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Radio Writing • ,4tet e: 41- er I i q• HANDBOOK OF RADIO WRITING BY EEL< BARNOUW • Se`•teli. -e fese,obenekt‘ei;., • " let 4441 to", .411, I \ t r t- $2.50 HANDBOOK OF "This book should be as much a RADIO WRITING part of every radio writer's equipment as a receiving set, a typewriter and a By ERIK BARNOUW dictionary."—Norman Corwin, writer and director, "Words Without Music"; author (Continued from front flap) of "They Fly Through the Air With the What type of material is needed; what Greatest of Ease", "The Plot To Over- kinds of programs are needed; what throw Christmas", etc. special demands and requirements must be fulfilled, and what sort of HANDBOOK OF money is paid? RADIO WRITING The appendix provides for the use of any individual writer or class study By ERIK BARNOUW a radio version of "Macbeth", with The unsolicited manuscript by an detailed notes on adaptation and pro- unknown writer is coming into its own duction problems. This illustrates in in radio, the one field vast enough to one script almost all of the devices have plenty of room for beginners with which have been explained earlier in ability and a knowledge of the possi- the book. The balance of the appendix bilities of their medium. is a writer's guide to radio—a 20,000- word Baedeker to the radio world Mr. Barnouw, former script writer which assembles in concentrated,usable for NBC and at present Professor of form a vast amount of information on Radio Writing at Columbia Univer- radio institutions, programs, complete sity, has geared his book to fill the technical terms, and other information. requirements of all classes of radio writers—beginners, amateurs and pro- "In the 'Handbook of Radio Writ- fessionals. ing' Mr. Barnouw has written a plati- num mine of concise, authoritative The book starts with a general information for both the professional appraisal of the market and of the radio writer and the aspiring student. medium, and then proceeds with a This work should become a standard methodical analysis, illustrated with text in its field."—Arch Oboler, radio charts, of the tools, the technique and playwright, author-producer of NBC's Arch the characteristic methods and devices Oboler Plays, author of 250 plays broadcast of radio writing. on the Vallee Varieties, Chase Ce Sanborn This section is followed by athorough Hour, Good News, Workshop, Texaco survey of the radio script market. It Star Theatre, Lights Out, and other major supplies answers to such questions as: programs. (Continued on back flap) HANDBOOK el f * taL119 •giu.me•••••••••.,... HANDBOOK OF RADIO WRITING AN OUTLINE OF TECHNIQUES AND MARKETS IN RADIO WRITING IN THE UNITED STATES BY ERIK BARNOUW Radio Writer and Director Instructor in Radio Writing Columbia University BOSTON LITTLE, BROWN AND COMPANY 1939 COPYRIGHT 1939, BY ERIK 13ARNOUW ALL RIGHTS RESERVED, INCLUDING THE RIGHT TO REPRODUCE THIS BOOK OR PORTIONS THEREOF IN ANY FORM FIRST EDITION Published October /939 PRINTED IN THE UNITED STATES OF AMERICA To D. B. i This book uses radio terms and men- tions radio institutions freely without explanation. Detailed definitions and identifications will be found in APPEN- DIX B:T HE W RITER'S GUIDE TO RADIO (p. 271). CONTENTS PART I: BIRD'S-EYE VIEW 1 1. Of the Market . 3 Under Contract . 4 On Staff • • 6 In the Open Market . 8 2. Of the Medium . 11 PART II : TECHNIQUE . 27 1. The Three Tools . 29 Sound Effects . 36 Music . 45 Speech . 49 2. Routine Technique . 68 The Opening . 68 The First Narration . 72 The Scene-Setting Moment . 75 Keeping the Setting Alive . 80 Scene-Shifting . 81 Dialogue on the Move . 92 The Radio Climax . 95 The Closing . 96 3. Trick Devices . 99 The Filter . 99 The Echo Chamber and Other Acoustical Tricks . 107 Montage . 111 Choral Speech . 113 CONTENTS PART III : M ARKET M USTS . • 119 1. In the Open Market . • 123 The Ten-Minute Sketch • 123 The Quality Sketch . • 125 The Framework Program • 127 The Special-Occasion Sketch • 128 Material for Syndication to Local Stations • 130 Marketing Notes on the Open Market. • 132 Taboo Notes on the Open Market • 135 2. On Staff. 137 Commercials • 137 Continuities, Talks and Other Scripts of In- formation, Discussion and Persuasion 148 Local-Interest Programs . 151 Adaptations 152 Market Notes on Staff Writing 154 Taboo Notes on Staff Writing 156 3. Under Contract . 157 Comedy . 157 The Women's Serial 160 The Evening Serial 175 The Children's Serial 176 Drama from the News. 182 Marketing Notes on Series 184 Taboo Notes on Series 187 APPENDIX A: M ACBETH ON THE AIR 189 APPENDIX B: THE W RITER'S GUIDE TO RADIO 271 PART I: BIRD'S-EYE VIEW 1. OF THE M ARKET. 2. OF THE M EDIUM. 