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Lauren Reeves

Media Production

Week 6- Radio

Radio

 

Aims & Objectives

  • Identify the characteristics of a radio news feature and radio drama – plus the differences and similarities
  • To produce two minutes scripts for both a radio feature and radio drama
  • Compare both and identify differences and similarities

 

Basic questions for documentary/news article:

  • What is the present situation?
  • How has it come about?
  • What will happen if it isn’t remedied?
  • What steps are being taken?
  • Who is taking them?
  • When can we see a change?
  • What is that change likely to be?
  • Who, what, when, where?

 

News vs features:

News conveys factual information, hopefully of a more or less dramatic nature of which the listener is not aware.

Features on the other hand seek to convey context and meaning against which information can be viewed.

 

Feature story as a news story more like a piece of a short radio fiction. You must combine the rigors of factual reporting with the creative freedom of short-story telling fiction devices.

The feature story’s form must be more fluid than that of a news story; the invented pyramid style won’t work here because the story needs a definite beginning, middle and end.

Listeners won’t have to listen few conclusions; they will have to listen to the whole story to understand it.

Feature stories place a greater emphasis on facts that have human interest.

Features put people in the story; they make the reader think and care.

 

 

News features:

News features, which are either packages or follow ups that is linked to a breaking news event.

 

Timeless story:

Timeless story, which doesn’t have to be used immediately. The information in this story will be just as relevant if saved fir a future issue.

 

How to make radio features:

  • In either type of feature story, good reporting is essential.
  • You collect as many details are possible.
  • You describe people, settings and feelings, the elements of storytelling.

 

When all the details are added together, the listener is placed in the scene you are describing.

 

Specificity:

Placing pictures in a readers/listeners mind.

As if you are there as a reliable witness.

 

For each feature story, before you start your reporting, when you are just conceptualizing coverage and broadcasting, begin this way:

Ask:

Who are the audiences for this story? (Multiple audience stakeholders)

What information do they need to have in the story so they can make up their own mind about what to think?

For instance, if the story is discussing a change in behaviour, can a citizen actually understand how that behaviour would affect them from the story?

 

What is missing?

How do you make local connections? Approach features on a personal level when reporting.

 

Finding subject matter

There are no restrictions on subject matter.

You are limited only by your imagination.

Often a feature story is a simple story about a common person in an uncommon circumstance.

The feature’s job is to find a fresh angle- to find the story behind the person.

 

Connect the story to deeper themes

The best stories reach us on some elemental level.

“There’s something very important that’s always going on in a very simple way in good stories.” NBC correspondent, John Larson.

Look at the story of why things happen, the way they do and then look for a way to tell that story.

 

Find a hook

Even the best writer can find it hard to get a readers interest when the story seems foreign to the reader. Is there a hook, some common ground or relatively unknown link that might get someone interested in the subject?

What is the thing readers need to know if they know almost nothing about the subject but it matters?

 

Give background and history

What background would a newcomer who is affected by the story need to know so that they might care about it?

Another virtue of asking what does my audience need to know is that it can lead to creating new entry points into stories. Make sure your language reaches your audience.

 

Choose a suitable design and hold to it. Planning must be a deliberate preface to gathering. Foresee or determine the shape of what is to come and pursue that shape. Make chunks the unit of compostition. Large blocks of recording can look formidable to you at multi track editing. But breaking them up too much can look like an advert. Moderation and order are the main considerations.

Use the active voice. It is generally more direct and vigorous than the passive.

Put statements in positive form. Avoid tame colourless language. Use the word ‘not’ as a means of denial or in antithesis, not as a means of evasion.

Use definite, specific, concrete language.

 

Find the right voice for your writing.

 

Black box research method-

Is it relevant and who cares about it?

 

Any feature should follow the 3 C test:

Clear

Concise

Correct

 

Writing:

Beginning

The beginning is everything. If this part does not work you are ‘up shit creek without a paddle.’ Your listeners will desert you.

The moment of arrival

This is how you drop your listeners into the story. The background and sub-text of previous histories is better explored through revelation in dramatic action.

Structure

Set up, struggle, resolution. Regard your play as a series of phases.

The plot.

This is the story with lots of twists and turns. Run at least two storylines. Two sub plots would be interesting. Keep the plots linked logically within the same play. Make a major and minor plot linked.

