成人论坛

In our line of work, we get to collaborate with the best creative teams around and one of our most productive partnerships has been with the 成人论坛 Radio Scotland team. In the last two years alone, we have created opportunities that led to seven original comedies produced and broadcast by Scottish based writers. Not bad results! 

While exploring what we could do next with the radio team, they suggested adding into the mix. Their impactful programme, , focusses on supporting children’s mental health and in particular 8-13 year olds who are beginning to struggle with it and their emotional wellbeing. We were left inspired by the ambition of this programme and off the back of those conversations our next writer opportunity was created. 

Aimed at our past and present Scottish Voices writers groups, we asked for audio pitches that reflected this theme of issues around mental health and young people. Michael Richardson’s and Brian McIver’s pitches stood out and they soon found themselves commissioned for their very first audio drama. Supported and guided by 成人论坛 Radio Scotland Drama Producer, Kirsty Williams, Brian and Michael worked across the summer on their audio dramas with Kirsty expertly leading the way. The end result is two thought provoking audio dramas that remind us how difficult and challenging life can be for young people in 2020.

We asked Brian and Michael to share their experience of writing for radio for the first time:

Fissures by Brian McIver, broadcast Wednesday 11th November at 11.30am, Listen now on 成人论坛 Sounds

A group of young people on a respite weekend go on a journey through a mountain cave system which will challenge them in ways they never thought it could….

I wanted to explore how young people can feel trapped by their situation and often struggle to accept help. And having read about 成人论坛 Children in Need supported groups who take young people off on outdoor adventures, I thought that’d be a great setting for my characters to get stuck in the dark – literally having to find their voices to progress.

The key advice I was given when writing for radio was to think of it as a visual medium. To be economical with the use of action, language and air and to create pictures for the audience. Thankfully I was in very good hands. And when Kirsty gathered an incredible cast of talented young actors to perform my story, it was one of the most amazing experiences of my life.

The End of the World by Michael Richardson, broadcast Thursday 12th November at 11.30am Listen now on 成人论坛 Sounds

A witty and touching drama about a father and son that really need to learn how to communicate better...

I had assumed writing for radio would lean a lot more into the parts of writing I’m really comfortable with, writing dialogue and jokes. So I was surprised to hear Kirsty say that radio drama is the most visual medium to write for - and I soon learned what she meant! It’s been a really interesting challenge; creating a world for the listener through context cues and sound, and it was absolutely fantastic to hear that world brought to life in the studio and work with two really amazing actors.

I’ve been a youth worker for ten years now, so I’m really aware of the stigma there can be around young people opening up about their mental health, especially amongst boys and young men. I think A Million & Me offers to meet young people where they’re at, and help them access support that’s relevant to their age group, hopefully before some of those stigmas have settled.

If this has piqued your interest, Producer Kirsty Williams has some top tips for first time radio writers…

• Audio drama devours story. Feed it.
• Paint as few characters as you possibly can. Make each of them emotionally rich and psychologically complex. Thin characters sound thin when there are no visuals to hide behind.
• It’s an interactive medium. Help your audience paint vivid and tangible pictures in their imagination. That applies to the entire sound world you’re creating as well as to the stories characters tell and share.
• Audio drama isn’t about sound, it’s about significant sound. Give your audience subtle clues to understand any sounds that are not characters speaking. And don’t disembody the sound world when you write a script (eg. “SFX: a door opens”) – link everything to the characters and world you’re creating.
• Always think about rhythm and pace – playing with these elements changes nearly everything.