Major Project: Research into writer - Steven Moffatt

Another show that has not only impacted my writing but also introduced me to the world of british sitcoms was Coupling. This was a show that was often referred to as the British version of friends. It was written by a man called Steven Moffatt who has since gone on to work on one of the biggest shows in the world as a writer and producer - Doctor Who.

Moffat said in an interview with BBC Writers room that he writes because it is what he has always wanted to do. He makes up stories, and then writes them down and from their it turned into a love of creating storylines. He also discusses how writers block should be embraced as it is your internal editor, it is telling you you haven't got it right yet.
I found it interesting that when he discussed developing characters he starts with a clique. This is something i unconsciously did when it came to dean and during his development i made it more human by adding in-depth details about his family, which came in handy when i realised his character was probably incredibly unlikeable on screen and it wasn't until you really heard about his past that someone might have a connection to him.
Something that hit home for me was when he was giving advice to emerging writers - write what you love. Since bend it like beckham came out i have always wanted to make a film about football. I love it. the first thing i ever filmed was a trailer for a film i wanted to make as a child about a female footballer. So i think creating this major project is defiantly a step in the write direction for me. i have had the freedom to write what i love. I liked what he had to say about writing for what you think other people will like as i agree that it wont work.

I looked on IMDB for his past shows as a writer and found that the first thing he worked on was a tv series called stay lucky where he wrote 1 episode. he then moved onto various other tv series's and tv films before writing every episode of joking apart & Coupling and has since gone onto write for doctor who and sherlock (which he also co created). 

I also learnt that might's wife was his producer and he often gave her his scripts to see if she laughed. 

 “I would go through a script and tick every laugh, to protect the joke.  Once you’ve been rehearsing something all week people start to think it isn’t funny – but I would look and see, I’d put three ticks by that line, so it must be good.  Then I could also see the parts that really weren’t working.” It helped moffat while he was developing the script as it allowed him to edit the work based on his wife feedback. She would often take the script to another room to read it and he could hear her laughing. This is also something i do with my housemate or even aimee/danny/chris. I run an idea past them to see if they think its funny and if they laugh i use it if not i move on or rework. 

I think it was been useful to research into Steven especially as he is a writer of a similar style show as what i am writing. 

Major Project: Contacting Toby Whitehouse

Simon mentioned it would be a good idea to contact some writers that have influenced me or have a link to the kind of show i am writing. I decided to begin by contacting Toby Whitehouse - the writer of one of my favourite shows - No Angels. This show made me not only want ton be a nurse but also was my first taste of how writing can affect someone - i had never been emotionally involved in a show before - i was 14 when this show broadcast and although it might not have been appropriate for me i fell deeply in love with the stories of these characters and it devastated me when it ended. Which  led me to find out more about the writer and what i can learn from him about his methods and storytelling.

I began searching for his agent to contact him but it became clear this wasn't going to be easy so i dropped him a message on twitter to find an address i could write to. I found the same question had been asked my others and came across an address but i wanted to be as professional as possible and approach his agent to check it would be ok to ask a few questions to him and not just have it look like fan mail. So i signed up for IMDB pro's free 30 day trial and found out that his agent is a lady called Cathy King with an agency called independent talent group. I had a phone number and email address direct for her and decided to give her an email.

In my tutorial simon mentioned finding out who the assistant of the agent is, is the best way to get a  response and so that became my next target. Once i had discovered the Assistant i emailed her also and provided a short list of questions:

Why did you become a writer?
Where did the idea for No Angels come from?
You've said in an interview that you like to flesh out your characters before going into plot. How do you go about this?
Research can play an important role in developing storylines especially when your working with established environments - Hospitals/NHS or in my case sunday league football - how do you go about this research?
What would you recommend a young writer do as a starting point in the industry? Is it a good idea to start with running jobs, working your way up and writing on the side?

I hoped that my questions would help with some of the issues i had faced but also give an incite to a writer that has had a big influence on me and the way they work.

Major Project: Post it's

Throughout the 6 drafts of the script i went through i used various methods that have been highlighted in previous posts. Something i found useful was to use post its. 

http://masteringfilm.com/planning-your-script-a-feast-of-post-its/

"My walls are filled with Post-It Notes, divided by project (there are six sections of wall dedicated to six projects), and very few of them contain any notes about plot points."

I took this and applied it to my problem. 

For example Simon gave me the feedback that Don's character needed to be explored further so i made a post it wall to see how many times characters were in the show to see how the distribution of characters fell in the show. It became clear that Don was basically in 2 scenes. I hadn't even given him a reason to turn up to the match on paper. In my head it made sense because i knew the character and why he would show but the audience weren't seeing it. So i added a few short scenes to explain why he might show up at the match. 

This tactic was also useful when i was looking to further develop the tension between the strood team and the Grove green boys. I needed to raise the stakes. Why would this team show up? why would the audience care? I needed them to have a confrontation. 

I used post its again for this problem. I highlighted where Strood were mentioned in order to develop that sub plot. This was interesting lesson as i could see that originally it was when Nath was jumped and then nothing until the match really. So i added a few more mentions, Why Strood would show, a mention from dean at the meeting with don, A confrontation with stood and then the match. 

Another past concern was my subplots i originally noticed i had no other scenes to swap between. I used post it's to help with this problem by writing the various plot points down and then seeing if they made sense. From this it became clear that the pub scene was a little redundant and i changed it to not only something that developed the characters and a sub plot of Nath's attack but also hint at a potential future storyline with Nath and his sexuality. This sub plot post it's also allowed me to further develop the storyline with dean and Lucy, Tom and Abbie and Ollie's comedic relief.

Overall i feel this post it tip has been a great find and i wouldnt have been able to redraft so efficiently without it. I feel i have been able to use a small amount of research, develop it way past its origin and apply it to multiple problems in order to develop my script.

Major Project: Treatment Research

As i had never written a treatment before, i wanted to research what kind of things went in to them in order to make it as professional as possible. I began by searching about treatments on google and found an article on this website:

http://www.charles-harris.co.uk/2013/10/12-essential-tools-for-writing-a-successful-film-or-tv-treatment/

"1. KEEP IT SHORT2. REMEMBER THE PURPOSE OF A TREATMENT3. MAKE IT REFLECT THE BALANCE OF THE SCRIPT4. INCLUDE THE SCRIPT’S ENDING5. MAKE IT READABLE AND MOVING6. SHOW ME AN ACTIVE PROTAGONIST7. AVOID AND THEN… AND THEN…8 CUT NEGATIVES, AVOID IMPERSONALS AND MAKE PASSIVES INTO ACTIVES9. WHILE YOU MAKE YOUR SENTENCES LINK AND FLOW10. STEAL ACTIONING WORDS FROM ACTORS11. STAKE THE FARM12. PUT PICTURES ON THE SCREEN OF MY MIND"

I found the keep it short bit one of the key things. As the script itself is 30 pages, having a concise treatment would help me to sell the idea to potential producers and companies. If i want them to read my script i need them to be interested in the project getting the plot and concept across quickly as in the real world there would be a stack of treatments and scripts and producers don't have time to read them all. I decided writing a 1 page treatment and then writing the entire 6 episode synopsis's as if they get past the treatment it would a good idea for them to see the whole series outline and my vision for where the characters go.