Surprise

Make people interested, excited, scared.

 

Character

Main character must have sympathy of the audience.

Conflict

Drama=conflict=audience. You want your audience to be emotional, laugh or cry.

Polarities or extremes

The art of storytelling is exploring the extreme limits of our psychological or physical existence.

The climax

Dialogue

This is how we engage dramatically with the world. Characters inform, argue, amuse, outrage, and argue through the ebb and flow of dialogue.

 

Purpose

The golden rule is that every word, every line, every scene must serve a dramatic purpose in terms of characterisation and plot development. Drop anything that does not have a dramatic purpose.

 

 

Get your listener inside the world of your play. How?

  1. Sympathy or empathy with the main character.
  2. A good set up.
  3. An antagonist or villain.
  4. Great plot, twists and turns.
  5. Crisis at the beginning is dramatic and a great start
  6. Emotional intensity
  7. Escalate conflict so the structure climbs with tension and humour.

 

 

 

Write a short radio drama piece, two mins about:

Identity- the fact of being who or what a person or thing is.

Obsession- the state of being obsessed with someone or something.

 

Addiction- the fact or condition of being addicted to a particular substance or activity.

Consumerism- the protection or promotion of the interests of consumers.

 

Ideas:

  • Stalker
  • A girl takes over her twins life
  • An unhealthy relationship

 

 

SCENE 1

DIAL TONE

 

OPERATOR:                                                                911, what’s your emergency?

 

ROSE:                                                              My name is Rose Kendall, I live at 4671 Maple Lane. There’s a man standing just outside my house. He’s been here for like 20 minutes.

 

OPERATOR:                                                          Ok Ma’am, do you know this man?

 

ROSE:                                                       I don’t know his name but I see him around a lot. I think he’s been following me.

 

OPERATOR:                                       Have you reported his behaviour to the police?

 

ROSE:                                                                                (Frustrated sigh) I am now!

 

SOUND OF TYPING

 

OPERATOR:                                                            Ma’am, are all your doors locked?

 

ROSE:                                                                Yes, I locked all of them when I first saw him.

 

DOG BARKING

 

ROSE:                                                Shh, Sammy! Be quiet! (Pause) Oh my god, he’s gone!

 

OPERATOR:                                                                        What’s happening, Miss Kendall?

 

ROSE:                                                           (Stuttering) I-I turned away from the window to ‘shh’ my dog and-and now he’s gone! The man’s gone!

 

DOG GROWLING

 

OPERATOR:                                            Remain calm, ma’am. The police are on their way.

 

DOG CONTINUES GROWLING

 

ROSE:                                                                                                   What is it, Sammy?!

 

LOUD SMASHING. ROSE SCREAMS.

 

OPERATOR:                                                               Ma’am. What’s happening, Ma’am?

 

ROSE:                                                       He’s just smashed the window! (Begins crying)

 

FOOTSTEPS ECHO.

 

OPERATOR:                                                              I need you to hide, Miss Kendall. Find somewhere safe and lock yourself in if you can.

 

FOOTSTEPS AND UNEVEN BREATHING FOR SEVERAL SECONDS.

 

DOOR SLAMS. MORE FOOTSTEPS.

 

ROSE:                                                    (Whispering) O-Ok, I’m under the bed. (Gulp) Oh my god, this isn’t happening.

 

OPERATOR:                                                             The police are on their way. Is the man still in the house? Can you hear him?

 

ROSE:                                                               (Whispering) Yeah, he’s-he’s upstairs now.

 

OPERATOR:                                                                Ok, I need you to stay calm and be quiet. The Police are two minutes away.

 

SHALLOW BREATHING. CREAK OF DOOR OPENING.

SILENCE FOR 10 SECONDS.

ROSE:                                                                                                   I-I think he’s gone. I-

SCREAM HEARD.

 

OPERATOR:                                                                                     Ma’am?! Ma’am?! Rose!

 

SCREAMING CONTINUES

DIAL TONE

 

News feature:

SONG FADES OUT.

HOST:                                                              That was Bon Jovi with You Give Love a Bad Name. Now, we’ve got an urgent newsflash for you.

