How did you use media technologies in the construction and research, planning and evaluation stages?

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What have you learnt from your audience feedback?

We held a listening party in order to receive feedback and primarily we received very good feedback, averaging out on an overall seven out of ten, based on 26 votes.

The things most liked about the Radio drama, were the use of sound effects and music, the script and the atmosphere created. It appeared within our other comments that our desired effect from our audience was also reciprocated; in a relatable tone the drama was well presented and had a sense of naturalism to it. On the other hand, we also received comments such as the end scene being slightly uncomfortable to listen to; however, I personally perceive this to be a good reaction as the issue of domestic violence is not a pleasant topic to contend with, so this was intended. The use of  language was brought us as an issue, particularly “vindictive whore”,  and whether it should have been cut out or re-written, yet in contrast to contemporary soaps I don’t think we pushed the boundaries enough to require a watershed. Another comment, about the narrative, was that the acting was a bit stiff in places, but unless we were to get in actors this could not be avoided.

In regards to development, one thing predominantly stuck out; somehow during editing we had managed to include a double scene, where Lara calls Susan. This was our major fall back due to it breaking the tension and atmosphere created by the rest of the piece. Also, the levels need adjusting, in order for certain sound effects and sections of dialogue to be clearer.

On the whole we received very constructive criticism and a vast amount of variety when it came to personal opinions; some said it was too dramatic, others not enough drama, more said it was realistic than not and the odd comment was raised about the characters, how they needed to be developed more and how Jonathon appeared too ‘evil’, yet this wasn’t a standalone episode and the character development would have been done in previous episodes.

All issues raised were contended with and seen to in our second round of editing.

How effective is the combination of your main product and the ancillary texts?

I think the combination of the radio drama and my ancillary texts was very effective and compliment each other very well, as well as the marketing timetable. I managed to keep the tone and approachability throughout in order to reach and address my target audience and this is reflected in my audience feedback.

The aim is for the poster to be pre-released to create a buzz for the storyline, to reflect and represent it yet without giving too much away. The poster could be placed upon billboards, in newspapers and magazines, majority of which are more likely to be women’s magazines due to being our predominant target audience and publications like Radio Times as it is specified towards the intended audience. The advantage of using a poster to publicise our product is that not only will it reach the audience who already listen to radio dramas, or who may be pre-aware of ‘Pembroke Gardens’ or the types of radio dramas on BBC Radio 7, but it will also have the opportunity to entice new audience members. This is especially reflected in having the poster used as a billboard as the audience is no longer niched it accesses a mass audience. The concept of advertising multi-platform allows a sense of versatility and wider audience interaction.

The feature, itself, is more likely to be published in Radio Times than a women’s magazine due to the tone and register of the text and the interview format. The feature interviews the cast on the way in which the product has interacted with society, the press and the audience. It focuses more on how ‘Pembroke Gardens’ tackles and promotes raising awareness of the issues the product contends with. Adding to the media hype of controversy in a positive spin would be very good publicity for the product, as those who will read the feature who are virginal to ‘Pembroke Gardens’ may find themselves intrigued into what all the hype is and become drawn into the storyline, those who follow soaps may find this feature interesting on the basis that it gives insight on the actors behind the characters and for our regular audience it would indulge their curiosities. The secondary aim of the feature is to get to know the cast better as people, away from the characters they portray. I included within the interview that some of the actors had had previous work that they may be known for; this will also draw in an audience who are familiar with that actor or the texts they have previously worked on. Choosing to include the poster will help, to make both the title of the product and also image, the audience to remember the product or allow those who aren’t very aware get interested.

The episode of ‘Pembroke Gardens’ will follow a week after Radio Times, in order to take advantage of the buzz created in this storyline arc allowing audiences to prepare themselves for it by tuning in until our episode plays. We chose to schedule the show at 5.30pm on the weekdays as this will be when people are driving back from work or during evening meal preparation time; they may see the billboard and tune in or have read the feature earlier and decide to tune in, this holds high effect in the ease of access to the product. The issue with language that was raised as to whether the product should be played after watershed or not was minimised due to having a similar use of language on evening television soaps and because of the timing it would be a show that wouldn’t be played with children as the intended audience.

