Characters: Rebecca Montgomery

Rebecca is the only human character in our radio drama. She has been accidently teleported into an alien base in the Andromeda Galaxy. It was realised very early on that to make the radio drama work we would need a human ‘Everyman’ character to whom the audience could relate and perhaps more importantly provide them a window onto the world in which she finds herself. This is because the only other biological life form, Lexon has been living in the building his entire life and therefore he has no need of explanations regarding the world around him, leaving the listener with little idea as to what is happening. Rebecca Montogomery, who becomes in many ways the audience for the other characters needs those answers, meaning we would able to provide them to the listeners.

We also felt it necessary to have a character like Rebecca Montgomery for the sake of conversation. The interactions between Lexon and Jenny are all very well but for the most part they are argumentative or extremely technical. More 'human'  dialogue really needs to be between two biological life forms rather than computers.

Characters: The Elevator

The character of the Elevator is like Jenny, in the fact that it is an artificially intelligent unit. However it was decided that he should not be as capable of making logical decisions or engaging with the other characters as she is. Instead he is something that has merely been built for the sake of covenience of the biological life forms enabling them to get from place to place. However, in the drama, Jenny has taken over control of the Elevator and the ability of the characters to reach certain areas. This would mean that it would be extremely difficult to go against her will, especially since without control of the Elevator they would find themselves trapped in one place which was something we wished to leave room for since it was thought that Jenny might become the main antagonist.   

One line we gave the Elevator in his less than helpful confrontation with Lexon is

‘There is no down from here on and no one ever does go up so there.’

And in giving the Elevator this line we hoped to raise more questions in the minds of the audience as to the situation in the building. After all, what is the point in a building possessing elevators if none of the occupants ever go up? Having worked out the basis of the plot for the entire radio series we now had to drop in hints about what the situation might be and this was one of them. It was decided that Lexon and Rebecca should struggle to reach the top floor against Jenny’s wishes, meaning that the machines within the building, including the Elevator would turn against them.

Ground Floor Up Draft One

Below is the first draft of our script for Ground Floor Up, some changes have been made to the script, especially with regards to the introduction since this was written as plot points and technical aspects were changed to better fit the radio drama.

Whilst this script does deal with sound effects and music to a certain degree it focuses mostly on the dialogue between the characters as it was decided that the characters and sound effects should be recorded separately. As such the notes on sound effects here were used more as guidelines than exact descriptions.

Intro of Music

Jenny: Transmitting

Lexon: We present Ground Floor up by Katherine Smith staring Stephen Smith as Lexon and the Elevators, Alice Parsons as Rebecca Montgomery, Katherine Smith as Jenny and Diana Russell as the Narrator.

The music has faded out and it is replaced by five loud telephone rings, no background noise. During the third ring the telephone is joined by a chorus of ringtones, doorbells and dial tones, half way through the fifth ring all noise ceases except for one click as the receiver is picked up.

Rebecca: Rebecca Montgomery

Jenny: Translating  

Rebecca: Who is this?

Static, growing in volume can be heard now

Jenny: Help. Help me it’s the building (long pause) I can’t (long pause) I’m the only one left. Help (pause) the building, it’s alive. Jenny’s voice and the sound of the static compete now so that most of Jenny’s words appear to be drowned out.

Static clears for Rebecca

Rebecca: (angrily) Who is this?’

Static black in place

Jenny: Please.

Rebecca: Who..?

Jenny: End of message.

Rebecca throws the phone down. Static ends

Rebecca: Idiot!

Footsteps, Rebecca walks away. Silence for two to three seconds.

Jenny: Teleporting

A music track, probably the same music for the introduction takes over now to change the scene, it begins fade out as the character’s start speaking, playing as a backdrop for the first few seconds.

Sparks are heard.

Lexon: Well then where is it?’

Jenny: Outside.

Lexon: What outside? There is no outside. Where is it?’

Jenny: Outside.

Slam of metal, Lexon has punched the wall.

Lexon: (Furiously) Jenny why is it outside?

Jenny: Well if you will insist upon using sub standard equipment. (Lexon groans) There has been an error with the teleportation process and the target is outside the building.

Lexon: What dead?

Jenny: Not yet.

Lexon: Can’t you retrieve it?

Jenny: It is unlike...(distant thud) It will not be necessary, there is no requirement.

Pause

Lexon: (uncertainly) What do you mean no requirement.

Jenny: The target is on the roof.