The first thing i had seen from the treatments i had read is to write a logline. This is something that i had practise with from previous years. So i knew that i needed to outline the plot of the show making it seem exciting and in keeping with the tone of the show.

"preparing a log line for your screenplay is a basic marketing tool that I have repurposed for developing treatments. It is similar to the summary given in TV Guide. It is a technique for boiling down a plotline to its essence that has been described as trying to vomit into a thimble. "

http://www.movieoutline.com/articles/how-to-write-a-treatment.html

The next section i thought to include was a premise. This was to outline the idea for the show in further detail. I had already wrote a premise in order to prepare for the pitch session with Simon. I reworked this as i felt it suited the tone of the show well and made it a little more relevant as the script has gone through many edits since the pitch.

http://mikedimartinostory.com/2014/05/21/writing-the-premise/
"The premise discussions are basically a more focused version of the season overview discussions. For me, the episode starts to click when I know the character’s emotional arc for that episode. "
This was something that stuck with me and also in turn had an impact on my episode synopsis's - i tried to show the emotional arc of the characters clearly. I tried to give a snippet of the characters personalities in the premise but in a more comedic way but also tell the drama storyline of the pilot - Nath getting beaten up. 

The final part of the treatment is format. This is vital for professional treatments.

http://www.antonymayfield.com/2012/06/13/how-to-pitch-a-tv-show/

"Your format and pitch to a commissioner need to be clear about what they are… Why you? Why me? Why now?: Sometimes it isn’t the strength of the idea that counts, but its context. One producer said that these three questions that quite often people pitching a format can’t answer."

From this research the why you? why me? part stood out, i wanted to make it clear why the show fitted Tekkers Tv as a platform as it was a sports channel with dramatic and comedy elements. I also wanted to explain why that time of day for releasing the show. It was based on research undertook by the producer. 
I felt having the format of what our show is about would help clarify the platform. As Tekkers Tv is a platform that myself, Chris and Danny founded i sat with them and Aimee to discuss the ideas for why we felt it would suit the channel. As producer Aimee led the discussion and based on feedback we gave to her she decided on the time for show. I also wanted to show the number of episodes and length of the episodes. I decided to create a 6 episode series based on the traditional amount for a UK series and the reason for 30 minutes was because that is roughly the length for sitcoms / drama comedies in the Uk. I could have done the online route where the episodes are usually much shorter but i felt the shorter length of time but more episodes didn't fit my vision for the show. I wanted time to explore the characters. Also this show is something i could see on a channel in the future so although it is currently for Tekkers TV i wanted to keep the format in keeping with what is currently broadcast to be able to potentially use it as a future pitch.

Overall i felt the treatment writing experience was an unusual one but still interesting and helped me to highlight the show concisely for others.

Major Project: Table read

In order to prepare myself for the table read i decided to research a little into them to find out the usefulness of them and why they are needed so as i could use this knowledge to assist me in making the most out of the table read.
I initially wanted to to the table read because i felt it would be a good opportunity to see how the script was coming along. For all the actors to come together, meet and see how their take on the characters had come across. I also hoped that Danny and Aimee would find it useful as Producer and Director and felt it would give Chris a chance to do some filming.
upon starting my research i found this website:
http://www.backstage.com/advice-for-actors/casting-director-note/why-table-reads-are-just-important-auditions/
It is written by Casting Director Marci Liroff who has worked with some of the most successful directors in the world such as Steven Spielberg, Ridley Scott, Mark Waters, Christopher Nolan, Brad Bird, and Herbert Ross.
She wrote:
"We have table reads for a few different reasons. When we’re trying to get the project off the ground, we invite investors and put together our favorite actors to help sell the material. Sometimes the writers and the creative team need the screenplay read so that they can hear how it plays. They often invite other writers so that they can discuss it after and do a “punch-up” for dialogue or for comedy. When I’m casting a feature film or television project, we invite the newly cast actors to a table read for the creative team, along with the studio and network executives. These readings can be very scary for the actor—even if she’s already been cast."

I found this interesting as i definitely was excited to hear it read for the first time and agree that it would be a valuable experience to see how the words bounce around. Is one actor having too much dialogue? Does it fit their character to be saying long speeches?

Major Project: Trimming the fat - Stage 1 of the rewrite

After a conversation with Aimee i came to realise i had given her the difficult task of casting 30 characters. After taking a look at the script through this lens i decided to see - if when i cut characters out would the story still make sense? If not Could main character have access to this information also and therefore be able to move the story along also?
With this is mind i went through the script with a tooth comb and highlighted anything i felt was vital - BLUE. I then used a different colour to highlight anything that was unneeded - PINK. I used another colour to show the bits i needed but could have another character say - YELLOW
 For example this is the first scene of the script:

Using this information, i began rewriting. This is the same scene but with the pink sections cut out, the yellow section is now said by Tom. 

I think by doing so it not only focus more on the characters that are important but realistically makes Aimees job a lot easier. Although the character, who's dialogue i deleted, is still in the show he is now more of a featured extra. I have done the same with another scene which i removed completely from the script and with that removed 5 characters from her casting list. 

http://www.movieoutline.com/screenwriting-blog/index.php/2011/08/dont-have-too-many-characters/

"Ask yourself, who is this person?  Why are they in this scene?  What do they contribute to the scene, protagonist/antagonist, plot and movie?  Are they merely a sounding board for you or your central characters? "

This quote is very similar to the thought process i took when scanning through the script. 

For example the character of the bar man - i loved my description of him - it was one of my favourite descriptions i'd written for character and because of that it held a little place in my heart. However when i asked myself these questions i realised he was mainly a vessel in which i was using to give the characters some information that they could know from elsewhere - he was to be axed. it was painful. but it was ultimately the right call. It also breathed new life into the script and left me with the interesting task of focusing in on each of the characters, and discovering what they might be doing if they weren't at the pub or playing football. Something that i will discuss in a separate post. 

Major Project: Research into Writers - Toby Whitehouse

There are a few writers who's story telling has captivated me since i was a child and while for some people that might involve big name TV or Film productions for me a lot of my favourite shows are often those that aren't that well known.

