Radio is important, so don't ignnore it!

BBC Ears to the Ground was an eye-opening experience not only for me as a student, but for all those who were present on the evening.

The talk was led by Kate Chapman, Drama lecturer here at DMU, and she started by introducing Justine Potter who is a Development Producer for BBC Writers Room North and Midlands.

Potter was a fascinating and attention-grabbing woman. She started by telling us what the Writers Room was all about and how we should submit scripts into it.

“We get a good sense if a script is good by page 10. So, start with the moment where everything changes for your character instead of starting with introductions,” said Justine.

She also took us through events and festivals for writers and some important members of the Writers Room. Plus, we learnt about the great series they produce - some of them we watch on our telly every week!

It was fascinating to find out that shows like Boy Meets Girl started with a simple submission to their website. 
 

On the second part of the session we were introduced to Amanda Whittington, award-winning playwright who is currently writing drama for BBC Radio 4. She took us through her work and gave us some insight on what is like adapting plays to radio. She explained why radio is important and how we can make the most of our scripts.
 

“On radio, you can get inside your character’s head. It has a sort of intimacy about it.” explained Amanda.
 

As Justine said:

“Radio is the most exciting to write for. It’s just a joy.”

So was this evening.

 

Sara Torres Vinagre

from Sherlock to Bollywood Jane

The BBC is one of the most influential companies today so a detailed talk on how to weave your way into the firm was definitely one to attend.

Hosted by Kate Chapman, Justine Potter and Amanda Whittington talked through the ins and outs of how a writer can become known to the BBC, and how to brush up on your skills once commissioned.

Justine made it abundantly clear that she was there for the audience and didn’t want to include any useless information. Her concern for the range of interests of different members of the audience was much appreciated.

She then went on to guide us through a power point on the Writers Room, a place for aspiring writers to have their scripts read by the BBC. I hadn't heard of this platform and, as  Justine spoke, I felt many doors opening for the future. She even showed us scripts of such well-known shows as Sherlock a and who doesn’t love a bit of Sherlock?

Source: https://vimeo.com/158649069

Amanda then took over, highlighting some of her works and how she and other writers honed the skills they needed for success. Judging from such plays as Be My Baby and Bollywood Jane, it was clear that the writer knew what she was talking about. She extended the same kindness shown by Justine, carefully answering the many questions asked.

A thoroughly enjoyable talk. 

 

Natalie Worledge

Keeping an ear out at Cultural Exchanges

2017's Cultural Exchanges festival is coming up fast, and among the many events that interest me as an aspiring writer is Ears To The Ground: a talk on writing for TV and radio by the BBC's Justine Potter with a panel of current Radio 4 writers and producers.

 Those attending will be treated to a detailed insider account of how to write and submit scripts to the BBC (a must for any aspiring writer for broadcast) followed by a panel discussion led by some of those behind the scenes of several favourite radio shows.

 And if all that weren't enough to convince me to attend, the festival has one final ace to play. Among those on Tuesday's panel is Amanda Whittington, the award-winning Nottingham-based playwright and current chair of the Writers' Guild Theatre Committee.

  All in all, Ears To The Ground is looking to be a standout event and a fantastic opportunity to learn some vital tricks of the trade.
 
  Book your free ticket HERE before it's too late.


   Ben Woore

An audio achievement

Jungle waters rushed overhead, while birds chattered and helicopters whirred. Caves dripped and snow crunched around me. Paris hustle and bustle surrounded me, and bells rang in my ears - and all of this took place in one room. How is this possible? The answer is through amazing composing and the use of surround sound.

Composing with Sounds was a collaborative performance between experienced composers and school-children from several European countries, including France, Norway and Germany. I was impressed by the children's work, a fantastic arrangement of cultural, urban and natural sounds. Although most of the children couldn't be there in person, the young British composers, one of whom comes from Leicester, presented their pieces with the precise attention of an older, more experienced, composer.

I was thoroughly impressed and shocked with their mastery of sound, especially when what seemed to be a Jumbo Jet whizzed across my face.  Even though it was only there in audio, I half jumped out of my seat.

The performance was a triumph, and everyone involved, especially the school-children, should be very proud of themselves.

Experiments in sound

This evening I was presented with a unique experience, in the form of Sally Doughty and Craig Vear's Archipelago. I had never attended any kind of performance art before, so I really didn't know what to expect.

I was bewildered at first, confronted with strange mixtures of French sound clips and erratic, unnatural dancing. As the show went on, I became more engaged with the piece, often finding myself thinking about the nature of the sounds and visuals I was presented with, and what they may have represented.

At last I found myself really engaging with the performance. There were genuinely funny moments too - a fake beard, a monologue about drum solos, and clarinets all drew humour from a place I didn't know existed.

As a fascinating exploration of narrative form, and how audio and image can be manipulated, Archipelago has to be experienced to be understood.

Gabsy Davis-Marks