Sample:
How-to One-sheet for Acoustiguide Corporation

Writing an Acoustiguide Tour -- Insider Tips for Clients

1. Remember that this is a very intimate medium -- it's playing directly in someone's ear. You can conjure up a naval battle or whisper a secret -- but never pontificate or patronize.

2. Think of the visitor as an intelligent friend who knows nothing about this subject. How do you get them interested? What do you want them to come away with?

3. Give each stop a good lead. If you don't hook them, you may lose them.

4. Balance visual specifics with background material. It's better to address the work sooner than later, so visitors know why they are standing there.

5. Keep asking yourself -- what is the visitor doing? If you don't engage them in the looking process, they are likely to begin wandering aimlessly.

6. Remember, no one takes a quiz at the end of an audio tour. Don't refer to names, artistic movements or dates unless they add something to what you're saying.

7. People love anecdotes and the inside story. So use your personal experiences or fascinating information about acquisition, conservation, installation, or even the frame.

8. Vary the length of stops depending on the size and visual interest of the object, space around it, possible crowds, etc. In general, aim for 200 words (about 90 seconds).

9. Beware of works the visitor cannot see. If you must refer to an outside work, add a phrase or sentence to give people a handle on what's going on.

10. Remember you are writing for the ear -- test your writing by reading it out loud to a friend/colleague. Is the logic clear to someone who doesn't know what you want to say already? Will the narrator run out of breath before finishing one of your sentences? Use the active voice as much as possible.

11. Extra information. For riveting information that doesn't fit into a stop, consider adding a layer. A layer is optional additional material connected to a specific stop. Just be sure to offer it in a tantalizing way. (e.g., "To hear a lascivious poem about the Death of Cleopatra, press xxx").

12. Consider a variety of voices and materials. For example: director's introduction; live interview material ("actuality") from curators, artists or other experts; archival material; actors reading quotes from contemporary or modern sources, letters, literary passages or poems. Using a director as narrator can knit a tour together, or a curator can narrate, and a celebrity voice sells tours. But a neutral (anonymous) narrator is often fine and of excellent quality.