With a steady and cumulative buzz growing in preparation and about our product, we should have a large enough prospective audience for the product to be a hit, ratings wise.

I did some personal research through using Facebook polls for audience feed back, for both individual texts and combined. In regards to my poster, I had a positive consensus, noting how the poster was effective in promoting the storyline, although the models used should have been older. The feature proved to have done well also, those who replied like the layout, said it looked like a real feature and that the text was engaging. Those who didn’t agree, noted on the similarities in photographs and didn’t like the use of the red in the pull-quote.

In what way does you media product use, developer challenge forms and conventions of real media products?

Through our research and development of research ideas we covered many different types of products and the different facets of BBC radio that produces them. This information inspired our ideas and pushed them to a production par. Most of all, the concept of ‘The Archers’ appealed to us most, the idea of a serial drama, the reflection within radio of shows that we are most familiar on the television  and how it is translated to a radio production. We wanted to influence our drama with what we’re most familiar with, to ensure the codes and conventions of drama are met; products like ‘Eastenders’ and ‘Desperate Housewives’, where the location aides define the regularities of the realism and also allows the rupturing of ‘normality’ to bore narrative storylines, give us the guidelines to work from. ‘Eastenders’, like ‘Desperate Housewives’ has a regular setting yet has irregular events in order to be capturing and dramatic.  We also looked at the ways radio dramas are constructed, the use of sound to encapsulate a location and the events going on within it, how to substitute the lack of visual aid to define the mise-en-scene, the ways in which non-diegetic sound create mood and the lack of any sound creates suspense.

As sound is our only medium, we must pay closer attention to its use. In order to construct a setting, we must fill every void within it to ensure that the location is set and our characters are exposed, we must think outside the box; for example, if we are to set a scene in a café in Edinburgh, not only must ensure the relative sound effects are used, quiet background chatter, clanking of spoons, perhaps a coffee machine in the background, however to maintain the location we may introduce a minor character, like a waitress, with the accent and perhaps the major characters if they’re native will have the accents too. In ‘The Twilight Zone’ the episode we listened to was set upon a submarine, so throughout there was an intermittent creaking from the pressure of the water against the hull of the ship, because of this the illusion of being upon the boat was maintained.  In our radio drama, we tried to maintain this kind of level of attention to detail, for example in the second scene when Gary enters the Windsor household; we have added footsteps on a wooden floor, a slight echo to his voice and some soft background music for effect. This gave the effect of a larger, older, more classic style London town house which, in turn, connotes wealth; this then further explains the character and gives us further implied information on them.

Every detail counts in maintaining the surroundings, and we must maintain clarity in what is going on. From the action of picking up the phone to popping open a bottle of pills, we realised how many individual sounds were needed to sustain the narrative. This posed a couple of issues whilst writing the script, eluding to re-writing sections to fit radio and not to fit television; during the creation and coming together of the narrative we all planned through and envisioned how things would work out and that was the problem, we had planned out all these ideas and scenes only to realise that they wouldn’t translate to radio very well. For example, at one point the murder weapon was going to be a knife instead of a gun, yet we realised the only real way to signify a knife on air would be through the script and, for the kind of scene we were planning, that would only slow the pace of the scene.

The use of background music aides to set the mood and atmosphere; although ‘The Archers’ didn’t use background music, the episode of ‘The Twilight Zone’ did, and successfully too, in order to procure the sense that the character really was going a bit crazy. Within our radio drama, we chose our music carefully; we decided that the music for this episode should have a darker edge to it, for example the backing music ‘Beautiful Tension’, we chose this to be Jonathon’s theme track for it too was dark and misleading, appearing initially to be relaxed and then building into a crescendo.

As much as the use of sound is vital, so is the lack of it. Within ‘War Of The Worlds’ silence was used for tension and suspense, to aid the sense of fear and forlorn. Within Pembroke Gardens, we used the silence to transition between scenes, to use silence as nothingness, and at the end of the drama after Lara is shot, for shock factor and surprise especially as there was a build up with the music before as well.