The first writer i decided to research is the creator and writer of one of my favourite tv shows - No Angels -Toby Whitehouse.
He has since gone on to create one of BBC Three's biggest shows Being Human which has since been remade into a US version with his involvement.

I found an interview on BBC Writers Room with him where he talks about how he creates characters and what comes first the beginning middle and end.

http://www.bbc.co.uk/writersroom/writers-lab/be-inspired/toby-whithouse

He says that as he trained as an actor first he is able to see lines of dialogue and know when the writer has never actually said this line out loud. For him he likes to say the line over and over and it will inevitably get shorter and concise until it does exactly what it needs to without being wordy.

 Something i found interesting was when he mentioned how he didn't like the idea of research and thought 'why let the facts get in the way of a good story' but when he was doing No Angels they did months of research and it turned up lots of stories of its own and thats the same with character bios which noone ever see's but he knows. This is something i do. I feel i know a lot about these characters, a lot more than perhaps the rest of my group, because i have spent months creating backstories and where they come from, why, their lives. I've immersed myself in the world and out of that has come new stories ideas.

Overall he had a lot of useful points that i can relate to as a writer and some that i will consider using in the future and see if it helps me out.

I looked on IMBD for his writer credits and found that the first show he worked on as a writer was Where the Heart is. He did a couple more episodes for other shows and then his created no angels for Channel 4. He has since gone on to create Being Human and now also writes for Doctor Who.

He also has acted in Bridget Jones's Diary and has a tendency to pop up as an extra in the shows he writes.

http://www.independent.co.uk/arts-entertainment/tv/features/meet-the-showrunners-from-steven-moffat-to-toby-whithouse-how-did-writers-end-up-seizing-the-reins-9386825.html

"I often talk to young writers and they're often desperate to get their own first show, and personally I think that's a terrible thing to happen to a young writer, because you have to learn the industry."

This is an interesting point and something i plan on doing. I would love to work in a writers room with other writers, using characters that may have existed for years and taking on their story with a fresh perspective and direction but still staying true to who they are. I think this advice is very useful and as much as i am enjoying have this freedom to create my own show, it will potentially be something i come back to in the future rather than a driving force in my career right now.

http://www.kasterborous.com/2015/05/toby-whithouse-game-writing-tips-magic-doctor/

"So I guess my advice would be: dance as if no one’s watching, write as if no one’s reading.”
This is something i found really insightful. Writing without a care is something i often struggle with. I feel like there is a lot of people relying and invested in this project particular that sometimes i feel a little like I'm never going to please everyone. So this made me think - Yes exactly - your not going to please everyone - so while spinning off some plot lines and how a future episode will flow i started writing like noone will ever read it and i although i still had those niggling thoughts in my mind, oh they aren't going to like tear part - it helped me evolve my characters. I knew this idea of having one of the characters come to terms with his sexuality might not be welcomed with open arms as it would if i was writing a scene where ollie does internet dating but having that freedom to explore possible areas like this are not only more relevant to the real world but are also make the storytelling richer. 

overall i think these research into Toby has helped and i may contact him as part of my on going research into writers to find out some more about how he works as a writer and how he got his first writing job etc

Major project: Raise the Stakes

After Simon read my script he mentioned that while reading it he kept asking why does the team needs a manager? What is at stake?
With this story being based on my own experiences i was probably thinking that this would be enough as in real life - we needed a manager or the team would fold and everyone would have to give up playing. However in the world of TV something bigger needs to happen. i decided to research into this a little to this idea and to see if they had an methods or strategies for doing so.

http://thescriptlab.com/screenwriting-101/screenwriting/script-tips/884-raise-the-stakes-crank-it-up
"You want to SQUEEZE your characters, constantly making it harder on them."

http://www.movieoutline.com/articles/how-to-raise-the-emotional-stakes-in-your-screenplay.html

"After years of working with many writers, I concluded that often when we begin to create screenplays, we come up against a basic instinct, which is to try not to generate conflict, but to resolve it. "

This is one of the problems. I think i am trying to resolve to much too quickly and not generating enough conflict. 

I found this strategy and decided to give it a go:

Step 1.  Set a timer for 15 minutes.
Step 2.  Without stopping, make a list of the worst things that can happen in your script and the effects these events would have on the various characters. Really let loose and leave the logic of your current story behind. For example, in the film, Casablanca, what if the Nazis were invading, and Ilsa had been two-timing Rick? What if he were captured and tortured?  While I don’t think Casablanca needed higher stakes, I intended this as example so you could apply the technique to your story.
Step 3.  Have your main character describe how these events changed the outcome of his or her life. Rick might write, “ I could have taken everything but knowing that she was sleeping with another man.”
Step 4.  Put the exercise away for a while and watch one or two movies in your chosen genre that were very successful and that you like.
Step 5.  Consider the relative stakes in these films and your script and make any adjustments.

Here are the ideas i wrote in that time period:

Step 2:

Step 3:

Step 4: I decided to watch Friday Night Lights and No Angels. Friday night lights is a tv show about an american football team and No angels is a drama comedy about nurses. I chose them because one is sports related and the other is situated around one commonality - working in a hospital similar to how mine is set around the football team.

Step 5: After watching the shows i realised how far i could push the script and decided to use the idea that a character could be beaten up - it raises the stakes as if i wanted to kill off a character id like to do it later in the series when people have grown attached to them - Shonda Rhymes style.

This was a really useful technique and helped me to move forward in a time efficient manner. I feel like i am starting to build up a skill set now for when i have a moment like this where i am stuck. This process is becoming less and less time constricting and making me realise that i have all the tools i need its just about thinking about it a different way - i think that this might also be something that could work as part of the script writing group. maybe we could all bring a scene we are finding particularly troublesome to a meeting and do a short task like this on that scene as everyone will bring a unique concept to that scene and see it a different way than you might in your own head - expanding the idea - something to suggest anyway.

Major project: Subplots

After i began writing my script i realised one fundamental flaw. All of my characters were in the one scene and i had nothing to cut to. 

