The turnaround for each play was two weeks. While we were able to approach production based on systems that had been created to make our weekly soap, these were in themselves insufficient to deal with many of the practical issues arising from making mini-dramas. These included the fact that:

• A new cast was required every second week
  
• The plays were longer, at 20-30 minutes
  
• New sound effects and backgrounds had to be recorded to reflect the different contexts portrayed in each of the plays.

Scripts were submitted to the drama editors who were responsible for evaluating how easily comprehensible the storylines were, where they needed editing for reasons of brevity or improving dialogue, and how to produce them. Once amendments to the script were agreed by the writer, auditions were held for the cast and crew. These were organised as early as possible in order to provide actors with the opportunity to read the scripts thoroughly before rehearsals. Actors had to read and consider their parts carefully while directors had to bring out the best in the variety of talent cast for each play and ensure that the finished production reflected the wishes of the writers. Crews were organised during this time with copies of scripts being circulated to the technical and sound effect producers.

During the second week production started and we recorded and produced each play over 2-3 evenings. Working alongside the technical and special effects producer, the production team made use of the URN recording studios and equipment to record, edit and process material. Throughout the second week we would also be working on the next play, having read the script we'd advertise for auditions. Once completed each play was broadcast over the weekend during a regular speech-based time.

Soundtrack
As we were promoting radio drama as an accessible and entertaining medium for students and not only individual plays, it was important that each play was produced according to a standardised format. One of the most innovative features of the season was its theme song. Written by the lead singer of The Amateurs, Richard Latimer recorded an acoustic number that sought to appeal to our listeners while creating an evocative mood that reflected life on campus and the creativity of its students.

Excerpts from the theme song were used to create sound beds that formed the basis for a stylised accompaniment and conclusion to each play. Along with a familiar soundtrack it was important to keep narratorial commentary the same each week, as any differences would undermine the intended affect of the theme music.

The challenges of making radio plays
Each of the plays in the Writers in Residence season brought their own challenges, which had to be dealt with in flexible and innovative ways.

The Loveboat was originally written for the stage and aspects of its script, namely its plot structure and dialogue, were designed for a visual medium, not radio. Its depiction, for example, of the auditioning process and the LA casting director's lines were amended to ensure listeners were aware of location and when scene changes were taking place.

Time of Call was written specially for radio but issues arose in its production regarding the storyline ending where a number of possible outcomes and explanations presented themselves. Instead of using a time machine to explain the plays central premise, a theoretical science fiction account of radio waves travelling through time at accelerated rates was eventually chosen as representing a credible ending.

Casual Thursday was written as a monologue and some ambiguities related to the script, plot and dialogue needed resolving in order to make it suitable for radio. Directions to actors were initially sparse and needed thorough expansion, while the central death moment and its effect on the principle character was ambiguous and needed clarification. We achieved this in a variety of ways, one of which was to slow down the dialogue spoken by the characters. Along with addressing the problems faced this had the additional benefit of presenting an accessible and engaging state of inner consciousness with regards to Caroline, the grieving wife.