Lexon: In what state?

Jenny: The target is unconscious. Suggestion, it fell.

Lexon: Will the elevators collect it or do I need to?

Jenny: You may do as you like. It is reasonable I think to suggest that the elevator will take the target down to the ground floor.

Lexon: (rather bitterly) well of course it will.

Scene ends

Narrator: The chances of being rescued as you fall through space should never be calculated, simply because they are so impossibly small. This is especially so when you are saved by falling straight on top of a derelict cinder box building which happens to be orbiting a small planet in the Andromeda galaxy. It is because of the alarmingly improbability of these occurrences therefore that human Rebecca Montgomery passed out in self defence before quite reaching the building. This is a pity because if she had actually experienced the elevators, which are grumpy and distressed at the best of the times, their grumblings might have taken away some of her confusion.

So that you are not confused however one of the elevators has dutifully carried Rebecca not to the ground floor as was suggested but to the basement where it has spat her out, disgusted by the sudden unexpected bout of work...Now aside for a gigantic square of raised concrete this particular basement is an exact copy of the Atlantic ocean, at least in as far that it is a vast expanse of water and obeys the laws of the water cycle which we shall skip for the purposes of sparing death by extreme tedium.

Music, four seconds max. Joined by the soft flow of water and the sound of pipes, the music ends with a low grown from Rebecca. The water and the sound of the pipes continues through the entire scene although the sound is too low to compete with the character’s during the conversation.

Jenny: Please remain calm; we are attempting to rectify this situation. Do not attempt to stand.

Rebecca: Where am I?

Sound-Rebecca tries to stand

Jenny: (Impatiently) I told you not to stand. Translating, translating, please be patient while we analyse the remainder of your speech patterns.

Series of low, long beeps

Translation is complete.

Rebecca: Where am I? And where are you?

Jenny: Try to remain calm. You have been experiencing technical malfunctions and someone will be with you as soon as possible.

Rebecca: I’m having a nightmare aren’t I?

Jenny: (Happily) If you like I shall select one for you, I happen to pride myself on nightmares.

Low, rattling drone...the elevator is descending...doors slide open, footsteps approach, each one louder than before.

Lexon: You are in our power. Do exactly as we say and you will not be harmed.

Rebecca, gasping is heard retreating. The sound of Rebecca breathing is heard over the following dialogue, showing her fear.

Huh...what’s wrong with it exactly?

Jenny: Translation error.

 Lexon: Well fix it then...

Jenny: All in good time.

Lexon: And what exactly does it think we’re saying now?

Jenny: I have no idea. Knowing you’re luck we’re probably wondering how to eat it or something.

Lexon: Some computer you are.

Silence

Lexon: Good. Just get on with it.

Jenny: The task was completed exactly three seconds ago.

Lexon: Well thanks for telling me that.

Jenny: My pleasure.

Rebecca: Where am I? Who are you?

Lexon: My name’s Lexon Dale. And you’re in the basement, isn’t that interesting, no one’s ever really sunk so low before.

Jenny: And as you can tell he’s the local expect on manners and lunacy.

Rebecca bravely attempts a laugh

Lexon: Listen just take my advice and ignore her. That’s the trouble with trying to program personalities into machines; if it succeeds you begin to wish otherwise. And then the second you try to fix the problem the machine will threaten self destruction if you carry on and then there’s nothing you can do without terribly inconveniencing yourself, or in this case dying since she’s basically life support. Now of course there’s theirs council spots and intergalactic rights for the artificially intelligent units. Well it was only a matter of time.

Jenny: You don’t fool me Lexon, I can tell you’re grateful for the company. 

Lexon: (clears throat) I call her Jenny. Now where are you from?

Rebecca: Eng...England, Staffordshire.

Lexon: Where’s that, what planet?

Rebecca: Earth.

Jenny: Homo Sapiens then? Well done Lexon you’ve struck the Milky Way. 

Lexon: Now hang on Jenny that had nothing whatsoever to with me.

Jenny: Really. Do you even know how to work the control panel?

Lexon: No.

Jenny: (Sighs dramatically) But I told you exactly how to find the manual.

Lexon: Yes and I didn’t read it. Can we get on with this now? You, Earthling do you have a name?

Rebecca: Miss Rebecca Montgomery.

Lexon: Well then Miss Rebecca Montgomery, I’m terribly sorry about all of this but we sent out a distress call and well...look there have been no end of problems with the machinery and you seem to have been caught up in it all.

