ASSETS

Assets:

https://www.bensound.com/royalty-free-music/track/pop-dance
bedding music

http://soundbible.com/2099-AM-Radio-Tuning.html
intro

http://soundbible.com/77-DJ-Scratching.html

intro

https://freesound.org/people/Timbre/sounds/106391/

https://freesound.org/people/jourblue/sounds/344365/

https://freesound.org/people/Daphne_in_Wonderland/sounds/400697/

https://freesound.org/people/Daphne_in_Wonderland/sounds/400697/

https://freesound.org/people/DickBlox/sounds/101871/

https://www.bensound.com/royalty-free-music/track/ukulele
Furniture store

https://www.bensound.com/royalty-free-music/track/energy
showroom cinema

https://freesound.org/people/dr_skitz/sounds/353925/

https://freesound.org/people/skyangel38/sounds/133742/


These are the assets which would be needed as written into the script should it go into production, this includes all sound effects and sounds needed for the shows bedding music and advertisements.

LO3: Evaluation

Evaluation :

Having worked toward our brief as set by the client , it is clear to see how our script has met the requirements based on the wants and needs of the client and how this works in conjunction with codes and conventions of a show of this genre. Our show to adhere to the outlined requirements had to have the following things :

• Presenters/voice actors
• News Bulletin
• Feature/interview/narrative 
• Jingle/theme music
• Bedding Music / sound effects
• Original advert
• Competition/ social media links

When writing our script , I took these factors into consideration and ensured that each one was written in with precision so that it resembled a radio script visually like one I had evaluated in LO1 and in my chosen genre - magazine talk show.

Having received feedback from our client we learnt the strengths and weaknesses of our script throughout, one of our greatest strengths was that the script as a whole wasn't too long or too short which gives the client a great indication of how the show would run - they also said that it was great that each presenter spoke in turn as to not effect the running of the script - this was something that we saw in LO1 when looking at the example script from BBC radio Sheffield . In terms of aesthetic and layout, the presenters were justified to the left of the script as per convention making it clear how we adhered to not only the clients needs but the general codes and conventions of this type of script. Another strength given in our feedback from the client was that the dialogue fit the purpose of the script and genre, I ensured when writing the script to include some local dialect , phrases and slang which would be understood by the local community and those who live here such as 'put your big coat on' and 'you'd be daft not to' , this gave our script a peer to peer mode of address making it chatty and easy listening for the audience - it was said that this made our script more relatable for the audience showing how I have written the script in accordance to codes and with the purpose in mind . Our script was intended to entertain therefore this relaxed feel has made it much more enjoyable as the listener will believe they are a part of the production. This is something which is particularly common with shows on Hallam Fm of the same genre.

Some weaknesses of our script were that we hadn't taken into consideration that the show has little funding and organised a cash give-away as part of the dialogue - on reflection and suggestion from the client we realised that we have got very little disposable income for this kind of competition due to the nature of the show being local therefore with little paying advertisement. To amend this and then make the script more suitable, I decided to make it so that a local restaurant was giving us vouchers for one lucky listener and then the chance to win tramlines tickets - these are the kind of things which relate back to our show being local and this also shows how we haver evaluated our clients feedback and acted upon it to make the script more suitable for the brief. Another weakness of our script which was picked up on by the client was that we failed to introduce the presenters which could be confusing for the listener especially as this would be the first show from these broadcasters therefore we added a section at the top of the script which introduced each presenter in turn so that the listener felt personally addressed by each member of the team. This is something which is common in these types of show therefore will show how we have effectively adapted our script to not only meet the clients needs but the expected conventions of this type of script.

When looking at the example script given by BBC radio Sheffield , there were several conventions in terms of layout which I picked upon and then reflected upon in our own script, each element of the script was justified correctly for example the presenters names and time codes to the right and then dialogue and sound effects to the left - by following this convention , it would make it easier for a production team to understand and act upon in a working environment - this also makes it easier for the presenters to understand as this is how the majority of professional scripts would appear. In terms of content our show contains everything which would be expected in this genre of show ; a competition, phone in / interview, music , sound effects and a jingle. All of these elements are justified to the right of the script with things such as effects and jingles written in bold red as per convention this shows how we have thought about the content of our script appealing to the target audience as these are the kind of features they expect to see on shows such as this which have already proved to be a hit with stations such as Hallam FM.

