Table of Contents

Table of Contents:
* = New Section for 2nd Edition

Foreword
Chapter Outline
What is Audio Drama?

Storytelling

  • 1. Choosing your Story
  • 1.1 Titles
  • 1.2 Creating a Compelling Story
  • 1.2a Pacing and Tension*
  • 1.2b The Outline*
  • 1.3 Story Workshop
  • 1.4 What’s in a Name?
  • 1.4a Character and Story Wrappers*
  • 1.4b Natural Character Evolution*
  • 1.5 Conflict is Key
  • 1.6 Motivation Moves the Story
  • 1.7 Conceiving Action
  • 1.8 Words on the Page
  • 1.9 Workshop Result

Storytelling through Audio

  • 2. Starting the Story
  • 2.1 Perspective
  • 2.1a Audio Aesthetics and The Sound Palette*
  • 2.2 Characters
  • 2.3 Scenes
  • 2.3a Creating a Scene for Audio*
  • 2.3b Audio Scene Transitions*
  • 2.4 Creating Dialogue and Narration
  • 2.5 Forcing Visualization
  • 2.6 Language Mechanics
  • 2.7 Writing onto the Page

Starting Production

  • 3. Pre-production Ends
  • 3.1 Stages of Production
  • 3.2 Key Positions and Roles
  • 3.3 Low Budget Productions

Logistics

  • 4. Budgeting
  • 4.1 Funding
  • 4.2 Contracts

Actors

  • 5. Casting
  • 5.1 Descriptions
  • 5.2 Casting Notices and Submissions
  • 5.3 Holding Auditions
  • 5.4 Casting for Audio
  • 5.4a Casting Audio as the Actor or Director*
  • 5.4b Keys to Success Working with Hollywood Talent*
  • 5.5 Selecting Actors
  • 5.6 Deal Memos and Contacts
  • 5.7 Payment
  • 5.8 The Table Read
  • 5.9 SAG/AFTRA
  • 5.9a SAG/AFTRA Rates*

Scheduling

  • 6. The Fight Against Time
  • 6.1 Script Formatting
  • 6.2 Reports and Breakdowns
  • 6.3 Creating the Schedule
  • 6.4 Further Adjustments and Considerations

Preparing to Record

  • 7. Recording Preparation
  • 7.1 Recording Scripts
  • 7.2 Titles and Credits

Recording and Directing

  • 8. Approaching the Material
  • 8.1 Warming Up
  • 8.2 The Recording Space
  • 8.3 Active Listening, Guiding, and Participation
  • 8.4 Recording out of Order
  • 8.5 Generics

The Tech Side of Recording

  • 9. Suspension of Disbelief
  • 9.1 Choosing the Recording Space
    • 9.1.1 Low-Budget Spaces
  • 9.2 Signal Flow & Audio Hardware
    • 9.2.1 Low-Budget Recording
  • 9.2a Hierarchy of Sound Recording*
  • 9.3 Recording Formats
  • 9.4 Session Setup
  • 9.5 Audio Script Supervising

Post-Production

  • 10. The Story Comes to Life
  • 10.1 Post Workflow
  • 10.2 Post Hardware
    • 10.2.1 Low Budget Options
  • 10.2a Post Software*
  • 10.3 The Art and Tech of Editing Sound
  • 10.3a Noise Reduction*
  • 10.3b Advanced Audio Editing Samples*
  • 10.4 Post-Session Setup
  • 10.5 Assembly Cut
  • 10.6 Voice Cut
  • 10.6a Performance Selection and the Editor*
  • 10.6b The Pacing Cut*
  • 10.7 Rough Cut
  • 10.8 Sound Effect Libraries
  • 10.8a Foley vs SFX*
  • 10.9 Sound Design
    • 10.9.1 Establish Location
    • 10.9.2 Sample Scene
    • 10.9.3 The Sound of the Scene
    • 10.9.4 Aural Design Techniques
    • 10.9.4a Audience Digestion, Limitations, Lufs, and Levels*
    • 10.9.4b Dissonant Sound*
    • 10.9.4c Mixing to the Voice*
  • 10.10 Foley
    • 10.10.1 Footsteps
    • 10.10.1a Sampled Foley*
    • 10.10.2 Editing at the Mic
    • 10.10.3 Equipment
  • 10.11 Modifying Audio
    • 10.11.1 Cleaning up Audio
    • 10.11.2 Enhancing Audio
    • 10.11.3 Aux Track Effects
  • 10.12 Fine Cut – Adding Music
    • 10.12.1 Theme Music
    • 10.12.2 Composed or Stock Music
    • 10.12.3 How to use Music
  • 10.13 Finishing

Publishing

  • 11. Out to the Public
  • 11.1 Podcast Hosting and Websites
  • 11.2 Marketing and Social Media
  • 11.3 The Community

Theater for the Mind

  • 12. The Movement
  • 12.1 Conclusion

Additional Resources

  • xx. Equipment Index
  • xx.1 Concepts and Phrases
  • xx.2 Photo Credits