Single films are a complete, self-contained story, usually between minutes. You should send a full single script. A serial is a single narrative told over a finite number of episodes which concludes in the final instalment. Occasionally a serial may return, for example with new characters such as Criminal Justice. You should send the first full serial episode and a brief outline pages of the remaining serial narrative. A single is the same as a film - a single, self-contained story, usually between minutes.
You should send the full single script. Radio drama is comprised primarily of single dramas, alongside some series. You should send a full single play - or if it is for the 15 Minute Drama series slot on Radio 4, you should send the first two 15 minutes episodes and an outline of the further 3 episodes.
The industry standard for scripts is Final Draft, an excellent but slightly expensive piece of software. CeltX and Movie Magic Screenwriter are also popular.
There is no one correct way to format a radio play script. There are a number of incorrect ways. The golden rule is to follow the submission guidelines. After that, you want to be as conservative as possible.
Correct formatting is very important to the director, cast and crew, because it makes their lives easier — formatting is not the place to be clever or original, because it will just upset the people who are going to decide whether they can be bothered to work with you again. Just below is a downloadable word document that shows you what it looks like.
Download here:. Radio Play Stylesheet v3. Please do use and share this spreadsheet — but if you would, take a moment to tell people where it came from! First, it is impossible to make compatible with Final Draft, which is the industry standard software for scriptwriting [i].
This is actually a weird fault with Final Draft that they should change or, erm, a total failure by me to see how to do it that I should change. The title of your play is written in capital letters, centred and underlined in approximately the middle of the page. While still working on drafts you should then on the next line write a version number version 4 in lower case, followed on the next line by the date.
It is often considered unprofessional to include a version number on your cover page when submitting properly. If your actually working with the production team, I find version numbers really useful because they help the director make sure all the actors are on the same version. At the bottom left corner of the cover page, left aligned, you should include your contact details: your postal address, your email, your website and your phone number. If you have an agent, your agent details should be written in the same fashion at the bottom right corner of your cover page.
I find it helpful. Your cast list should include the name of each character left aligned in ALL CAPS, each with a line of their own, followed by a short lower-case description, with a full line space between each character. Keep it brief and as broad as possible — only essential details here.
Remember that the less unessential details with which you encumber your character, the wider the range of actors we can choose from when casting, which inevitably means the better the quality of actors we can find.
Does your lead really need to be a year-old Mongolian with a lisp? That being said, important personality traits or background details oxford educated, speaks with a stammer may well be useful here. Also, and this is important, refrain from the desire to surprise the reader. The production team want to enjoy and be surprised by your script, but what they REALLY want is to surprise and entertain the audience — so keep it short, keep it direct, and make sure they understand which character is which.
As mentioned previously, the script should be entirely in courier 12 point. Apparently, some parts of the BBC now use Arial, which is nice because arial is prettier. But courier is classic for a reason and gives you nice consistently measured paragraphs. Your left margin should be set at 1. Remember that it is often very difficult for an audience to identify something by sound alone, so you almost always need your dialogue to carry the action and your soundscape to support.
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