Ideas
Writing The Law - initial sitcom idea
"Ratings"
Premise- an ex-cop joins the writer's room of a low budget crime show, and has to deal with her new extravagant co-writer, overdramatic boss, and the haughty lead actress.
Storyline- Police officer, Jacqueline 'Jackie' Anderson is kicked off the police force (for reasons unknown to the audience at this point), so joins the writer's room of a low budget crime show, run by head writer and show creator Marie Emmerich.
Here, Jackie meets the only other writer who works on the show, Sterling Tolbert, who is extravagant, and loves to play jokes on people. On Jackie's first day, Sterling proposes a story for the show's next episode. But Jackie points out he has a plot hole.
This impresses Marie, so much so, that she decides to let Jackie write the next episode.
Jackie is overwhelmed by this. This is her very first TV script. She flashes back to getting kicked off the force by the police chief, a memory which obviously haunts her.
Jackie is broken from this memory by the lead actress on the show, Adelaide Kane. Adelaide doesn't like Jackie's script, and doesn't seem to like Jackie very much either.
The next day, Jackie is still in the writer's room, finishing off her script. She's been there all night. Marie is pleased when she reads the script - finally a smart storyline for the show. Jackie watches the episode when it airs, and is happy.
But it receives dismal ratings, causing everyone in the writer's room to doubt Jackie. And Jackie to doubt herself. Jackie has to use the support and advice given to her by Adelaide to get her over the bad episode and write another which airs to better ratings.
Jackie redeems herself, and holds onto her job as a writer. But her new co-workers are left questioning why she left the force, given her knowledge, and wonder what she's not telling them.
Characters-
Storyline- Police officer, Jacqueline 'Jackie' Anderson is kicked off the police force (for reasons unknown to the audience at this point), so joins the writer's room of a low budget crime show, run by head writer and show creator Marie Emmerich.
Here, Jackie meets the only other writer who works on the show, Sterling Tolbert, who is extravagant, and loves to play jokes on people. On Jackie's first day, Sterling proposes a story for the show's next episode. But Jackie points out he has a plot hole.
This impresses Marie, so much so, that she decides to let Jackie write the next episode.
Jackie is overwhelmed by this. This is her very first TV script. She flashes back to getting kicked off the force by the police chief, a memory which obviously haunts her.
Jackie is broken from this memory by the lead actress on the show, Adelaide Kane. Adelaide doesn't like Jackie's script, and doesn't seem to like Jackie very much either.
The next day, Jackie is still in the writer's room, finishing off her script. She's been there all night. Marie is pleased when she reads the script - finally a smart storyline for the show. Jackie watches the episode when it airs, and is happy.
But it receives dismal ratings, causing everyone in the writer's room to doubt Jackie. And Jackie to doubt herself. Jackie has to use the support and advice given to her by Adelaide to get her over the bad episode and write another which airs to better ratings.
Jackie redeems herself, and holds onto her job as a writer. But her new co-workers are left questioning why she left the force, given her knowledge, and wonder what she's not telling them.
Characters-
Jackie- awkward but loves to tell stories others find boring and is always annoying the other writers with her knowledge from her field days. Late 20s. Cynical, but hopeful about the future.
Sterling- a flamboyant man who likes to act out scenes, make grand entrances, and ponder the meaning of life. Early 30s. Extravagant. Incredibly extravagant.
All the other writers have left due to declining ratings.
Because of this, saying ‘ratings’ in front of the showrunner is like saying ‘Macbeth’ in a theatre. You don’t. Unless willing to face the consequences. The impending disaster.
Marie- the showrunner. A stern woman, wanting to use her drama to right the world’s wrongs, show the reckless young there are consequences to crime, and correctly represent women as fighters of crime, not just victims or love interests. Late 50s/early 60s. Overdramatic, but caring, in a strange way.
Adelaide- the show's lead actress. Very famous and knows it. Thinks she's too good to be working on this show and makes it clear. But helps Jackie since they are close in age. Secretly, Adelaide is lonely, isolated by the fame. She wants to make Jackie her friend. Late 20s.
-Acted as the initial idea for Jackie & Adelaide - even though it started as an ensemble piece, Jackie and Adelaide and their dynamic produced the most interesting scenes, therefore it made the idea better to cut out the situation of being in a writer's room and focus on these two characters (Whithouse, 2007).