DRAMATIC MUSIC

HOST:                                                                      Miami Dade Police Department have just released a statement regarding the case of Rose Kendall. Chief of Police, Mark Anderson has just announced that they have arrested a suspect in relation to the attempted murder of 23-year-old Rose Kendall. Kendall, an art student, was savagely attacked in her home last Monday. She suffered multiple stab wounds and head wounds causing major internal bleeding. Luckily, the police arrived just in time to save the young woman and she is now recovering in hospital. However by the time the police had arrived, her attacker was already gone. Police, however, now have arrested suspect 35 year-old construction worker, Neil Clarke who had been reportedly stalking Kendall weeks leading up to her attack. Chief Anderson had this to say about the matter.

 

AUDIO SWITCHES TO AUDIO FROM EARLIER PRESS CONFERENCE.

 

ANDERSON:                                                      At 3:18pm this afternoon, Neil Clarke was arrested on suspicion of the attempted murder of Rose Kendall. We believe he was working alone and we are not looking for anyone else in connection to the crime.

 

AUDIO SWITCHES BACK TO RADIO HOST.

 

HOST:                                                                                Clarke’s court date is yet to be announced. We will keep you updated.

 

This week, we learnt about Radio features of both fiction and non-fiction. We learnt about radio plays and news features.

We learnt about this for multiple reasons. One being so that we would be able to explore the medium of radio. Radio plays a large part in our society, both in creative stories and news features. We were also taught about this medium to learn more about the different types of media and to show us another form that we could either use for our FMP or to pursue as a career.

Another reason we learnt about this was to explore the power of writing. In creative writing and journalism, the readers connection to the piece is through the words. Whereas with radio work, you connect through the words you hear, not read. I find the idea of creating a radio play intriguing as it is the opposite of the creative writing I usually do. Setting the scene and getting the audience to connect is reliant on the spoken script and FX which I think would be challenging for me but still something I would love to delve into more. Creating a radio play is now on my list of ideas for my FMP.

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Illustrator: Part 1 (Celia)

This week with Celia, we worked on Adobe Illustrator. We learnt how to create basic shapes, how to use patterns from the swatches library and various pathfinder tools. Illustrator will be a crucial part of my illustration process for my picture book.

Picture for illustator

My 4 Influences (Celia)

Influences 2

Typing Styles (Celia)

screenshot 2

Here are some of the fonts I have experimented with for my project that I like and want to use. I chose to stay away from capitalized fonts as my target audience is young children aimed between 5-7 and fonts aimed at these ages are mostly those using ascending and descending letters as the target audience is only just learning to read.

Research (So Far- Celia)

Research

 

Article 1- ‘9 Factors that make a Picture Book Successful’ by T Marchini, 2011. Tracymarchini.com.

The writer of this article talks about the use of colour and how crucial it is when creating anything for children. ‘Successful picture books surprise the reader by the art on the next page.’ She also talks about the importance of having relatable and lovable characters. She also mentions other points such as having a humorous approach, re-readability and universal appeal.

 

Article 2- ’10 Tips For Creating Your First Children’s Picture Book’ by Michael Gallant, 2012. Blog.bookbaby.com.

Gallant talks about the importance of knowing who you are writing for and what you are writing about. ‘The more you read, the more easily you’ll be able to internalize the sorts of rhythms and story arcs that other authors have used successfully.’  This gave me the idea of looking at children’s picture books that are currently available to buy from bookshops such as Waterstones, WHSmith’s etc.

 

Article 3- ‘Mick Inkpen’s top tips for making a picture book’ by Mick Inkpen, 2016. Theguardian.com.

In this article, Inkpen goes through the step by step process of making the book and what you take into consideration. He talks about everything from the amount of words to creating a character. ‘Look at some of your favourite picture books. You’ll find that many of them are made of 32 pages and have between 12 and 14 “spreads” for the story – two facing pages make up a spread.’

 

Article 4- ‘How to write a picture book’ by Alan Durant, unknown date. Penguin.co.uk.

This article is written by author of picturebook Daddy, I can’t sleep and he gives his tips on writing a picture book for children. His tips include limiting the word count to below 600 as children have shorter attention spans. He also talks about writing in short sentences to make it easy for the young audience to understand.


screenshot

Here are some of Waterstones bestselling children’s picture books.

I initially noticed that most of these books use bold colours on their front covers. This could be a way to make the book stand out on the shelf and grab the attention of their target audience.