Rebecca gulps audibly.

Rebecca: Distress call?

Jenny: 01785706489.

Rebecca: But that’s my telephone number.

Lexon: (Rubs hands together) You mean we actually got something right?

Rebecca: No. At least, I don’t think so. What are you going to do to me?

Lexon: As far as I can see the best course of action would be to send you back home somehow although I’m afraid you’ll have to hang around a while longer so we can get the coordinates absolutely right this time. Only so that we don’t accidently send you to Pluto or somewhere like that. You see everyone else left years ago and since then I’ve been the only one maintaining this monstrosity. It gets quite overwhelming and, to tell you the truth, I don’t know what I’m doing half the time and Jenny’s not much help, so, as you might imagine, there are malfunctions pretty much all the time. It’s all I can do to keep this place running. Even the escape route’s been lost now, hence the distress call.

Jenny: Yes, I’ll soon be run down at this rate, you can’t imagine how that feels, and after all the effort I put into this place to.

Rebecca: Please where am I? All I can see is, well all I can see is water.

Series of bleeps, louder and much quicker than before

Jenny: Well of course you can see water. In order to run at the height of efficiency I need a large body of water. Everyone in the universe knows that. Where have you been?

Lexon snorts.

Lexon: Look, let her be; the poor thing’s bound to be a little confused after everything you’ve done to her. Efficient, ha! I never heard of a more haphazard computer.

Jenny: I’m a mock planet. I’m supposed to be haphazard.

Lexon: Well, you do an excellent job.

Jenny: (somewhat mollified) I shall take that as a compliment.

Rebecca: I think I can see what you mean about machines and personalities. Look if it’s all the same to you I’d like to wake up now. 

Jenny: But I haven’t selected a nightmare for you yet.

Rebecca: Well, no offense but actually I’d sort of rather you didn’t. One nightmare at a time is more than enough, thanks.

Lexon: Are you sure? After all of this, a nightmare might make you feel better.

Rebecca: I doubt it.

Lexon: If you’re sure. I’d better get you upstairs Miss Rebecca Montgomery, it will be dangerous to remain in the basement for much longer. Besides, you probably need protein.

Jenny: I’m afraid you’ll have to make do with the canned stuff, we lost the fresh food fifteen years ago, unless of course you would consider hunting your own meat. The second floor is overrun with herd animals and I am getting rather worried about them, it’s only a matter of time before they destroy themselves entirely, so feel free to take what you like.

Rebecca: Vegetarian. What happened to everyone else?

Jenny: Gone. What is this...vegetarian?

Rebecca: I don’t eat meat. (Bleep) Gone?

Jenny: Just...

Lexon: Jenny shut up. Miss Rebecca Montgomery, unless you want to stay down here for high tide...

Jenny: Can the alien stand?

Lexon: I’m trying to find out. Well can you?

Rebecca: Yes.

Lexon: Come on.

Scuffling followed by heavy, uneven footsteps as Rebecca tries to walk. Sliding of the elevator doors

Lexon: Elevator, take us up to the ground floor.

Elevator: Access Denied

Lexon: Um, what now?

Elevator: What now he asks? First he wants down then up, down then up. Well I’m not moving till you make up your mind. Not that it will do you much good, there’s no down from here on and no one ever does go up so there.

Rebecca: (to the side) No one ever goes up?

Lexon: Jenny some help here please.

Elevator: Watch yourself. No one tells her what to do, bad for you it is. So stay put and look at the sea.

Rebecca: Why can’t you tell her what to do?

Lexon: She doesn’t like it. Anyway you can’t. Trust me I tried to hotwire the system once it dosn’t work. Jenny if you’d be so kind.

Jenny: Override. Elevator, take them up.

Elevator: You want them to go up? It’s impossible, you specifically told me not to let them up. 

Jenny: That was sixteen years ago, and you failed me then so why not now? I override the command.

Elevator: If you’re sure...don’t say I didn’t warn you.

Jenny: Affirmative.

Lexon: I’d hold on to something if I were you Miss Rebecca Montgomery. The elevator’s mad.

Rebecca: There’s nothing in here!

Lexon: Good point.

Sound effect-see note-changes the scene-Rebecca’s yelling can be heard through this

Silence as everything stops abruptly

Doors slide open

Rebecca: But that’s...that’s...it...it can’t be. I’m dreaming. I’m definitely dreaming. That’s...

Lexon: Home.