[clip of Waroftheworlds]

Our characters help define the narrative. Having characters of varying social background within our radio drama advocated special attention directed to accents; generalisation is necessary when it comes to certain media products and much like the old Ealing studio films, it is sometimes necessary to have a clear indication of who the characters are, based on their accent. Within ‘Pembroke Gardens’ this is quite clear, Gary’s friends are quite clearly of a lower class to that of Jonathon, Lara and Susan; the accent differences highlight this but not as much as the sociolect that really emphasizes the difference in socio-economic background. Jay says in the opening lines that he “got bang-bang from a proper milf, last night”, this denotes his sense of class due to the use of slang and simplified lexis and imperfect English denoting C2DE background. Jonathon for example, appears to be ‘clearly’ educated, he uses polysyllabic lexis and has a good control over his vocabulary and more of an AB background, for example “You’re detestful, and the only reason I took you, was out of pity”.

The storyline makes it. We very much like the concept of a serial drama, inspired by ‘The Archers’ with a polylateral narrative in order to be able to focus on several plots at once whilst being able to treat each episode individually. Like with many soaps we deal with many ‘issues’, such as affairs, secrets, cover-ups and, originally, a whodunit narrative. Our major storyline arc came to an end within the episode we made, Lara’s affair with Gary, yet, like a classic serial drama, the twist in the storyline opened up another storyline arc, Jonathon killing Gary and pushing his wife over the edge and the kind of repercussions that will bring. Having an ongoing abusive relationship narrative was quite important; it allows a sense of illuminating the issue to a wider audience and to raise awareness, to let those who can relate to the story (Uses and Gratification;Bulmer and Katz) that they are not alone. We also paid close attention to the pacing of text and also the character involvement as to not confuse or bore the listener.

Advertisement Poster

Although it was difficult to find other examples of radio drama posters; the majority I came across were either of cast shots or of character based situational shots and from this I began looking at these conventions to shape and form my poster. The cast shot I aimed for was to show the audience what the characters looked like and also to back the storyline. It shows how Jonathon is controlling and obsessive, Lara’s need for escape, Susan’s helplessness in her want to help Lara and the authority figure that represents the police, on the edge as a hint of what’s to come. This adheres to codes and conventions of product advertisement, referencing film posters that hint at the story behind the protagonist or that of cast shots.

I think I have used a shot that really has a narrative and says a lot, this, combined with cast names, a tag line and branding, I aimed to replicate that of more traditional advertisement. In order to replicate ideas of creating a tone to the piece I kept my fonts classic and differing my logo and tagline, which appeared highlighted in contrast and more fitting to the tone of the product.

Feature
My feature reflected my research made in preparation and thus conforms to the conventions of written features. My layout and use of images is something that is widely used across the board, yet I refrained from using too many, in order not to drown the readers attention. I subscribed to the three columns a page, convention of print and by using a drop capital and removing hyphenation to promote a higher sense of formality and professionalism. The title sustains traditional conventions also by being loud and drawing in attention, being inclusive in text and an interesting tone of interview.

Change of BBC Radio 7 to BBC Radio 4 extra

In April 2011, BBC Radio 7 was re-branded to 'BBC Radio 4 extra' in order to make the station appear more family friendly. After researching their audience, "it emerged that the average age of [our] listeners is 48, which means our target audience is towards the Radio 7 audience correctly defined. Originally the radio station had too many childrens programmes when the average audience is 48, so they could incorperate our radio drama into BBC Radio 4 Extra as they are aiming for more comedy drama so they have changed the stations licience to commit to those changes."

Magazine Feature

Research

Radio Times appear to focus more on the products they are featuring and the behind the scenes, as well as  any issues that product may produce, than about the cast itself, as is reflected in the examples above. Publications, like Radio Times, have more interactive approach to their features, filled with images and breaks in the text to make it more approachable. They usually use small and semi-standardised text, similar to that of new papers, like the use of  pull-quotes to draw you into reading the feature and drop letters to add to formality. Other codes and conventions include the standardised usage of two or three columns per page of text, having the introductory paragraph in larger/bolder font than the rest of the feature and having the title of the publication and the date at the bottom of every page.

Rough Layouts

Development

First of all I mocked up my layout on Indesign. Looking through the images from the shoot we did, I decided to settle on a cast shot that would contrast my poster, that would show us as actors, not as characters. The image itself needed a bit of a tidy up and edit; after patching, blemish removing and evening out skin tones, I then liquified the image and began editing via the forward warp, pucker and bloat tools; below you can see the differences.

