Notes From The Masterclass

I thoroughly enjoyed the masterclass in Manchester. Here are some notes I penned:

They're a bit random, but here goes.



STORY





* Don't clone what you hear - try something different.

* What makes a good afternoon play? Story...story...story! Story sells a play, so tell a good one. Look at these pointers to work out if you have a good story:


* What's the concept/premise or hook?

* Is it interesting? Encapsulate in your mind what your story is about.

* Whose story is it? Make sure you know.

* What is the inciting incident that changes the path of your characters' journey?

* How does the lead character change over the course of the script?

* What is the climax/resolution? You need a satisfying ending, or one that fits with the play.

* Is your idea fresh, unique, or an exciting twist on a familiar story genre? Put a spin on it.

* What makes it a play for radio?

* Do we want comedy in drama? YES!

* The first TEN PAGES are crucial.

* Set up your world, your characters, but keep focussed.

* Give us a flavour of what is to come.

* Create a narrative hook to get us listening.

* How do you start the story? Make it ALL story.

* Don't be too expositional.



STRUCTURE




* Radio is more akin to film - setting stuff up, so think film, not theatre.

* The three act structure tends to work best.

* Think of the story as a series of steps.

* Balance the highs and lows and build to a climax.

* Does each scene earn its place? Is it needed, and what function does each scene have? if it develops character whilst moving the play along, fine.

* Show don't tell. Put your scenes in action rather than telling.


CHARACTER



* Make your characters realistic - beware stereotypes.

* Inhabit your characters and develop convincing relationships between them. How do they behave through your eyes?

* Add conflict.

* You can have characters talking to themselves about conflict between each other (internal conflict) - inner voice, inner conflict. But, beware inner voice - people tend to use it to tell the story.

* Don't reveal character in blocks - thread them throughout the play.

* Don't have LOTS of characters - or characters of all the same age/gender.

* Don't put too many characters in one scene.

* No bad language, or it must be very mild. Try not to swear at all.

* No sex or violence for the afternoon play.





DIALOGUE



* Don't be too obvious (on the nose dialogue). You don't need to explain story points or character points.

* Character comes from the convictions and reactions of the character - character doesn't come in statements.

* The inner voice is all about inner conflict - some things can only be done inside the head. If it can be done without the inner voice, do it without.



SETTING



* Is the play in the past or future? The afternoon play is about news, features, contemporary Britain. Why would you set it in the past or future, unless there's a strong reason?

* Beware guardian angels - Heaven and Hell.

* Beware too much back-story. Try not to use flash-backs, unless it ADDS to the story.

* Try not to use long time frames. Be careful of moving from the past to the present. clearly signpost.

* Setting can be anywhere.

* Car chases are rubbish - you can't picture them.



MOST IMPORTANTLY



* Play to your own voice.

* The BBC looks for original voices that will stand out on radio.

* For the Alfred Bradley comp - NORTHERN VOICE!

* Take risks and be original.

* Be bold! Go for it!

* Write, re-write and re-write again.

* Send them the best draft you can.

* Less is more on direction. You can suggest songs, but the producer usually overrides, unless it's essential for the story.



YOU CAN SEND IN TWO ENTRIES EACH FOR THIS COMPETITION - AROUND 7,000 WORDS OR 44-50 PAGES. IT'S AS WELL TO READ OUT YOUR PLAY AND TIME IT TO AROUND 44 MINUTES.