When you watch Friends, for example,  there are times when all the characters are together but there are usually 2 (sometimes even 3) plotlessness throughout the episode. One is resolved at the end and the other moves the series arch forward. Therefore monica can be having a kitchen crisis and need's phoebe to help her out, while ross and rachel are having yet another lovers tiff, and chandler and joey are creating fire ball. the story's intertwine slightly and it gives the episode a greater depth. 
My problem was one that was just not going away and what was worse is that i had clear subplots for all my other episodes just not the pilot. 
I decided to go back to basics and research subplots for anything that might help me figure out my issue. 


http://www.movieoutline.com/articles/screenwriting-structure-series-part-14-subplots-and-the-midpoint.html

" In fact, it's okay to manipulate your spun off subplot into a planned subplot that helps serve the story better. "

"Just as your Protagonist is a character in conflict, so should your secondary characters be in conflict of some kind and hence, we follow this secondary character's struggles via the subplot and this subplot helps pull the main story into full focus by the end of the screenplay. "

I decided to split up the characters in my plot. I knew which 2 characters i needed in terms of dynamic for the A plot - Dean and Ollie which left me with Tom be a driving force in the A plot. My b plot could therefore focus on any of the other three main or secondary characters. However i knew which 2 characters i needed in terms of dynamic for the A plot - Dean and Ollie which left me with Tom and Nath.  I just couldn't think of where to go with them. 
My A plot is getting a manager. This idea of conflict made me think the subplot should be the search for players. I began thinking more about the dynamic between tom and nath. They both support Spurs but while nath is shy and awkward, tom is hot headed and brash. perhaps the conflict could be that tom slacks off while nath really puts in a shift to get some new players. however whenever i read those scenes i kept thinking why are we coming back here? what is so important about this scene? it felt like it was just something to cut to - and it was. 

http://www.crackingyarns.com.au/2011/01/26/the-secret-to-subplots-half-revealed/

"If a screenplay dies in Act 2 or Act 3, it’s just as likely the problem lies in the subplots as in the main narrative."

The above quote is exactly my point.

I deleved a little further into the research department hoping it would help. 

http://www.scriptmag.com/features/craft-features/ask-the-expert-making-sure-your-subplots-arent-sub-par

"The B Story is often the more emotional thing, and not the visual, tangible, action-y thing. It’s 
connected to your concept – but is usually caused because of or caused by your concept. It’s 
what your hook or major storyline leads your characters to (or to do)."

I have a long running sub plot throughout the show of the love story between Dean and Lucy but it 
isn't appropriate to introduce that story at this moment. Then it came to me.. tom is hot tempered. 
Nath is the reason the team have come back together - he has been attacked by a rival team. Maybe 
Tom can teach him a few self defence / fighting tips. 

This storyline could easily intersect the main storyline at the end of the episode and would also offer 
a more serious and softer side to the show. 

"Your subplots are basically a way for you to cut away from your main storylines and main 
characters infuse different life and personality into your story. These subplots do NOT
have to include your main characters, and probably shouldn’t. However, it usually does and SHOULD intersect and affect your major plotline at some point. "


I would be bringing different life to the story through this subplot. It would be a different tone and pace to the wedding vibe and also let us know about the characters a little more. Tom is aggressive but also is a teacher a 2 sided personality character and he's hoping to rub a little bit of teaching and aggression off onto weak and shy geek Nath. 

"The secret to successful subplots is to have them ultimately come back and have an impact on the main narrative."

This exact line became one of the biggest turning points for me. When i saw this, everything started to slot into place. I began to think more about how Tom's teaching nath could come back and impact the final scene. Initially i had Ollie score a goal - as he missed the penalty i thought it would be idea to have him score - sort of mirroring the start and end. However This idea of having the sub plot impact the main narrative made me think - maybe Nath should score - maybe an on running defender could go to take him out but he ducks and is in acres of space for dean to pace the ball into his path for him to tap home. Now with Nath being the goal keeper its slightly unrealistic however as its a 7 vs 7 match the pitch would be smaller and perhaps the others are so tired he just makes a break for it. 

This research i have undertaken has  clearly influenced my writing and the way that i think about plots as it has made me see the light and shade of the stories. Although i watch a lot of programs and see it happening on screen it hasn't translated into my writing yet so this is a new development for me. Im applying what I'm learning through research into my script. I think having this subplot in place will make the story richer.

"It’s a simple subplot that’s introduced without fanfare but it ultimately creates a complication that threatens the hero’s pursuit of his goal and triggers evolution of the character. That’s an effective subplot, wouldn’t you say? It works because it complicates and escalates the drama."

This subplot would defiantly help to increase the drama because Nath would be learning how to take care of himself, it evolves his character and the inciting incident earlier in the script has already threatened his pursuit of his goal. 

Major Project: Writing Montages

After my tutorial with simon. It became clear that i had a lot of work to do with the script. One of the scenes i had written was fairly montage like but i hadn't written it as such and therefore i thought i should go away and do some research on this to help with the writing.

I began by thinking of programs that had big montage scenes and of course the first that sprung to mind was Rocky. I didn't want to just watch the youtube clip however of rocky training. I wanted to find out how that scene was written but found it very difficult to come across the screen play. In fact i found it difficult to come across any scripts that had a montage.

I decided to turn my attention to more in depth research into how a montage should be formatted and began reading up through various sites. The one i found most usual was this:

http://www.scriptgodsmustdie.com/2010/01/format-3-montage-vs-series-of-shots/

The idea of the montage scene was mainly because i thought that was what this sort of thing was called. It wasn't until reading up i felt that, when i thought about it, it wasn't a great amount of time passing, I'm not trying to tell a story without words, its not really a montage at all but a SERIES OF SHOTS. It's a short passing of time and will still move the story forward.

From this i needed to see how this would be formatted and found a useful example on filmmaker IQ.
http://filmmakeriq.com/lessons/a-guide-advance-screenplay-formating/

The article styled it as a montage but ultimately it is a series of shots and taking what i learnt from the previous article it would be classed as such. 

I took this research and applied it to the script by writing my series of shots in that format, making sure it was concise and made sense for the plot. My scene is a night club scene where the characters are getting progressively drunk to the point where on of the characters is very drunk. I felt it necessary as it would show their friendship and a little more about their characters without having to have to much said. From just the way one character drinks, or strikes out with a girl adds to the audience's perception of them and i think its a justified use - something that i also learnt from my research.

http://www.steves-digicams.com/knowledge-center/how-tos/filmmaking-tips/screenwriting-how-to-write-montages.html#b

I found the research helpful as it enabled me to solve the problem i was facing in a visual way by watching youtube videos of montages and then took this and looked into the formatting. This has helped my skill set because i had to think outside the box in order to solve the problem. I couldnt find any scripts so i had to find a work around that still made sure i found something that could help.

Major Project: Helping find the characters voice

One thing that i have often struggled with is making sure my characters have a unique voice. The way they talk needs to come to life on the page. As i am writing a lot of male characters, i wanted them to speak differently so it is clear who is talking, whilst also noting that they live, and are from the same area. For example Dean is very confident and has a Cockney Twang to his voice while Nath is more methodical and uses words perhaps unfamiliar to the others as he is a keen academic.

