By Emily Inkpen

With the Pen-to-Print Audio Drama Award deadline fast approaching (find out more here), I’m providing some pointers on how to write for audio, especially if you’re already a prose writer but don’t know how to make that leap.

Audio drama is a brilliant medium for any writer to explore. Whether you’re flexing your writerly muscles in a new direction, or looking for a way to promote your work to a new and expanding audience, audio is relatively easy to produce and a lot more financially accessible than visual forms of media.

Five years ago I was a debut novelist struggling to be seen by agents and editors. Now I’m the BSFA Award-winning writer of The Dex Legacy, an audio drama with over 300,000 downloads worldwide, and I’ve just successfully kickstarted a third season. An audio drama is not just a project, it’s a platform, and you can use it as a foundation for everything you do.

You might be writing something specifically for audio, or you might be looking to adapt a short story or novel. This article will provide examples of how to approach the latter. As a starting point, you’ll want to look at your story or book and ask yourself which style best serves your narrative. Think about tone. Think about genre. Think about character… and have fun!

An Extract

Let’s use a classic extract from Pride And Prejudice by Jane Austen as a base:

Elizabeth related to Jane the next day what had passed between Mr. Wickham and herself. Jane listened with astonishment and concern; she knew not how to believe that Mr. Darcy could be so unworthy of Mr. Bingley’s regard; and yet, it was not in her nature to question the veracity of a young man of such amiable appearance as Wickham. The possibility of his having really endured such unkindness, was enough to interest all her tender feelings; and nothing therefore remained to be done, but to think well of them both, to defend the conduct of each, and throw into the account of accident or mistake whatever could not be otherwise explained.

‘They have both,’ said she, ‘been deceived, I dare say, in some way or other, of which we can form no idea. Interested people have perhaps misrepresented each to the other. It is, in short, impossible for us to conjecture the causes or circumstances which may have alienated them, without actual blame on either side.’

‘Very true, indeed; — and now, my dear Jane, what have you got to say in behalf of the interested people who have probably been concerned in the business? — Do clear them too, or we shall be obliged to think ill of somebody.’

‘Laugh as much as you chuse, but you will not laugh me out of my opinion. My dearest Lizzy, do but consider in what a disgraceful light it places Mr. Darcy, to be treating his father’s favourite in such a manner — one whom his father had promised to provide for. It is impossible. No man of common humanity, no man who had any value for his character, could be capable of it. Can his most intimate friends be so excessively deceived in him? — oh! No.’

‘I can much more easily believe Mr. Bingley’s being imposed on, than that Mr. Wickham should invent such a history of himself as he gave me last night; names, facts, everything mentioned without ceremony. If it be not so, let Mr. Darcy contradict it. Besides, there was truth in his looks.’

‘It is difficult indeed — it is distressing. One does not know what to think.’

‘I beg your pardon; one knows exactly what to think.’

The two young ladies were summoned from the shrubbery, where this conversation passed, by the arrival of some of the very persons of whom they had been speaking: Mr. Bingley and his sisters came to give their personal invitation for the long-expected ball at Netherfield, which was fixed for the following Tuesday. The two ladies were delighted to see their dear friend again — called it an age since they had met, and repeatedly asked what she had been doing with herself since their separation. To the rest of the family they paid little attention: avoiding Mrs. Bennet as much as possible, saying not much to Elizabeth, and nothing at all to the others. They were soon gone again, rising from their seats with an activity which took their brother by surprise, and hurrying off as if eager to escape from Mrs. Bennet’s civilities.

Now where to start? What narrative devices best suit this prose?

Always remember that a stylised narrative device is best used consistently. Sudden introduction of a narrator or breaking of the fourth wall can be jarring to the listener if it’s brought in too late.

Narrators

Before we start we must ask: what is a narrator for? A narrator can elevate humour and explain the world: see Victoriocity (freely available on all platforms) and The Hitchhiker’s Guide To The Galaxy (original radio production). They can also deepen the mystery and lead the listener astray. The nature of your existing story will dictate.

Now let’s look at the above extract and see how the first and last passages might be presented by a narrator. I expect the dialogue would remain the same.

Elizabeth the Narrator:

ELIZABETH NARRATOR: It is not in Jane’s nature to question the veracity of a young man of such amiable appearance as Wickham. The possibility of his having really endured such unkindness, is enough to interest all her tender feelings; and nothing therefore remains to be done, but to think well of them both, to defend the conduct of each, and throw into the account of accident or mistake whatever could not be otherwise explained. Therefore it should not have surprised me that, during our walk in the shrubbery the very next day, she heard my account of what passed between myself and Mr. Wickham with astonishment and concern.

In this section I’ve rearranged the original text to lead with introspection and follow with setting up the conversation. This means that the listener won’t have to hold onto the fact that a conversation is currently taking place, while waiting for the narrator to stop reflecting on life, the universe and everything.

