WRITING FOR THE RADIO

Nelson Evening Mail, Volume LXX, 19 December 1936, Page 4

WRITING FOR THE RADIO

NEW TECHNIQUE EMPLOYED

The technique of writing for the microphone is entirely different from that which is employed by the movie scenarist. The outstanding difference is that, radio is “blind,” .according to George P. Ludlum, continuity writer for the National Broadcasting Company of America.

“It is the absence of the visual that distinguishes plays written for the radio from the kindred arts of play-writ-ing for tin: screen,” Mr Ludlum explained. “The successful radio dramatist must learn to think in terms of sound, for the radio play is written for the ear alone. It does not matter how the dialogue looks in print, it’s how it sounds that counts. And here I. think w'e have the crux of the whole question of successful radio writing. The best place to learn how to write for the radio is beside a radio set. The playwright who keeps that in mind is in little danger of going wrong. “The. principles of drama have remained the same from the very beginning. They are fundamental; but the technique in applying these principles to radio is very different from stage or screen technique, where the physical element plays such an important part. Tricks that have been sure-fire in the theatre for generations avail nothing in the emptiness of space; the voice and its boon companions interpretative music and sound effects—are the sole messengers of sound. “One or more of these three agents must be at work all the time, and there must he no dead spots in radio. On the stage some of the first emotional effects are accomplished by pantomime or silence ; too long a pause on the radio will only convey to the listener the impression that his set has ceased functioning. “Music, of course, plays a most important role in the radio drama. Not only may be it employed to set the stage, so to speak, as to time and place, but it may be used as a ‘curtain’ that establishes a transition from one scene to another. In the theatre it is much simpler; the time and place may he established by the simple process of consulting one’s programme. “Time, place, and the characters must all be clearly established in the listener’s mind, and that requires skilful treatment,” continued Air Ludlum. “The listener must never for a moment he felt in doubt as to the scene of the action or the identity of the characters engaged in conversation. And this takes deft writing. It’s quite simple, really, when one understands the requisites. It’s just a matter of training. “The ideal radio play is not necessarily a drama of action,’’ Mr Ludlum continued. “Some people think it is; personally, I do not . I cannot help feeling that any radio play which depends principally on action for its appeal is trying to do too much. It requires imagination on the part of the audience, and not everyone i@ endowed with a lively imagination. Such a play leavefc too many blank spaces in the mind’s eye of the listener.

hack,” repeated several times, at last persuaded a nonplussed pedestrian that the kerb was a safer retreat than four yards out in the roadway when fourton lorries had the right-of-way. Crimson that fittingly matched the red of her dress flooded the cheeks of a young

lady who unwisely strayed from the footpath and was told about it. Generally, the inspector was most courteous in his directions, but there was no time for “please” or any other entreat when a man dashed pell mell across the street. ‘ Here, what are you ’rendering a cross llieve for?” he shouted. with a suggestion of sarcasm in his use of “wandering.” “You will break you f neck one of these days,” he added. Vehicular traffic also attracted the inspector’s attention, particularly a hoy on • ( bicycle who encroached upon the footway out of his turn, and was told that lie was “now ranked as a motor and must comply with the regulations.” And I, large crowd of spectators who gathered to" watch the experiment was not immune. “Those two gentlemen holding up a verandah post please keep away,” was an instruction that moved two idlers from the Queen street end of the footway across Quay street.