I decided to do some research to help me with this and hopefully provide me with a solution or alternative way of looking at it. I knew one place that had often held answers for me in the past was BBC Writers Room so i went there first.

http://www.bbc.co.uk/writersroom/writers-lab/genre-toolkits/writing-tv-sitcom

I found an interesting article through them (see above link). I wanted to look at methods other sitcom writers use to help with character development and also figuring out their voice. So far i have only created in depth character profiles and therefore i know a lot about my characters and their background and what they want.
After reading the article one piece of advice stayed with me.

"write monologues for each character in that character's tone of voice"

I liked this idea and felt it could help me to figure out the way the way they talk and help to clarify their individual voices a bit more. This also reminded me of things Simon taught in the first year about putting your character in situations they may not be familiar too and see how they react. However for this scenario i decided to use situations the characters would be involved in, off screen moments the characters might have. 

From this advice i wrote monologues for the 4 main characters. Whilst doing so i found it gave me an opportunity to focus solely on that character and therefore not worry about what others would say back to them. It proved to be a very helpful piece of research as i when i gave the monologues to group to read it was clear to them which character was talking without me having to tell them. It was clearly in their own voice.  

 http://www.bbc.co.uk/writersroom/writers-lab/scriptwriting-essentials/4-character

I also found a piece of information on a different article on the same site, which i'd found helpful. 

"They need some kind of vulnerability – a chink in their emotional armour or Achilles heel or blind-spot that makes them universally human. "

When i was reading over the script, one thing that wasnt sitting right with me was that Dean was all over every girl he meets - there was barely anything likable about his character to the female audience. When we see him meet lucy - a future love interest - nothing about him changes. I felt this wasnt how that situation should play out. Dean should treat lucy differently to the other girls without loosing his voice. He can still check her out but also so a softer side to him that lets the audience know of that 'chink in his armour'. I decided to rewrite the meeting scene to reflect my new thoughts and feelings. 

Overall i think applying this research to my work has undoubtedly improved it. It has opened me up to a different way of thinking and helped me to apply my research rather than just read multiple relevant articles. My research here has affected my project by allowing me to explore characters in a new way, outside of script writing. We will also now use these monologues for the actors during auditions. It has also let me explore scenario's that i wasnt planning on having in the series so has given me further creative freedom that when i have looked back on the monologues i have found them to be so useful i may work them into future episodes in some way.  
 

Major project: Not going out episode 6 research

Locations: Kate/lee's Flat, pub, Flat gorundfloor, apartment block hallway,

Storylines:
- Kate is trying to help lee find another job, he is not happy but agrees. Lee is trying to fix the blocked sink. Kate is also annoyed that lee has had tim over. Kate says she annoyed that tim think she still needs him.
- Lee tells tim that he had a job interview. Tim tries to help with his interview technique but then lee reveals they offered him the job but it would involve moving out of the flat. Tim realises that because lee isn't thrilled this means that he doesn't want to move out.
- Kate is pleased lee got a job especially as it is in property and therefore a proper job. However she is sad that lee will be moving out. However when she walks him downstairs he walks into the ground floor flat revealing he is the new maintenance man and will be living in the same building as her.
- kate is moping round the flat when tim shows up. Tim has come round to tell her she should get a new roommate and it should be a girl - so lee can't move back in, and so she doesn't live with another man.
- Tim tells lee to stick at the job even though he hates it. Tim tries to get lee to stay so lee can impress kate.
- Lee runs into kate in the hallway and they reveal they miss each other. But she tells him she is interviewing a new flatmate later which upsets tim.
- Tim and lee meet rates potential flatmate and it is a man. They decide to get lee to quit the job and move back in because tim knows nothing has happened between kate and lee and is worried that the new flatmate is too good-looking.
- Lee tries to put the man off by telling him kate does something disgusting. He quickly leaves and leaves lee to tell kate. Lee tells kate that he wants to move back in but he doesn't want to quit his job. So kate throws an item he has to look after out of the window causing him to be sacked. Lee then moves back in with kate.

This is the final episode of the series. I feel that the storyline with kate and lee didn't develop enough to keep my interest throughout the series and would have liked there to be some sort of cliffhanger or reveal to kate because it just leaves the whole series as a very slow build up to nothing. I can learn from watching this show and feel watching the first series of friends will contrast dramatically and show how a slow relationship bond is developed correctly - ross and rachel.

stay safe,

helen

Major Project: Not Going Out Epsiode 5 research

Locations: Lee/ Kates Hallway, Lee/ Kate's Flat, pub, park

Storylines:
- a child trick or treats at the flat. Lee isn't impressed.
- Kate informs lee that a teenage boy is coming to stay. She says nicky, will bring his dog until lee says he is allergic. The teenager, Nicky, is annoyed that this means that the dog can't stay. Nicky is also a goth.
- As lee tries to bond with nicky it is clear nicky isn't interested and enjoys winding up lee. However at the pub nicky enjoys tims bad jokes and bonds with tim over their mutual love of metal music.
- kate tries to get nickys dog to become a vegetarian but he is sick when she feeds him a meat free treat. Tim gives her advice about training him.
- tim takes nicky back to the flat and kate is annoyed lee has left nicky with him. She is surprised that they have bonded. When lee returns kate is furious with him. kate asks him to remember what he was like as a child.
- at the pub tim tells lee to be more understanding of nicky and listen to him and try harder to connect. Lee wonders if he can get hold of a copy of a rare album to give nicky as a gift as he had earlier mentioned how much he wanted it. He finds it and impresses nicky and kate.
- Lee takes nicky down the pub and lets him have a shandy, as long as he doesn't tell kate. Lee tells nicky its ok that they don't have anything in common because they are different ages but that doesn't mean they can't get along. Nicky says he wants to date his best friends ex girlfriend but lee says he shouldn't - nicky realises lee likes kate but says he thinks tim and kate should get back together.
- At the flat, nicky tries hard to get kate and tim back together. Kate tries to tell nicky she isn't interested and then nicky tries to tell kate lee likes her but the doorbell goes and nicky's dog is on the doorstep with a sign around its neck reading surprise. she closes the door and when lee opens the door after it is now tim behind the door wearing the sign. Tim reveals it was lee's idea for the dog to stay with them.
- Kate and lee play fifa while the dog sleeps on their laps. Lee's allergies are quite bad. Kate says a joke that lee told nicky earlier. She tells it wrong as she didn't understand it.

i feel this episode didn't really add to the story arch of the series as nothing developed really. At a push lee did make some nice gestures but they were for the child and not directly for kate although she was impressed.

