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From ADR to Walla, this glossary covers the essential terms every scriptwriter and audio drama creator needs to know. Bookmark this page as your quick reference guide.
A
- ADR (Automated Dialogue Replacement)
- The process of re-recording dialogue in a controlled studio environment after the initial recording. In audio drama, ADR is used to fix audio quality issues, replace lines with better performances, or add dialogue that was not in the original recording session. Also called Additional Dialogue Recording.
- Ambient Sound
- The background sound that establishes the environment of a scene. Examples include city traffic, forest birds, ocean waves, or the hum of a spaceship engine. In audio drama, ambient sound replaces the visual set and is crucial for immersing listeners in the story's world.
- Act
- A major division of a script's structure. Most stories use a three-act structure: Act 1 (setup), Act 2 (confrontation), and Act 3 (resolution). In audio drama, act breaks are often marked by music stingers or longer pauses and may correspond to natural ad break points.
B
- Beat
- In dialogue, a brief pause indicating hesitation, an emotional shift, or a moment of silence — written as (beat) in parentheses. In story structure, a beat refers to a single story event or emotional turning point, the smallest unit of dramatic action. In audio drama, beat pauses are especially important because listeners rely on sound and silence to follow emotional shifts.
- Bed Music
- See Underscore. Continuous background music played at low volume underneath dialogue to set mood and atmosphere.
- Binaural Audio
- A recording technique that uses two microphones positioned to mimic human ears, creating a three-dimensional sound experience when listened to on headphones. Some modern audio dramas use binaural recording to place sounds directionally around the listener for heightened immersion.
C
- Cold Open
- A technique where the script begins with a dramatic or intriguing scene before the title sequence or opening credits. It hooks the audience immediately by dropping them into the middle of the action or presenting a compelling question. In audio drama, a cold open might feature a snippet of intense dialogue or a mysterious sound before the theme music plays.
- Crossfade
- A transition technique where one audio element gradually fades out while another simultaneously fades in, creating a smooth overlap. In audio drama, crossfades are commonly used to transition between scenes — for example, the ambient sound of a busy café fading into the quiet of a bedroom.
- Cue
- A signal or instruction in a script that tells the production team when to trigger a specific element — such as a sound effect, music, lighting change, or actor entrance. In audio drama scripts, cues are written in square brackets: [MUSIC CUE: TENSION THEME] or [SFX CUE: PHONE RINGS].
- Cut To
- A script direction indicating an immediate, hard transition from one scene to another with no fade or overlap. In audio drama, a cut is achieved with an abrupt change in ambient sound and is typically used for dramatic effect or to convey urgency.
D
- DAW (Digital Audio Workstation)
- Software used to record, edit, mix, and master audio productions. Popular DAWs include Audacity (free), GarageBand (free on Mac), Reaper, Adobe Audition, Pro Tools, and Logic Pro. For audio drama, a DAW is where voice recordings, sound effects, music, and ambient sounds are layered and mixed into the final episode.
- Dialogue
- The spoken words performed by characters in a script. In audio drama, dialogue carries nearly all the story information since there are no visual elements. Effective audio drama dialogue must reveal character, advance plot, and convey setting without relying on visual cues.
E
- Exposition
- Background information that the audience needs to understand the story — character history, world rules, past events, or relationships. In audio drama, exposition must be delivered naturally through dialogue rather than visual storytelling, making it one of the biggest challenges for audio scriptwriters. The goal is to reveal information without characters delivering unnatural "info dumps."
F
- Fade In / Fade Out
- Gradual increases or decreases in audio volume. A fade in brings sound from silence to full volume; a fade out reduces sound from full volume to silence. Used for scene openings, closings, and transitions. In scripts, written as [FADE IN] or [MUSIC FADES OUT].
- Foley
- The art of creating and recording custom sound effects synchronized to the action in a production. Named after sound effects artist Jack Foley, it includes sounds like footsteps, clothing rustles, door handles, and object interactions. In audio drama, Foley adds realism and immersion by providing small, character-driven sounds that make scenes feel alive.
I
- INT. / EXT.
- Abbreviations for Interior and Exterior, used in slug lines (scene headings) to indicate whether a scene takes place indoors or outdoors. INT. COFFEE SHOP - MORNING tells the reader (and sound designer) the scene is inside a coffee shop during morning hours.
M
- Mix
- The process of balancing and combining all audio elements — dialogue, sound effects, music, and ambient sound — into a cohesive final product. A good mix ensures dialogue is always clear and audible above other elements while maintaining the atmospheric quality of the production.
- Monologue
- An extended speech by a single character, often used for narration, inner thoughts, or dramatic soliloquies. In audio drama, monologues are a powerful tool for revealing character psychology and backstory but should be used carefully to maintain pacing and listener engagement.