I then placed the images in the appropriate places, ensuring that the content was fitted proportionally, the placing of the poster had me playing around with the size of the image until it fit correctly.

The next part I worked on was the title, 'Everyone's talking about Pembroke Gardens, Radio 7's hit new drama', I decided to use the term "Everyone is talking about" as that is inclusive and also an implicative and suggestive way to drum up more hype. I also added 'Radio Times Exclusive' in a bright box in the top left corner to highlight and show the importance, via a rectangle tooled box and a red swatch. I decided that I wanted to have a pull-quote beneath the introduction, this will pull the audience in further; originally I decided to create a fresh swatch of a less vibrant red, but this was changed later.

Finally with the majority of the layout sorted, with some tweaking, I added my feature in 'Helvetica' font, ensuring that the introductory segment was in bold. I made sure that the interview section of my feature was defined, introductory of who was involved followed by the interviewers questions in bold and that the hyphenation was turned off.

The feature itself was an interview with the cast about the radio drama and their attitudes towards it and the press reaction. This keeps in the tone with the kind of features Radio Times write, they take a subjective view on the product, looking at it's multi-facets instead of looking at it objectively and talking about it.

Final Version

Running date and details

Published in the 7-14th of March edition of Radio Times.\

Adjusted Version

Newspaper Advert

Research

Radio Drama Posters, themselves, are hard to find, however as sampled above and from TV drama posters I can pull together a closer idea of what to use as general style model.

Radio drama posters usually tend to have images of a full cast, as introduction to the characters, or something that holds high relevance to the content of the radio drama itself as a teaser. Both of which are usually of simple design. With reference to earlier blog entries and using these we can see how location shots help the audience to understand the drama better (The Archers).

Looking at 'Truth... over the airwaves!', we see how this poster abides classic codes and conventions, adhering to a sense of 60's style. This creates both a sense of nostalgia to the audience and sense of 'retro' to a younger audience, appealing to both. Having the only image of who's involved as caricatures, it hints to the style of the peace and keeps mystery at the same time.

"Having" is a more classic radio drama style poster, having the main focus on an image that gives hint to what the narrative is. From this image, we can derive themes of wealth, via the large house and expensive car coupled with the fact that she is wearing a suit, and suggested legality, her style and body language with interaction with props almost suggests that she appears to be reading a press statement. With the only coloured text on a black and white poster being in the production teams name, this promotes ideas of recognition, that they are well know and official.

Brainstorm and rough ideas

Development

After settling on the the concept of having a character shot, to promote the episode itself, being the finale of the storyline arc, I mocked up a layout of what I wanted and the kind of image I wanted to present. I wanted to make sure the characters and their individual situations were really conveyed, that the image itself held narrative. I wanted to expose Jonathon's controlling and obsessive behaviour, Lara's sense of helplessness under Jonathon's rule, Susan's concern and helplessness to help Lara and the Police representation, slightly detached from the image center as to imply of what's to come.

Having originally planning to use older models for the cast shot, we decided against it in the end as trying to correlate time together wasn't working at all. Instead, whilst we were booked in the photography studio to do our cast shot, we decided to take the character shots as well. We all tried to channel out characters as best as we could, to give the image the greatest impact  possible, with the resources we had. Below is our best shot, slightly photoshopped to clear up skin, bags under the eyes/blemishes/skin shine and some smudging done to 'Lara's eyes to create an effect of being tired and having cried a lot.

I decided to have a landscape photo, that way the cast could be shot with enough space around them so that the narrative was procured. I chose Zapfino as the 'signature' text for Pembroke Gardens as it was both delicate and statement, and it also looks elegant, something that adheres to tone of our piece. The font itself is is quite thin, so instead of bumping up the font size, I decided to change the font width and height to make it larger and bolder. The tag line, 'where everybody has secrets...', adds to the mystery of the narrative of the image, implying that theres a lot more going on, this draws the prospective audience in. 

Having created the basic layout, I came across that the BBC Radio 7 logo, only came in yellow and black and with my image the black blended in far too much with the image. In Photoshop, I cut the necessary section, placed it on to a secondary layer and I inverted the image and then compressed the layers to create the "new" logo. 