-Had too many characters, and since Marie was overdramatic and Sterling extravagant, they overpowered each other, especially since they were often in the same scenes
-Wasn't written from too much personal experience so was hard to accurately portray
-Didn't work with VTs - were too short or unneeded since most of the story occurs in the writer's room
Jackie and Adelaide
Premise- Two young, career driven woman with opposing personalities become roommates -- and although they don’t always like each other, they need each other.
Version 1
"Let's Give 'Em A Show Tonight!"
Storyline- Jackie moves into Adelaide's apartment after moving to the city so she can join the police force. She finds Adelaide has a stack of overdue bills, and is in serious debt. But, Jackie is too busy with her first day as a police officer to deal with them.
Adelaide works as a waitress. But, when she puts salt in a woman's tea instead of sugar, and can't afford to pay for her mistake, she gets fired. And has an argument with the woman.
Adelaide is arrested due to this argument for 'disturbing the peace' - by Jackie, who is furious. But Jackie decides to help with the bills, and encourages Adelaide to follow her dream of becoming a writer, despite her lack of money. Jackie works out they can pay the bills together.
-Wasn't long enough to fill half an hour
-Didn't introduce the character's personalities, dynamic or histories enough for a pilot episode
Storyline- Jackie moves into Adelaide's apartment after moving to the city so she can join the police force. She finds Adelaide has a stack of overdue bills, and is in serious debt. But, Jackie is too busy with her first day as a police officer to deal with them.
Adelaide works as a waitress. But, when she puts salt in a woman's tea instead of sugar, and can't afford to pay for her mistake, she gets fired. And has an argument with the woman.
Adelaide is arrested due to this argument for 'disturbing the peace' - by Jackie, who is furious. But Jackie decides to help with the bills, and encourages Adelaide to follow her dream of becoming a writer, despite her lack of money. Jackie works out they can pay the bills together.
-Wasn't long enough to fill half an hour
-Didn't introduce the character's personalities, dynamic or histories enough for a pilot episode
Version 2
"Making It Alone"
Storyline- Jackie moves into Adelaide's apartment after replying to her advert online - they knew each other from school. She finds Adelaide is in serious debt and works on solving the problem. But Adelaide decides to take action when the lights, water, and heating cut out, and they receive an eviction notice.
Adelaide decides to write a crime novel after being subjected to hours of Jackie's favourite crime show about a man who solves crimes from a bar. But when Jackie suggests she write about stealing electricity, Adelaide decides to use this to turn the lights back on.
Jackie catches Adelaide leaving the police station and is furious at her near arrest. They work out they can pay the bills together, and Jackie goes to talk to their landlady about the situation. The landlady understands, yet has given Jackie a letter. Containing information about the amount in fines they owe due to Adelaide stealing all that electricity.
-The opening scene didn't introduce the characters to the audience enough
-Jackie's favourite crime show would need to be filmed separately, taking away a cut which could be provided by a VT and therefore a break for a costume or setup change
Storyline- Jackie moves into Adelaide's apartment after replying to her advert online - they knew each other from school. She finds Adelaide is in serious debt and works on solving the problem. But Adelaide decides to take action when the lights, water, and heating cut out, and they receive an eviction notice.
Adelaide decides to write a crime novel after being subjected to hours of Jackie's favourite crime show about a man who solves crimes from a bar. But when Jackie suggests she write about stealing electricity, Adelaide decides to use this to turn the lights back on.
Jackie catches Adelaide leaving the police station and is furious at her near arrest. They work out they can pay the bills together, and Jackie goes to talk to their landlady about the situation. The landlady understands, yet has given Jackie a letter. Containing information about the amount in fines they owe due to Adelaide stealing all that electricity.
-The opening scene didn't introduce the characters to the audience enough
-Jackie's favourite crime show would need to be filmed separately, taking away a cut which could be provided by a VT and therefore a break for a costume or setup change
Version 3
"Non-Zero-Sum Game" (later re-titled "Making It Alone")
Storyline- Jackie finds the overdue bills Adelaide has let stack up and works on a solution to clear all the debt before the consequences kick in. But, after Adelaide loses her job, the heating, water and lights cut out, and an eviction notice, Adelaide decides to take drastic action.