Another factor is each of these books contains its own illustration style. Some of the characters are drawn quite simply with not much detail whilst others have more intricate detail and look more realistic.

 

 

Research on the animals:

As my story is about tigers living in the jungle, I had to research what jungles tigers lived in. All of my research regarding animals in the jungle and the specific jungle I chose as the setting of my story was gathered from the following websites:

  • Worldwildlife.org
  • Wikipedia.com
  • Nationalgeographic.com
  • Tigers-world.com
  • Tigers.org
  • Tigersincrisis.com

Week 5- Documentaries

This week, we learnt about Documentaries.

We learnt about the structure of a documentary such as:

 Beginning: Which visuals “hook” the audience? Which visuals create curiosity? Set up the problem or the issue. Make the audience as: “Why is this happening?”

Middle: Which visuals establish the stories themes and the main characters (heroes and villains) and setting (a hero/villain can be a person, thing or event). What are the characters motivations, goals, needs. How are they met or denied? What are the most powerful moments in the narrative? The key to a good middle is structure!

Does the mood change? Think in short sequences exploring the theme.

End: which visuals show the outcome of the events and resolution to the story.

Then we learnt about the relevancy test used in documentary making. This involved asking ourselves the following questions when planning a documentary script.

  • Is this information or source of information directly related to the subject of my film?
  • Is it necessary for the audience to know this information?
  • Will this information add to the overall quality of the film?
  • Even if it is relevant and will add value, is it more relevant than all the other information I have gathered so far?
  • Will I be able to incorporate this information into the script even if it is relevant to the subject?

 

We then talked about how documentaries deal with fact, not fiction and how we couldn’t make up what we don’t know. Documentaries have messages, otherwise they wouldn’t be made.

We then watched an excerpt of the documentary ‘The Uprising of ‘34’ which told the story of the Passaic Strikes. After watching this, we talked about what visuals got us (the audience) hooked and did each scene move the story along. We also discussed which moments we found the most powerful and how the visual impacted the story.

We then looked at the 5 channels of information in film, these were:

  • The visual image
  • Print and other graphics
  • Speech
  • Music; and
  • Noise

We were then given the task of writing a documentary script surrounding the theme of the Passaic strikes. You can find that below along with my evaluation for the week.

 

The War in Passaic Script

 

References: The Uprising of ’34. 1995, PBS.

 

Week 5- Celia- SMART Targets (Updated 18.10)

This week with Celia, we began with creating SMART targets for our project.

smart targets celia

 


 

What I learnt from my research on children’s illustrations:

After researching this topic, I formed my own opinion on factors that make children’s illustrations successful and attention grabbing. Illustrations aimed at younger children have a lot less detail and are more childlike in their design whereas the drawings aimed at older children have more intricate detail and are more lifelike.

 

Week 4 – Script Writing

What did we do? 

This week we started with a class exercise. We were given pieces of blank paper and told to write down a character. Their name and a profession, their age or a personality trait of theirs. We then folded them and put them in a hat. We randomly pulled out new pieces of paper with characters on them. This process continued with writing down a name, then on another piece a location and then finally an object.

For my chosen pieces, I got:

Phil Striker- Construction worker, addicted to caffeine.

The Joker

Prison

A gun.

 

From this, we were told to write a theatre piece and here are a few of the ideas I came up with:

  • Phil is working on rebuilding a certain part of the prison. The Joker has manipulated him into smuggling a gun into the prison.
  • Phil and the Joker are cellmates and they steal a gun from a prison officer.
  • Phil visits the joker in prison as he killed Phil’s daughter.

I eventually chose my first idea and here is my script so far:

 

ACT I

Large visiting room in prison. Guards are placed at every entrance. In the middle of the room is a table and two chairs, Phil is sat on one.

 

Joker enters and sits down, grinning at the man.

 

JOKER: Phil! My old buddy, how are you? (Joker stands to go and hug him but is immediately reprimanded by guard causing him to sit once again.)

 

Phil stays in his seat, eyeing the Joker nervously.

 

JOKER: Tough room, huh? (Sighs) I’m happy to see you. I knew you’d come.

 

PHIL: (Stutters) I did as you asked. I have what you want.

 

JOKER: Now now Philip! Slow down! (Grins) We have a lot to catch up on, let’s not get down to business just yet. Or I’ll start to think you don’t enjoy my company. Now, is it a magnum? Revolver?

