The best thing about radio is that you only need one instrument to communicate your message to an audience of possible millions, and that is the microphone. Unlike television you don't need a large crew to help you realise your broadcast. You just switch on the microphone and you're sitting in everybody's living room!

Another good thing about radio (unlike television) is that it is very personal. Broadcasting on radio and listening is on a one to one basis - which in turn gives you the possibility of writing a great radio play that will keep your listener glued to the radio. There are many ways to write books, there are fewer ways to write film scripts, but there are even fewer ways to write radio plays.

This may sound pretty simple, and it is. You have dialogue, sound effects, and possibly a running commentary by a narrator to help the story along. As you see there is really not a lot too it! Or is there?

A good radio play can grab hold of your attention - as well as any book or film. But it can go a step further. A good radio play can cause mass hysteria across the country, as in 'War of the Worlds'. It can even develop from an ingenious radio play into a best selling book 'Hitchhikers guide to the Galaxy'.

How can you write a very good radio play? Here again the answer is pretty simple. Write the radio play you would like to hear yourself.

Someone wrote on the net recently 'I would never read or buy what I write myself'. That's what I call digging your own grave. If you don't like it, who will?

Write the radio play you always wanted to hear! In fact write the radio play that you know would keep you glued to the radio. You are writing for an audience - but the first person in that audience is yourself. If you don't like it, who will? I'm going to begin with some basics. It is not difficult - even I can do it! but it does help to stick to a few basic rules.

 (If you find these basic descriptions too brief, you can read about them in more detail in The Essence of Story and in the Writer's Workshop.)

The beginning

The beginning is the start of your adventure with the listener. If you don't grab them immediately, you're history with the flick of a wrist!

Your listeners have gone to find something else that will hold their attention. Unlike a book or film, a slow explanatory build up of background and atmosphere does not work in radio drama.

With the help of audible atmosphere from your actors, and appropriate sound effects, your radio play must quickly "establish" itself within the first thirty seconds.   The listener must know, a) who the protagonist is, b)what the protagonist's problem is, and c)where and when the story takes place.

To get the best out of those first thirty seconds, capture your listeners with an important dramatic moment, and using that give them a roller coaster ride to the climax.

Structure

Those who believe in the classical structure of Beginning, Middle, and End should stick to it. However an explosive opening can be more dramatic than the resolution! Don't be too concerned. Whatever structure that will make for better radio is the trick, so long you keep the listener on the edge of his/her chair throughout.

 The Plot

 Many people believe that radio drama consists of one plot, and one story line.

NOT TRUE!

A good plot with plenty of twists and turns, together with one or two sub-plots will add to the listening pleasure.

One thing is important. The sub and main plot have to be joined with an umbilical cord.   While following one, the listener must not entirely lose track of the other. 

And of course the plot and sub-plot must  come together at the end of the play.

 Character

The general rule is that your main character should have the sympathy of the listeners.

However modern drama has shown us that the main character can change from a badie to a goodie or vice-verse!

Listeners have to identify in some way with the main character - but that does not mean it is the type of person you would like to invite around for dinner.

Drama is conflict, and that's what you're after.  And that conflict lies at the core of characterization. 

A character is defined not only by what conflicts he or she is wrestling with, but by the style and manner in which he/she handles (or fails to handle) that conflict. 

Even a good comedy can have great drama, it's just the way you lay it out, and the style in which the main protagonist approaches and handles the particular conflict! 

But, unlike a book or film, radio drama must be carried forward by dialogue alone.  

There are no scenic descriptions, revelations of thought, or engaging camera shots. It's all down to dramatical dialogue by which we will amuse, argue and inform the listener as to what is happening in our radio world.

Keep your dialogue relevant to the story. Idle chat serves no purpose and can lose you listeners.

Creating an atmosphere

Atmosphere and ambiance are the decor sets not unlike a film. A picture would not get far if the actors played their scenes in front of a blank screen. The same goes for radio. There are many ways to add the necessary atmosphere and ambiance:

Dialogue, sound effects, and music take over the roll of the decor so that the listener can visualize the surrounding where a particular scene is taking place.

HOWEVER.... there is always an exception to the rule. For instance a radio play built out of a monologue can contain no sound effects or music whatsoever.

The Beat

In order to prevent yourself from writing a radio play that will in some parts bore your listeners,  think of a beat!.... as in music.

If you think your radio play can withstand this form of editing, try it!

Here's how: In reviewing your written masterpiece try to find a beat in the writing that will push your dialogue along at a reasonable tempo. If some part falls short or you lose the timing, scrap the parts that cause the crash. This will usually make you dream up some other scene that will keep the play riding on an up-tempo beat.

 The Climax

If your radio play sounds boring to you when you're reading it, or it is not building up to a tense, intriguing, absolutely fantastic climax, then start all over again.

Layout structure

Writing a radio play is less complicated than most forms of writing but there are a few rules:

Type (keyboard) neatly and double spaced.

Characters names in capital letters down the left margin and please do not abbreviate.

Sound effects or music in italics.

Type on normal A4 ( USA letter size) white paper, in 12 or 14 font size, and keep to regular fonts  such as, Arial, Courier, etc.

A radio play example will be posted after the second lesson. This is to let you concentrate on the dialogue first – after that we will get down to the real thing.