Having created and placed everything on Indesign, I decided that it would be simpler to recreate it all on Photoshop and that way, I only need to add the text for the review and the cast names as when trying to add the banner across the bottom I had forgot that I had already placed the BBC Radio 7 logo on the background image.

The only thing left for me to add was the review and the cast names. The review's five stars were created by using the polygon frame tool by setting the number of points to five and the gradient to 50%, then, when resized, were replicated and aligned.

Final version

My advertisement would be well suited for billboards and magazine/newspaper advertising, to aid attract the target audience and stir interest in the show.

Rest Of The Groups Photos

Lorraine's Poster

Lisa's Poster

Running Date and Details

Published in the 7-14th of March edition of Radio Times.

Adjusted Version

Radio Drama: Production Log

Radio Drama Introduction
In our radio studio induction where we learnt how to use the radio studio:
- How to set up the microphones
- How to make sure they all record
- How to use Soundtrack Pro.
Although appearing relatively simple, when it came to recording individually we came across a few technical problesm, i.e not recording in other booth, unable to hear eachother and feedback issues, this however, was relatively simply rectified


Recording
With a script ready, we were ready to record. We allocated parts, in correlation to how confident we were with our voices, yet decided we all at least wanted input. Initially, the issue still stood that we were unsure of how to progress with the first scene, for the characters of Gary, Jay and Simon, and were wondering as to whether to get other actors in for it. After dabbling with various accents and natural tones of voice, we finally settled on pitch shifting the characters of Jay and Simon in the editing and to borrow someone for the larger part of Gary. When it came to the major characters, the first thing we did was have a few dry run throughs, getting to grips with not only the script but with the types of people we were to be portraying, allowing ourselves to ad-lib in practice and play about with accent and sociolect to aid a more realistic and natural portrayal.

Next, we opened up Soundtrack Pro and set up our folder so anything we saved would be saved in there on the macs. We did this by:

• Logging in on imedia, opening Soundtrack Pro and continuing through the warning.
• We clicked on 'Preferences' and 'Choose', and changed the heading under 'General' to 'Scratch location and edited media location'.
• We then clicked the recording tab and did the same.
• We had to make sure we always had our work backed up on a memory stick.
• Export as MP3, 192 kbs quality file.

We changed all the settings to record and began to go through some run throughs of the script:

• We pressed 'R' on Track 1 and made sure it was set to 'built in input'.
• The middle lights had to be on green. This made sure the volume was increased on the microphones.

We had to make a note of where the sound effects had to be and, after several tries and being finally in character, managed to get a run through of the drama the way we wanted it. We encountered a few issues with the recording levels and the microphones but after some playing around we managed to record the script without any problems.

We booked a slot in the radio studio to record, as having finalised the outlines and briefing of the script and our respective parts to play. However the issue still stood that we were unsure of how to progress with the first scene, for the characters of Gary, Jay and Simon, and were wondering as to whether to get other actors in for it. After dabbling with various accents and natural tones of voice, we finally settled on pitch shifting the characters of Jay and Simon in the editing and to borrow someone for the larger part of Gary. When it came to the major characters, the first thing we did was have a few dry run throughs, getting to grips with not only the script but with the types of people we were to be portraying, allowing ourselves to adlib in practice and play about with accent and sociolect to aid a more realistic and natural portrayal.


Using Soundtrack Pro, we set ourselves up a separate folder to record all our tracks into one place, not to lose anything, and by our third listen back of recording we found our portrayals much more in tune with the characters at hand.

Admittedly we did find issue with recording levels and equipment but after some playing around we managed to record our script without issue.

Editing: 7th Feb

We started editing our radio drama on the 7th of Febuary; although we initially had issue as we had exported the file into .wav format, as opposed to the usual .mp3. This caused issue due to the amount of time it took to load into Soundtrack Pro and the size of the file.
After 45 minutes waiting, we re-exported the file as an mp3 file, taking another 10 minutes. Unfortunately by doing so the file had exported corrupt, fulled with defects and sections missing and so, we then had to export it from the original source of the studio again, into the correct format this time.
Unfortunately due to this one initial mistake we barely managed to make a date with the editing, however whilst waiting around we made plans of attack for the next session to catch up on what time we missed out on, having decided to each take a scene and edit it seperately; this way we can each focus on the scenes more precisely and also share experience editing and hopefully finish editing it all sooner.