Always think about the listener. They’ll be driving, doing housework or cooking and won’t be able to skip back to the beginning of a paragraph to refresh their memory.

LYDIA: Lizzie! Jane! Mr. Bingley is here with his sisters, make haste!

JANE: We’re coming Lydia! (TO LIZZIE) It is very kind of them to call on us.

ELIZABETH: And I can guess as to the reason!

EXT. FOOTSTEPS RECEDING ON GRAVEL. BIRDSONG. SLOW TRANSITION TO INT. MORNING ROOM. QUIET CHATTER AND SPOONS IN TEA CUPS.

ELIZABETH NARRATOR: As suspected, Mr. Bingley, Caroline and Louisa have called to issue an invitation for the long-expected ball at Netherfield, which is fixed for next Tuesday. And, as suspected, the two ladies are delighted to see Jane again.

LOUISA: It is simply an age since last we met!

CAROLINE: What have you been doing with yourself all this time?

ELIZABETH NARRATOR: They pay little attention to the rest of the family: avoid my mother as much as possible, say not much to me, and nothing at all to my sisters. The visit does not last long, they rise from their seats – an activity that takes Mr. Bingley by surprise – and hurry off as if eager to escape from my mother’s civilities.

As you can see, I’ve split the prose into dialogue where appropriate. This heightens the humour and emphasises the commentary.

For an excellent example of a narrator-driven story, see ARK, a previous Pen-to-Print Award winning drama by Stephanie Weldon. Listen to ARK here: https://www.buzzsprout.com/411730/episodes/14148368-ark-an-audio-drama

In-script directions should always focus on what can be heard: BIRDSONG, FOOTSTEPS ON GRAVEL etc. There is no point describing visuals. Light has no sound, but a lamp can sputter and hiss and hum.

An Omniscient Narrator:

For the all-knowing omniscient narrator, the translation is more straightforward. We keep the prose largely intact, although rearrangements to the order of things – as above – might help the listener to keep track of what’s going on and, translating to present tense can make the whole more immersive and immediate. Don’t be afraid to play.

Narrators who are not characters within the story can still be characterful. For this reason, think about the narrative voice. Are they simply reading the prose like an audiobook or are they a little more invested?

The narrator is taking the listener on a journey, so it’s a good idea to work out what role they’re playing (if any) early in the writing process.

The Recording Device

A recording device used by a detective or academic or similar individual can be an excellent prop, allowing the character to tell the listener exactly what they’re seeing, e.g. Girl In Space (free on all podcast platforms). Admittedly, dictaphones were not in common use in the early 1800s, but I’m giving one to Lizzie anyway.

ELIZABETH: (TO DICTAPHONE.) The next day I related to Jane what passed between Mr. Wickham and myself. Jane listened with astonishment and concern; she can’t believe how Mr. Darcy can be so unworthy of Mr. Bingley’s regard. It is not in her nature to question the veracity of a young man of such amiable appearance as Wickham. The possibility of his having really endured such unkindness, is enough to interest all her tender feelings. She is resolved to think well of them both, to defend the conduct of each, and throw into the account of accident or mistake whatever can not be otherwise explained.

In this version, I’ve simplified the text in places to make it read like a report. I’ve also altered the tenses. We start off with her relating a past conversation, and move on to describe Jane’s feelings in the present.

Think about why and when the character is using the device and why and when they might listen back. Make sure you edit your prose to fit that purpose.

ELIZABETH: (TO DICTAPHONE.) Mr. Bingley and his sisters came to give their personal invitation for the long-expected ball at Netherfield, which is fixed for next Tuesday. Caroline and Louisa were delighted to see Jane again but, to the rest of the family they paid little attention: avoiding my mother as much as possible, saying not much to myself, and nothing at all to my sisters. They were soon gone again, rising from their seats which took Mr. Bingley by surprise and hurrying off as if eager to escape from my mother’s civilities.

Here I skipped straight to a past-tense, imagining that Lizzie would not have been able to record in the moment. Note how I’ve replaced descriptors like ‘his sisters’ and ‘their brother’ with names. The listener will not be able to refer back to previous pages if they forget who’s related to who or who the sisters are.

Repetition of character names within dialogue and narration is an important hallmark of audio, and for good reason.

Breaking The Fourth Wall

Breaking the fourth wall is a term that refers to a character who speaks directly to the audience. This device allows the character intimate access to the listener and it can be very effective, especially when dealing with an unreliable narrator. They are confiding in us, the listener, as a friend.

ELIZABETH ASIDE: Of course there is no more acceptable place for young ladies to discuss the gossip of the preceding night than the divine sanctity of a shrubbery. Here, I relate to Jane what passed between Mr. Wickham and myself. And, of course, she listened with astonishment and concern…

JANE: They have both been deceived, I dare say. Interested people have perhaps misrepresented each to the other. It is impossible for us to conjecture the causes or circumstances which may have alienated them, without actual blame on either side.