Stay safe,

Helen

Major Project: Not Going Out Epsiode 4 Research

Locations: Lee's Car, Kate/Lee's Flat, Pub, acupuncture office,

Storylines:
- Lee is teaching Kate to drive. She is struggling and when reverse parking crashes the car into a parked car.
- Lee is still angry and kate tells him he needs to be more calm as he is very stressed. It is also revealed that kate hit a guide dog. Kate suggests yoga to help lee relax or acupuncture.
- At the pub lee finds an article in nuts that tries to help relieve stress. Tim ask a series of questions from the article to determine if Lee is stressed.
- There are more jokes about tim's younger ex girlfriend.
-  At the flat kate does yoga with lee. He takes a few short cuts. When meditating he gets a little anxious when kate tells him to imagine a candle as he thinks about wax dropping onto the floor. he goes on a rant kate books him and acupuncture appointment.
- Kate learns to drive with tim, he think he can use it to win her back. she reverses the car into a wall as tim continues to bring up the relationship.
- lee is adamant that acupuncture is a sham and argues with the therapist.
- Tim encourages kate to park the car in a small space, the opposite of what lee did earlier in the episode. She is pleased with his encouragement and parks perfectly.
- at the pub, tim says he is pleased with how kate's lessons with him are going. Tim asks why lee is bothered that he is getting on so well with kate but lee says it is more that everyone keeps calling him stressed. Lee tells tim that his doctors has given him tranquillisers but tim tells them they are dangerous. When tim asks if he has tried everything lee mentions kate said she could try massage on him, tim encourages him to take the drugs after all. Lee does but with a small about of beer.
- at the flat, lee is very spaced out and kate is very concerned. Lee asks kate to go to tai chi with him on friday, she agrees and he says its a date. But then he takes it back awkwardly.
- Lee and tim both take kate on a driving lesson. Tim tells her to watch her speed but lee says she is doing fine - he is still a little spaced out from the drugs. She says she isn't going that fast because the dial is nowhere near the f - tim says this is the petrol. Tim also asks if they should put on the central locking after lee has a lie down. tim tries to ask kate out for friday but she has already made plans with lee. Tim rants and says that she will be end up sleeping with lee but lee mishears this as tim will sleep with lee. Kate discovers lee took tablets to be relaxed as she thought he was relaxed from yoga. This stresses her out and causing her to drive faster. Tim again rants about kate blames him to everything and the two argue. Lee tries to get kate to slow down. They crash.
- Lee has a neck brace on. Kate reveals she passed her test.

This episode again seems to repeat the same stories so if I'm honest is a little boring. The joke are good but as there is no new characters to mix up the dynamic it seems a little stale and it is only 4 episodes in. I think this is a good lesson because as much as the audience will want lee and kate to get together and for it to be organic the build up can be a little dull if each of the development episodes are the same. There needs to be obstacles to their relationship and so far the only one is tim and it is just a constant cycle.

Stay safe,

Helen

Major Project: Not going out Epsiode 3 Research

Locations: Kate/ lee's Flat, Pub, shopping centre, Kates Bedroom, Cafe,

Storylines:
- Lee has a new job handing out leaflets dressed as a parrot down the shopping centre. Kate is pleased he has a job and says she is proud. She is being so nice to him that lee knows she wants a favour. Kate says a friend of hers is coming to stay and lee says thats fine and she can stay as long as she wants however as it is kate's apartment this wasn't the favour. Kate says her friend has always been more successful than her - better job, bigger house etc. The only thing kate had that her friend didn't is a boyfriend but now she isn't with tim. She says her friend hasn't actually met tim and that she has exaggerated things and said how well things are still going for them so asks lee to pretend to be tim. He initially refuses but agrees with little persuasion She says he will sleep on the floor in her room.
- Lee tells tim about the favour. Tim believes this to mean kate still has feelings for him. She also says kate would never go out with a guy like lee. Tim tries to pretend to be lee but lee laughs at him.
- There are more recurring jokes about tim and his young ex girlfriend.
- kate gets lee up early to go with her to the airport to pick her friend up. She also says it is not weird that she could actually end up with someone like lee. The plan to fool rates friend goes well initially and lee is vague about what he does. She asks about rates old flatmate lee and they say he moved out which the friend is sad about as she wishes she could have gone on a date with a british man while she was here.
- at the shopping centre lee is dressed as a gorilla handing out leaflets. A kid kicks him.
- Tim asks lee if he has kissed kate while they have been pretending and lee says no. He also worries about the fact lee has to share a room with kate.
- Lee makes kate worried that her friend might walk in when he is sleeping on the floor so she tells him to sleep in her bed. It is awkward. Her friend walks in and gives them both presents. Lee's is massage oil to use for the couples anniversary. She tells lee to show kate how happy he is that they are still together so he tries to shake her hand. Kate is cross when the friend leaves the room and asks him to be more romantic. They fight and lee sleeps on the floor.
- at a cafe kates friend says she envy kate which makes her happy. Then the waitress recognises kate and asks her how she is doing since her split with tim after he cheated on her. She says that she has forgiven tim and they have moved on from it. While she is talking about how well tim is doing, lee walks past dressed as a rabbit and is kicked again by the child. noone notices.
- at the flat the friend give lee the cold shoulder, which confuses lee until kate tells him the updated situation. her friend says she can tell that the two are in love and she is sad she hasn't met anyone. Tim suddenly walks into the flat pretending to be lee. The friend likes him and he stays for dinner, Tim comes across very camp when he is pretending to be lee. The friend says the first time she saw lee and kate together they made a lovely couple with annoys tim but because of her emails she thought kate fancied lee because she always talks about him. This further annoys tim causing him to reveal everything. The friend is cross kate has lied.
- The next day kates friend has calmed down and leaves. lee reveals he has been sacked after he threw a kid into the canal. Kate asks lee if they made a nice couple. he gives a quiet yeah and she says sarcastically that she is sad it is over and will miss the romantic chats. Lee asks kate whats she thought of being his girlfriend and she says it was alright with a smile.

So far still only the 3 main characters and now focussing on the relationship between kate and lee or the potential for one. This episode again had an a storyline - kates friend and the lie, and the b storyline - lee's new job and again they link together when lee walks past the cafe, in costume, while kate is talking to her friend. I am finding it useful to see how they slowly develop this relationship so that it feels more natural than forced and rushed.