Editing: 10th Feb

Having regulated our mishap and finally having a proper chance to edit, we each settled on a scene to begin editing.

I chose the opening scene, and considering the location and sound effects needed I had to take the following into account:
 - Gary and his friends are in the pub
 - Gary's two friend's voices needed to be pitch shifted
 - Gary's mobile needs a message tone
 - Gary gulps the rest of his pint before leaving

After been shown how to use Soundtrack Pro to edit, e.g the blade tool, lowering and rising volume levels, blending in sound effects. We got on with it, admittedly things were slow to begin with, being unfamiliar with the sound effects available and the software at hand, but over time we got more and more adept at it.

The section I had most trouble with, aside finding the most perfect background accompaniment and individual sound effects, was the pitch shifting of Lisa's and my voices. I had to slice the track and place it onto a second row to then edit using the available effects at hand then play with them accordingly in Pitch Shifter to get the desired effects.

The other scene I did involved phone call, this involved me first of slicing the file into the necessary segments and layering the received conversation on a second track. I then edited via the Channel EQ and finally the Phone Filter Notch, to create the necessary effect. I found I had to raise the decibels as the it came out a fair bit quieter due to the effect applied, the issue raised with doing so meant that all the background noise was magnified also, thankfully due to the need for background sound to set location this masked it.

The clip showing the difference in editing can be found here.

A clip on my editing can be found here.

Listening Party

We held a 'Listening Party', where we listened to our radio drama, as well as others within our group, and provided feedback and constructive criticism on how to approve.

Here is the version we used:

Final version

Following the audience feedback, we re-edited where necessary and here is our final version.

Radio Drama: Script Development

Original script

 

Script Version 2

Final Script (with new ending)

Radio Drama: Setting and Location

Our radio drama is based on a quiet street in Kensington, London.
We drew the idea of secrets in suburbia from 'Desperate Housewives', as it held a more relatable tone to an audience. Due to the nature of being in London, unfortunately no primary data about the area could be acquired. Due to the nature of the location, being tucked away from the main road, and most of our radio drama being set indoors of large houses there were no need for specialist sound effects, setting-wise.

Radio Drama: Character Development

Original Idea
Major characters:
Lara Windsor: Mid fourties, cold and calculated, manipulative and controlling yet subtle in her approach. Obsessed with her lover and not her husband. [Married to Jonathon Windsor and having an affair with Gary Plackett.]
Jonathon Windsor: Mid fourties, closetted gay in a sham marriage, kind and caring but weak.
[Lara's best friend and husband.]
Susan Thursgrove: Late fifties, nosey neighbour, always has her fingers in everyone else's pies, 
[Single.]

Minor Characters:
'Sean': Mid-thirties, masculine. [Jonathon's lover and Lara's co-worker.]
DCI Lisa Hughes: By the book police officer, astute and professional.
Gary Plackett (referenced): Lara's lover. now deceased.

Final Idea
Lara Windsor: Mid thirties, bipolar, slightly fragile and reliant on medication. Having an affair, away from her husband Jonathan Windsor, with Gary Plackett who she aims to elope with.
Jonathan Windsor: Mid fourties, a dark, mysterious character who appears to be over controlling of Lara to the point of abuse, having driven away most of her friends she now has to contact them behind his back. He is manipulative and cold, deceitful and malicious, cunning and calculated.
Gary Plackett: Mid thirties plumber, a gentleman, kind and considerate he reflects Jonathan's character with a mirror. Very down to earth, he is smitten with Lara and is, although apprehensive, is excited at the prospect of their new life together.
Susan Thurgrove: Lara's supportive best friend, she understands Lara's situation and will do anything she can to ensure Lara's happiness.
'Jay' and 'Simon': Gary's fellow plumbers, hegemonic males.

Note:
Lara's lack of motive motivated us to change the narrative.

Radio Drama: Narrative Development

Recognising that we only have a five minute slot to fill, our group decided that it should be filled with the arc of an on-going storyline.