 

Phil begins sweating, eyeing the stoic guard.

 

PHIL: It’s a 19 millimetre semi-automatic pistol.

 

JOKER: Ooh! (Claps hands) Brilliant. Now, do you wanna hear a secret?

 

PHIL gulps before shaking his head.

 

PHIL: I wanna leave.

 

JOKER: (Fake pouts) You’ve hurt my feelings, Phil. Now, I forgive you but I’ll ask you again. Do you wanna hear a secret?

 

JOKER leans forward in his chair.

 

JOKER: You know that wife of yours? Beautiful Sarah that I promised I wouldn’t touch if you got me a gun?

 

PHIL nods slowly, looking terrified. JOKER leans forward even more.

 

JOKER: She’ll be dead by the time you get home.

 

PHIL jumps up.

 

PHIL (shouting): No! You promised you wouldn’t hurt her!

 

Guards start walking over. JOKER grins.

 

JOKER: She’ll look beautiful in her coffin, well, that’s if you find all of her body. (Laughs)

 

PHIL screams and guards restrain both men, dragging them out of different exits.

 

JOKER: This is my game, Phil but thanks for playing.

 

Scene ends as audience are shown the shape of a gun under JOKER’s clothes.

 

 

ACT II

Flashback

Prison cell. JOKER is on the inside whilst PHIL is on the outside.

 

JOKER whistling. PHIL is working on reconstructing the roof further down the hall.

 

JOKER: A naked blonde walks into a bar, carrying a poodle under one arm and a 6 foot salami under the other. The Bartender says, ‘So, I don’t suppose you’d be needing a drink?’ The blonde says-

 

PRISON GUARD: Shut up!

 

 

JOKER raised his hands in mock innocence. PRISON GUARD rolls his eyes.

 

PRISON GUARD: Arrogant prick.

 

JOKER: It ain’t arrogance if you can back it up. (Smirks)

 

PRISON GUARD goes to respond but gets a call on his walkie talkie.

 

PRISON GUARD: Ok, copy that, I’m on my way. (Turns to PHIL) I’ll be back in a second. If he gives you any trouble, just ignore him.

 

PRISON GUARD leaves.

 

JOKER: Do you want to hear the rest of my joke?

 

PHIL ignores him.

 

JOKER: Is that a yes? Or a no, Phil?

PHIL freezes.

 

PHIL: How do you know my name?

 

JOKER: (chuckles) Sarah told me. Such a sweet lady.

 

PHIL: Wha- How do you know my wife?

 

JOKER: Well, she doesn’t know me but I sure know her. (Grins) How’s she doing, anyway? You both must be deeply saddened by your loss.

 

PHIL: What the hell are you talking about?

 

JOKER: (Pauses.) Oh no, don’t tell me she hasn’t told you? (Throws arms up) Well damn, I’ve let the cat out the bag!

 

PHIL: What are you talking about?

 

JOKER: Sarah, sweet lovely Sarah had a miscarriage.

 

After this, we discussed our characters inner and outer conflicts. We also discussed how the days writing would impact our writing in the future. Through writing this piece, I have learnt a lot about theatre writing and I was able to look up some examples of theatre scripts to see if mine were similar. I looked up the script of one of my favourite musicals ‘Mamma Mia.’

 

ACT I

 

SCENE 1

 

BEACH BANK

 

 

(Sophie is onstage by herself. She hears her friends calling to her, the first to arrive for her wedding.)

 

 

ALI: (offstage) Sophie!

 

LISA: (offstage) Sophie!

 

 

(ALI and LISA climb over the wall.)

 

 

ALI: Sophie! Ahhh!

 

LISA: Hi!

 

SOPHIE: Ali, Lisa. Where have you been? I thought you’d get here hours ago.

 

 

From this script, I picked up little techniques that would make my script look more professional, such as using capital letters for the characters names and making actions centre aligned whereas dialogue would be left aligned. I will go into more detail with what I learnt later.

 

 

 

For our next task, we worked on subtext. Subtext is the underlying meaning behind dialogue.  We were given the task of writing a script featuring two characters that were both speaking with subtext. Both were saying something but meaning something else.

