We have a bunch of ways you can get involved and help us create great radio theatre!
Atlanta Radio Theatre Company is a 501(c)(3) non-profit. We subsist primarily on sales of our studio productions, live performances, and donations from folks who enjoy audio drama and want us to be able to produce more of it.
We accept direct donations from individuals & corporate sponsorships, plus we have other simple ways (like Patreon or Amazon Smile) to make it easy to support ARTC!
Are you an actor, writer, technician/audio engineer, Foley artist, illustrator, graphic designer, marketer, or just interested in learning any of the diverse array of disciplines involved in producing dramatic audio? Do you live in the Atlanta area?
Then we invite you to join us here at ARTC and become part of our team! We are primarily a volunteer organization and open to a wide variety of experience levels.
Support your local Atlanta Radio Theatre Company!
Patreon is a wonderful tool that allows you to support us on an ongoing basis at a budget you can afford. Part subscription model, part crowdfunding, Patreon lets you set a contribution amount that’s right for you. ARTC has two Patreon accounts, one for each podcast we’re publishing currently.
Pledges to the Centauri Express Audio Magazine are on a per-podcast basis – every time we publish one, your donation gets processed. Currently this is happening twice per month. Episodes are always available and your pledge will get you access to recordings of our live performances as well as early access to the new Centauri Express episodes.
Pledges to Mercury: A Broadcast of Hope are on a monthly basis – this podcast updates every day, so it didn’t make sense to us to charge on a per-podcast basis. Pledging to this podcast gets you access to the entire back-catalog, as Mercury episodes expire after 24 hours.
Mercury: A Broadcast of Hope
ARTC is a 501(c)(3) non-profit and therefore donations to us are tax deductable! You can specify a purpose for your donation or you can contribute to our general operating fund which will help us with rent on our studio space, paying our actors for certain projects, equipment maintenance/replacement, and many other things that will help keep us making Adventures in Sound!
Sponsorships are a time-honored part of radio drama, going back to the first sponsors in the late 1920s! Depending on what level of exposure your goals and budget call for, ARTC can include your product or business on our website, in our podcast offerings, at our live performances, or even on our studio recordings for sale! Get in touch with us to discuss how you can best reach our audience! Our Current Sponsors
If you shop at Amazon, consider using Amazon Smile! The cost of the items you buy stays the same, but when you pick ARTC as your Amazon Smile charity, we get a small percentage of the purchase price donated to us by Amazon. Those small percentages add up! Buy from Amazon for your company? Those larger purchases really help!
Well, you’re in luck! We invite you to be a regular part of our ongoing operations. Our weekly rehearsals are open to anybody who wants to participate, and if you show up — and if you can read a script — you’ll probably get cast.
Participation in ARTC is open to all actors, writers, technicians/audio engineers, Foley artists, illustrators, graphic designers, marketers, and anyone else who is interested in learning any of the diverse array of disciplines involved in producing dramatic audio.
We meet weekly to rehearse primarily for our many live performances throughout the year.
Occasionally. But, more than that, we invite you to be a regular part of our ongoing operations. Our weekly rehearsals are open to anybody who wants to participate, and if you show up — and if you can read a script — you’ll probably get cast. We hold outside auditions when we’re looking for some additional voices or some specific talents that might be in demand. Keep an eye here for announcements of those kinds or contact us to learn how to be a member!
That depends. What can you do?
No, seriously. We are in most dire need of technical and production staff. Experience is a plus, but not necessary: If you want to learn how to run a sound board, how to set up and break down a sound system, or how to mix pre-recorded voice and music tracks, we’ll be happy to train you. And we don’t even charge for it.
It’s an unequaled opportunity for actors, as well. Only in audio can a middle-aged man who looks like Santa Claus get cast as a romantic lead (“Country of the Blind” and “Throne of Shadows”) or a vicious gunslinger (in our live production of “All Hallows Moon”).
Generally, we write them ourselves. We are fortunate enough to have attracted the attention of a number of professional writers in the Atlanta area, or with close ties here, like Jerry Ahern, Brad Linaweaver, Gregory Nicoll, Gerald W Page, Brad Strickland, and Wendy Webb. In addition, our first head writer, Atlanta playwright Thomas E Fuller, also taught creative writing for Georgia State University: He, and our other established professionals, nurture and encourage a new generation of writers like Ron N. Butler, Daniel and Clair Kiernan, Henry Lee Forrest, William Alan Ritch, Terry Sanders, Kelley S. Ceccato, Dave Schroeder, and Daniel Taylor.
We don’t, generally, although a lot depends on what you can do for us. ARTC is a small-press audio publisher, as well as a 501c(3) non-profit organization, and the money we raise from sales of our productions through mail order or download goes back into the organization to help pay for publicity and fund future productions. Payment for individuals is rare and usually modest.
Someday, we hope to be able to pay. Our contracts allow for the possibility, and break down the percentage points up front against the day that there is actually some cash left over to divide up. Someday we’d love to have an actual employee. You can help us towards that goal with your purchase or you can make a donation!
We’ve tried our workshopping process with writers who aren’t actually present, but the process is usually a dialogue between the company and the writer, and that’s a lot harder when they aren’t physically present. We get asked periodically about whether we accept scripts from outside writers. The process for doing so is as follows: If you are local to the Atlanta area and are available to come to our Wednesday night rehearsals, contact us and we’ll send you directions. After you’ve introduced yourself we’ll set up a time for you to bring your script in.
If you are NOT local, please prepare a one-page synopsis of your story and a one-page sample of dialogue you’ve written. Contact us and let us know of your intention to submit and we will send back instructions for how to submit those samples. If your story intrigues us and your storytelling style fits in with our own presentation style and capabilities, then we will invite you to submit the entire script for consideration and then we’ll go from there. There will almost certainly be revisions requested, so be prepared for that.
On the other hand, if you have a script you want produced and are looking for a production company for hire, contact us and we’ll negotiate rates for the production!
Pretty much, yeah, you do. We’re aware that there are many talented people elsewhere. We’re aware that it’s possible to record voice tracks in various remote locations and edit them together later. For rare situations, we’ve done that. In general, though, we perform in the same manner as traditional “old-time radio”: We gather the actors in the same place at the same time, and read through the script in real time, as if we were in front of a live audience. (Which, often, we are.) We prefer to be able to physically assemble the cast for our regular Wednesday night rehearsals as well. That limits us to easy driving distance from Stone Mountain, GA (where we rehearse). Write to us for times and directions.
That’s fantastic! We’d love to hear it. But here’s the thing: writing for audio is different from any other kind of writing we’ve ever come across. It’s more story-driven than most television or movies and has a lot less narration and exposition than most books. You can’t lean on special effects, sight gags, or body language. Everything has to be conveyed in the voice or the sound effects.
Because audio drama is not written as often anymore, it’s rare to find someone who can write it well right out of the gate. Therefore, we have an extensive workshopping process where we will listen to a reading of your script and offer you feedback and suggestions. A successful writer for ARTC will take that constructive criticism and be prepared for a rewrite or two or more before they can expect it to be performed. We’ve workshopped some interesting concepts into really amazing audio dramas in the past and we’d love to do it with yours as well!