Audio Drama Production Podcast

Two absolutely inspiring and excitingly talented ladies have for one reason or another embarked on a relaunch of their podcasts. How did they do it? Why? What have they done And what else are they up to? All these questions and more are explored in this wonderful interview episode.
19 Nocturne Boulevard
Please do wholeheartedly go out and listen to these amazingly talented folks' work straight after listening. You will not be disappointed (and in the case of Julie's back catalogue....it will take you a while but boy will you certainly be entertained!)
Snatchback
Want Manga? Horror? Suspense? Thriller? Comedy? And more....? Julie has done and is doing it all...more people need to be aware of the huge body of work she has done and is aiming to do. Such a brilliant creative...and Beth too has such wonderful ambitions and I feel we will be seeing a lot more of her successes....do send your scripts and reels to her at Snatchback!
And please do remember to do our ADPP Winter Survey!
ALSO - REMEMBER TO GET WRITING - ADPP ORIGINAL AUDIO SHORTS EXTRAVAGANZA WILL BE ACCEPTING AUDIO DRAMA SCRIPT SUBMISSIONS ON THE AUDIO DRAMA NETWORK SITE FROM 8-21 JANUARY. WINNERS WILL BE PERFORMED AT THE LONDON VAULTS FESTIVAL ON 7 MARCH, AND AT THE EDINBURGH PODCAST FESTIVAL....PENDING DATES. AUDIO INDIE PRODUCERS HAVE ALSO AGREED TO TAKE ON A SCRIPT AND THESE AMAZING FOLKS INCLUDE TRAVIS VEGROFF, AUDIOBLIVIOUS, PULP POURRI, MARSCORP, RICK COSTE, MJ COGBURN, PACIFIC OBIDIAH AND MORE! THEY WILL MAKE YOR SCRIPT INTO A RECORDED AUDIO DRAMA AND RELEASE IT IN A SUMMER SHOWCASE....EXCITING! Get writing!...
Thanks and.....enjoy the show
Sarah and team ADPP

We’re podcasting live from the middle of Hurricane Abigail to bring you these 7 tips that you can put into action in your own Audio Drama.
1. Do a scene-by-scene breakdown of a professional quality Audio Drama. How does each scene start? What does the soundscape suggest? What characters are involved? What is raised, revealed or resolved? And how does it end? We talk through some examples in Neverwhere and The Sound of Thunder.
2. Try to include a ‘marquee scene’ in each of your shows. That one scene that really showcases your production talents.
3. During the writing process, consider spatialisation. Exactly who is where in each scene, physically? If you have 3 characters in a room, where are they all? Where is the door? Think of the distances between each character and how this applies to your sound and levels. This can help to keep a consistent, realistic sound in production.
4. Dialogue – less is more. Cut, cut, cut. Is your character saying in five sentences what she can say in one? Try asking yourself what you could cut if you ABSOLUTELY had to. You’ll be surprised.
5. Use basic noise reduction techniques. Each line of dialogue is like a little brick on the screen of your DAW. These little bricks all have their own noise floors, and if you’re using a few remote actors these can vary wildly. If the noise floor is high, noise reduction can annihilate the vocals, so use the noisiest recording to create a room tone file to mask it, before layering the scene with its soundscape.
6. Don’t make your characters tell each other things they already know, just because the information is important to the plot. If anything, have them drop hints, or make a way for it to be relevant and sound natural.
7. Try varying the pace of your scenes; one scene could be dialogue heavy whilst two intense characters are sizing each other up... cut to the next scene where a hero is clinging to the roof of a train which is on fire. Choo choo.

When difficulties arise, when is it time to scrap a show and begin again?