For my piece, I chose to write about two Christian girls who are discussing gay marriage, however, they are both secretly in love with each other. Except only one of the girls is willing to admit she has fallen in love with a girl.

 

 

ACT 1:

Two girls sitting at a picnic table.

 

NINA: Did you hear about what’s happened in America this morning?

 

CHLOE: Oh god, what’s happened now? (groans)

 

NINA: Well, they’ve legalised gay marriage.

 

CHLOE freezes and stares at NINA. CHLOE grasps the cross around her neck.

 

CHLOE: Oh.

 

NINA: Yeah. To be honest, I don’t think it’s such a bad thing.

 

CHLOE: Me neither but our parents are gonna lose it.

 

NINA looks down at her own cross necklace.

 

NINA: Probably. But what’s so wrong with a man loving a man or a woman loving a woman?

 

CHLOE looks away, missing NINA’s nervous gaze.

 

CHLOE: We’ve both been raised to believe it’s wrong and that it’s a sin. What’s changed in your mind?

 

NINA: (Sighs) I realised that maybe, I had fallen in love with a girl.

 

CHLOE’s eyes widen.

——————

This is a piece of writing I intend on working on more as I feel that it’s an interesting concept that could be explored in multiple different ways. I chose to write this plot as I felt that stories often focused on straight couples, especially in the Young Adult genre as most feature a love triangle featuring two guys and a girl or two girls and a guy. I wanted to turn the tables on this trope as I don’t see a lot of gay representation in certain forms of media, aka YA books.

 

 

Our next task was to write a film script. The only ‘theme’ we were given was ‘The writing is on the wall.’

For this task, I came up with several ideas which included:

  • Person goes missing, police find kids drawings in basement.
  • Person is murdered, leaves clues written on walls
  • Serial killer taunts police by writing clues on walls
  • Messages are found under wallpaper
  • Anonymous student is writing other students secrets on notice boards

 

I finally settled on my first idea and here’s what I wrote.

IDEA:

Old man with no children who lives alone disappears. When the police investigate, they find children’s drawings on the walls and messages written on the walls in the basement.

OLD MAN- Peter Jenkins

POLICE OFFICER- Trisha Yates

POLICE OFFICER 2- Alan Humphries

 

 

ACT I

Run down cul-de-sac with only a few houses. Afternoon. Two police officers are standing outside a small, rundown house.

 

TRISHA: This is the house?

ALAN nods, looking up at the house.

 

ALAN: Yeah. His name is Peter Jenkins, 84 year-old white male hasn’t been seen in 5 days. His neighbour Cathy Hargreaves reported him missing after noticing his cat hadn’t been fed. She went over to see if he was home and said his post was piled up and there was no answer. She checked back every day for 4 days before reporting it.

 

TRISHA: So his kids didn’t notice?

 

ALAN: He doesn’t have any. Lived here alone since 1989.

 

TRISHA: Strange.

 

TRISHA and ALLEN walk up to the front door and TRISHA knocks.

 

ALAN: (Snorts) If he’s missing, he isn’t going to answer is he?

 

TRISHA rolls her eyes.

 

TRISHA: Mr Jenkins? Open up, it’s the police.

 

Silence.

 

TRISHA: Would you like to do the honours?

 

ALAN: Pleasure.

 

ALAN breaks the door down and they step inside.

 

TRISHA: Mr Jenkins?

 

Silence again.

 

ALAN: You take the kitchen, I’ll take the living room.

 

The two split up and search. The kitchen is an off yellow colour with scuffed counters and dusty curtains. A box of cereal is laying on the counter, half open. The living room consists of a faded beige carpet with tan walls. A patterned grey sofa is situated in front of an oak coffee table. On top of the fireplace is a TV that’s showing Channel 7 news. The two finish checking the ground front before finding a door that leads to the basement.

 

TRISHA and ALAN look at each other.

 

ALAN: Ladies first?

 

TRISHA rolls her eyes once again.

 

TRISHA: My hero.

ALAN bows.

 

ALAN: At your service.

 

TRISHA goes down the stairs, followed by ALAN and flicks on the light switch. They are met with shelves of food and stacks of clothing in the dimly lit basement. TRISHA picks up a piece and holds it up.

 

TRISHA: (Frowning) This is kids clothing.

 

ALAN takes out a torch and flashes it on the lilac dress TRISHA is holding.

