Hi folks,
I’m taking another look this week at the advice offered by Erik Barnouw in his Handbook of Radio Writing (1947). This time the attention is focused on narration. I don’t use a lot of narration in my plays generally (occasionally to introduce the play and in my Fantasy Noir serial I make use of voice-overs from the main characters). Personally I don’t like narration much and try to avoid it. That said, there’s a place for it and I learnt some things from Mr Barnouw’s book. Here are my notes… Enjoy…
Introduction to Speech (in particular Narration)
Narration is avoided in visual forms of theatre, but in audio, while not essential, can still be very helpful.
The narrator provides editorial comment, introductions, recaps and occasional scene setting.
Avoiding long narrations
It is important that narration not be overlong if it is to hold the attention of the listener. There are two common devices that are used to break up long narration sections.
Proxy listener
The proxy listener is there with the narrator and represents the listening audience. This extra character interrupts with questions, comments, etc. during the narration and so, breaks it up. The disadvantage of the proxy listener is that the character must receive air-time even when the narration is of such a length that they are, strictly speaking, not required.
The proxy listener can also be used to comic effect (as a kind of nuisance questioner) and also as a point of identification for the audience (where the proxy listener is the same age or sex as the desired audience).Split narration
Split narration is another means of breaking long stretches of narration. In this device various voices take over the narration in a form of vocal relay race. Multiple narrators can be used to differentiate sections of the narration or present differing viewpoints.
New voices can be added where the desire is to make clear an enumeration or list (one voice for each list entry).
A new voice might be used to identify a quotation or several voices might be used to identify a series of quotations.First person narration
First person narration can be a particularly effective form. The first person narrator has more of a stake in the story (being a part of it) and gives the narration a greater emotional impact. The first person narrator is also speaking directly to the audience (creating a strong emotional connection), inviting them inside the story in the role of a friend.
When first person narration is used the listener rarely feels that the narration is interrupting the story.Stream of consciousness
Stream of consciousness is the narration of thoughts as they pass through the mind of the narrating character. This can acquire quite a dramatic intensity.
Other guises for first-person narration
First-person narration assumes many other guises in radio. A letter, or group of letters, diaries, addresses to the jury, deathbed confessions, messages to posterity etc. have also worked well.Types of third-person narration
Generally speaking audio writers prefer characterised to uncharacterised narrators (that is a narrator who is a character). However, the nameless narrator is still used successfully.
The narrator in the script
Typically the narrator bears that label. If the narrator is a character and has a name, then the name is used.
If you’d like to see some examples of narration in the scripts we publish be sure to visit http://www.weirdworldstudios.com/products.html. We have some free samples you can download.
See you next time.
– Philip Craig Robotham