In conclusion I believe that our script effectively meets the brief and has all the codes and conventions of this genre of show.

LO2: Production Plan

LO2: Meeting Minutes

WEEK 19th-26th

WEEK 26-2nd April

WEEK 16th April - 23rd April

WEEK 23- 30th APRIL

LO3: production of script

The style of script we have chosen for the production of ONE20 FM is a magazine talk show, therefore there is sections on celebrity gossip, news , weather and music which is deemed popular with the target audience we are aiming for which is a common convention of this genre of show. The script follows all the conventions in terms of style and layout as the example given by BBC radio Sheffield, as all of the content is justified correctly and visually looks like a professional script which would be important should the script go into production - our script however has been adapted to suit the needs of our target audience for example adapting the news stories to suit the age and demographic of the listener.

The content for our show follows conventions in terms of features , we have everything which typically found within this genre of show including news stories which have relevance to the people of Sheffield such as the current football scores and traffic information within the city centre which could potentially impact the listener should they be getting ready for their night out which is what we are focussing the show around. The dialogue within the show is put across using a peer to peer mode of address which gives the chatty laid back feel which Magazine shows are renowned for - the presenters will talk in their regional accent using dialect which will be understood and appreciated by the young target audience as it will make them feel more at ease with the presenters whilst also reinforcing the idea that this is a local show. Non of the factual features such as news and weather are made to feel tedious due to this mode of address which means its more likely for the audience to pay attention to these sections and realise how they may impact them.

As per convention , our script contains a competition feature which gives the listener a chance to text in their answer to a question aired on the show to be in with the chance of winning a voucher for a local bar and restaurant. This will entice listeners to text in and engage with the show whilst also promoting a local business - we have made the answers for the questions relatable to the local area by using the artists Arctic Monkeys as the answer will be known by most in the local area , this will get a lot of listeners texting in their answers which in turn will create revenue for the show which means the competitions can get better in terms of prizes and frequency of giveaways.

The majority of shows within this genre such as Hallam Fm have a set theme for each programme, we have chosen the theme of confessionals where the most embarrassing or relatable confession puts the listener in with the chance of winning tickets to a local festival. This will be a popular theme with our target audience as 16-24 year olds thrive on gossip stories which are funny and they can use them as a point of conversation with friends - this adds humour to the show making it more likely for listeners to want to tune in as they know it will be entertaining.

The main feature within our show is the celebrity gossip , this talks about popular celebrities common with our target audience such as the Kardashians and Cardi B - these celebrities are often found on reality TV shows and social media which are also common with our target audience. These are the kind of stories which listeners will tune in for as their lives are highly publicised within the media therefore people will know about them.

The narrative for our script bases mainly around the confessional aspect where listeners are able to phone in and have their input on the running of the show, the narrative follows the presenters as they introduce themselves in turn as this is a new show , this will be expected by the listeners. There will also be music throughout the show including current hits which will be popular with the target audience alongside throwback hits which may remind them of their childhood or early teenage years. This running order will be shown in every show which will make the listener want to tune in every week and then they will be come familiar with the way the show runs and soon begin to factor it into their day.

The genre of dialogue for our show is informal , using colloquial language and a peer to peer mode of address which is often expected in this genre of show and has been shown in the example scripts I have looked at including the Hallam FM ones which operate within this genre. The gossip section reinforces this idea of the show being informal as this is a common activity between friends which will make the show feel more personal.

During the production of our script each member of the team took a different role , I personally wrote the main body of the script making it relevant to the genre and mode of address typical of this genre of show . Evie Milnes wrote the news articles and used local online newspapers to source realistic stories which have happened recently which the listener will relate to and then Hannah Ibrahim wrote the advertisements to be used in the commercial break. This shows how we worked together as a team to produce the product.

LO3: Drafts and final Script

DRAFT 1 -




DRAFT 2 -

DRAFT 3 FINAL SCRIPT -

LO3: Conventions

LO2: Codes and conventions (M1) 

Using your planning ideas and draft of your script, you need to EXPLAIN the conventions you have used/ going to use in the FORMATTING and LAYOUT of your script for RADIO – Use the research from LO1 analysis of scripts and BBC Radio Sheffield script to help you. 

