While audio description for the blind is gaining traction in our culture, appearing in commercials and on most Netflix shows, many people are still confused about what description actually is.

The process is fairly simple. A description writer watches a film or TV show, then writes description of its visual content between bits of dialogue using specialized software synched to the original content. This creates a voice over script, which is edited, then sent to a voice over studio. After the voice over actor, or “narrator,” records the script, specialists create a new sound mix of the film that includes the narration for blind audiences.

When I first came in to test for a “Describer” job at WGBH, the woman testing me offered a beautifully simple explanation:

“Imagine you’re at the movies with a friend who can’t see, and you’re explaining what’s going on between bits of dialogue.”

A long-time friend and colleague in this field recently expanded on this, adding that it’s a mix between technical writing and a novelization of the film.

In gaps between dialogue, a description writer must take what’s happening visually onscreen, distill the most important, useful, or evocative information, and explain it in clear, accurate, accessible language. Because the content will be heard (not read) by audiences, the style should be lyrical yet balanced, while also matching the narrative tone of the media it supplements.

Time parameters are an additional factor, so phrasing is largely determined by how much a voice over artist can comfortably say in the time allotted. In films that are heavier on dialogue, only the most crucial information will typically make the cut. For films without much dialogue, such as action films or movies that center on visuals (The Tree of Life, for example), the writer must fill longer gaps by delving into evocative visual details to help build the world for the listener. This is where description can feel more like a novelization.

Audio description as a writing style was developed over many years from interviews and case studies with the blind and visually impaired. While you can generally afford to be looser with some grammar and style rules than you would be for other types of writing, there are certain rules and parameters that are much stricter. For example, passive voice is prohibited. Telling listeners what a character is feeling is also not allowed. Accuracy is paramount, punctuation is used to guide the voice-over artist, and timing must be impeccably precise to ensure a smooth sound mix.

As one of my old bosses used to say, “Audio description is like Yahtzee—quick to learn, but a lifetime to master.”

Scroll down to see excerpts of my past audio description work. (Higher resolution samples coming soon.)