{"id":2628,"date":"2017-12-11T00:00:00","date_gmt":"2017-12-11T00:00:00","guid":{"rendered":"https:\/\/www.thepodcasthost.com\/uncategorised\/writers-get-audio-drama-right-now-7-tips-top-producers\/"},"modified":"2022-10-06T10:09:16","modified_gmt":"2022-10-06T09:09:16","slug":"writers-get-audio-drama-right-now-7-tips-top-producers","status":"publish","type":"post","link":"https:\/\/www.thepodcasthost.com\/fiction-podcasts\/writers-get-audio-drama-right-now-7-tips-top-producers\/","title":{"rendered":"Why Writers Should Get into Audio Drama (Right Now!): 7 Tips from Top Producers"},"content":{"rendered":"\n

Since 2005 the shift in radio drama to digital and on-line has opened fantastic opportunities for writers to realise their visions at low cost. Yet, as audio drama has flourished in the US, growth in the UK has been slower; despite a longer-standing radio drama tradition.<\/p>\n\n\n\n

So, what\u2019s stopping people? At a recent event in Oxford, some of the most exciting and well-known independent audio drama producers gathered to say why prose and screen-writers should take the opportunity seriously.<\/p>\n\n\n\n

Bringing the words to life<\/h2>\n\n\n
\n
\"Audio<\/figure>\n<\/div>\n\n\n

For a writer, little compares with the thrill of seeing a work brought to life. \u201cWe\u2019d been involved in a lot of theatre and improv.\u201d said Chris Sugden on the launch of the mind-bending new detective-comedy Victoriocity<\/a>, \u201cgoing into audio was just a practical decision, it kept the fun of theatre, but left you with something that is permanent and which many more people can enjoy\u201d.<\/p>\n\n\n\n

Do it now, do it big<\/h2>\n\n\n\n

Jack Bowman and Robert Valentine, veteran producers from the multi award-winning Wireless Theatre Company<\/a> urged the audience to be ambitious. \u201cYou lose some freedom when serious money becomes involved, but starting out you can do a lot on very little.\u201d Pointing to their much lauded Springheel Saga<\/a> and War or the World<\/a> reimaging, Jack noted: \u201cWe were able to stage a train chase and blow up South London for the equivalent of \u00a3120 in equipment\u2026 try doing that in film\u201d.<\/p>\n\n\n\n

Production is international<\/h2>\n\n\n\n

Sarah Golding presenter of the Audio Drama Production Podcast<\/a> and voice actor of over 60 productions highlighted the international dimension, \u201ccollaboration has never been easier\u201d she noted, noting the very close links between US and UK productions, \u201cit\u2019s important to think about networks and how working together can reduce risk and increase access to skills\u201d.<\/p>\n\n\n\n

\u2026And so are the fans<\/strong><\/h2>\n\n\n\n

The success of shows such as We\u2019re Alive<\/a> and Welcome to Night Vale<\/a> demonstrated how shows could attract international downloads in the tens of millions. Maxamillian John, a writer at Definitely Human<\/a>, described how they keep constant contact with fans through a stream of fiction and non-fiction podcasts, such as MarsCorp<\/a> and the Infinite Bad, as well as social media and news updates. This has enable the company to attract a global audience, with more than double the number of fans in the US than in the UK.<\/p>\n\n\n\n

A chance to get new voices heard<\/h2>\n\n\n\n

Voice actor and producer on the 11th<\/sup> Hour Productions<\/a>, Karim Kronfli also made a plea to hear more writing from outside the white middle-classes. He drew attention to the recent US series Bronzeville, a star-studded production that told the story of a self-sufficient black community in 1940s Chicago, as an example of a show telling stories that don\u2019t normally get told \u2013 and in doing so attracted big audiences and a healthy profit.<\/p>\n\n\n\n

Successful shows can pay the bill (if you plan for it)<\/h2>\n\n\n\n

Elizabeth Campbell, Production Manager at the award-winning sitcom \u2018Wooden Overcoats\u2019<\/a> talked about the money-side. \u2018It\u2019s possible to get people paid and make this sustainable,\u2019 she said, noting the show\u2019s success raising \u00a310K within a week for a new season. Elizabeth stressed the importance of budgeting for creative teams and identifying income streams early. For the Wooden Overcoats this included advertising, crowd-funding and live performances; for Wireless Theatre Company it involves pay-per-listen, subscriptions and industry commissions. Whatever route people choose, Elizabeth added, \u2018make sure there is a route for people to contribute.\u2019<\/p>\n\n\n\n

\"DeadThe future is unpredictable, but great content will win out<\/h2>\n\n\n\n

\u2018The only constant in the last 10 years has been everything changing\u2019 Said Wireless\u2019s Robert Valentine.  He noted that the industry might be emerging out of the \u2018Wild West\u2019 stage with big industry investments by Audible and a more active involvement in podcasting by BBC Radio.  Yet, despite this, he stressed that the break-out successes have always been from good, original content. This is likely to become even more important from independents wanting to remain distinctive.<\/p>\n\n\n\n

Most of all, for people wanting to join in audio drama, it\u2019s the opportunity to get involved in fast moving, collaborative and welcoming medium that most appealing. In an earlier interview, I asked Beth Eyre (a lead actor in Wooden Overcoats), about the appeal of working in indie audio productions. Replying from New York, where she was working on another production, she talked about the intimacy and creativity of the medium and ended with the observation that \u201call the best people are in audio drama.\u201d Indeed, the fact that so many producers were willing to give up their time for free in Oxford, to encourage others to get involved is testament to this spirit.<\/p>\n\n\n\n

\u2018Writing for Audio Drama and Podcasting\u2019 was hosted by <\/em>Film Oxford<\/a>, on the 8th<\/sup> November, and was organised by <\/em>Oxford Writers\u2019 House and Coventry University. <\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Since 2005 the shift in radio drama to digital and on-line has opened fantastic opportunities for writers to realise their visions at low cost. Yet, as audio drama has flourished in the US, growth in the UK has been slower; despite a longer-standing radio drama tradition. So, what\u2019s stopping people? At a recent event in<\/p>\n","protected":false},"author":15,"featured_media":2631,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"inline_featured_image":false,"_uag_custom_page_level_css":"","footnotes":""},"categories":[152],"tags":[],"coauthors":[],"class_list":["post-2628","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-fiction-podcasts"],"acf":[],"yoast_head":"\nWhy Writers Should Get into Audio Drama (Right Now!): 7 Tips from Top Producers<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.thepodcasthost.com\/fiction-podcasts\/writers-get-audio-drama-right-now-7-tips-top-producers\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Why Writers Should Get into Audio Drama (Right Now!): 7 Tips from Top Producers\" \/>\n<meta property=\"og:description\" content=\"Since 2005 the shift in radio drama to digital and on-line has opened fantastic opportunities for writers to realise their visions at low cost. 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Yet, as audio drama has flourished in the US, growth in the UK has been slower; despite a longer-standing radio drama tradition. So, what\u2019s stopping people? 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