RADIO TALK SHOW: Where are the following positioned in your script/ why are they important based on knowledge of scripts/ target audience/ radio talk shows: 

1. Slugline 

2. Margins and breaks 

3. Presenter names 

4. Timings 

5. Dialogue 

6. Music 

7. Sound effects 

8. Jingles 

9. Interviews/ features 

10. News 

11. Adverts 

SLUG LINE

The slug line in our script is justified to the top right of the page to inform the production team of the name of the show, the presenters who are involved in the script and the location of where the recording is going to take place ie: in the studio. This is an important element of a radio script as it gives an indication of who is going to be available for part of the production and where they need to be - this is similar to the BBC radio Sheffield script I have looked at previously as they have theirs justified to the top of the page in bold writing.

PRESENTERS

The presenters names on our script are justified in a column to the left of the page, this gives an indication of which presenter is talking and how long for. This is a convention that I have seen on the BBC radio Sheffield script , they keep their presenters names in turn at the left of the script page. This makes it easy for the presenters and personnel on set to read and understand who is talking at all times , especially as the presenters take it in turns.

MARGINS AND BREAKS

We have included several margins and breaks throughout the script to clearly define where the different elements of the script for example dialogue and sound effects begin and end . This makes it easier for personnel to read and understand the script as the information isn't intertwined. This layout will benefit all the people who use the script as they will be able to clearly define when each effect needs to be used in the queue.


MUSIC FEATURED

Music featured on the script for ONE20 will be featured regularly throughout the show after each segment such as news , weather , celebrity gossip and phone ins. These short previews of music will be played after the jingle to introduce the beginning of the song - we will use trending songs such as 'God's Plan' by Drake which will prove the intention of the show to start the listeners night off , this is the genre of music which is likely to be played in pubs and clubs. Following that we will be playing old school hits including Sean Kingstons 'Beautiful girls' - this will show our shows versatility and show how we have related it back to the conventions of this type of show , with Hallam FM as the example.


Dialogue

The dialogue throughout the script has been written to suit the area from which the show is being broadcasted for example using colloquial dialect from the area and sayings which those who live in Sheffield will understand. This is justified to the right hand side of the script, this is clearly divided up by the margins and breaks as mentioned before making it easy for the personnel to read and understand. The dialogue has been written with the target audience in mind as there are occasional interjections of local dialect and phrases such as 'you'd be daft not to' and 'You'll need your big coat'

Sound effects

Sound effects featured within the script are justified to the right hand side of the script , bold and in capitals making it easier for both the production team and presenters to read and understand. This would be most valued by the sound editors as it shows them clearly when and where the effects need to be played. This is a convention I have seen in the BBC script. Examples of the sound effects we have chosen are cash register sounds when talking about money as this is a sound the listener will associate with monetary gain and shopping which is what listeners would be able to do should they win the competition.

Timing

The timing for the script is one of the most important aspects of a script as it gives us an estimation of running time, our timecode are justified to the left hand side of the script beneath the presenters names so that we have an indication of how long it is going to take for each section to be said. This helps both the presenters and production teams and has proved useful for the BBC in their scripts as it helps the team stay on track and evaluate their usage of time throughout the duration of the show.


Interviews and features

As opposed to interviews and features , we have included a segment within our script which gives listeners the chance to phone in or use our social media handle to reach us and be a part of the show. This is a direct reflection of our target audience as the younger demographic of listeners are likely to enjoy listening to other peoples experiences - this is a convention of a magazine talk show as I have seen similar features on shows such as Hallam FM which have proved to be successful in the past. The purpose of our show is to entertain the audience therefore by including this segment we are showing how we have taken that convention and put our own take on it. The feature we have chose allows us to create a bond with our audience showing that we appreciate their input.



News


We have included in our script a news feature which gives the listener an update on the local news and weather , this was at the very beginning of our script to introduce the beginning of a new segment to the show - this is something we have taken from the BBC script and identified as a convention as this is something most shows as a transition to a new presenter/s . The stories which we have included within our news segment are relevant to our target audience as we only focus around the local areas weather and current events such as local teams football scores. This is similar to how BBC radio Sheffield operate as the script I looked at primarily shows how they introduced their show by warning locals of the adverse weather conditions for the area and which services were disrupted as a result.


