An essential guide for anyone who dreams of penning tomorrow's radio classics.

WHAT IS THE STORY GRID? The Story Grid is a tool developed by editor Shawn Coyne to analyze stories and provide helpful editorial comments. It's like a CT Scan that takes a photo of the global story and tells the editor or writer what is working, what is not, and what must be done to make what works better and fix what's not. The Story Grid breaks down the component parts of stories to identify the problems. And finding the problems in a story is almost as difficult as the writing of the story itself (maybe even more difficult). The Story Grid is a tool with many applications: 1. It will tell a writer if a Story ?works? or ?doesn't work. 2. It pinpoints story problems but does not emotionally abuse the writer, revealing exactly where a Story (not the person creating the Story'the Story) has failed. 3. It will tell the writer the specific work necessary to fix that Story's problems. 4. It is a tool to re-envision and resuscitate a seemingly irredeemable pile of paper stuck in an attic drawer. 5. It is a tool that can inspire an original creation.

Throughout the world, the media is used in various ways to promote social awareness and initiate social development. Of all the available means of communication, radio is still the one with the maximum reach in most developing countries. This book, the first in a three-book series titled Communication for Behavior Change, offers extremely practical guidance on how to design, write, and produce radio dramas aimed at motivating social change. Written by a leading teacher and practitioner of Entertainment–Education, it is the only available book which provides complete and hands-on instructions for creating successful radio serial dramas for behavior change. The text is interspersed with examples which show how entertainment and education have been woven together to create awareness programs that are both popular and effective. Extracts from several successful scripts from many countries are also provided to demonstrate what has previously clicked with the audience.

Being a writer is not just about typing. It's also about surviving the roller-coaster of the creative journey. Self-doubt, fear of failure, the need for validation, perfectionism, writer's block, comparisonitis, overwhelm, and much more. This book offers a survival strategy and ways to deal with them all.

Here is self help book for aspiring writers which has been written by an acclaimed author and a publisher. In So You Want to Write Marge Piercy teams up with novelist and publisher Ira Wood to offer a comprehensive and inspiring guide. Marge has been writing for 45 years and Ira for 25, and for the last ten years they have co-taught two popular master classes on how to write fiction. Their book offers excellent specific and highly motivating advice on how to: Begin a piece by seducing your reader; Create characters that are fully formed and intriguing; Master the elements of plotting fiction; Create a strategy for telling the story of your life; Write about painful material without coming off as a victim; Deal with continual rejection - and learn about agents, work habits and how much writers really earn

Writer and educator Brooke noticed that many of the stories used to convey new concepts to people in developing countries are simply bad stories and ineffective in convincing the listener or reader of the ideas being disseminated. She explains to development workers when to use a story, how people learn from stories, choosing a format and style, creating a storyline, writing a script, and bringing the story to life. Her focus is to make the characters, their situation, their values, and their actions believable to the specific audience targeted. She uses her major medium of radio drama as the example, but the principles can be applied to print, television or video, and live theater. Annotation copyright by Book News, Inc., Portland, OR

There has been little serious attempt in Britain to deal critically and historically with the subject of radio drama. This volume of essays concentrates upon a small group of influential writers who have devoted all or part of their attention to writing plays for radio. The introduction charts the development of radio drama since its inception in the 1920s and its changing relationships with the theatre and later with television. It shows how the early ideal of broadcasting significant works of established literature and drama helped to provide a broad foundation for the growth of a body of dramatic literature which fully exploited the medium's reliance upon sound alone. Separate contributions contain full appraisals of the radio writing of Louis MacNeice, Dylan Thomas and Henry Reed, while detailed studies of particular aspects of the work of Dorothy L. Sayers, Susan Hill, Giles Cooper and Samuel Beckett explore the practical as well as the critical issues involved in the study of radio drama.

For generations, fans and critics have characterized classic American radio drama as a “theater of the mind.” This book unpacks that characterization by recasting the radio play as an aesthetic object within its unique historical context. In Theater of the Mind, Neil Verma applies an array of critical methods to more than six thousand recordings to produce a vivid new account of radio drama from the Depression to the Cold War. In this sweeping exploration of dramatic conventions, Verma investigates legendary dramas by the likes of Norman Corwin, Lucille Fletcher, and Wyllis Cooper on key programs ranging from The Columbia Workshop, The Mercury Theater on the Air, and Cavalcade of America to Lights Out!, Suspense, and Dragnet to reveal how these programs promoted and evolved a series of models of the imagination. With close readings of individual sound effects and charts of broad trends among formats, Verma not only gives us a new account of the most flourishing form of genre fiction in the mid-twentieth century but also presents a powerful case for the central place of the aesthetics of sound in the history of modern experience.