Jack interviews the incomparable Jerry Robbins from Colonial Radio Theatre on the Air!
Jack interviews the incomparable Jerry Robbins from Colonial Radio Theatre on the Air!
From the August 27th issue of the Independent:
Johnny Vegas directs and acts in The Toffee Tip, a semi-autobiographical coming-of-age comedy. “And they have listening figures that TV at that time of day would kill for,” says Jane Anderson, radio editor at the Radio Times. (The BBC happily confirms this. Drama on Radio 4 attracts almost seven million listeners a week.) “But I think many other people have this view that radio drama is always about the Irish potato famine or middle-class people with dark secrets that come back to haunt them. Once you have that in your mind, it’s hard to listen without thinking, ‘Oh God’, and switching off.”
Listeners who overcome that instinct are rewarded. Anderson cites as one recent triumph Jeffrey Bernard Is Unwell, the biographical play in which John Hurt played the titular columnist.
As we get closer to the latest Star Wars epic movie, it behooves us to look at sound engineer Ben Burtt’s explanation on how the iconic sounds to the universe are created. As we get closer to Biff Straker’s launch in the Sonic Society with Year 0, the question is how will Josiah Ambrose produce the strange universe of the 31st century?
Something is happening in the Icebox of the World- that’s Icebox. Minnesota. Jeffrey Adams is telling all the mysterious tales beginning in the end of August. Are you ready?
With Sonic Society Season 11 looming next week, David Ault hosts a special Summerstock extra- Edgar Allan Poe’s “The Tell-Tale Heart” an OTR short directed and starring David Ault, edited and co-starring Jack Ward, and special guest stars David Cummings from The No Sleep Podcast, and showcasing the heart-stopping terror-filled music of Sharon Bee.
There’s another less popular adage in the audio drama crowd that goes something like this: “You know audio drama hasn’t made the big time because of everyone who comes out saying they are going to ‘bring radio drama back!”
The amount of proclaimed experts in modern audio drama is roughly the same number of people who claimed to be a “Social Media Consultant” five years ago. The actual number of experts in the field could probably be counted on one hand. When I say ‘experts’ I’m speaking about people who are making money selling radio drama regularly. I’m not talking about favourite free audio dramas, or the superb award winning single or even small series audio plays, but actually who makes audio plays for a living.
Ask anyone as to what it will take for radio drama to be profitable, and you get a lot of head scratching. Some people focus on modern story telling techniques; others on high quality sound production; and still others say that subscription services are the way to go.
But, as I said before, success leaves clues. So let’s pull out our deerstalker and do some detective work!
Look at the Amazon Best Seller list and consider some of the key information here. Certainly it is updated regularly, but let’s try to get past the audio books, multi-cast recordings, hybrids, and focus strictly on audio dramas. They are there.
At my count of this current snapshot of the Top 100, Colonial Radio Theatre has seven of the thirteen available. The BBC has four, L.A. Theatre Works has two and Big Finish has two as well. Let’s let that sink in for a moment. The incredibly well funded BBC, only has four shows in the top one hundred, nearly half of CRT.
Beyond that, what’s the other obvious commonality between them all.
Not one of them is a new story. The most recent would be The Hitchhiker’s Guide to the Galaxy and that was created for radio in 1978. Nearly forty years ago. Certainly Big Finish’s stories are more recent but they are creating tales from Britain’s most popular science fiction hero for the last fifty years.
Classics sell. If you want to make money in audio drama today. Classics are what will get the attention. Even most of the audio novels that make up the large grouping of top 100 selling items are William Shakespeare, Milton, and Homer among other classic authors. Your audience are buying classics.
