who often do so without the nuts-and-bolts wisdom or attentive awareness that inspires people to conjure up truly incredible offerings.
I mention all this because I recently had the considerable displeasure of reading a typo-laden article written by a misguided audio dramatist who, while possessing a modicum of promising technical chops, remains tone-deaf to human behavior. You see, I really believe that audio drama, like any artistic form, needs to be written and produced at the highest possible level. But to give this guy some credit, we do have to start somewhere!
Having said that and as a free-wheeling anti-authoritarian who despises groupthink, who has never held a gun in his life, and who is writing this in a T-shirt and jeans rather than a three piece suit , I would also like to encourage anyone reading these collected thoughts to poke holes into my views and to challenge anything that I present herein. This is, after all, the only way that all of us truly learn. Audio drama is a magnificent medium. It shares much in common with literature in its ability to challenge an audience and convey emotional intimacy.
And while shows such as The Bright Sessions , Wooden Overcoats , and The Truth intuitively comprehend the emotional connection between audio drama and audience, the medium, on the whole, is populated by too many engineering nerds who are not only incapable of writing quality scripts, but seem reluctant Ч if not outright hostile Ч to probe moral questions or explore any difficult ambiguities that lead to human insight. Here are some better guidelines for how to approach the exciting and often greatly rewarding realm of audio dramatic writing!
This is the true big one. And you become no different from some engineering nerd who is less interested in narrative possibility and more concerned with being the cleverest guy in the room. Being in touch with human behavior humbles you and opens you up to wonder and empathy and insatiable curiosity that you can not only pass onto your actors and your audience, but that will help you transform into a better and more mindful person.
If you want to connect with an audience, then you need to know how to connect with people. And your art needs to reflect this. One of my favorite audio dramas, King Falls AM , has literally confined its setting to a call-in radio show in a small town. But its two main characters, Sammy and Ben, are human enough to warrant our attention.
I recently revisited some episodes of the science fiction TV series Blakes 7 after its star, the incredibly talented Paul Darrow, passed away. Darrow, who appeared in many audio dramas produced by Big Finish near the end of his life, played an antihero named Avon Ч a man who ended up as the leader of a band of revolutionaries fighting against a fascist empire known as the Federation.
Why was Avon so interesting? Because he contained so many contradictions! He could be smart, intensely charming, paranoid, inclusive, sarcastic, and self-serving.
Avon and his longtime partner Vila have five minutes to rid a spacecraft of excess cargo weight. The two men are seen frantically running around, ejecting bits of plastic through the airlock.
What weighs 70 kilos? Avon now has a solution Ч one that allows him to survive but that also involves betraying his friend. Darrow instantly transforms, grabs a laser pistol, and the scene is among the best in the entire run of the show. You can watch the scene here. As a test, I described this scene to a wide variety of people who were unfamiliar with speculative fiction.
I gotta check it out. This represents tyranny, not creative possibility. Actors need to be free to create in a fun and relaxed environment. In my case, I cook all of my actors breakfast, compensate everyone instantly after recording, and try not to work them more than three hours per recording session. You need to have a script and a recording environment that is committed to your actors first. At all stages, audio drama is a process of collaborative discovery.
The actors have given you all that you need. From here, you start to form the sound design. Worldbuilding always comes from human investigation. But to get to this place, you need to have characters who are unusual and who contain subtlety, depth, and detailed background. What kind of family did they have? Are they optimistic or moody?
What was their most painful experience? Their happiest? Are they passionate about anything? It turned out that I had the wrong bar. I laughed over how ridiculously loyal I had been to the Canadian beer brand and began asking questions about why I was so stuck on that particular beer at that time. I then came up with the idea of a woman who spent much of her time collecting memorabilia for a beer called Eclipse Ale, one that nobody knew about, and decided, instead of making this character a rabid and obsessive fan, to make her very real.
I placed her in a troubled relationship with a man who refused to listen to her, which then gave me an opportunity to explore the harms of patriarchy. I then had to answer the question of why this woman was the only one who knew about the beer and conjured up the idea of a boutique hypnotist who served in lieu of couples therapy.
Suddenly I had a weird premise and some sound ideas. What did the memorabilia look like? Ultimately, most of my sound design came from my incredible cast. Their interpretations were so vivid that I began to create a soundscape that enhanced and reflected their performances. I would listen to the rough dialogue assembly on my headphones and physically act out each character as they were talking into my ears. And from here, I was able to see what the space looked like.
I went to numerous bars and closed my eyes and listened and used this as the basis for how to shape the scene. These methods allowed me to tell a goofy but ultimately realistic story. Audio drama should never be about being overly clever or showy. It should be designed with enough depth for the audience to use its imagination.
Just as I consider the actors on my production to be my creative equals, I also consider the audience to my interpretive equal. Their takeaways from my show are almost always smarter than my own. It would be colossally arrogant of me to assume that I know better than them. To return to the gentleman who wrote the article that I am partially responding to here, his advice concerning character tips should be avoided at all costs. Robots can be fun, but, however ephemerally vivid they can be, they are among the most tedious one-note characters you can ever drop into a story.
Moreover, a character who appears on only two pages should have as much backstory as one of your principals. Miller , he instructed all of the extras who were part of the Western town to develop detailed characters. This is one significant reason why that incredible film feels so real and so atmospheric. When in doubt, write vivid human characters with real problems.
They always sound cool. If your characters are dimensional, then your audience will be able to follow the story. But you can also have your characters forget the names of the people who they are with so that you have an opportunity to remind your audience who they are. This expositional move doubles as a touch of realism and a subtle way of helping your audience keep track of a very large cast.
If the dialogue is natural and the rhythm reflects real human conversation, then this will also help your audience lock into the narrative. But every setting is driven by sound. Only the most unimaginative and inattentive dramatist in the world would gainsay the textural possibilities contained in a car or a kitchen.
These are seemingly familiar places. As for momentum, I have one firm rule: Have at least something on every page that drives the story forward or, failing that, a good joke.
Because you have exactly five minutes from the beginning of your show to grab your audience. The audience will tune out very quickly, especially when there are so many other audio drama productions up to the task.
This is a profoundly ignorant and offensive statement that ignores the lessons contained in centuries of dramatic writing. Can I write an article and pimp my show? In an increasingly crowded world of audio drama options, you want to be the dramatist who can bench-press to the best of your ability. And art rarely works when you phone it in. It involves hard work, great care, and daily discipline. Well, I can mostly agree with the misguided dramatist here.
You can then sculpt the sound design accordingly. Once again, the misguided dramatist lacks the ability to comprehend how an audience vicariously relates to an audio drama. You can do kissing in audio drama. For the first season, I recorded some kissing foley with someone I was dating at the time. But it had to be done for art!
Imagine two people lying in bed, both of them with headphones on, and a condenser microphone mounted just above them. We proceeded to kiss until I got the levels and the mic positioned just right for a very soft sound that is quite close to the sound that you hear when you kiss someone. This was a little difficult. Because I very much enjoyed kissing the person in question.