Radio stars (Oct 1938)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to with your comments.

We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

RADIO STARS WRITE SO YOUR AUNT SUSANNAH CAN UNDERSTAND YOU {Continued from page 62) revise it, all of which brings up an interesting point. Revising a script is a serious job. I write my instal- ment as a perfect whole in its rela- tion to the complete story but, in re- vising it, I must once again check against the possible reaction of its listeners, the actors themselves, and the director. There are, incidentally, two dif- ferent schools of radio writers. One considers a script a clothes line on which you hang your events one by one until you come to the end of the line. But the second, of which I am a member, says good radio scripts are like a circle of links in a chain. Each link begins a problem which, at the end of the circle, comes back having developed the story. The end of the circle touches the next link and the plot has, subsequently, advanced. I can best illustrate that by a sequence in the Your Family and Mine script. Win, the mother, sees her boy, Ken, playing baseball with the tough Otto Jennings gang. She persuades him to leave the game. At the beginning of the episode, we know Otto is a bad boy who will do Ken no good. But at the end of the script, we realize Otto is more of a menace than we had first supposed— and that, in time, he will prove a threat to the whole family. It is important that anyone writing for radio have a sense of conflict. The conflict can be trivial—whether the family is to have apple or lemon pie for dessert. But the outcome must be uncertain. We all take sides on little and big issues in life. And if you can get your listeners to take sides with your characters, then your listeners will enter into the story themselves. One of the strongest and soundest criticisms of radio scripts is that they are not believable. Is life itself be- lievable? You may go along for years without, in your mind, having an unusual experience. But gather around your tea cups some day, and listen to some one, the center of at- traction, rattle off interesting stories. You may go home, think it over, and suddenly realize that there are a maze of incidents associated with yourself that might make good listening—and good reading. Your good radio script should have a sense of adventure, whether con- cern is aroused by a lost cache of jewels or whether Win, the mother in y our Family and Aline, has cooked a good lamb stew. A writer must, further, have a tremendous sense of selectivity. He must ask himself, over and over again: "Would other people feel that this is true?" As I said before, life itself is un- believable. There was a poor desti- tute woman who lived alone with her children on a desolate prairie. The children were sick. Her home was just a shack. She was burned by the sun and wind, but life was never drab. She always had the hope that one day she'd have enough paint to do over the place. That story cannot be written be- Hevably. I tried it once, after four other novelists tried writing it. We all had to give it up. It was impos- sible to convince prospective readers that the prairie woman's life was any- thing but drab. That's an important factor in writ- ing for radio. I analyze each inci- dent, talk it over with my husband and friends, and get their reaction. If it's believable, to their way of thinking, it stays in. My husband, Jimmy, has never be- fore had to contend with what he does today when I write for radio. When I wrote for newspapers, my work was finished as soon as I left the city room. When I wrote novels, I didn't have to work in a concen- trated fury. But now. Your Family and Mine is eternally with me, to a point where it's part of everything I do. Lately, for instance, Judy, my heroine, has been seeking romance. And just the other day, I visualized that she would marry. Jimmy and I were having dinner. "Judy is going to be married and have a baby," I said. "What?" asked Jimmy. "Judy who?" And then it dawned on him that I meant Judy in my serial. One question I have not yet an- swered concerning my radio work is where and how characters are born. In the case of Your Family and Mine, the story of the Wilbur family is partly derived from memories of my own life as a child, from my ex- periences with other families every- where as a newspaperwoman, and from my dreams of the family I'd love to have. This brings out the theory I ad- vanced a few paragraphs ago, when I said I write about things which I (Continued on page 90) Do This If You're NERVOUS Help Calm Jumpy Nerves Without Harmful Opiates IF you fly off the handle at little things and at times feel so nervous, cross and jumpy you want to scream—if you have spells of "the blues" and restless nights— Don't take chances on harmful opiates and products you know nothing about. Use com- mon sense. Get more fresh air. more sleep and in case you need a good general system tonic take a TIME-PROVEN medicine like famous Lydia E. Pinkham's Vegetable Compound— made especially for women from wholesome herbs and roots. Let it help Nature tone up your system—build more physical resistance and thus help calm jangly nerves, lessen dis- tress from female functional disorders and make life worth living. Give it a chance to help YOU. Tune in Voice of Experience Mutual Broad- casting System: Mon., Wed. and Fri. See your local newspaper for lime. WLW Mondays through Friday. <s VEOl VEGETABLE COMPOUND Lustrous Color for FADED HAIR (Test Bottle \ FREE ) Have ever-youthful looking hair this SAFE way. Clear liquid is combed through hair. Gray goes—streaks disappear. Color wanted comes: black, brown, auburn, blonde. Nothing to wash or rub off on clothing. Hair stays fluffy—takes wave or curl. Get full-sized bottle from druggist on money-back guarantee. Or mail coupon for Free Test. FREE TEST-We send complete Test Package Free. Snip off a lock of hair. Test i t first this safe way. No risk. No expense. 3,000,000 women have received this test. Mail coupon. r —MARY T.GOLDMAN—| 2322 Goldman Bldg., St. Paul, Minn. !- ! J Street j I City State | C olor of your hair?.