Jingles

We have justified our jingles to the right have side of the script alongside the SFX and dialogue - this makes it the ideal location for the production team to read , understand and act upon and also for the presenters as it serves as a form of cue for the next song or segment. The jingles are too in bold, red capital letters to make them visible and easy for the user to understand. By including regular jingles we are following the conventions of a magazine talk show as this is something I have seen on shows of this genre such as Hallam FM. There will be separate jingles to introduce different parts of the show for example the news, station and music.

LO2: Treatment

Radio Production

BRIEF

You have been asked by local community radio station, Sheffield Live!  to create a new and original radio show or drama.

You will create the first 5-10 minutes of the new radio show/ drama and include:

1.Presenters/ voice actors 

2.News bulletin

3.Feature/ interview/ narrative 

4.Jingle/ theme music 

5.Bedding music/ sound/ effects

6.Original advert

7.Competition/ social media links

Style & Content -

The radio show we are intending on making is a magazine talkshow, the inspiration for the content of our show comes from Hallam Fm , which has a similar target audience and purpose to the show we are planning upon. Much like Hallam Fm we plan on providing both current music and throwback floor fillers to get listeners ready for their weekend/night out - this will include a variety of genres including Pop, rap and RndB , this will ensure there is a variety of music for the 16-24 demographic and potential to widen the target audience. Our chosen name for the radio station is ONE20 FM, this is relevant to the brief for a local radio station as '120' is one of the main bus route in and out of the city - this could also relate to the frequency at which the show is played at. People who live in Sheffield should be able to make this link, however those who do not can understand the relation to the frequency.

The presenters will be speaking in their local dialect to reinforce regional nature of the show  and peer to peer mode of address, this will be favoured by the young target audience as they will feel a personal relation to the content as this is potentially how they would address people around them. Our show will include songs from the early 90s to present day, this is to ensure that the target audience is sufficiently reached by providing material relevant to each end of the demographic (those aged 16 are likely to be more familiar with current hits however those aged 18+ will recognise some of the older hits).

The main features our show will be competitions, phone ins , requests and regional news bulletins, these are the conventional things found on stations which resemble our own and relate well to our target audience. We are aiming towards a C2DE social grading meaning a low disposable income  - this will be incorporated into the type of advertisements we produce and more importantly the amount of competitions we hold, the potential of winning something will often entice listeners to tune in to be in with a change . The age range we are looking at are most likely to be students in either college or university therefore spending power will be extremely low - offers and competitions are an incentive to listen as without doing so you have less of a chance of winning.

As the show we are making is targeted toward the South Yorkshire area, it is important that we have news stories and weather updates frequently which are relevant to the listener. This should include regular updates in times of adverse weather to keep people up to date with travel disruption, News stories that are important to those who live in the catchment and also local events happening that will draw attention to the area (which the station could be a sponsor of). By offering song requests and phone ins, our show will be seen to be listening and interacting with its audience, by giving people the opportunity to request their own songs, we as a station would then be able to recognise patterns and determine which songs are trending at the moment so that we can improve the running of the show. By giving people the chance to play their own songs we are also potentially widening the target audience as people may choose songs which fall outside of the time period we have outlined therefore begin to challenge that 16-24 demographic.

Advertisements are a big part of any radio station as they are essentially where the funding comes from which supplies other areas of the show such as competitions - advertisements need to be relevant to the spending power and demographic of the audience we are aiming to target therefore key things to include are car insurance, reduced rates at food shops , financial advice, open university places and college open days. By including these kind of advertisements there is potential to increase listenership figures as people are likely to tune in to find the latest deals, not to mention this would help fund other areas of the show.

Running Order -
7.00 - Station jingle  7.00 - News stories and weather
7.01 - Introduction of presenter and theme (confessional)
7.02 - Song (Gods plan)
7.03 - Explaining competitions 
7.03 - Phone in request
7.04 - Song (Feel it still)
7.05 - Advertisement break 
7.07- Station Jingle
7.08- Song (Sean Kingston Beautiful girls)

Genre-

We are aiming to make a magazine evening show which runs from 7pm to 10pm (potentially the time the target audience are getting ready to leave for a night out), the shows ultimate purpose is preparing the listeners for their night out. The content which is discussed on the show will relate back to the time the show is aired and what its purpose is for example the presenters chatting about where they would go out should they not be at work, or where their favourite bars and restaurants are. There will still be conventional parts to the show which run through the standard day, however they will be more reverent to the time of day the show is being aired for example when the weather update comes on the hour, the presenters may relate this to people going out and whether they will need a coat or umbrella.

