The Solver of Problems

Production in
                  the 1930sYou need a Producer. Maybe you can be the Producer, but that’s you two jobs.

A Producer for film produces one thing. Producers produce money.

But in Radio the Producer is the problem solver. All problems come to the Producer and he or she must find how to solve that problem. It is as big a job as coming up with a script. You, as the writer, have to be the master of coming up with a script and all the jobs that go into that. As the writer you need to come up with story, sequence, plotting, pacing, dialogue, the break it down to the three available tools - human voice, sound effects and music.

Who Will Help You Build The World?

Like Henny Penny, the successful production or a radio drama will requie people in many rolls

A Writer

A Producer

A Director

An Engineer

Several Actors

Sound Effects Artist

Musician or Music Director

A studio

Funding (ven if it just involves script duplication and snacks).

Producer

fake
                news 1939If you are dealing with a professional production - which is really just whether or not you and your crew are getting paid to do the script. If you are not getting paid, you still have to be professional. Respect other people in their jobs - that is what professional really means.

A producer may be able to come up with funding; a sponsor, a funding agency, a theatrical angel, or some other source. If there is money, the Producer is the one who pays the bills and provides the bookkeeping to show the Bill have been paid. They need to be accountable so the story of money is important.

But more often your first productions will be labors of love - “Amatuer” means “One who does it for the love”. Not a bad thing. But if there is no money the Producer needs to treat the talent right. All the talent.

Orson Wells,
                also served as ardio producerIt all starts with the Writer, and it all comes back on the writer if the talent doesn’t get treated right.

The producer gets everything done and solves the problems that get in the way of getting anything done.

Producer organizes the production, get the Director, arranges casting, arranges rehearsals, set up the recording for recorded shows, the theatre for a life show and sometimes the recording of the life show. They get the food for talent at rehearsals if they aren’t being paid, and sometimes when they are. They set up the recording system, mikes, engineer, sound feeds like CDs, Digital Audio Tapes, Reel to Reel, Vinyl albums and/or live performers for the music and/or sound effects.

When there is a problem, people go to the Producer. Car broke down, can’t get to rehearsal, call the Producer or the production assistant the Producer set up to call. Script has to be duplicated or printed out - call the Producer. Microphone number two isn’t getting through to the recording device - well you probably have an engineer handling that - but if they’re Crunk, call the Producer. And can your produce double on keyboard when the composer doesn’t deliver.

Obviously, the Producer depends on other people to do their job, but when they don’t, it’s the Producer who catches hell.

If you don’t want to be the one who catches hell, get a good producer. And no one starts off being a good producer. Either you have lots of experience, or you get lots of experience to become a good producer.

They get the copies of the final mixed production to the voice, music and sound effects talent, particularly if they aren’t getting paid.


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