Original Plot
Teaser: Susan cleaning her home hears shouting next door, followed by a scream.
Opening Title - Craig Armstrong - Escape 4.00-4.15
Scene One: Police turn up at the Windsor household to find Lara hysterical, Susan arrives and asks police to return another time when she has settled down. Susan then turns on Lara, threatening to blackmail her as she deduced what really happened. Lara threatens Susan back, as a warning, Susan leaves.
Scene Two: Jonathon comes home as ambulance, that police call for, leaves, he tries to console his wive, showing the true nature of their relationship.
Scene Three: Lara leaves to 'go to the shops', waits for Susan to leave her house, tries to run her over, Susan narrowly jumps out of the way and survives.
Scene Four: Lara returns home, hears noises upstairs, grabs gun for security. Finds Jonathon in bed with Sean, they argue and Lara shoots Sean. Cuts to Susan calling the police. Cuts to Lara arguing with Jonathon, police turn up, come up stairs just as Lara shoots Jonathon. Knowing she has no way out, Lara turns the gun on herself and commits suicide.

Problems with Original Plot

• Mid construction of the script we realised that the plot needed rewriting as the motive for Lara's killing spree was unjustified as she was, herself, having an affair and knew of Jonathan's sexuality.
• We found out we cannot use any music that we haven't created, so the intro music and a couple of pieces throughout had to be removed.
• If we were to shorten the script the continuity would be unstable, especially seeing as so much was to happen we would need to thoroughly explain some parts to explain what was going on.
• Susan's motive for blackmail was flawed, as was what she wanted.
• Lara's Character develops too fast, turning from spurned lover to killer too quickly.
• The gay affair is not needed in the storyline whatsoever and the guy she's having an affair with doesn't have any back story, only that Lara is obsessed with him.

Final Plot
Scene One: Gary Plackett is enjoying a pint with his friends after work when he gets a text from Lara Windsor to come over.
Scene Two: He arrives to find Jonathan Windsor waiting for him, they have a fight and Jonathan pushes Gary down the stairs. The relationship triangle is established.

Scene Three: Lara arrives home after shopping to find Gary's body at the foot of the stairs. She panics, screams and cries at the sight of him. As Lara tries to get her medication, she has trouble with bottle, so she gets angry with it, throws it and breaks down. Jonathan comes home to find Lara in a mess, immediately asking if she had already called the police, finding out she hasn't, he consoles her. He decides their alibi by planting a pair of Lara's earrings on his person and breaks a window to make it look as if it was a burglary that went awry. Jonathan leaves Lara crying to make a call to the police.

Scene Four: The police leave, explaining they'll be back in a few days for further questioning. Jonathan explains to Lara that this'll be their little secret, acting blase. When Lara questions him on his coolness to the situation he provokes her by returning the question back at her causing her to silence. Lara leaves the room to secretly call Susan Thursgrove, her best friend, this shows the exposes further the back story and the situation that Lara is in.

Scene Five: Lara returns from her cancelled hair appointment, that is implied that Jonathan had moved to another day, Jonathan plants seeds of doubt in her mind regarding her memory. He returns her phone, claiming he found it, pushing the point further. She then confronts him about a text she's found on her phone to Gary, the day he died, Jonathon then breaks down Lara, once again, to kill herself. She does so and he reports a 'suicide'.

Note:

There penultimate version followed a different ending...
Scene Five: Lara returns from her cancelled hair appointment, that is implied that Jonathan had moved to another day, Jonathan plants seeds of doubt in her mind regarding her memory. He returns her phone, claiming he found it, pushing the point further. As she goes into the other room to get him the newspaper, he pours boiling water over his hand, claiming she did it to him when she returns. He pushes the idea that she keeps blacking out and acting out, even questioning if she killed Gary finally pushing her to kill herself

We decided against this ending due to amount of sound effects, that it was bit messy and to cut down on time.

Tzvetan Todorov:Todorov wrote that:

• All narratives begin with equilibrium.
• There is a disruption of equilibrium.
• The disruption is regonised.
• There is an attempt to repair the disruption.
• A new equilibrium is established.