Adelaide decides to write a crime novel after reading one of Jackie’s favourites and thinking she could do better. Yet, after Jackie gives her the idea of writing about people who steal electricity, Adelaide gives up on the novel and attempts to solve her debt. By stealing electricity from the neighbours.
Jackie and Adelaide learn that they need to work together, even if they don’t always see things the same way. Once Jackie’s anger at Adelaide’s near arrest subsides, they come to the conclusion that they can clear the debt together -- if Adelaide gets another job. That is, until another letter arrives, stating the fines Adelaide owes for stealing all that electricity.
-Able to introduce each character separately, as well as their dynamic together
-Both women get equal amounts of story
-Both women are seen supporting and helping each other, despite being opposites
-Able to introduce each character separately, as well as their dynamic together
-Both women get equal amounts of story
-Both women are seen supporting and helping each other, despite being opposites
Characters
"The more you know about your characters, the more realistic your story will be"
(Wiehardt, 2018).
The most important element of any story is its characters (Herring & Nobbs, 2008). Characters need to be believable, as if they are real people, so that the audience can relate and connect to them like they do real people (Penn, 2017).
To achieve this characters need to be multidimensional, that is, they have flaws, a deeper backstory which affects their actions, and can sometimes even be a paradox (Jarrett, 2017). Because of this, it is necessary to know as much about each character as possible. Asking these questions can help with this:
- Where do they live? - can help work out how a character would react to people or in situations
- Where are they from? - their past home can affect what type of people they know, and how they speak
- How old are they?
- What is their name? - provides details and clues about their history, class, age, and race
- What do they look like? (roughly) - helps to figure out how they would act in the world
- What was their childhood like? - can affect a character's personality and beliefs now
- What is their career? - affects how they feel about money, family
- Are they passive or active? - how do they feel about conflict and/or change?
- Who do they know/interact with?
- What drives them? - their goal or motivation will affect their actions and help shape the story
(Wiehardt, 2018).
Answering questions similar to these can help create a complex character who will drive the story. Therefore, thinking about how a character would react in a situation rather than trying to force their reaction to fit the story helps them stay more believable since it helps the writer, and the audience, better understand how the character's mind works (Penn, 2017).
The best sitcoms combine clear, distinct characters, and amusing situations which also add comedy to the characters (Herring & Nobbs, 2008). This can be done by having a reason for characters to be stuck together, despite the conflict and tension between them, which can help cause comedy (Herring & Nobbs, 2008).
Jacqueline "Jackie" Anderson
Surrounded by brothers who are all over-achievers -- a rocket scientist, a brain surgeon, and one working to become Prime Minister -- Jackie sees herself as the family disappointment.
Jackie’s family have a lot of money since her father is Deputy Governor of the Bank of England. Therefore, Jackie and her brothers have been conditioned for success. But Jackie always wanted more than just a job with a fancy label -- she wants to help people. Jackie loves the notion of being the hero -- she read too much as a child when she was curled up somewhere trying to hide from her brothers. To her this is the greatest meaning her life could have, the very essence of living.
Jackie is disowned by her parents when she tells them she’s going to be a police officer. They had planned for her to use her criminology degree to work in the Ministry of Justice -- but Jackie’s always had a secret agenda. She doesn’t want to be boxed in by people’s expectations anymore.
Therefore, Jackie’s approach to life is practical and planned -- everything is a problem to be solved, even people. She’ll try to fix Adelaide, only to discover Adelaide isn’t one problem, but many. This brings out Jackie’s impatient side -- especially since Adelaide’s antics get on her nerves. But Adelaide is now Jackie’s only family, and while trying to fix her, Jackie will realise she might need to fix herself first.
Adelaide Kane
The real world doesn’t matter to Adelaide -- it’s all too unpredictable, too messy. Adelaide would rather create new, controllable worlds in her head.
Adelaide was raised by a single mother who worked so much, she was rarely home, yet still often struggled to afford even the simplest things. Accustomed to looking down the back of sofas and between cushions for coins to get enough food -- coupled with her mother’s death being due to her getting into trouble because of a gambling addiction when Adelaide was 18 -- Adelaide hates money.
This is why Adelaide doesn’t pay her bills now. Money has affected most of her life -- she started creating characters out of loneliness as a child because her mother had to work, she would hide her problems from her mother so she couldn’t cause her more worry on top of the pile of bills, and she hides the bills from Jackie when she arrives out of shame.