1. OF THE MARKET W HEN you speak of radio writers in the United States, you mean staff-writing girls earning $15 per week, gag experts making $1500 per program, and the countless in- betweens who all contribute their bit toward the twenty million words that are broadcast daily to the American air. Take all the words in all the full-length pictures pro- duced in Hollywood in ayear, and you do not have enough words to keep radio in the United States going for twenty- four hours. Or, take all the words in all the Broadway plays produced in the last ten years; they still could not feed the hungry coast-to-coast giant for one day. Twenty million words, 17,000 different programs — every day. No one knows how many writers handle this assignment. But anyone who contemplates joining the assembly-line of broadcasting at the writer's end should know first of all that the radio writer works, today in the United States, under three different types of business arrangement. We start out with this distinction because it will provide us not only with ascheme for this book, but with asort of plan of attack for the prospective writer. Therefore, the next program you listen to may have been written: — 4 HANDBOOK OF RADIO WRITING (1) UNDER CONTRACT Most high-priced network series are written by writers who work when and where they please, as long as they supply a set number of scripts per week, at a set weekly salary, before a stipulated deadline, all according to ad- vance agreement. Within the limits of this agreement these writers choose their own working conditions. They do not have to be in an assigned office during assigned hours. Some "under contract" writers work closely with direc- tors and performers, and appear at rehearsals and broad- casts. Others mail their scripts in from farm, suburb, or beach resort. Some dictate to secretaries and dictaphones; others just bang their scripts out on a typewriter, or even write them in long hand. The point is, if you ran the Radio Department of an advertising agency producing a coast-to-coast serial, and you'd found just the right writer, you would not care par- ticularly when or how he or she wrote, so long as the scripts arrived on time and were what was wanted. But you'd probably make some definite arrangement or contract, written or oral. This is the "big money" field in radio writing. Naturally, an executive hesitates to make a contract agreement with you unless he knows a thing or two about you — enough to feel sure you can keep on turning out good scripts, and won't have a nervous breakdown after the third week. So, unless you have at least some sort of back- ground already, best forget this market for the moment, and turn the next page to OF THE MARKET 5 PROGRAMS WRITTEN UNDER CONTRACT TYPES or PROGRAM How M UCH? SORE EXAMPLES SERIALS: Almost all. Local: Rare. Some local five-a-week serials Here continuity of $0—$100 have been written for $0.00 per week, authorship is desira- per week. for prestige and hope of sponsor. Syn- ble, and contract ar- dicate competition. rangements usually result. Network: $15—$25 per script is average network $75—$1250 sustaining rate. $25 per script is usual per week. minimum for Blackett—Sample—Hum- mert (producers of David Harum, Yust Plain Bill, etc.) and of other adver- tising agencies. A few big-name serial writers have pushed their salaries to $1000 per week, and beyond (e.g., Elaine Sterne Carrington, of Pepper Young's Family). COMEDY MATERIAL: Local: Gag-men rare except with top-flight Almost all. Here effec- $1—$10 network comics. tiveness of material per script. depends so much on exact knowledge of Network: Hal Block, comedy writer, worked his comedian's delivery $25—$1500 way through college supplying mate- that comedian per script. rial to Phil Baker at $20 per joke. usually makes some $1000-per-week-and-up class was sort of contractual ar- reached by Harry Conn, formerly with rangement with one Jack Benny, and the late David Freed- or more gag-writers man, long with Eddie Cantor. Freed- who have the right man was said to have a card file of touch. 60,000 Class A jokes, many more Class B, a staff of filers, sorters, translators. NON-SERIAL DRAMA Local: Local drama series more often staff- SERIES: Some. Drama $5—$100 written; sometimes derived from syn- series needing special- per script. dicates. ized knowledge of a certain background Network: Death Valley Days, Warden Lawes series, or technique are $75—$750 True Story series, etc., each written by often best written by per script. one or more writers, contracted. (For one or afew persons, other drama series, not written under under contract.
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