Story..story..story

Story..story..story

A productive session with Development Producer Justine Potter at BBC North has given rise to the following points; read, digest and comment if you will:

Sending a script to the Writer’s Room:

1. All scripts are read (although it could take up to three months before you receive a response). You will receive one of three responses; a full script report, an invitation to contact a producer with an interest in your writing style, a simple no.
2. Once you have submitted a script you cannot re-submit it after working on the advice given.
3. All plays which receive positive responses will be passed on to a producer, there is no point in you sending work directly to a producer.

The commissioning process:

1. The producer is responsible for working with the writer on the idea with the ultimate aim of getting the play made and broadcast. This is dependant on getting the idea agreed by the commissioning editor in the offers round.
2. The offers round for the afternoon play happens twice per year (May and October)
3. The writer creates a paragraph which describes their idea, if this is agreed the writer then produces a two-page synopsis and might include a sample scene.
4. The writer usually has between 3-9 months to write the play. This process includes deadlines; at each stage the draft is read and commented on by the producer.

The producer’s job:

1. The producer works as script editor/dramaturg on the play.
2. He/she then casts the play (with the help of the broadcast assistant)
3. He/she directs the play in studio (usually over two days)
4. He/she then edits the play (usually 3/4 days)

The writer’s job:

1. Understand the medium of radio.
2. Understand the slots and opportunities out there.
3. Listen to a wide range of radio drama.
4. Foster a good relationship with your producer.
5. Have the ability to respond to feedback given, adhere to the deadlines of the drafting process.
6. Keep coming up with new ideas and be realistic about moving on from failures.

The writing:

1. The afternoon play is summarised in three words; story..story..story
2. Find a new way of telling yours; radio drama has been producing over 40 years of domestic drama – how can you do it differently?
3. Consider the switch off factor – this happens within the first two minutes – which is the first two pages in writing terms.
4. Start mid-scene, cut to the chase.
5. Whose story is it? Consider the main character – let us see their journey.
6. The audience needs to be one of the characters in the play.
7. What is the genre? The audience generally want to know fairly early on.
8. Everyone’s opinion is subjective – give the audience a reason to be surprised/entertained/educated/informed.
9. Don’t write for a slot/for an imagined audience – write the play you want passionately to write.
10. Internal monologue is often an excuse for exposition.
11. Beware of issue based plays; what are you saying? How are you saying it? Who are you to say it?!
12. What is the central question?
13. Why is this story being told now?