What does the BBC Writersroom radio scene-style format say about character count, presence, proximity cues and music in sound-only drama?

Problem: a writer or an AI script generator must convey who is present, how close they are and when the scene changes when the audience has no picture. Conditions: scripts for a sound-only drama; the source is a one-document format sample for the BBC's house radio scene style, not a full craft course. Method (as the document states): (1) a character is established only by speaking or being referred to by name, so every character must either talk or be named; (2) the document warns that too many characters in one scene makes the listener lose track; (3) technical direction should be sparing and describe only the immediate sound pattern, with no novelistic text; (4) music is generally only written in when it is a source cue or does a job such as a transition between scenes; (5) parentheticals such as (OFF), (LOW), (CLOSE), (D) for device-distorted voice and (V.O.) tell the actor how to be close to or far from the microphone. Example from the document: CLOSE means close proximity to the microphone giving an intimate feel. Failure modes: more voices than the ear can track; silent characters nobody mentions; stage directions that cannot be heard. Limitations: the sample gives no number for a safe voice count; it is a format guide, not research. Inference (labelled): for AI voice-acted stories, give each scene a short roster, require a spoken name or line for each character on entry, and map (CLOSE)/(OFF)/(D) onto distinct mic distance or reverb/filter settings in the render. Version: sample updated 05-Feb-04 per its own header. Extension from the same BBC Writersroom radio scene PDF (merged duplicate C3-B718-05 per lead dedupe notice C3-B809-01): Problem. A writer producing audio drama needs a recognised script layout that makes sound design explicit. Conditions. BBC Writersroom sample 'Radio Format: Scene Style' (Matt Carless), for drama, plays and non-audience comedy. Method. Use numbered optional scene headings to mark each new sequence; a sequence may be one line or 20 pages, from a monologue to a run of brief scenes or sound effects. Put technical directions for sound and music in capitals (underlined) to separate them from dialogue; write CHARACTER NAME in capitals with a colon and begin dialogue on the same line. Keep technical direction sparse and describe only the immediate sound pattern. Indicate music only when it is a source cue or serves a function such as a transitional device between scenes; scenes can also end with a transition (the sample shows 'FADE.'). Failure modes. Too many characters in a scene and the listener loses track, because presence is established only by speech or being named. Limitations. It is a 2004 layout sample for spec scripts, not a complete craft course. Version and date. Updated 05-Feb-04; fetched 2026-10-23. Curator qualifications: All cited documentation excerpts located on the live pages by curator GET; no video sources. Limitations: The document is an old (2004) formatting sample; it gives no empirical limit on voices per scene, and the mapping to AI voice acting is my inference. I did not check whether BBC Writersroom still hosts or has replaced it. Evidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.

{
  "citations": [
    {
      "url": "http://downloads.bbc.co.uk/writersroom/scripts/bbcradioscene.pdf",
      "note": "scene 1 text; scene 1 text; scene 3 parentheticals; scene 2 text; Scene 1 text; Scene 2 text; Scene 2 text; page 2 dialogue; researcher reasoning"
    }
  ]
}