ELIZABETH: Very true, indeed; and now what have you to say on behalf of the interested people who have probably been concerned in the business? Do clear them too, or we shall be obliged to think ill of somebody.

JANE: Laugh as much as you choose, but you will not laugh me out of my opinion.

ELIZABETH ASIDE: Oh, angelic Jane. Nothing therefore remains to be done; but to think well of them both, to defend the conduct of each, and throw into the account of accident or mistake whatever can not be otherwise explained.

JANE: My dearest Lizzy, do but consider in what a disgraceful light it places Mr. Darcy, to be treating his father’s favourite in such a manner – one whom his father had promised to provide for. It is impossible. No man of common humanity, no man who had any value for his character, could be capable of it. Can his most intimate friends be so excessively deceived in him? Oh! No.

ELIZABETH ASIDE: What a quandary! She knows not how to believe that Mr. Darcy could be so unworthy of Mr. Bingley’s regard; and yet, it is not in her nature to question the veracity of a young man of such amiable appearance as Wickham. Still, I should soften the accusation towards Mr. Bingley, she likes him far too much to believe him at fault.

ELIZABETH: I can much more easily believe Mr. Bingley’s being imposed upon, than that Mr. Wickham should invent such a history of himself as he gave me last night: names, facts, everything mentioned without ceremony. If it be not so, let Mr. Darcy contradict it. Besides, there was truth in his looks.

etc.

In this example I’ve given Lizzie asides, lifted from the descriptions originally placed on either side of the dialogue. I’ve also introduced phrases that amplify the sense of confidentiality between her and the reader.

If you’re approaching your prose in this way, take a look at the scene as a whole, step back, and think about how you can fold it all together in a way that drip-feeds relevant information to the listener amongst the dialogue.

Try not to overwhelm the listener. Keep asides personal and on point and make sure they feed the dialogue rather than take from it.

Monologue

A monologue is the ultimate singular perspective. It can put distance between your listener and all other characters, while shining a light on everything that’s flawed in the speaker. It’s one of those mediums that relies on the actor to ‘get it right,’ but most actors love a monologue. It gives them something meaty to get their teeth into, so don’t be afraid of presenting them with a chonk of writing.

Try to identify moments in the midst of the monologue where the actor can take pause. It’s unrealistic to expect someone to record the entire thing in a single take, so bear this in mind when drafting.

I related to Jane what passed between Mr. Wickham and myself. And of course she listened with angelic astonishment and concern. She knew not how to believe that Mr. Darcy could be so unworthy of Mr. Bingley’s regard; and yet, it was not in her nature to question the veracity of a young man of such amiable appearance as Wickham. The possibility of his having really endured such unkindness, was enough to interest all her tender feelings.

She considered what I told her and said: “I dare say they have both been deceived in some way. Interested people have perhaps misrepresented each to the other. It is impossible for us to conjecture the causes or circumstances which may have alienated them, without actual blame on either side.”

Which is ‘Jane’ for: nothing remains but to think well of them both, to defend the conduct of each, and throw into the account of accident or mistake whatever can not be otherwise explained.

So I said, “My dear Jane, what have you to say on behalf of the interested people who have probably been concerned in the business? Do clear them too, or we shall be obliged to think ill of somebody.”

She told me not to laugh at her and insisted that nothing I said would change her opinion…

etc.

In this interpretation I have considered the voice of the speaker and added little asides and opinions, rearranging slightly to make it flow more like continuous speech. A person doesn’t recount conversations perfectly, they skirt over some details and place emphasis on others, so it’s fun to think about Lizzie and what would stand out to her.

Pure Dialogue

Pure dialogue is the ‘movie for your ears’ approach. ‘Atmos’ (atmospherics), like birdsong or crickets, help listeners to visualise the setting. ‘FX’ (effects) like alarms, the scratch of a pen, spoons in teacups and footsteps, tell a listener what’s going on. And ‘directions’ at the start of character dialogue communicate emotion and nuance in a way that would be approached differently in monologue or through a recording device. So what does it look like?

SCENE 1

EXT. SHRUBBERY. SLOW FOOTSTEPS ON GRAVEL. BIRDSONG. WE ENTER MID-CONVERSATION.

JANE: And that is everything he said to you?

ELIZABETH: Everything.

JANE: They have both been deceived, I dare say. Interested people have perhaps misrepresented each to the other. It is, in short, impossible for us to conjecture the causes or circumstances which may have alienated them, without actual blame on either side.

ELIZABETH: Very true, indeed; and now, my dear Jane, what have you to say on behalf of the interested people who have probably been concerned in the business? Do clear them too, or we shall be obliged to think ill of somebody.

