Converting Prose to Script - Written for Pen-to-Print
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.
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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…