2.Main Content
Training
Turn On Tune In
Photo: Clare Muller
The craft of writing Radio Drama
Thursday 7 October
10am-5pm
Soho Theatre, 21 Dean Street, London W1
With intense competition in the world of film, Radio Drama can offer a uniquely satisfying alternative for the new writer. It is the medium most akin to film, and many distinguished writers and directors have started - and continue to work - in Radio. Christopher Hampton's brand new White Chameleon will be broadcast on Radio 4 on 24 July. The late Anthony Minghella had huge respect for the medium and wrote several wonderful radio plays some of which were prototypes for his film work (including his first, Truly, Madly, Deeply). Samuel Beckett wrote specifically for radio, as did Harold Pinter. Director John Madden started out directing Radio Drama, as did Peter Kosminsky. 
Photo: Clare Muller
Christopher Hampton heads back to radio drama in JulyThink of the terrific actors that radio attracts - a recent very successful Afternoon Play Not Bobby starring Mackenzie Crook, was about a pet rabbit who did The Times Crossword and was sent to school - a wonderful example of black comedy which is one of radio's most successful storyline themes. This idea could never have worked visually, and now there is a course that will illustrate the many varied areas of storyline that are uniquely suited to the non-visual medium.
Over an intense single day Turn On Tune In will give the fine details of how to write for radio from start to finish including that most crucial aspect: marketing your idea. Radio can take you anywhere and many film projects that sink because of exotic locations and large casts can find a satisfying new home in radio, where - for example - the Battle of Stalingrad can take just half an hour to stage at no extra cost. The BBC has unique access to a wonderful archive of sounds and interviews - invaluable for the new writer when they research their ideas. But what sort of storylines actually work best for radio, and what are the original ideas that could never work visually but would be brilliant on radio?
Turn On Tune In is taught by Cherry Cookson who worked for over 30 years as a staff Senior Radio Drama Producer in the BBC, winning many national and international awards for her work, and on behalf of her writers. She is currently a freelance independent Radio Drama producer and director. Cherry has taught both acting and creative writing at a number of universities, and has recently produced two plays herself for BBC Radio 4. She will also be recording a play in Autumn 2010 for on-line distribution, and is actively looking for new playwrights to encourage and work with.
COURSE OUTLINE
OPENINGS
With no visuals to aid the audience, no sets, and no costumes, radio is a huge challenge to the writer, but also a very satisfying one. Everything must be conveyed by the characters' voices and sound F/X alone. How do you manage to establish characters and storyline without resorting to clumsy dialogue and awkward exposition? How do you paint the canvas for the listener on which your drama is to be portrayed? With examples of strong, dramatic openings to radio plays, you will discover how to best put those images in the minds of the listeners and - most important of all - keep them listening. Remember - the radio play can be switched off!
CHARACTERS
How do you convey a character with the voice alone? How do you delicately inform the listener of the past lives of the characters, and a key question - how much does the listener need to know about the character's life outside the narrative that they are hearing? How do you avoid cliche-ridden speeches? Unlike all other media, a radio play is totally dependent on its dialogue to depict both the central characters and the peripheral ones. And how will the audience always know who is speaking? Remember in effect the radio audience is blind - how will you aurally 'dress' your characters so that they feel they can actually 'see' them.
STRUCTURE
Structure is critical in Radio Drama. The internal shape of a scene is very difficult to judge, radio scenes are much longer than film but how do you decide when to start a scene, and when to finish? It is vital to make the audience clear from the start what the structure will be. You cannot just add a voice-over halfway through the play because you realise it is the only way to convey vital information. The same applies to flashbacks. We discuss how to work out the best structure for a particular story and how to make the audience feel comfortable and secure with it.
ENDINGS
Using some examples of 'good endings', we discuss how and when to finish your play. In radio, as in most mediums, there is nothing more irritating than either one too many final scenes, or worse still, one too few. Even if you are not quite sure from the outset how the actual story is going to end, it is useful to have in mind roughly where it is going and to make sure that all the individual threads of a story are successfully followed through. By its conclusion, an audience will have become very involved with the characters and you need to make sure you satisfy the commitment they have made to your play and the story it has told.
THE MARKET
An informed and up to date session on what the market is for your radio play. At the moment the BBC is really the only established market for radio drama and despite recent BBC-bashing remains still by far the most prolific drama broadcaster in the world, airing 649 hours this year including 200 single plays. However BBC radio slots have very particular requirements. Many plays fall by the wayside because they are not right for any particular slot, not because they are bad ideas or badly executed. Writing for a particular slot is absolutely vital. The good news is that there are now new outlets for your radio play on the Internet. At least two new companies are producing plays for download (albeit on an 'expenses-only' basis while in infancy). Details will be provided of these companies in this 'how to sell your play' final session.
War Of The Worlds - the original radio drama classic
Friendly Producers
Writers who complete this course will also be invited to apply to our scheme. Applicants will have approximately one month to submit a 2-page treatment and the first ten pages of a screenplay. We will then select one writer who will be able to discuss their film idea at an exclusive one-to-one meeting with course tutor, Cherry Cookson.
Booking Information
The course takes place on Thursday 7 October between 10am-5pm
at Soho Theatre Studio, 21 Dean Street, London W1.
Attendance on this workshop costs £120 + VAT (Total £141). Script Factory Members are entitled to a 10% discount, making the fee £108 + VAT (Total £126.90). if you'd like to find out more about Membership.
To make your booking please call us weekdays between 10am-6pm on 020 7851 4890 with your credit or debit card details.