Stay safe,

Helen

Major project: Not Going Out Episode 2 Research

Locations: Lee/ Kate's Flat, pub, Therapists office, Park, church, Funeral wake in a posh room,

Storyline:
- Kate leaves Lee a note asking him to get a few bits and bobs for her while she is at work and also that she has made him some vegan muffins - this is a recurring joke from episode one about her making unusual vegan food that everyone hates.
- Tim pops round to see kate but she is out and speaks to lee instead. He tells him his nan has died. Lee offers him a drink of whisky but all he has is a fruity girly cocktail which tim actually likes.
- Kate comes home later and lee tells her about tim's nan. She says she should visit but lee tries to put her off by saying tim is fine. Kate says that is because lee doesn't express emotions so neither will tim around him. She suggests lee see a therapist he laughs it off until she tells him tim did. He wants to impress her so he agrees.
- Kate meets with tim at the pub and she apologises about his nan. Tim drinks the same cocktail at the bar that tim gave him. The two discuss their history involving time nan.
- Lee is at the therapists, She asks him if he tells a lot of jokes when he is around women as he has already told her some. She continues asking him questions about women trying to get him to open up.  She asks him about kate and he says they get along and don't really argue. The therapist then asks lee about his mum which again laughs off and says is typical of a therapist.
- Tim and kate are walking in the park, He says he will be eating alone tonight so she invites him for dinner with her and lee. Tim is slightly annoyed by her referring to her and lee as an us.
- Kate, lee and tim are cooking together. Lee is the least helpful and mainly makes jokes and drinks. Tim reads his eulogy. Lee tries to show he is sensitive and says he wrote a poem for his nan but kate knows he is lying. Tim says he is going to the funeral alone so kate offers to go - he says he is ok but gives her the details and says he will pick her up.
- Lee is worried that kate and tim will get back together at the funeral and tells kate this.
- Tim says he is going to ask kate about the song for the funeral. He asks lee if it bothers him that kate and tim are getting on well again and lee says no he's just sad he wasn't invited to the funeral. When he is asked he turns it down. Again tim is drinking the cocktail at the pub.
- Lee's therapist asks him if he is in love with someone. Lee says no but the therapist asks him further about kate. He insists kate likes him but only as a friend. The therapist insists he has a proper chat with kate and discuss his feelings, she says it will go well along as he picks a good moment.
- At the funeral, a phone goes off playing celebration. it is revealed to be lee sitting at the back of the church.
- Kate asks lee why he came as it is obvious a late decision - he isn't wearing black or a suit. He goes to tell kate his feelings and she looks hopeful but tim approaches drink another cocktail. He asks lee to get him a drink leaving kate and tim alone. He tries to get back with kate by asking her going back to his. She refuses.
- Lee comes back and kate leaves. Tim tells lee that kate turned him down and lee is worried. Tim asks him to check if kate is ok. Tim gives a drunken speech to lee about how he is a great friend. Lee decides not to go and check on kate but instead to stay with tim and take care of him.
- At the flat, lee imitates the therapist sessions with a toy monkey as the client. Kate walks in, She asks if he got tim home ok. She asks what lee was going to say at the funeral and he says it can wait. He says he has quit therapy but is going to be more open.

This episode doesn't introduce any more characters into the series but continues the main storyline of the love triangle of tim/kate/lee. It adds a bit more light and shade into the series by having a funeral which is usually not something jokes can be made off but there are still laughs and more heartfelt moments between the characters. That is something i like about this show as it makes you become more attached to the characters.

Stay safe,

Helen

Major Project: Not Going Out Episode 1 Research

Locations: Lee/ Kate's Flat, Pub, Clown workshop, Restaurant, art gallery,

Characters:
Lee -  a juvenile and lazy slacker, who goes from one job to another, living off the good graces of his Californian landlady Kate, with whom he shares a flat in London. It is not long before they find that their friendship is changing into something more. 
Tim -  Lee's best friend, an accountant from Henley, and Kate's ex-boyfriend (they broke up when he cheated on her with 23-year-old Emma) and he wants to repair their relationship.
Kate - Lee's American Landlady/housemate and the Ex girlfriend of Tim. 

Storylines:
- Lee is lazy and doesn't really do anything. He currently has got himself a job making christmas crackers from home but kate is trying to get him to do something more. Kate is asked to arrange a date for a client at work and she suggests Lee he initially refuses until he is told it will all be paid for.
- Kate has some leaflets for Lee about work including one about becoming a clown. Lee doesn't think he is suited and neither is kate but she decides to go on it to prove she is fun - something Tim left her for not being.
- There is a lot of romantic tension between kate and lee but is put to one side.
- We discover that lee and tim are best friends. Tim asks about kate at the pub and it is clear he wants her back. Lee wants to stay out of it as he is friends with both of them. Tim wants to apologise for cheating on kate and decides to do it this week.
- Kate goes to the clown workshop in full attire, something that the others at the workshop are not. When she is home she tells lee that when she is wearing her clown nose he should call her by her clown name - foo foo.
- On the date, Lee's date goes badly as the woman reveals all the details from her past which she wrote about in her autobiography. He is awkward but tries to make the best of it although he is very bored.
- While lee is on his date, tim visits kate at home. She is taking her clown make up off. Tim stays for dinner and tries to apologise but it goes badly when she sticks up for lee.
- Lee arrives home and complains to kate about the terrible date. When kate says its because he couldnt handle a serious relationship lee says he is going to ask her out again which seems to upset kate.
- Lee takes his date to a war gallery where she is as serious and depressing as ever. Lee lies and tells the woman he was adopted which seems to help her bond with him.
- At the pub lee discusses his dates with tim. Tim also subtly warns lee off kate. Lee says he isn't comfortable with sharing private information with his date but tim says they should go on another date and invite tim and kate along - a double date. He agrees but isn't happy. kate isn't happy about the double date but eventually caves and says she will be there after clown club.
- Kate throws a bucket of water over her instructor rather than a bucket of confetti because 'her clown is a maverick'. It doesn't go down well.
- Lee branches out in his cracker making and begins writing his own jokes for events including funerals, birthdays etc
- At the pub tim worries kate hates him. She buys them all chris and calls him a bastard which sort of confirms this but she has turned up on the date. Lee tries to help them become friends by using words his date used to describe his behaviour. It works and tim apologises to kate but they argue again about Tim's young fling. Kate is cross that lee is trying to get them back together but he insists he isn't which pleases kate but annoys tim causing lee to have an outburst and end up insulting his date.
- Kate is kicked out of clown club for throwing a pie at her instructor. It is revealed lee's date thought lee was too serious and is glad they aren't dating anymore. Lee is sacked from his cracker making job when one of his funeral jokes is found in a christmas cracker.

The reason i felt i should watch this show is because it is currently airing and is very popular in the UK. The other sitcoms i am watching are no longer on the air but this is so gives me a good idea of the kind of things that are successful currently. Also this show was cancelled but due to success of dvd sales and a petitions was brought back and has since had 4 more series made. I also find the relationship between the character of lee and kate is very interesting and wanted to look at how that progressed throughout the first season.