Audience Record Ideas-

 Plan

Potential Names-

• SHF
• ONE 20
• FORGE FM
• Kelham FM

Our chosen name for the radio station is ONE20 FM, this is relevant to the brief for a local radio station as '120' is one of the main bus route in and out of the city - this could also relate to the frequency at which the show could be played at.

Potential song choices:

- Akon , Dont matter

- Destiny's child, Say my name 
- Sean Kingston , Beautiful girls
- Britney Spears, Toxic
- Outkast , Ms Jackson
- Coolio, Gangsters Paradise
- Ne-Yo, Miss Independent
- Drake , God's Plan
- Bruno Mars ft Cardi B , Finesse
- Kendrick Lamar ft SZA , All The Stars
- Portugal The Man , Feel it Still
- MK17


Choices-

- Sean Kingston, Beautiful Girls
- Outkast, Ms Jackson
- Drake, God's Plan
- Bruno Mars ft Cardi B , Finesse
- Portugal The Man, Feel It still




Jingle - 


"START YOUR NIGHT RIGHT"

LO2: Mindmap Of Ideas

LO1: Analysis Of Different Scripts (P1)

language and angle of the article:

The script for the new film Baby Driver is written in a peer to peer mode of address using colloquial abbreviations for words such as 'I'm Gonna Break , I'm Gonna Break!' and 'I'm Gonna Daaaancee' - this kind of restricted coding can be acknowledged and understood by many meaning it doesn't rely upon the audience being sufficiently educated in the genre. 

These restricted language choices allow those reading the script or watching the final film to understand and follow the narrative without being distracted by technical term etc , this follows convention for this genre of film. By using language that we use in society in our every day conversations, the audience will readily relate to the thoughts and feelings of that character as they feel an underlying informal bond. The mode of address suits the young 16-24 predominantly male target audience, in the C2DE social grading as this kind of slang language is generally used by this demographic of person. We often associate those who use colloquial language with those from a lower social economic group therefore it is fair to say that a film using similar language choices will relate to those with a lower spending power.

Likewise, the Radio script for The Things We Never Said by Ming Ho has a similar peer to peer mode of address as the main female narrator begins to tell the audience about herself. The appearance of this piece is chatty, 'I drive a car, A metallic red Hatch-back' as we get an introduction into the characters life. As mentioned before this mode of address allows the reader of the script or the listener of the final product, to relate to the person talking and begin to understand them on a personal level which is the intention of a drama - to immerse you in the storyline.

At the beginning of the script the soundscape includes the sound of a busy coffee shop, this creates a sense of warmth and welcome therefore once the narrator starts speaking, it will resonate with those possibly aged between 30 - 60 in the ABC1 social grading ( mainly female) who often socialise in this kind of environment with friends. The purpose of this script is to entertain the audience therefore using restricted coding widens the target audience and makes the narrative easier to understand and follow throughout.

In contrast to this, the script for the Tv show Casualty has a completely different mode of address. Due to the nature of the show, they use elaborate coding to truly depict the hospital environment -  'Stable now, but needs a PCI urgently' and the use of technical medical terms such as Femoral restrict the coding and in turn narrows the target audience to those who understand the language or who are old enough to infer it's meaning in context to what is happening on screen. The use of this script is to entertain hence the more elaborate coding in scenes which are of a dramatic nature, this is to ensure that the entertainment value of the show isn't lost and refined simply to those in the ABC1 social grading (affluent achievers) who have a medical career. The balance of both restricted and elaborate coding is a result of the ethos of the BBC, ensuring that all programmes are in someway to educate and entertain.

The gaming script differs from all the other scripts I have looked at as it focusses more on the actions and responses of the in game characters rather than their dialogue. The purpose of this type of script is to entertain a younger target audience aged between 13-24 who will be familiar with the restricted coding used within these types of games - this would likely be more popular with a male dominant target audience due to the combat style theme. phrases like 'Initialising game' are common within this genre of game to signify the loading of content and are frequently used in market leaders productions such as Activision's Call Of Duty. The flow chart shows the basic interactions between the characters and the movements they make, this follows conventions in terms of showing the players which directions they can run and how best to complete the objectives.