War of The Worlds

The radio series of War of the Worlds was presented as a news broadcast, the first voice the audience hears proclaiming, ‘We are bringing you an eyewitness account of what is happening…’ the voice is slow, calming and typical of the newsreaders of the day, as is the music which proceeds the ‘’eyewitness account’’ adding to the realistic feel of the drama. This along with the fact that the War of the Worlds was broadcast without warning and with a lack of commercialism but purely as an emergency broadcast helped to convince the public that the invasion itself, and the horrific events portrayed within the drama, were indeed real leading to mass hysteria.

On listening to the supposed eye witness account on this short clip the audience is thrown into a world of pure confusion and panic as the eyewitness (Carl Phillips) describes the scene around him, his words punctuated by the overwhelming background sounds which add a sense of reality to the drama.

Almost immediately, we are given to understand Phillips’ fear as despite the fact that his voice is at first calm and professional he repeats himself, suggesting that he does not know how to describe what he is seeing, a suggestion enhanced by the distant police sirens which are in themselves a symbol of panic and mayhem. ‘I’ll give you every detail as long as I can talk, and as long as I can see.’ These words are said almost as an afterthought and yet they are powerful in their context, the audience knows that this man is in grave danger, even risking his life to warn them of the events happening in New Jersey. More shocking however is the death sequence where the listener hears another man scream as he is burned alive after approaching the aliens whilst brandishing a white flag of surrender. When the eyewitness account breaks off suddenly leaving nothing but a short clip of silence until the news reader cuts in, explaining that due to circumstances beyond their control, they are unable to continue the broadcast, leaving the listener to assume the worst.

Hearing this scene it is hard to imagine the reactions, thoughts or feelings of those listeners who genuinely believed in the realty of this horrific death and other events in the drama but the panic many experienced is a little easier to understand.

Questionnaire

As part of my research I have conducted an internet survey into radio dramas to which I have received some favourable responses. Here, I have focused on how often a listener will in fact listen to the radio drama and by which medium they listen since the internet has attracted a large proportion of listeners with the convenience it offers.  This is because this knowledge can be important in expanding the reach of a radio station as more active steps can be made to publicise its existence.

Also I have tried to ask questions which would give me some idea as to what an audience is looking for in radio drama since I believe that this field of entertainment like any other can only be properly maintained if it aims to satisfy the target audience.

The questionnaire I have created is as follows.

1. Are you male or female?

2. How old are you?

3. Do you listen to the radio?

4. Do you listen to radio drama?

5. If the answer to the previous question was yes than how often (on estimate) would you say you listen to radio dramas per week?

6. Which genre would most appeal to you and why?

7. Given a choice do you prefer 90 minute dramas or dramas which have been slip into 15-45 minute dramas and broadcast over a period of days or weeks?

8. What is it about audio theatre that appeals to you?

9. Do you listen over the radio, the internet or other? 



Male or Female?

How old are you?

How often (on estimate) would you say you listen to radio dramas per week?

Which genre would most appeal to you?

When asked why they liked the genres they did the people who filled out the questionnaire mostly agreed that whilst they liked their specific genres they also wanted aspects of humour within the drama. For example in explaining this one person wrote

‘Something with humour. There is already plenty of drama in my life so I gravitate toward comedy which is good for relaxing after a hard day. And I feel that comedy works well with just voice acting and sound effects.’

However, after conducting this questionnaire, I found that whilst the science fiction and murder mystery genres did not by any means show the majority they appealed to a greater number of people then all the other genres which were discussed individually.

This result encouraged me to produce a science fiction drama however it also prompted changes to be made to the original ideas since I had previously been thinking of creating a drama with stronger aspects of horror but found from the feedback given that this was not what the audience would want. Therefore the script eventually written was rather lighter and simpler than the original idea, so that those consumers who did not want to think too much or be shocked by the drama could simply be entertained.

Given a choice do you prefer 90 minute dramas or dramas which have been slip into 15-45 minute dramas and broadcast over a period of days or weeks?