- Montage
- A sequence of short scenes or moments edited together to show the passage of time, a series of events, or thematic connections. In audio drama, montages are created by layering short dialogue clips, changing ambient sounds rapidly, and using music to unify the sequence.
O
- O.S. (Off Screen / Off Stage)
- Indicates that a character's voice is heard from outside the immediate scene — they might be in another room, calling from a distance, or speaking through a phone. Unlike V.O., the character exists within the story's current space and time but is not in the foreground. In audio drama, O.S. dialogue is typically processed with reverb or filtering to sound distant.
P
- Pick-Up
- A re-recording of a specific line or short section of dialogue, done during or after the original recording session. Instead of recording an entire scene again, the actor performs only the problematic lines. Pick-ups save time and are used to fix mispronunciations, improve delivery, or capture a different emotional tone.
- Parenthetical
- A brief direction placed in parentheses under or beside a character's name in a script, indicating how a line should be delivered. Examples include (whispering), (sarcastic), (into phone), or (laughing). In audio drama, parentheticals are essential because voice performance is the only tool actors have to convey character intent.
S
- Scene Transition
- The technique used to move from one scene to the next. In audio drama, transitions are achieved through sound: musical stingers, crossfading ambient sounds, brief silence, narrator bridges, or signature transitional sound effects. Good transitions help listeners orient themselves in the new scene without confusion.
- Series Bible
- A comprehensive reference document describing the world, characters, tone, and rules of a serialized production. It typically includes character biographies, relationship maps, world-building details, the overall story arc, and episode summaries. A series bible ensures consistency across episodes, especially when multiple writers work on the same show.
- SFX (Sound Effects)
- The standard abbreviation for Sound Effects in scripts. SFX notations tell the sound designer which specific sounds to add to a scene, written in square brackets: [SFX: GLASS SHATTERS], [SFX: CAR ENGINE STARTS]. Good SFX cues are specific enough to source the right sound but allow creative interpretation.
- Sides
- Short excerpts from a script given to actors for audition purposes. Rather than the full script, casting directors select scenes or monologues that showcase the range needed for a role. In audio drama, sides typically include 1-2 pages of dialogue with context about the character and scene.
- Slug Line
- A line at the beginning of each scene that describes the location and time of day. In screenwriting format: INT. DETECTIVE'S OFFICE - NIGHT. In audio drama, slug lines describe the sonic environment — helping the sound designer understand what ambient atmosphere to create for the scene.
- Sound Bed
- A continuous layer of ambient sound or music that runs underneath a scene to establish atmosphere and location. Examples include rain, traffic noise, forest sounds, or quiet background music. Sound beds are typically the first audio layer placed in a mix, providing the foundation for dialogue and effects.
- Stinger
- A short, sharp musical phrase or sound effect used to punctuate a dramatic moment, mark a scene transition, or emphasize a reveal. Typically 2-5 seconds long, stingers serve as audio exclamation marks. Common examples include dramatic chord hits, cymbal crashes, or signature musical motifs.
T
- Tag
- A short scene that plays after the main story of an episode has concluded — after the climax and resolution but before or during the closing credits. Tags can provide a humorous coda, set up the next episode with a cliffhanger, or offer a character moment that adds emotional depth. Typically runs 30-90 seconds in audio drama.
- Teaser
- Similar to a cold open, a teaser is a brief opening segment designed to hook the audience before the main episode begins. Teasers often present a mystery, conflict, or dramatic question that will be explored or resolved during the episode. In serialized audio drama, teasers may recap previous episodes before introducing new content.
U
- Underscore
- Background music that plays underneath dialogue or narration to set mood and tone. Also called underscoring or bed music, it is meant to be felt rather than consciously heard — enhancing emotional atmosphere without drawing attention from the dialogue. Notated as [MUSIC: TENSE UNDERSCORE] or [UNDERSCORE: MELANCHOLY PIANO] in scripts.
V
- V.O. (Voice Over)
- Indicates that a character's voice is heard but the character is not physically present in the scene — they are narrating, providing inner thoughts, or speaking from a different time. Commonly used for narrators, internal monologues, and characters recounting past events. Written after the character name: DETECTIVE JONES (V.O.).
W
- Walla
- The background murmur of crowd conversation used to create the atmosphere of a populated space like a restaurant, bar, or street. Created by recording multiple people speaking indistinct, overlapping dialogue. In audio drama, walla is used as an ambient layer to establish that a scene takes place in a public location without requiring scripted background dialogue.
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EpicScribe Team
EpicScribe provides AI-powered writing tools and educational resources for creative writers, with a focus on audio drama and scriptwriting.