Adelaide is more vulnerable than she would like to admit, overcompensating for this by being loud and extravagant. And although this makes her seem like a bit of an airhead, Adelaide is just as intelligent as -- if not more so than -- Jackie. But Adelaide’s so stuck in her head, she often disappears from reality and discovers she’s missed something important when she comes back. Adelaide has to discover that she can’t keep hiding in her writing, especially if she wants her dream of being a writer to become reality.
Yet, Jackie and Adelaide are:
-Both idealistic
-Have both read too many books
-Both afraid of reality
-Both now alone in the world
The comedy and tension come from them being opposites - they become like a non-nuclear family, like sisters.
Research
Coached patrol
Coached patrol is one of the steps to becoming a police officer. Before becoming a police officer, it is necessary to go to the police academy for training, which requires having a criminology, or criminal justice degree, past experience of serving in the military, or having had a job working with the public (Roufa, 2018).
For Jackie, I decided because of her wealthy family, and their push for her to be successful, she would have taken the degree route, with her family intending for her to work in the Ministry of Justice, Home Office, or even as a lawyer using a degree in criminology (University of Roehampton, s.d). This meant Jackie could then have the secret agenda of intending to become a police officer, which fit with her attribute of wanting to be a hero.
Once graduating from the police academy, these graduates become student officers recruited by the force, and have to undertake further training which can last two years - one of these phases includes working to become independent on patrol, meaning officers are coached and assessed by higher ranking officers (North Yorkshire Police, 2019).
On coached patrol, student officers learn how to handle 'basic offences such as shoplifting or criminal damage for arrest experience' as well as issuing parking tickets to test investigation skills such as looking into whether parking tickets should have or should not have been given in certain cases, and being able to write up evidence efficiently (Pete999, 2012).
For Jackie, I decided because of her wealthy family, and their push for her to be successful, she would have taken the degree route, with her family intending for her to work in the Ministry of Justice, Home Office, or even as a lawyer using a degree in criminology (University of Roehampton, s.d). This meant Jackie could then have the secret agenda of intending to become a police officer, which fit with her attribute of wanting to be a hero.
Once graduating from the police academy, these graduates become student officers recruited by the force, and have to undertake further training which can last two years - one of these phases includes working to become independent on patrol, meaning officers are coached and assessed by higher ranking officers (North Yorkshire Police, 2019).
On coached patrol, student officers learn how to handle 'basic offences such as shoplifting or criminal damage for arrest experience' as well as issuing parking tickets to test investigation skills such as looking into whether parking tickets should have or should not have been given in certain cases, and being able to write up evidence efficiently (Pete999, 2012).
Stealing electricity
Stealing electricity can be done in two ways, either by tampering with an electricity meter - known as 'Meter Tampering' - or by stealing electricity - done by plugging in a cable to someone else's electricity supply (Pacheco, 2017).
Although arrests are made in relation to stealing electricity in these ways, most offenders are fined instead (Campbell, 2018).
How offenders are punished depends on varying factors. Adelaide's crime would be punishable only by fine because she doesn't plan the crime, commits it alone, doesn't really understand what she is doing, and although the cable is plugged in overnight, it is not for very long and there is not a risk of great harm with the cable being outside, and then moved to the air vents, since it is not somewhere someone could easily encounter it or where it could catch alight and quickly spread a fire (Sentencing Council, 2016).
Sherlock
Pilot episode: A Study in Pink
Influence on my show
The main influence of Sherlock on my sitcom was that Sherlock and Watson are portrayed as opposites. For example, Sherlock is messy, as seen by the apartment before Watson agrees to move in, and Watson is organised, seen by the drawers in his old place, and how he always keeps his gun in the same place. Sherlock cares little for social boundaries and has little social skills, whereas Watson is very aware of them - he continues to point out he is not Sherlock's date at the restaurant, despite Sherlock not seeming to care (Moffat, 2010:68).
However, although this can make it seem like they hate each other - Sherlock often seems to get on Watson's nerves - there is some love between them. This can be seen by the end scene since Watson saves Sherlock's life. When they reunite outside of the building where the crime scene is, they begin 'giggling. Like schoolboys' (Moffat, 2010:109). This shows that although they are opposite they do have some things in common, such as both enjoying the thrill of catching criminals and solving cases.