Whether the drama should run as a full length programme or as a series of episodes spanning days or weeks was something which was discussed at length. A full length play would allow the audience to listen to an unbroken storyline but they would also have to listen for a longer period at one specific time and the chance for attracting new listeners to the drama would be reduced. A series of episodes was thought to be the better alternative since it would ultimately enable a longer running time, allowing more scope for the overall plot as well as offering new listeners a better chance to follow the story at a later stage. Another advantage with episodic drama in the real industry was that if the consumers liked the drama they would keep returning to hear the next episode, something which would help to maintain the station’s ratings and attract advertisers. However, there are some who find the nature of episodic drama irritating which was a great concern and as such I was keen to learn the consumer opinions in conducting this survey.  The majority of those who responded agreed with favouring episodes, one individual wrote

‘I prefer the shorter because if I leave off, I will be somewhat satisfied with the story. There are more conclusions and smaller plot lines. I think you can build up a really good world with that in mind. The longer dramas tend to have more fluff.’

                                           Do you listen over the internet, the radio or other?

Types of Communication

Individual-Level communication

Many theories of Individual-Level communication focus on how information becomes messages and how these messages are received, processed and understood. These messages are conveyed by speech, hand gestures, body language or written language.

                                                                                                             

Theories concerning individual-level communication explain that every choice an individual makes, right down to the clothing and the food they eat, reflects something about them as a person as they instinctively try to fit themselves into certain group categories. The tone of voice also encourages certain judgements from others as it allows us to distinguish between emotions such as fear, anger and contentment. Also with verbal communication the words used are vital for getting information across, whether false or factual and in this instance the tone of voice is necessary for a listener to distinguish between the ambiguous meaning of words, sincerity and sarcasm.

Body language and hand gestures also cause judgment from others as they process the information. Since I am an concerned with radio, I shall focus mainly on speech. However, other aspects of Individual-Level Communication can also be included in a verbal medium such as radio drama. For example, if we hear one character demand why another refuses to look at them when they are talking, we know that the second character is unwilling to look the other in the eye and we judge why this might be. Are they shy, nervous, frightened or perhaps lying about something? These speculations raise new questions concerning the plotline and relationship between the characters.

Interpersonal or small group communication

This takes place between pairs of people, small groups of family or friends or larger groups of friends and strangers and the focus is what the group says and does together. The level of communication is varied in this instance as it depends on how long the group members have known each other, how well they know each other and the expectations of their interactions.

Organisation or institutional communication

This is the exchange of information within organisations, institutions and communities such as businesses, villages, religious groups and the media. These larger groups tend to have a well defined and organised structure as well as formal rules. Communications between organisations and institutions often take the form of letters, reports, meetings and telephone calls rather than more informal conversation. The way the group communicates is dependent on its size, resources and influence in society.

Communication an Introduction

Communication has and always will be one of the most important aspects of human society. It helps our ideas and imaginations to grow, enabling us to share thoughts with one another and create new ideas. Indeed, few man-made things could exist without communication. And it is so hardwired into our species that it is nearly impossible to get through a day without hearing at least one story, especially now with a growing media desperate to inform and entertain and, as such, fuel its own existence. As a species we have become ever more obsessed with communication as new technologies have allowed us to enhance the speed of passing on information. And as visual technologies such as film and television have come into the foreground, along with the powerful media of the internet, storytelling, writing and the spoken word are still much beloved in a society which now seems dedicated to instant communications.

The video above, whilst focusing on the internet, is, I believe, an example of how with growing technology, which is often taken for granted, we have become utterly obsessed with quick information and social interaction. And through the growth of the media the reach has spread internationally becoming a global phenomenon, far outreaching the communications of the past between small communities. For better or for worse this is the world we now inhabit and I believe the medium of radio to be no exception.

Listening to the Radio

Radio Dramas: Listening figures

Radio is dying. That is the common belief at any rate and it is in some ways justified. The comparatively new media, such as film and television, attract larger audiences than radio and is such it is increasingly difficult for radio to attract funding and advertisers. Also, the audience demographics would seem to show that the majority of listeners are young children and mature adults, meaning there is a massive gap in the audience demographics that may seriously damage radio in the long term.

And yet the truth is radio is still strong with record listening figures. In 2010 Radio 1 attracted a record 11.81 listeners per week providing them with a 4.1% increase. Stations such as Radio 4, Radio 4 Extra, 5 Live, TalkSport and commercial radio stations also profited from a boom of listening figures and this trend has continued into 2011.Yes there have been slumps in audience numbers but the overall impression is that radio is as strong as ever.  Also benefiting form this rise is commercial radio as these stations have been able to attract advertisers away from film, television and print media.

Therefore a slump in listening figures may not result from a decrease in the audience size but rather how listeners are consuming the product. With the changes in technology, audiences have moved away from traditional radios and they now listen over the internet, buy CD’s or download podcasts or audio books, all of which are measured separately and they are not always taken into account.

