How to Write a Radio Serial Drama for Social Development- PDF
How to Write a Radio Serial Drama for Social Development- PDF
How to Write a Radio Serial Drama for Social Development- PDF
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36 Chapter Three: Characteristics of <strong>Radio</strong> <strong>Serial</strong> <strong>Drama</strong><br />
Fables of Our Time Page 1 of 2<br />
Episode #10: The Bundle of Sticks<br />
Draft: Final<br />
<strong>Write</strong>r: Aesop/Hall Date: January 16, 1995<br />
Notes on Script<br />
Presentation<br />
There are certain<br />
accepted methods of<br />
presenting or writing<br />
down scripts that<br />
make production<br />
easier. In sample<br />
scripts in this book,<br />
the following<br />
conventions are<br />
used:<br />
FX = Sound effect<br />
FADE AND HOLD<br />
UNDER = Turn the<br />
volume of the music<br />
down, but keep it just<br />
audible under the<br />
narra<strong>to</strong>r.<br />
FADE AND CUT =<br />
Turn down the<br />
volume of the music<br />
gradually and then<br />
cut it completely.<br />
UNDERLINING = All<br />
activities handled by<br />
the technician rather<br />
than the ac<strong>to</strong>rs, such<br />
as music and sound<br />
effects, are<br />
underlined.<br />
LINE NUMBERING =<br />
Each speech is<br />
numbered so that it is<br />
easy <strong>for</strong> the direc<strong>to</strong>r<br />
<strong>to</strong> refer <strong>to</strong> a particular<br />
place in the script.<br />
More in<strong>for</strong>mation<br />
on script presentation<br />
can be found in<br />
Chapter 11.<br />
1. FX. FARM ANIMAL NOISES IN BACKGROUND,<br />
COWS, CHICKENS, ETC. MIX WITH<br />
2. FX. THREE TEENAGE BOYS QUARRELING.<br />
3. SONS: (QUARRELING AD LIB) I did not!<br />
You always do!<br />
It’s all your fault.<br />
Well, if you weren’t so stupid, it<br />
wouldn’t...<br />
Are you calling me stupid Just<br />
you wait!<br />
4. FARMER: (CALLING LOUDLY) Boys...<br />
boys.... S<strong>to</strong>p that quarreling. <strong>How</strong><br />
can we ever get any work done on<br />
our farm with the three of you<br />
arguing all day long<br />
5. SON 1: But it’s all his fault.<br />
6. SON 2: It is not! They started it!<br />
7. SON 3: No...I’m the one who’s been trying<br />
<strong>to</strong> s<strong>to</strong>p it.<br />
8. FARMER: It’s not important who started it and<br />
who tried <strong>to</strong> s<strong>to</strong>p it. I just don’t want<br />
<strong>to</strong> hear the three of you quarreling like<br />
this again. Arguing is a foolish waste of<br />
time. It is not the behavior of wise folk.<br />
Now come along... (Going Off) Let’s<br />
get on with our tasks.<br />
9. MUSIC. BRIEF SCENE CHANGE THEME. CUT.<br />
10. SONS: (Quarreling Ad Lib). I did not!<br />
You always do!<br />
It’s all your fault.<br />
Well, if you weren’t so stupid, it<br />
wouldn’t... Are you calling me<br />
stupid Just you wait!<br />
11. FARMER: (LOUDLY INSISTENT) All right.<br />
That’s enough. Come with me, all<br />
three of you. (GOING OFF) I want <strong>to</strong><br />
show you something.<br />
12. SON 1: (FOLLOWING) Where are we going<br />
13. SON 2: (FOLLOWING) I don’t know. We’ll<br />
have <strong>to</strong> follow him and see.<br />
14. FARMER: (COMING IN) Come in here <strong>to</strong> my<br />
room...all of you. What do you see on<br />
the floor in front of you<br />
Introduction:<br />
The central<br />
characters and<br />
their personality<br />
traits are<br />
introduced. The<br />
plot and dramatic<br />
conflict begin.<br />
The theme is<br />
<strong>for</strong>eshadowed.<br />
<strong>Development</strong>:<br />
The conflict<br />
continues.<br />
The conflict comes<br />
<strong>to</strong> a climax where<br />
something must<br />
be done <strong>to</strong> end it.
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