Format and layout


The format for a traditional script is in size 12 and courier font as to resemble the earliest way of documenting drama being on a typewriter. This is the most convenient way of presenting a script to those who use it as the format and layout is easily readable - should the scripts be handwritten there is a likelihood that someone may be unable to read and therefore misunderstand the context or scene. The film script for Baby Driver and Tv script for casualty follow this convention as the majority of personnel will have to follow this script including lighting, camera and props department therefore it is key that it can be understood by many.

In contrast to this both the radio and game scripts do not follow this aesthetic, using the courier font and size 12 however are still effective for their usage. The scripts used for radio from the BBC are not written in this traditional manner however can be excused on the premise that the production team and those who need to see this type of script (specifically radio) are more intimate. For example the voice actors, producers and Foley artists may be the only ones to see these scripts before the production takes place therefore using a different style/size font shouldn't cause too much complication. The gaming script doesn't follow the traditional layout (justified to the centre) of a script due to the nature of the content however due to the vast amount of personnel who work on gaming productions, it is likely that there would be many other scripts including narrative ones which follow a similar format to that of a Tv drama. 

The flowchart layout is the most effective way to present a gaming script as this can be then used by the technical team such as coders to understand the movements etc of the characters within the gameplay and how this corresponds to the objective/dialogue. 


The Baby Driver and Casualty scripts are examples of screenplays and show how the script will be used by a variety of personnel throughout the production process of the film/tv programme. The baby driver script in particular does this well, describing the scene and props such as 'an iPod classic', 'Cheap gas station shades' and 'Black business clothes'. This will have helped both with the financing of the film and then further along the production line - the gathering of props and even sourcing of actors and locations. The casualty script also does this describing the scene and the use of an 'Ambulance trolley' - this shows how the script writers envisage a scene whilst writing and how in turn this is then brought to life on screen.

Both the radio scripts from the BBC are not screenplays therefore do not need this type of in depth description as they do not need to supplement any onscreen action. That being said, the radio drama 'The things we never said' relies upon the description of the characters and items which they possess to set the scene therefore it isn't unusual for the voice actors to describe their 'red Hatch-Back' or 'small flat' as this creates a sense of intimacy and trust between the actors and listeners as you solely rely upon their description. At the beginning of the radio drama there is a brief description of a soundscape - 'Gulls, coffee shop (the clatter of crockery)this helps set the scene for the listener effectively without there being any supplementary visuals.

scripts are used my many different personnel on set to be able to effectively execute the ideas of the scriptwriter/production team. Scripts are traditionally written in the size 12 courier font in order for them to be read and understood by all (however most commonly because it resembles the earliest way of writing scripts),this is one of many examples of how scripts are written for the people they are intended for. Another example of this which can be seen on the baby driver and casualty scripts is location information justified to the left of the page - this helps both costume, set and location designers decide on where is best to film certain scenes, how these scenes should look and what special effects would be used to create an effective soundscape. When scripts have specific instructions which relate to the shooting of the film/programme or editing , it becomes a shooting script - this then becomes a point of reference for all the personnel on set and shows them how the producer and director intend the final product to look like.

The baby driver script in particular shows in depth character description of a 'young, baby faced , short cropped hair' male wearing 'mostly cheap gas station shades' - this would be used by both costume designers and casting crew to find a suitable match for the described male and then dress him accordingly to the character he is to play. In the same section of script, there is also a line about the location of the first scene describing a parking sign at the curb saying 'short stay , five mins only' - this could be then taken by the props team to organise a sign to be made, or even possibly the finding of a similar sign in a chosen location.

A gaming flow chart script somewhat differs from this as they simply have interactions with other characters and how the game should unfurl - this could be then interpreted by the coders and digital artists to then begin to design characters, voices and sets for the production in line with the pre production documents such as a brief or visualisation diagram. A flow chart is a basic way to show the interactions between the characters, the set and the game with its user.





