Seeing with you ears.
Get your listener inside the world of your play (setting, Walk etc).
Whether writing a fictional piece or non-fiction remember all the crafting tools we have already covered: show and don’t tell, word choice, syntax, tone, characterisation, active language, specificity, The Hook and first 25 words – make sure you recap on all the sessions skills and edit, plus blog the development of the work: ideas, aims, process, decision making, editing, issues and solutions etc… Don’t forget also to continue researching industry examples to help with you own ideas especially in the early stages.
Here are the PowerPoints from the session and a further PP that may be of use now and in the future. Please refer to them in your BLOGS!
Crook’s golden rule is that every word, every line, every scene must serve a dramatic purpose in terms of characterisation and plot development. Drop anything that does not have a dramatic purpose. This could equally apply to journalism/non-fiction as well as fiction.
Character: Your main character must have the sympathy of the audience. Your audience has to identify with your main character. If this does not happen you have created a failure. Booo!
Dialogue: This is how we engage dramatically with the world. Characters inform, argue, amuse, outrage, argue through the ebb and flow of dialogue. When we do we talk and that is how great radio plays are made…..by talking in dramatic dialogue.
The Plot: This is the story with lots of twists and turns. The more the merrier. Most listeners like good exciting plots. Without a good plot you’re eating a souffle that has gone flat. You need plot, more plot and more plot. Run at least two story lines. Two sub plots would be interesting. Keep the plots linked logically within the same play. The best system is a major and a minor storyline linked to one another. Get them to come together at the end.
The Beginning: The beginning is everything. If this part of it does not work you are trouble. Your listeners will desert you. You have failed. You do not exist as a dramatist. Booo!
The Moment of Arrival: This is how you drop your listeners into the story. Don’t give them a warm bed with comfortable pillows and a hot water bottle. The background and sub-text of previous histories is better explored through revelation in dramatic action. So parachute your listener into a top dramatic moment. Not the climax. That would be premature. Find the MOMENT to join the story. Avoid the slow snail’s explicatory route. Kick ’em into a high energy trip and whoosh them through the rapids.
Structure: Set up…struggle…resolution. You can reverse this if the set-up is more dramatic and explosive than the resolution. Regard your play as a series of phases
Polarities or Extremes: The art of story telling is exploring the extreme limits of our psychological or physical existence. To pitch one polarity against another.
Please follow the guidelines in this document for the weekly blogs:
And check that you are adhering to the criteria for audio. Also evaluate and analyse how you are processing/developing your work with regards to the criteria.
The student will:
The student can:
|LO1: Be able to analyze an audio-based problem in creative media production||1.1 Analyze the requirements and parameters of an audio-based problem in creative media production.|
|1.2 Apply research activities to support solutions to an audio-based problem in creative media production.|
|LO2. Be able to use an integrated approach to audio –based creative media problem solving and production.||2.1 Demonstrate the ability to plan, organise and present solutions to an audio-based problem in creative media production.|
|2.2 Apply practical skills, understanding and methods to solve an audio-based problem in creative media production.|
|LO3: Be able to evaluate solutions to an
audio-based problem in creative media production.
|3.1 Analyse the effectiveness of solutions to an audio-based problem in creative media production.|