 

ALAN: But he never…

 

TRISHA: Had any kids. I know. But then why does he have kids clothes?

 

TRISHA begins looking through the other piles of clothes and discovers they are all of a similar size, with either dinosaurs, footballs or animals on the front.

 

ALAN shines his torch around the room and stops when he finds another door.

 

ALAN: Trish, look.

 

TRISHA looks over and sees the door. The two share a look and move towards it. The door is padlocked with several other sliding bolts. ALAN pulls at the lock with no luck.

 

ALAN: There has to be a key around here somewhere.

 

The two begin searching.

 

ALAN: What do you think is in there?

 

TRISHA: To be honest, after all the cases I’ve worked, I really hope it isn’t what I think it is.

 

ALAN: Maybe it’s like a homemade safe?

 

TRISHA: Maybe.

 

 

The two continue searching until they find the key hidden between a yellow ‘for ages 5-6’ sundress and a pair of ‘for ages 7-8’ paw print pyjamas. The two are both becoming more uncomfortable and apprehensive.

 

They walk to the door and unlock it. ALAN shines his torch around the room. They are immediately met with the stench of mould. On the stone floor was a mattress, decorated with stains of varying colours. Near the end of the bed was a small, metal toilet and a cracked sink. On the adjacent wall however was drawings. Countless colourful pages stuck onto the wall. Stick figures drawn in crayon littered the pages. One, however, caught ALAN’s eye.

 

ALAN gestures at a drawing near the bottom of the wall and TRISH looks. The drawing was titled ‘The day I left mummy and daddy.’ The picture contained the image of a stick man grabbing a small girl and pulling her into a black van. In the bottom left corner, the name Emily was written in messy handwriting.

 

TRISHA: (Shaky voice) Alan, do you remember Emily Hart? She was abducted by a man in a black van in 1999.

 

ALAN: Oh dear god.

 

Then the puzzle began to fit. They saw that every drawing had a name at the bottom. Each correlating with a child that had gone missing in the past 40 years. Emily Hart was 7 when she was taken. Then there was Marko Derill who was only 5 when he was taken in 1992. Before that, there was Sadie Lewis and before her, there was Lizzy Barnes. The list went back decades.

All of their names were here.

But where were they?

And where the hell was Mr Jenkins?

 

What did we learn?

Through these tasks, we learnt about the script writing format, both for theatre and film. We also learnt about subtext which is the underlying meaning behind words. Another thing we learnt about was conflicts, internal and external. Internal conflicts are conflicts that a character struggles with within themselves, such as struggling to make a decision whereas an external conflict is a conflict between two or more characters or between a character and their environment etc.

We also learnt that films are visually driven whereas theatre shows and radio shows are dialogue driven. Most theatre shows have social, emotional or political messages behind them as well. We learnt a lot about what was behind the scripts.

I found writing scripts to be really interesting as it was a form of writing I hadn’t explored before. I really like the idea of the writing in this format as it allows the reader to have some freedom when imagining the characters and the setting.

 

 

 

Why did we do it?

The purpose of these tasks was to learn more about script writing. We learnt about both theatre script writing and film writing for multiple reasons. One being that when we come to our FMP’s, we can choose to write a script as our format. Another reason being that we now know how to write scripts which will be extremely useful when we are trying to pursue careers in this field. Ability to write scripts of different formats will help our CV’s when applying for jobs in writing.

 

How do you feel about it?

I found these tasks to be really thought-provoking and practical for our FMP’s and future careers. I loved being given an outline (The writing on the wall, choosing random characters etc) and then being able to let my imagination run. I feel that as I discovered different forms of writing, it has opened up a new world of writing possibilities for me and I will definitely be doing more script writing in the future as I found it to be something I really enjoyed.

 

How will it impact my writing?

The lessons of this week will impact my writing as I now know a new writing format and style. I think that I will now be able to explore a new side of writing through this format as well as being able to discover different plots for stories that may not work in other formats. I feel that it will also help me when writing dialogue in anyway as I will remember to focus on what the characters are actually saying and what they mean aka subtext.

 

What do I need to develop?

I think that I still need to work on scriptwriting to become better at it and I plan on working on it more in the future. I also want to work on subtext more as I think it is a really crucial aspect of all writing, not just script writing. I plan on working on both of these as the year continues and as we begin other projects.

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