Within our narrative we see a similarities.
Equilibrium: Lara's illicit affair is secret, she is planning to leave her abusive partner with help from her lover, Gary, who receives a text message to meet her.
Disruption: Lara isn't there, it's her husband Gary, who knows everything, Jonathon murders Gary.

Recognition: Lara returns home and finds Gary dead, also realises her phone is missing.

Attempt to repair: Lara struggles to carry on as normal so that Jonathon is 'none-the-wiser'.

New equilibrium: Our new equilibrium is one of disruption, Jonathon makes Lara kill herself, thus ensuring the cycle of equilibrium. Being a serial drama there is no 'new equilibrium' as it is ongoing.

Vladimir Propp:

Propp concluded that all characters could be resolved into 8 character types in Russian fairytales-

• The VILLAIN — struggles against the hero.
• The DISPATCHER —character who makes the lack known and sends the hero off.
• The (magical) HELPER — helps the hero in the quest.
• The PRINCESS OR PRIZE — the hero deserves her throughout the story but is unable to marry her because of an unfair evil, usually because of the villain. The hero's journey is often ended when he marries the princess, thereby beating the villain.
• Her FATHER — gives the task to the hero, identifies the false hero, marries the hero, often sought for during the narrative. Propp noted that functionally, the princess and the father can not be clearly distinguished.
• The DONOR —prepares the hero or gives the hero some magical object.
• The HERO or victim/seeker hero — reacts to the donor, weds the princess.
• FALSE HERO — takes credit for the hero’s actions or tries to marry the princess.

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Radio Drama: Research and Development

The idea for Pembrooke Gardens came from the want to start and end with a murder, as with our previous research into dramas show that drama and mystery are very popular and that the storyline would be gripping enough that the audience would want to know more. Considering about the elements of drama and what we know from personal viewer experience, we had managed to plot together the two murders, yet were unclear about how to link them, finally decided on an ongoing storyline of affairs, sham marriages and controlling partners.

We then thought about where and who, and decided that adhering to codes and conventions it is important to have a location that is relatable to the audience, and naturally the most associative location to the UK audience is London. Upon settling on an area, Kensington, we then chose a road with the right sounding name; We chose Kensington due to the status and the idea of corruption of status, having drama and dark secrets on-going behind closed doors and having the chance to see what is going on behind, reference: Desperate Housewives. Giving the drama a physical location adds realism, like the successful mystery drama's before, i.e Agatha Christie, Midsummer Murders and narratives of soaps like Coronation Street. 

With a genre of serial drama and mystery, complete with 'who-done-it' scenario, we chose a themes of thriller, narrative twists and realism in order to keep the audience enthralled.

Our final ideas, theme wise, settled on that of a soap serial drama.

• Soap operas began on radio and consequently were associated with the BBC. The BBC continues to broadcast the world's longest-running radio soap, The Archers, which has been running nationally since 1951.
• They are ongoing, episodic works of dramatic fiction. Early radio series were broadcast in weekly day time slots when most listeners will be housewives; thus the shows were aimed at and consumed by a predominantly female audience. The soap opera stories run concurrently, intersect, lead into further developments and typically end on some sort of cliffhanger.
• The main characteristics that define soap operas are "an emphasis on family life, personal relationships, sexual dramas, emotional and moral conflicts; some coverage of topical issues; set in familiar domestic interiors with only occasional excursions into new locations". Fitting in with these characteristics, most soap operas follow the lives of a group of characters who live or work in a particular place, or focus on a large extended family. 
• The storylines follow the day-to-day activities and personal relationships of these characters.
• Many Australian and UK soap operas explore social realist storylines such as family discord, marriage breakdown, or financial problems. UK soap operas frequently make a claim to presenting "reality" or purport to have a "realistic" style. UK soap operas also frequently foreground their geographic location as a key defining feature of the show while depicting and capitalising on the exotic appeal of the stereotypes connected to the location.

We have set out these guidelines for our radio drama and have decided that our target audience will be women, age 35-55 years old, as due to some of the topics covered they could associate themselves with the characters we will create. The kind of themes we'll cover shall have a domestic and emotional essence to them, marriage and partnership, family life and conflict. Set in a 'familiar domestic interior' our drama shows the disintergration of a couple's marriage, aiming to end the episode on a cliff hanger as is standard to soaps to ensure the audience consume the following episode.