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Over the years, there have been a number of con artists that set up shop as literary agents to prey on the dreams of aspiring writers. They tend to get caught and prosecuted, but along the way they destroy the hopes, dreams and finances of a lot of people

Here’s how a scam might work.

An author sends their work to a literary agent they find on the web or in the classifieds section of a writers magazine. The agent sends back an enthusiastic reply praising the writing of the author and are sure they can sell the book in question.

At this point, the author is as happy as a clam, and is willing to do practically anything for this agent who believes in their work so much.

When the agent says they’ve placed the book with a publisher who only requires a few thousand dollars of author investment, the author too often is too happy to oblige. The “publisher,” of course, is owned by the literary agent, and the author gets a few copies of their books and a lifetime of obscurity, if they’re lucky. If they’re still believing the scam, a few more thousand might be spent on “advertising” and “public relations” with firms also owned by the same agent before they wise up.

Alternatively, the agent might suggest that they’ll represent the author’s book, but first it needs to be edited by a company that’s, you guessed it, owned by the literary agent. Once the author has paid too much for weak editing, the ‘agent’ will vanish into thin air, and the author will be left with nothing but shattered dreams and a badly edited manuscript.

Forewarned is forearmed, they say, so before you send your proposal or manuscript out to literary agents, be sure you know what to expect and what to beware of.

When you are considering learning how to write a radio script, the most important thing to realize is that your listener’s short attention span is only going to remain captivapted if you can really draw them in with sound. You have to metaphorically grab them by the ear and drag them right into the middle of the action. This is the biggest difference between writing film scripts and radio scripts, but it might as well be the difference between English and Chinese for some people. However, this is a lucrative market for anyone with the skills and willingness to learn how to write a script for radio.

Let’s start by saying that the one of the worst things that can happen on the radio is dead air. It’s for this reason that you need to think about filling almost every second of a radio script with some form of noise. This means quick, sharp dialogue with few pauses, and plenty of sound effects. Silence can be used for dramatic effect, but it should be used sparingly.

Speaking of sound effects, your sound effects better be the best you can find. You can get away with shoddy sound effects on the stage, or on film, because there’s an accompanying visual that ties everything together. If you attempt to use bad sound effects on the radio, it’s going to come across as muddled and confusing.

Something else that causes confusion on the radio is having too many characters in a scene at one time. A good rule of thumb is that 3 characters are okay, but 2 is ideal. Any more than 3 and things really get difficult to follow. You would have to make sure each one has a very distinct voice to pull off even a handful of characters in one scene.

There are some unique challenges involves with writing a radio script. Just keep in mind that you’re writing for the audiences ears, and ears alone. You have to create all visuals using sound and dialogue.

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