How to Write a Radio Serial Drama for Social Development- PDF

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188 Chapter Thirteen: The Value of Editing The original version expressed little or no emotion, and the excitement at the end of the scene came too late to keep the audience involved. The edited version grabs the audience’s attention earlier, provides a sense of caring that invites an emotional response from the audience, and suggests that there is more to the lives of the characters than being mouthpieces for the drama’s message. • The first sound effect (FX) of the child screaming was added to tie this episode to the previous one and to demonstrate that, in reality, life does not occur in discrete, separate events. One event does not stop just because another one is occurring. The question of Razia’s engagement has not gone away just because Chauhdri and Shaista are now discussing a women’s center. The sound effect also adds some suspense to the scene, since the audience cannot tell whether it is simply a child being naughty or a hint that a serious dramatic conflict is about to erupt. • Razia’s story involves the audience in the scene, even if, at this stage, the idea of a women’s center is not particularly interesting to them. They are hooked into the scene to find out how it will end. At the same time, they are absorbing, even if inadvertently, the beginning of the message on the value of women’s income generating groups. • Sound effects are added later in the scene to maintain the suspense and to give Chauhdri and Shaista the opportunity to repeat, in a perfectly natural way, the message from the previous episode. • The new ending is a cliffhanger. When the episode ends, the audience does not know whether Razia will be all right. They must tune in again next time to find out what will happen. It is not necessary that every scene contain such a potentially unhappy ending, but every scene should contain some spark of real life, some suggestion that there is more to the lives of the characters than being mouthpieces and recipients of the message. Editing to Clarify Scene Emotion Emotion is vital for audience involvement, but how does the writer add emotion to a scene that, on the surface, is no more than a conversation between two characters This is the problem in the following scene from the Nepali Distance Education Series, Service Brings Reward. The characters include: Kamala (abbreviated as KAM), the health worker in Pipaltar village; Seti, A respected older woman of the village; Rama, Sister-in-law to Seti, who lives in another part of the country; and, Madhukar (abbreviated as MADHU), the post’s health assistant. Namaste is a Nepali word of greeting used when people meet or when they part. Nani is a term of affection used by an older woman speaking to a younger woman.
Chapter Thirteen: The Value of Editing 189 Original Version Edited Version 1. KAM: Namaste, Auntie. 2. SETI: Namaste, nani. 3. KAM: Oh-ho, why did you come to see me today 4. SETI: It is not I alone, nani. I have brought a friend. 5. KAM: Who is she I don’t recognize her. 6. SETI: My sister-in-law, Rama. 7. KAM: Ehh, namaste. 8. RAMA: (SHYLY) Namaste, sister. 9. KAM: We haven’t met before. 10. SETI: She has come home for a visit after many years. 11. KAM: And is everything all right, Auntie Oh, I even forgot to tell you to sit. Please, come, let’s sit here. 12. FX. CHAIR BEING PULLED OUT. PEOPLE SITTING. 13. KAM: Are you having any problems, Auntie 14. SETI: We have come to ask you something, nani. 15. KAM: Tell me...what is that I’ll answer your questions if I can. If I can’t, I’ll try to solve your problems by getting help from others. 16. SETI: O.K. Ask her what you want to ask. 17. RAMA: You ask her, Bhauju. I don’t know how to ask. 18. SETI: Now, how can I know What is there to feel shy about with Kamala nani We came for that purpose only. 19. RAMA: You ask her yourself, Bhauju. 20. KAM: Can I also address you as “Auntie" Don’t feel awkward. If you are having problems, it is better for you to ask. 21. RAMA: I feel awkward. 22. KAM: I am also like one of the family members. You can ask Aunt Seti. I often go to her place. Tell me, what is the matter 1. KAM: Namaste, Auntie. 2. SETI: Namaste, nani. Are you busy today 3. KAM: Yes, indeed, Auntie, it is a very busy day. But I always have time for you. 4. SETI: I have brought Rama to visit you. She is my sister-in-law. 5. KAM: Namaste. I am happy to meet you. I don’t believe we’ve met before. 6. RAMA: (SHYLY) Namaste. 7. FX. KNOCK ON DOOR. 8. MADHU: (FROM OUTSIDE DOOR) Kamala, sister, there is someone to see you. 9. KAM: Thank you Madhukar. I shall be there in a moment. Now then, please sit down and tell me what I can I do to help. 10. RAMA: (QUIETLY) No...no...it is all right. You are too busy. 11. KAM: Oh, no, Auntie.... May I also call you Auntie There is always enough time. 12. SETI: We have come to ask you something, nani. 13. KAM: I am happy to help you. Please, take your time and tell me what is troubling you. 14. RAMA: You tell her, Bhauju. I don’t know how to ask. 15. KAM: That is all right, Auntie. There is no right way. Please think about it and tell me in our own words...in your own time. 16. FX. KNOCK ON DOOR. LOUDER. 17. MADHU: (BEHIND DOOR) I’m sorry, sister, but the client is insisting. 18. KAM: Madhukar, ask the client to explain what the problem is and come and tell me. 19. RAMA: We’ll go. 20. KAM: No, no, please. It’s all right. I am here to help you. I would be happy if you could explain your difficulty. 13
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How To Write a Radio Serial Drama f
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Using This Book This book is a prac
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vi Contents Chapter Two 13 Writing
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viii Contents Chapter Seven 99 Writ
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x Contents Chapter Thirteen 181 The
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xii Prologue 1. Individual-level co
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xiv Prologue Source factors are the
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Chapter One Introduction to the Use
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