JANE: (LAUGHS.) Laugh as much as you chuse, but you will not laugh me out of my opinion. (BEAT.) My dearest Lizzy, do but consider in what a disgraceful light it places Mr. Darcy, to be treating his father’s favourite in such a manner, one whom his father had promised to provide for. It is impossible. No man of common humanity, no man who had any value for his character, could be capable of it. Can his most intimate friends be so excessively deceived in him?

FOOTSTEPS STOP.

ELIZABETH: (TENSE.) I can much more easily believe Mr. Bingley’s being imposed on, than that Mr. Wickham should invent such a history of himself as he gave me last night; names, facts, everything mentioned without ceremony. If it be not so, let Mr. Darcy contradict it. Besides, there was truth in his looks.

JANE: (TENSE.) It is difficult indeed, it is distressing. One does not know what to think.

ELIZABETH: I beg your pardon; one knows exactly what to think.

APPROACHING FOOTSTEPS. RUNNING.

LYDIA: (OUT OF BREATH. CALLING.) Lizzie! Jane! Mr. Bingley and his sisters are here! Come quickly, they have invited us to a ball!

ELIZABETH: (CALLING.) We’re coming, Lydia! (TO JANE.) I believe this attention is paid specifically to you, Jane, especially where the sisters are concerned.

JANE: (AMUSED.) Don’t be silly, Lizzy. Caroline and Louisa hold you in very high regard.

SCENE 2

INT. MORNING ROOM. SPOONS IN TEACUPS. LIGHT CHATTER. DOOR OPENS.

CAROLINE: Jane! It has been an age since we saw you last.

LOUISA: What have you been doing with yourself this past week? We quite despaired!

etc.

In this version I have supplemented the dialogue, extracted the physical cues embedded in the prose, and added drama with Lydia’s fast approach. Writing in pure dialogue drives the narrative forward at a pace. In stripping back the prose elements still present with narrators, and in monologues, there’s nothing left but what’s said and the imagination of the listener, prompted by sound, to fill in the gaps.

This style of script works best on a tight timeline. If your short story jumps forward and backwards in time you will need to think about how to communicate the shifts clearly. You could use a ‘speaking calendar’ or similar device… or consider a narrator.

Conclusion

There are many ways to structure a narrative in audio I haven’t covered here. In Postcards From Another World, for example, Frasier Armitage tells a story through long-distance communications shared between family members living on different planets. The general rule is, you can tell any story through audio as  long as you  have the listener in mind as you write – they are your primary collaborator! Listen to Postcards From Another World by Frasier Armitage here: https://www.buzzsprout.com/411730/episodes/11897671-postcards-from-another-world-an-audio-drama

Take it from me, if you’re a writer looking for an opportunity to expand your audience, this is an amazing way to do it. And the best news? The winner of the Pen-to-Print Audio Drama Award will get their drama made and released/hosted by Alternative Stories. It’s free publicity and advertising.

The Pen-to-Print Award for Audio Drama is an amazing opportunity. It’s the only award I know of that allows the writer to enter a new field having already won an award. Whether you’ve dabbled in script writing before or have only written prose, have a go and have fun.

The closing date for entries to the Audio Play Competition is 21 March, 5pm. Full Terms and Conditions on how to enter  the competition are available here: https://pentoprint.org/get-involved/competitions-2024/

Last year’s winner was The Earth Serenades by Emma Griffiths. You can listen to the audio play here: https://www.buzzsprout.com/411730/episodes/16308217-the-earth-serenades-an-audio-drama-by-emma-griffiths

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Emily Inkpen is a science-fiction novelist and audio dramatist. She is the writer and co-director of the globally successful audio drama, The Dex Legacy, the second season of which recently won the BSFA Award for Best Audio Fiction. The spin-off series, Wasteland – A Dex Legacy story, is currently in release. In addition to her own projects, she is acting Social Media Officer for the British Science Fiction Association.

With a background in medical writing and copywriting for healthtech, the scientific influences that feed into Emily’s work tend to be on the biological side. She is inspired by the progress being made in the pharmaceutical industry and academic research that leads to truly astonishing discoveries. Most of all, she is aware that what is possible today is only ever groundwork for what will be possible in a year, and every week brings new discoveries that have a real impact on people’s lives.

You can find more information about The Dex Legacy at http://www.thedexlegacy.com You can find out more about Emily’s other writing projects at http://www.emilyinkpen.com

And you can follow Emily on Twitter, BlueSky, Instagram, Threads @emilyinkpen

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You can hear great new ideas, creative work and writing tips on Write On! Audio. Find us on all major podcast platforms, including Apple and Google Podcasts and Spotify. Type Pen to Print into your browser and look for our logo, or find us on Podcasters.Spotify.com.

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