I applied this to my sitcom, since Jackie and Adelaide are opposites, but the comedy comes from not only the tension caused by this, but also from their surprise at having things in common. For example, during the end scene, Jackie encourages Adelaide to not give up on her dream of becoming a writer, and we learn that they both have dreams which are a priority for them.
This provides comedy since Adelaide is surprised Jackie doesn't like her job as much as Adelaide thought she did, but also brings the joke about Jackie being embarrassed by the name for people who steal electricity - 'cable hookers' - full circle, since Adelaide has the opposite reaction and is amused.
Sherlock also inspired my sitcom as every scene, action, and line is used to show Sherlock and Watson's personalities and dynamic, and has a purpose to help convey these to the audience. In sitcoms, every scene, episode, and even the whole sitcom should have a point, and not just be filled with jokes - the sitcom needs to be about something in order to connect with an audience and be able to generate several stories (Barnes, 2016).
Therefore, when outlining Jackie & Adelaide, I would outline some of the scenes several times before actually writing them, especially the opening scenes, since these are the scenes which introduce the characters and the world to the audience.
I decided to use the opening scenes to establish Jackie as responsible and Adelaide as irresponsible, similar to how the opening scenes of Sherlock are used to establish how Sherlock and Watson react differently in social situations.
However, the opening scenes of Sherlock are also used to show Sherlock and Watson's professions, and especially Watson's past - his profession is known immediately to the audience since he is haunted by images of battle (Moffat, 2010:1).
Thus, I took this into consideration when redrafting my opening scenes, since Jackie and Adelaide's careers are a main part of their personalities. For this reason, I decided to open on Jackie patrolling as a police officer immediately and have Adelaide still dressed as a waitress when they first meet again, implying that she may have walked out of her job without permission just to stop Jackie issuing a ticket.
This helped with showing their personalities, since it can be seen that Jackie sees her job as important by how hard she tries to get around Adelaide and issue the parking ticket, whereas Adelaide seems to not care about her work, seen especially when she drags Jackie away from her patrolling so they can catch up.
Sherlock also plays with audience expectations since the audience already have pre-conceived notions about the character since he is so well known. Therefore, in an early scene, Sherlock begins to figure things out about Watson, such as that he served in Afghanistan, and Watson has no idea how he is doing it. This builds to when Sherlock reels off everything he has worked out, before introducing himself and stating his address.
The audience already know Sherlock is a detective and that he lives at 221B Baker Street. However, tension is caused between the characters, which is entertaining for the audience, since Watson doesn't know, creating dramatic irony since the audience understand Sherlock, despite having been introduced more to Watson (Britannica, 2019).
During the opening scene of Jackie & Adelaide, I therefore tried to play on audience expectations in a similar way. Jackie doesn't at first recognise Adelaide, despite them knowing each other from school (the audience don't know this yet). Yet, the premise of the show is that the two women become roommates, therefore the audience may have pre-conceived notions that they may know each other from their past.
However, the scene builds to the point where Jackie does recognise Adelaide, but not from school. I tried to write this so that it would cause more conflict between the characters, helping to introduce them better, and so that when the final revelation that Jackie and Adelaide do know each other comes, it's much more surprising that two people who are so different know each other.
The audience already know Sherlock is a detective and that he lives at 221B Baker Street. However, tension is caused between the characters, which is entertaining for the audience, since Watson doesn't know, creating dramatic irony since the audience understand Sherlock, despite having been introduced more to Watson (Britannica, 2019).
During the opening scene of Jackie & Adelaide, I therefore tried to play on audience expectations in a similar way. Jackie doesn't at first recognise Adelaide, despite them knowing each other from school (the audience don't know this yet). Yet, the premise of the show is that the two women become roommates, therefore the audience may have pre-conceived notions that they may know each other from their past.
However, the scene builds to the point where Jackie does recognise Adelaide, but not from school. I tried to write this so that it would cause more conflict between the characters, helping to introduce them better, and so that when the final revelation that Jackie and Adelaide do know each other comes, it's much more surprising that two people who are so different know each other.
References:
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Britannica (2019) 'Dramatic irony' definition [online] At: https://www.britannica.com/art/dramatic-irony (Accessed on 26 January 2019)
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Sentencing Council (2016) Abstracting electricity. At: https://www.sentencingcouncil.org.uk/offences/magistrates-court/item/abstracting-electricity/ (Accessed on 1 February 2019)
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