Three act script

A three act script is made up of three parts , the beginning, middle and end which relates to a media theory suggested by Tzvan Todorov in 1977 which suggests that the majority of media products follow this carefully thought out plan made up of 5 steps. The first of these steps is an equilibrium , where everything appears to be ok in the fictional world, this is reflected in the baby driver script as at the beginning, everything is going well within the main characters world as he is able to pull off a drive by robbery without getting caught that being said the script for casualty as they begin in a frantic scenario within the hospital where somebody is seriously injured - some writers like to inverse this theory as it keeps viewers engaged as they are aware an equilibrium is coming . Scripts such as Casualty's which don't follow these rules are known as non-linear which is something Todorov suggested keeps the viewer engaged and is conducive to a more interesting narrative.

The second part of this rule is the disequilibrium , where something happens within the narrative which causes problems for one of the main characters which is where the script for Casualty starts due to it following a non linear pathway. This is typical of this type of production as the drama needs to happen as soon as the show has started to engage the viewer and connote what is going to happen further on in the show/film. Usually a disequilibrium would follow the starting point of equilibrium to follow a linear narrative - although not shown in the extract of script shown in the first part of LO1 , I am aware that the disequilibrium which follows the extract from the Baby Driver script is that the main character , baby has his relationship with a young waitress put in jeopardy by the demand of another criminal job.

The third part of this theory is the recognition of the disequilibrium which in most cases would follow the first two steps following a linear pattern , however in the Casualty example is the second piece of the narrative where the doctors and nurses begin to identify the problems with the patient. This again is present in a more liner format in the Baby Driver script , where baby realises that he is going to loose his love Debbie if he continues to be a part of these criminal activities. This is generally the part within the script where the characters begin to work on the disequilibrium to get back to a resolved state of equilibrium.

The fourth part in this process is the resolution which ultimately leads to the end of the narrative , the best example of this is within the game flow chart where the player is presented with the options which can eventually lead to the ending of the game this is shown in the flow chart option 'continue moving in the same direction until blocked' which prompts the player to either go back on their move or end the game which results in either winning (equilibrium ) or changing the way they play to result in the equilibrium. The final part of this is the finding of a new equilibrium where the main characters reach a state of happiness once more , this is present within the ending of the Baby Driver script where Baby gets the chance to drive off with the love of his life - however this is met then by another disequilibrium where Baby is caught by the police , proving once more this is a script which challenges Todorov's Theory.

The majority of media products follow this sequence whether that be in a linear or non linear sequence however some , like Baby Driver like to challenge this in order to make the film more engaging for the viewer. Radio scripts are the most likely to follow this theory in a linear way as they have a set list of codes and conventions which need to be adhered to where the listener must be aware of what is going on at all times - likewise this is similar for games as they have to be easy enough for the player to understand the narrative.

Style

The selection of scripts I have chosen here all follow different narrative structures whether that be linear such as the BBC radio script or non linear like the Baby Driver script which starts with the equilibrium and then ends in disequilibrium therefore challenging Todorov's theory. The baby driver script in particular is multi stranded as it shows the narrative from different points of view from the different characters such as Baby and Debbie.

A great example of a linear script would be the radio script given by the BBC as it follows a set code as for it to be easy for the listeners to understand - should the show be non linear it would be more likely to be a radio drama which has an intentional narrative to it which listeners are given enough scope to understand. The reason for this script being linear is likely due to the ethos of the BBC being to inform and educate as it needs to be straight forward. An example of a single stranded script would be the radio drama script as it simply follows the life of the main character which is named as 'woman'. A single stranded script is often seen as  easier to understand therefore more easily understood by the audience making it more popular. This is similar for the Casualty script as we are following the progression of the main casualty within the show and how they then find their equilibrium.

The script from BBC radio Sheffield which begins with an update on the local weather is known as a running order - this is the term used for the way the show should run in guidance with codes and conventions what with stories and features. This is often set out by the '5ws' (who,what,when,where,why)- this is reflected in the running of this radio show as the what is addressed straight away with the beast from the east segment and then the 'where' which is the local Sheffield area. Each presenter and interview is then introduced which is the 'who'.

Type

The script from baby driver does not follow a true story therefore is fictional although it does show some issues which a normal human from outside of the narrative world may encounter such as loss,love and hope. The script for BBC radio Sheffield is non fictional as it has real life events during the news features and is based on educating and informing the audience . Like the baby driver script , the casualty script and Gaming flowchart are fictional as they are not based on real events and follow a made up narrative.