Writing Audio Drama offers a comprehensive and intelligent guide to writing sound drama for broadcasting and online. This book uses original research on the history of writing radio plays in the UK and USA to explore how this has informed and developed the art form for more than 100 years.
Audio drama in the context of podcasting is now experiencing a global and exponential expansion. Through analysis of examples of past and present writing, the author explains how to create drama which can explore deeply psychological and intimate themes and achieve emotional, truthful, entertaining and thought-provoking impact. Practical analysis of the key factors required to write successful audio drama is covered in chapters focusing on audio play beginnings and openings, sound story dialogue, sustaining the sound story, plotting for sound drama, and the best ways of ending audio plays. Chapters are supported by online resources which expand visually on subjects discussed and point to exemplar sound dramas referenced in the chapters.
This textbook will be an important resource for advanced undergraduate and postgraduate students taking courses such as Podcasting, Radio, Audio Drama, Scriptwriting, and Media Writing.
BBC Radio Drama History
The BBC formally started as a licensed broadcaster in 1922 with its London station called 2LO, hence 2022 being its centenary .
Scripts and sounds of what they did at this time have not survived.
But written accounts by people involved show it was a lot of fun, creatively so exciting and interesting.
This seeks to be an entertaining and informative history of BBC Radio Drama.
In the spirit of the Writing Audio Drama book I want to celebrate British radio drama’s contribution to the cultural, artistic and literary heritage of Britain as well as encourage and respect all of the contemporary audio drama writing, making and listening.
Long may it continue and please can there be more of it.
In the slideshow above, some random images from the BBC’s radio drama history: portraits of Arthur Burrows, the first Director of Programmes, John Reith, the first MD, and Cecil Lewis, an early radio drama director and writer.
The gentleman holding the script in front of an early microphone in the BBC’s first broadcast studio at the top of Marconi House is BBC’s first journalist, newscaster and lead actor in the first play specially written for radio, Arthur Richard Burrows. He played Father Christmas on Christmas Eve 1922.
He compiled and presented the BBC’s first news bulletin on 14th November 1922 when he reported the results of the General Election.
The bulletin went out at 6 pm with the information supplied by news agencies, followed by a weather forecast, prepared by the Met Office. Arthur read the bulletin twice, once fast and then slowly, so that listeners could take notes if they wished.
The first broadcast studios at Savoy Hill where they made many of the first radio dramas, and BBC ‘Aunties’- Miss Phyllis Thomas and Miss Sophie Dixon- women writers, performers and presenters for children’s programming,
Also featured are the covers of books of radio plays, an article on writing a radio play in the 1970s, the cover of Val Gielgud’s history of BBC radio drama between 1922 and 1956, and a book on the history of BBC engineering.
Two of the key and early programme organisers, Arthur Burrows and Cecil Lewis wrote and published books about their experiences in 1924. As did the BBC’s first managing Director John C W Reith.
Early images of BBC radio drama production and performance. An illustration of BBC Savoy Hill on the embankment near the back of the Savoy Hotel by Henry Rushbury.
It was a busy and bustling place with artists, public figures and staff coming to and fro after being dropped off by taxi.
Views of the heavily draped BBC studios at Savoy Hill, and the early ‘meat-safe’ microphone on wheels. Can you spot the man sitting in one of the studio arm-chairs?
Posed pictures of actors in the productions of The Chinese Puzzle, an adaptation of a stage play by Leon M. Lion and Marion Bower, and The Grey Ash by Leonora Thornber, and a variety production with the performers all singing in the direction of the microphone.
The dynamic movement indicated was not faked. Early performances believed in giving some physicality behind the speaking of dialogue and sound action. But very quickly directors and performers appreciated that projection in the stage theatre was not needed.
The declaratory style of performance did not work. The microphone was sensitive. It was like the ear of the listener.
Intimacy could be achieved with gentle up close and personal speaking as though the microphone was the listener’s face.
Spatiality and distance in sound was achieved by drawing away and speaking sideways to the microphone’s position.
Director/producers learned by listening on headphones and shutting their eyes rather than looking at the actors.
Arthur R. Burrows