The interesting thing about this pilot is that it doesn't have a lot of the characters in it that will be in the series. Similarly due to casting changes and actor availability the main cast changes each season yet is still successful so i think the writing is key here and therefore a good reason to look at how they write the series.
So far the differences between this and the other shows are that this is very pun heavy and uses jokes that require the audience to have a certain understanding of pop culture. It also has a good heart to it with the relationship of the characters but i think there were a lot more joke elements in this pilot which seems to be a recurrent theme. I think they cant put to much heart into he opening episode as it takes time for people to invest in characters. So far Lee has plenty of unlikable traits - he is lazy and doesn't have a job but he is funny and aloof and his clear feelings for kate intrigue the audience just enough for them to want to come back. Similarly it is interesting to see how it could work if he gets together with her when she is tim ex. maybe tim will win her back... plenty of possibilities from a opening episode.
The one thing i did notice from this is that there is are 2 stories. the a plot - Lee's date and a b plot - lucy becoming a clown. Lee is able to link into lucy's plot and also bring her into his date plot through the double date which also brings in tim. This is something that was done cleverly in coupling but not something the imbetweeners did.

Stay safe,

Helen

Major Project: Inbetweeners Episode 6 Research

Locations: Suit shop, School grounds, classroom, 6th form centre, school hall, school gym.

storylines:
- It is revealed the series so far has been set over 1 term and the boys are now preparing for the christmas dance, Will is the chairman of the dance committee and goes with the boys and simons dad to hire suits for the dance. The suits he gives are very old fashioned and jazzy.
- Jay reveals will said he can dj at the dance but will says it is a maybe. Simon tells will he has to let jay dj as he is part of the plan to seduce carli. Will worries carli's rugby player boyfriend will be at the dance.
- Neil reveals he believes he is ready for a relationship. The boys all ogle the youngest teacher at school miss timms. Neil is infatuated by her even though will points out she isnt that fit but actually the only female staff member under 30.
- Will tells the boys he has jobs for them at the dance including giving out the vouchers for alcohol. Jay thinks this means he can get fit girls drunk and take advantage.
- will and jay argue over the fact jay saying charlotte only went out with will for a bet and will retaliates saying rude comments about jay's sister. They continue to argue about this throughout the episode.
-  At a dance meeting, will runs through the agenda. When the point of music comes about will says he's booked a band but jay says he is djing, but will says only after half 10 as the band is booked.
-  Simon asks carli to the dance but says they have to arrive at 4 to set up. She says she could do with a lift as tom, her boyfriend, has broken his car. however, as she has to get ready she says she will meet him there instead. The boys reveal that since meeting will simon thinks and expresses himself more. Will thinks this is a good thing but jay says look at him as simon is clearly distressed and embarrassed about his chat with carli.
- mr gilbert reveals he and miss timms will be at the dance to keep an eye on the pupils much to neils delight. He also runs through the rules. He says only 2 alcohol tokens per person and no heavy petting. Will thanks mr gilbert by his first name provoking a very negative reaction.
- Donovan approaches will and says he will be watching him tommorow and that if he goes near charlotte he will rip wills throat out.
- Will is very nervous about the dance and suprised simon is not nervous about his plan to woo carli. Simon reveals that he knows what he has to do and that jay wont let him down.
- Neil is wearing a very tight suit which has glitter and a low cut neckline. he is very pleased with himself. The boys make fun of him.
- At the party is seems to be a success. People are enjoying themselves and having fun. The boys notice will is stressed and neil is very happy that miss timms looks good but is drinking heavily while simon refuses to drink incase he throws up again.
- a tipsy neil tries to dance with miss timms showing off his robot moves.
- Will complains when jay plays a song not on his approved playlist and as walks off complaining the dance is a disaster. He runs into charlotte and worries about where donavan is and she tells him the party is good and asks him to dance but he declines. He asks her if he was a bet and she kisses him and asks him for a burger.
- Jay bonds with the nerdy boy who joined the school at the same time as will when he compliments him on his djing causing him to reveal that he only exaggerates because he wants to be noticed. the geeky boy offers jay to share his beer tokens which jay is pleased about. A girl approaches jay as the boy goes to get jay a drink. She is one of carli's friends from earlier in the episode. She tells jay she used to dj in ibiza and that she think he is good and she could probably get him a slot out there - seemingly she is also an exaggerator like jay. He tries to play it sensitive and talk about how much he likes the music but she unintentionally quotes him asking if he is bent. He is shocked but pleased and invites her to join him at the decks. The nerdy boy comes back with 2 drinks, one for him and one for jay but jay takes both and gives one to the girl.
- Simon finds carli and asks her where her boyfriend is. she reveals he is out with his rugby mates and that she isnt bothered about him anymore. He gives jay the signal, who cuts the music so that simon can talk to carli but he panicks when he sees everyone looking at him. He tries to tell her just as he sees neil trying to kiss miss timms. He gets a boner and everyone begins calling him the name that simon got ealier in the series. Mr gilbert escorts neil out. When simon turns back around he sees carli arguing with her boyfriend.
- donovan aproaches will and pins him against the wall he shouts at him for speaking to charlotte but everyone sticks up for will and shouts at donavan to leave him alone as he as done a good job at the dance and call donavan names. Charlotte has seen the whole thing and walks off leaiving him upset. He tuns after her. will tries to make a speech and thank everyone for sticking up for him but they go back to the dance.
- mr gilbert surveys the damage of the party aftermath and seems fairly satisfied although does shout at a few stragglers.
- will and simon discuss the dance in the school gym. They celebrate that will did a good job and didnt get beaten up and simon said he had a good time even though he didnt say what he wanted to to carli he wasnt bothered about it. Neil comes in and is embarrassed about trying to kiss the teacher. It is also revealed that mr gilbert is dating miss timms.
- Jay enters and says he got a blowjob behind the decks but the boys dont believe him he then reveals it to be a hand job and they laugh and tell him he is lying and he then tells the truth saying it was over his trousers. The boys mess about on the trampoline as the credits begin.

Overall the series has been slightly different to coupling. There is one main story throughout each episode in this series while coupling interlinks a few. They tell a lot more recurring jokes about bothlink back to things that happened in the original episode which i think is a nice touch and a good way of rounding it all off. This series however felt like a nice ending. I usually expect a cliff hanger but the series was fairly well concluded but also leaves a lot for their to be done in the future series as we wonder if any of the boys will have a successful relationship and see how they will grow. I think i prefer the writing style of coupling as i think it is a lot more clever but i think a mix of this sort of humour would suit well with a football show as it is similar to the banter that is often found in the changing room / locker room of a sports team. I have found researching this series very useful as i think it has helped me to think about my male characters more and give them clear identities like this show has. I think the boys in inbetweeners are fairly one dimensional to begin with but as the series progresses, especially with the character of jay, we start to see other sides of them which make them more real rather than caricatures. I also dont want them t be stereotypical characters, i think having a clear identity but also making them realistic is key and perhaps modelling the characters from traits of different people might be a good way to begin the character process.

stay safe,

Helen