Another problem when it comes to gauging the audiences for the radio is actually defining the term ‘listening.’ One definition is that the individual is paying absolute attention to the radio and for a period of time. A second definition for a listener is they are in the same room as radio that was audible, a definition which understandably records far more favourable listening times.

Audience Measures

Below, I have listed the important factors that are taken into account when gauging the audience for radio stations.

The average audience: is the average number of people listening to a particular station during a certain period of time.

Reach or cumulative audience: The number of individual people who listen to a radio station during a longer time period than the basic unit, for example, a quarter or an hour. As the time period grows so does the reach but more slowly.

However, in the case of the diary surveys, the cumulative audiences are determined by the length of the diary since they can only rely on the time period covered.

Audience Share: The percentage of hours that stations gain from the listening figures given at any time period. For example, the more popular the radio station, the larger the share they have of the listening hours. This is dependent on the number of radio stations broadcasting and the duration people spend listening to the radio.

Audience share can also be useful in comparing the demographic groups since stations are more likely receive their larger portions of the audience share from their target audiences.

Since the share is often calculated using time units throughout the day, the audience share can also help the stations pinpoint both the weaker and more successful shows, helping the station to increase its popularity and consequently its listening figures.  

Duration of listening: The average time audiences spend listening. To get the figures of the people who actually listen to the radio, the average audience figure is divided by reach and then multiplied by length of the time period.

Impressions/Impacts: A measure used by advertisers, this is the sum of the audience at specified times such as when advertisements are broadcast. Higher impact figures allow radio stations to attract advertisers and consequently finance.

Frequency-average and distribution: Another measure that is mainly used for advertising purposes, since it provides the answers about how often listeners have heard an advertisement. The frequency is normally based on the entire population since that is the desired target audience for advertisers in general.

Loyalty: Time spent listening to one station divided by the time spent listening to other stations, for example, if listeners only listen to one station then their loyalty to that station would be 100%.

Planet B

‘Planet B, where you can be anything you want to be’

Planet B is a radio series that was first broadcast on the 2^nd March 2009 as part of a science fiction season. The first series ran for ten episodes and it was Radio 7’s largest commissioned original drama.

For the second series of Planet B, in 2009, the BBC released an online advert using binaural beats to promote the drama. Binaural beats, or 3D sound has been described as the digital drug and it works well with the drama despite its reliance on headphones. The effect is a little distressing to say the least as the illusions created grow increasingly more violent, climaxing with the implied destruction of your own brain. The advert is certainly intriguing as well as in keeping with the theme of corrupted data and it’s survival, providing a strong advertisement for the series. To listen to the advert and to read more on Binaural beats you can use this link

http://www.bbc.co.uk/blogs/radiolabs/2009/10/binaural_audio_for_planet_b.shtml

The series follows the journey of an Everyman character, John Armstrong, ‘a real character trapped in a sci-fi.’ (Dromgoole) through a seemingly infinite virtual gaming world (Planet B) as he seeks to find his dead girlfriend, Lioba Fielding, who, after a brief experience in the faulty Golden Moments, he believes to be alive within the game. John, however, becomes caught up with the struggles of his companion Medley, a rogue Avatar destined to lead the other rogues and viruses to freedom, a continued theme which allows morality lessons to slip through into the storyline.

One of the advantages of radio, clearly highlighted by Planet B, is that radio, as an audio medium, does not experience the disadvantages of visual media with regard to location. Radio can transport the listener to incredible places with comparatively low cost simply with narrative, music and sound effects. The listeners can experience a different setting for each episode, whether it is a space station, Ancient Rome or the Wild West. The different settings are brough within an overarching plot line and narrative.

This use of locations is one of the reasons I have chosen to look at Planet B since this is something that I am planning to include in my radio drama, although I am aware that with producing only the start of a full length radio series, there will be restrictions on showing the different locations. Another reason for looking at Planet B is that through Medley’s increasingly active subplot, questions on morality and society, mainly focusing on the new form of slavery (in this case electronics and strings of data) and a desperate need for equality are able to bleed through. Good and successful dramas I believe are not ones that seek merely to entertain but that also encourage positive thinking. Such is the case here with Plant B. Equality and Global Warming are two examples of social issues that I am hoping to explore through my radio drama, although not with such an obvious or violent means such as Medley’s war.