I once asked how to get on to the now defunct Sirius’ Book Radio with my audio drama. The answer was simple. “We don’t look at anyone who doesn’t have at least a hundred shows”. Because, what are they going to play next week? If you want to sell your work, you need to get out there and make A LOT of audio drama. Don’t worry about getting it perfect. Worry about getting it good and done. There’s really only one person in the studio produced modern audio drama free world that I can think of who has the consistency and the track record of ‘radio ready’ plays ready to go out with far more than a hundred under his belt, and that’s Gregg Taylor of Decoder Ring Theatre. Between Black Jack Justice and The Red Panda, not even including his summer special series, Gregg has almost two hundred shows that could be sold to a radio station today. They are all formatted perfectly for radio, and all consistent in their time and quality. Gregg’s work has gotten him tens of thousands of fans that buy his original books and comics as well as listen to the regular adventures.
Colonial Radio Theatre has made over six hundred recordings in twenty years.
If you want to sell radio drama. Don’t have that “perfect” short series. Think about how you can make your first one hundred episodes as a bare minimum.
A lot of people don’t consider this. But look at those who are successful and how they do it.
– Big Finish made its name for continuing the Doctor Who adventures with the retired actors even when the show was off the air. Fans of the television series not only buy books, but they buy up the audio tales as well.
– CRT and Jim French Productions’ Imagination Theatre developed their fan base through a mixture of radio coverage and good old fashion sales of cassette tapes and CD’s working with a mix of classics and original work to gain a following.
– Dirk Maggs created his signature style through arrangements with the BBC which had all of Britain as a captive audience.
So if you really want to sell your work the clues point to the following routes:
4. Respect Your Audience
Some years ago, I had parents contact me with concerns that the audio dramas didn’t have a rating system. So I built one based on the famous movie rating system and called it The Audio Drama Rating System and asked Jeremy Yenser to include it in his Audio Drama Rating System. While I wasn’t expecting everyone to use the system, I hoped it would start producers considering that our listeners want to get an idea what they could expect in a play. Many companies adopted the system directly, and many others had their own systems from the start. What I wasn’t expecting was the backlash against me and those who could see the value in giving parental guidance warnings. I was surprised at the angry reaction, and confused. Even iTunes has labels for recommendations so that people have choices. I took the time to get some great actors to provide a number of free audio clips to put at the beginning of radio plays to help provide clarity in the story telling techniques from harsh language to adult situations and violence. I think in the end, it’s a question about respecting your audience to let them have the tools to make the decisions about which shows to listen to, and which content will be appropriate for which situation.
So, you still want to make money, making radio drama? It’s possible, but it’s not easy. You’re going to need to look from the people who are successful. Big name actors can be helpful, but they aren’t necessary. Great production is a bonus, but it’s not key. A modern take on normative culture, feminism, and post-modern ideas bring freshness to works, but they aren’t the factors in what sells wider distribution. If you want to make money making audio drama, produce lots, find a national public radio station to play your shows coast-to-coast, hit the streets and sell your work the old fashioned way, make your radio shows sound great in a monophonic car radio, and look at producing your own take on the classics.
You just might be one of the handful of folks who make it!
Addendum: Powder River was originally created in 2004 and is one of the top sellers of Colonial Radio Theatre. However, PR took off after its run on Book Radio!
With a flourish and a parade we’re happy to announce the initial release of bookcraft.org! Make a free account, and a free ad or start hunting for ways to help bring your book project to life!
Tonight’s Sonic Summerstock Playhouse is a doozy. It’s the incredible Narada Radio Company’s presentation of Lux Radio Company’s “The Third Man” by Orson Welles! Brought to loving fruition from Pete Lutz!
A couple of posts ago we spoke about the value of giving your audio drama away for free. Today, we’re going to ask about the Future of Podcasting from the article in Tech Crunch that asks effectively:
What’s it going to take for Podcasting to have a breakthrough?
Podcasting is well over a decade long and there have been few super star stories. Podcasts that are home run often have some kind of help. Harmontown has the benefit of being the brainchild of superstar Community creator and writer. Dan Harmon. Acerbic Adam Carolla also has the benefit of his previous television effort, The Man Show. Even the monster hit, Serial had the backing, technical efforts and launch platform of NPR. Many podcasters are frustrated with the focus on music only, that seems to be still carrying the lion’s share of hearts and minds. But there is hope? When will podcasting break out on its own?